Home

Jack Studio Theatre – until 11 October 2025

Reviewed by Claire Roderick

3***

Separated in their teens when their parents divorced, Harriet (Eliza Brown) moves in with her brother George (Fraser Houston) 12 years later after the sudden loss of her best friend. While Harriet has been living with her emotionally open mother in England, George’s father moved them back to Scotland, where George learned to never show emotions and just get on with things.

The clashes between stoic and steady George – a care worker whose only friend is one of his elderly clients and whose archenemy is his boss – and erratic and volatile Harriet – working in a coffee shop but becoming increasingly involved with an eco-activism group – over dinner menus, mess and bills are realistic and natural as they revert to calling each other Worm and Stinkbug although, for me, there are a few missteps in the writing around George’s silence about Harriet’s “stalker” as he tries to “fix” her grief. As Harriet gets deeper into activism and begins to neglect her job, the cracks begin to show, and George’s ability to repress his emotions falters as events spiral. Learning how to deal with disaster alongside their grief is the major challenge of the story as the example set by their parents seems to have been to simply leave. George’s frustration at his sister’s immaturity and naivety are easy to understand, along with the envy that he could never dare act like her and disappoint his father.

Toby Bruton directs skilfully as the two-hander plays out in Molly Payne’s one room set. The siblings’ navigation of rebuilding their relationship, and Harriet’s grief is written with wit and warmth by Eliza Brown. Brown plays Harriet endearingly as an eternal teenager with crossed arms, raised eyebrows and sneers until real emotions and steeliness are shown as survival instinct kicks in. Houston has more to work with as George, as every emotion he represses is expertly writ large in his face and body language before being pushed down. The actors have believable sibling chemistry and the cosy, quieter moments of the play build investment in the clashes between the pair. There are a few confrontations that fizzle out and go nowhere that could be cut, but Hand-Me-Downs is a play with exciting potential.

Charing Cross Theatre – until 15 November 2025

Reviewed by Claire Roderick

4****

Get Down Tonight is 90 minutes of joyful escapism and nostalgia. A fictionalised version of Harry Wayne Kasey’s life and him founding KC and the Sunshine Band, the music is upbeat and will get everyone’s feet tapping.

J.F. Lawton’s book acknowledges the daftness with an irrepressible enthusiasm as Dee (Paige Fenlon) describes what a musical of Harry’s life should be. This navigates the clunkier, by the numbers plot with a light touch, but does ultimately negate the impact of the fates of certain characters. The story starts with Harry (Ross Harmon) working in a record shop, quietly announcing his desire to quit every day. His bubbly and adventurous friend/ex Dee encourages him to really quit and he starts working in a recording studio, mixing with music legends as he develops his own disco sound. The arrival of Orly (Adam Taylor) causes sparks as he is determined to live life to the full after fighting in Vietnam. Harry wants a relationship with Orly, Orly doesn’t want to be tied down, and Gina (Annabelle Terry) wants them both.

But the plot doesn’t really matter – this show is all about the music and the glorious nostalgia it evokes. Give It Up, Shake Your Booty, Please Don’t Go… absolutely fantastic. Ross Harmon is wide eyed and sweet as Harry and Adam Taylor is wild and fiery as the battle-scarred Orly. Paige Fenlon is a powerhouse as Dee and Annabelle Terry is comedy gold as Gina, who just wants to do IT. The cast have incredible voices and, together with the dynamic ensemble (Aaron Archer, Eve Drysdale, Rachel Kendall Brown and Finlay Oliver) dance and belt the disco classics brilliantly. Lisa Stevens directs and choreographs with a confident nod and a wink, celebrating but never mocking the disco kitsch.

Get down to Charing Cross Theatre tonight and embrace the disco ball.

WATERMILL THEATRE ANNOUNCES

SPRING 2026 SEASON

A CO-PRODUCTION WITH THEATRE BY THE LAKE

IN ASSOCATION WITH HAMMERPUZZLE THEATRE COMPANY

LARK RISE TO CANDLEFORD

FRIDAY 6 FEBRUARY – SATURDAY 14 MARCH

SWALLOWS & AMAZONS
THURSDAY 19 MARCH – SATURDAY 21 MARCH

TWO HALVES OF GUINNESS

THURSDAY 29 JANUARY – SATURDAY 31 JANUARY

TICKETS ON SALE TO BULRUSH, FERN, WATER LILY & WILLOW MEMBERS Mon 6 Oct, 1pm
FRIENDS & REEDS MEMBERS Fri 10 Oct, 1pm (MEMBERSHIPS START FROM £35 PER YEAR) 
EMAIL SUBSCRIBERS Thu 16 Oct, 1pm, GENERAL ONSALE Fri 17 Oct, 1pm
BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044 

Joint CEOs, Artistic Director Paul Hart and Executive Director Claire Murray, and the whole team at Newbury’s Watermill Theatre are delighted to announce details of the first productions of 2026, as well as the second year of the theatre’s Artist Development Programme, Elemental.

A Watermill Theatre and Theatre by the Lake co-production, in association with Hammerpuzzle Theatre Company, Lark Rise to Candleford, written and composed by Tamsin Kennard, directed by Bryn Holding and based on the book by Flora Thompson opens on Friday 6 February and runs until Saturday 14 March, with a national press performance on Tuesday 10 February.

This is a memory. It’s also a story. The story of a girl called Laura. 

Surrounded by golden fields and tinkling brooks, time trickles in the hamlet of Lark Rise. A home, for Laura and her loving family, in their snug, thatched cottage.  But, with the gentle rhythm of the changing seasons, her heart yearns for something else, something more. 

When the long-promised trip over to Candleford finally comes, Laura discovers a world beyond Lark Rise, beyond the pages of her beloved books. A world which moves to a different beat, full of new characters and new opportunities.  Striving to find her place, to rewrite her future, a new chapter for Laura begins.

Woven together with original music performed by an ensemble cast, this new version of Lark Rise to Candleford tells a story of cherished memories, finding your wings and the threads that bind us to home.

Joint CEO and Artistic Director of the Watermill Theatre Paul Hart said “We are absolutely delighted to be working with Theatre by the Lake, on this most glorious of rural titles. Working with Bryn Holding, Tamsin Kennard and the team on bringing this elegiac and earthy story to life has already been a great pleasure and I can’t wait to see how the piece develops in these two unique theatres. I’m one of many who enjoyed settling in on Sunday night to enjoy the nostalgia of the TV series and have loved returning to Flora Thompson’s novel where there’s so much richness to be discovered in a theatrical version.”

Julia Samuels, Artistic Director (maternity cover) of Theatre by the Lake added, “We are excited to be creating this imaginative new production of Lark Rise to Candleford with such brilliant partners and creative team members. It’s a beautiful story, embedded in the English countryside – and both the Watermill and Theatre by the Lake feel like perfect settings for this atmospheric tale”

From the Watermill Theatre Youth Ensemble, a new adaptation of Swallows & Amazons, based on the original novel by Arthur Ransome, will be written by Coco Cottam playing from Thursday 19 March – Saturday 21 March. Joining Coco Cottam will be Heidi Bird as director and Emily King as set and costume designer. The Watermill Youth Ensemble is made up of the young people who are part of the venue’s Youth Theatre groups, aged between 11-25 with both on and off-stage roles. This year, the Watermill’s Young Creatives will work closely with Emily King to help shape the design for the production.  Young Creatives is part of Careers through the Arts, run in partnership with Corn Exchange Newbury, supported by Greenham Trust. 

Set sail with the Walkers for Wild Cat Island, where the adventures are daring and the schemes bold. A fierce rivalry with the Blacketts turns to fragile allegiance, in an epic battle against the mysterious Captain Flint and a race to discover the truth about the missing treasure.

Transforming the everyday into a world of extraordinary adventure, this new Watermill Theatre Youth Ensemble production celebrates the boundless possibilities of play and imagination – proof that sometimes the greatest voyages begin at home.

The Watermill Theatre will be hosting a Family Fun Day for Swallows & Amazons on Wednesday 18 February, with craft activities, youth theatre tasters, and storytelling sessions.

Two Halves of Guinness will open its UK tour at the Watermill, where it will run from Thursday 29 January – Saturday 31 January. Sir Alec Guinness’ commanding performance as Obi-Wan Kenobi in Star Wars secured his fame for future generations. Two Halves of Guinness reveals a mysterious life story worthy of the darkest Ealing Comedies, revisiting his most memorable characters and encountering a galaxy of stars along the way. Zeb Soanes (Classic FM, BBC Radio 4) stars as ‘Alec Guinness’ in a play written by Mark Burgess, directed by Selina Cadell (Eddie Izzard’s Great Expectations, Hamlet; Miles Jupp in The Life I Lead), and produced by Julian Bird for Green Room Ents.

Applications are now open for the next instalment of the Watermill Theatre’s Artist Development programme, Elemental, which will offer four early career creatives the chance to develop expertise in their chosen discipline, build industry knowledge and fuel personal development and practise at the Watermill. Elemental is part of the Watermill Theatre’s ongoing commitment to creating long-term, meaningful investment in artists and creatives. Starting in January 2026, successful applicants will be offered the opportunity to work on shows across the year. Last year’s cohort worked on shows across the season, including The Autobiography of a Cad, The King’s Speech, Pinocchio, Piaf and Jesus Christ Superstar. 

Elemental 2026 has been made possible thanks to funding from: Garrick Charitable Trust, Noel Coward Foundation, The Fenton Arts Trust, and generous donations from 100 individuals.

Claire Murray said, “Collaboration and our commitment to nurturing and investing in talent are at the heart of the work we’re announcing today. We’re delighted to welcome Classic FM’s Zeb Soanes to open his one-man show, Two Halves of Guinness, here before it goes on to tour the UK, and it’s wonderful to be partnering for the first time with our friends at Theatre by the Lake to bring Lark Rise to Candleford to our respective stages alongside the team at Hammerpuzzle. Swallows and Amazons will be brought to brilliant life by our talented youth ensemble, with participants taking roles on and off-stage, including the delivery of integrated BSL interpretation, captioning and audio description.

We’re also launching the second year of our Elemental Artist Development programme which is possible thanks to funding from a range of sources, and which will make a difference to four emerging artists by investing in the development of their practice and hands-on experience in designing, directing, sound, lighting or choreography.”

Tickets will go on sale to members from 6 October, with memberships available from £35 a year, and the general on sale will follow on 17 October.

NOMINATIONS ANNOUNCED FOR

THE STALLS TO STAGE AWARDS 2026

London, 3 October 2025 – Stalls to Stage, an independent theatre hub is delighted to announce the nominations for the Stalls to Stage Awards 2026, which will return in the new year following a hugely successful inaugural ceremony.

Established to celebrate and diversify talent recognition in the industry beyond mainstream theatre awards, this year’s Awards will honour nominees across 26 categories. Between 1^st October 2024 and 30^th September 2025, professionally produced productions in all UK commercial and subsidised venues with a run of at least two weeks; and professional debuts, West End debuts, takeover performances, covers and alternates in those productions; as well as touring and concert productions were eligible for consideration by a panel of artists, creatives and theatre makers, the shortlist of which will then be voted upon by the general public.

The list of nominations in full and information on eligibility is available here.

Voting is now open at stallstostage.co.uk/vote – audiences are invited to cast their votes online before 10^th December 2025 at 11:59pm UK time.

Details for the ceremony including date, venue and ticket information are to be announced.

The National Theatre leads the lineup for this year with a record-breaking 23 nominations, representing talent across its productions on the South Bank and in the West End – including 9 nominations for the global sensation Hadestown which continues at the Lyric Theatre.

Producing powerhouse Chichester Festival Theatre breaks through the regional scene with 18 nominations, including its acclaimed revival of Oliver! which continues to play in the West End, its recent summer musical Top Hat currently dazzling audiences on tour, as well as The Unlikely Pilgrimage of Harold Fry due to transfer to the West End next year.

Donmar Warehouse’s eclectic programme earns 9 nominations across both musicals and plays, with Regent’s Park Open Air Theatre and Stratford East both holding 8 nominations each; elsewhere across the country, the Made At Curve and Room On Your Own production of Kinky Boots heads up the touring category with 7 nominations, ahead of strutting into the London Coliseum next spring.

Alongside production honours, leading and supporting performances, creative contributions and design, the Awards aim to recognise talent beyond mainstream theatre awards with further categories for casting, debut performances, takeovers, swings, covers, alternates and WHAM (Wigs, Hair and Make-Up) as part of a wider call for inclusion.

The Gavin Creel Community Champion Award spotlights a person or organisation who has gone above and beyond tokenistic representation to support, champion and increase opportunities for specific communities – its winner, selected by the Founder, will be revealed on the night.

Speaking on today’s nominations announcement, Founder and Director of Stalls to Stage Bri said,

The first year of the Stalls to Stage Awards was a truly joyous experience, and it has touched me to see how much it meant to those nominated and celebrated to have been part of something new, with community at the centre. I am beyond excited to share the nominees for our second year of Awards.

It’s been an incredible year of theatre right across the country, and I hope people feel these nominations reflect that. I am also thrilled to be including new categories like Best WHAM, Best Choreography, and Best Costume Design to move us closer to our goal of being the biggest, most inclusive celebration of UK Theatre. Congratulations to all nominees and thank you for your work!’

The Stalls to Stage Awards 2026 is presented by Stalls to Stage.

Winter Gardens, Blackpool – until 4 October 2025

Reviewed by Debra Skelton

5*****

‘I Wanna Dance With Somebody’ is how I felt after watching the sensational production of The Bodyguard at The Winter Gardens Blackpool. So that you do not feel ‘How Will I Know’ then get yourselves down to The Winter Gardens before the show ends on the 04 October 25.

The Bodyguard the musical is an adaptation of the story based on one of the most iconic romance films ever made ‘The Bodyguard’ which was released in 1992. The musical premiered on the West End in 2012 which received numerous Olivier award nominations, including Best New Musical, and ultimately won the Whatsonstage award in the same category. It has since played to over 3.9 million people across 15 countries.

This adapted production is brought by Michael Harrison, David Ian for Crossroads Live with Playing Field Theatre Ltd, Mirvish Productions, ATG Touring and Michael Watt and directed by Thea Sharrock

The Bodyguard tells the story of Frank Farmer a former Secret Service agent and Rachel Marron a superstar sensation. Frank is hired to protect Rachel and her son Fletcher from a mysterious stalker who has been leaving cryptic messages for her (which her agent keeps a secret).

Both Frank and Rachel clash from the beginning as Rachel feels confined as Frank requests that she does not leave the house as he feels it is too dangerous, and Frank is frustrated as Rachel does not seem to be taking things seriously and defies him where she can. However, when the stalker gets too close to Fletcher, Rachel becomes frightened and starts to listen to what Frank says. She does however feel that a night out would help so they both go to a Karaoke bar where they both realise that they are starting to fall in love.

I will leave the ending for you to see for yourself, but I will point out that there are a few story differences between the original film and the musical version however, these differences make it easier to follow the plot on the stage.

The original film will always be remembered for the amazing soundtrack sung by the late and great Whitney Houston, and I have to say that the musical does not disappoint as it includes some of the biggest hits of the 90s, including Queen of the Night, I Wanna Dance With Somebody, I’m Every Woman, I Have Nothing, Greatest Love of All, and Run to You. Of course, it also includes the iconic I Will Always Love You.

The cast themselves were amazing including Sidonie Smith as Rachel Marron who performed the character as her own version and did not try to become Whitney which I felt she did extremely well. Sasha Monique who played her sister Nicki made you feel what it was like to be living in the shadow of a superstar so hats of to you. One thing I do need to say is what incredible voices they have such powerhouses that did justice to the incredible soundtrack.

There always has to be a villain in a love story so Jamie-Lee Harris gave a superb performance as the very creepy and sinister bad guy (chills down my spine). I also would like to shout out to ‘Fletcher’ on the night who was totally adorable and stole the stage as he pulled off some pretty slick moves.

Of course, the production would not be what it is without the phenomenal Olivier-nominated Adam Garcia who plays The Bodyguard himself Frank Fletcher. As always, he delivers a breathtaking performance bringing the character to life from being stoic and strict to gradually softening towards the frightened pop star. As Adam only gets to sing one number which is a very convincing bad karaoke this just shows how impressive his talents are especially as we know how well he can sing.

Finally, we cannot forget the impressive ensemble who supported the fantastic cast on stage, with some incredibly talented dancers and singers who brought some of the biggest pop numbers to life with so much energy.

This production would not be a success if I did not point out the set design by Tim Hatley which was so creative transporting us from pop star on stage to a rehearsal room, quiet moments in her mansion, various clubs and stages, and even a detailed ‘cabin in the woods’. Tim was also responsible for the sensational costumes (Rachel’s dresses, just saying), gorgeous. Lighting by Mark Henderson and Sound Design by Richard Brooker was very cleverly used creating some very creepy moments at times which helped to create an amazing experience. Finally, the amazing choreography by Karen Bruce brought many of the numbers to life, showcasing the talents of the ensemble.

I will say that there are definitely some edge of your seat moments in this production which did take me by surprise but what I will say is overall, it’s an absolutely spectacular show with some of the greatest hits of the 90s, performed beautifully by the talented cast. This show has it all, from spine-tingling ballads to big stage-level pop performances.

Festival Theatre, Edinburgh – until 11 october 2025

Reviewed by Marcus Richardson

5*****

I first saw War Horse on stage in 2014, during a school trip down to London, and I’ve probably spoken about that experience every year since. Not because of the production, but because I was sat two rows behind Liza Minelli who was surrounded by rows of empty seats. Pointless bit of information, but I tell it to give some context about my new feeling of shame that in my retelling of this story the focus was always on Liza, not the show I was seeing. Allow me to try and capture how impressive War Horse was, and still is.

Back when I was young, I found the visual storytelling of war horse to be incredible, a true mastery of the use of puppets, and staging. Now 11 years later it dawned on me how incredible War Horse is as a piece of theatre.

Originally adapted to the stage by Nick Stafford, from the Book written by Michael Morpurgo. The 2007 National Theatre production has shown itself to stand the test of time and the ever changing landscape of the arts. While nearly 20 years old the play still feels fresh, exciting and innovative.

The story of War Horse is one of unbreakable bonds, hope and of course, a devastating war. Set just before and during World War One, we follow a horses journey onto the front line of the trenches, and his owners mission to reunite with him. Let me just warn you that I cried during both acts, even before the war broke out.

I would find it impossible to talk about the puppets, and the actors separately. The horses themselves were just as animated as the actors portraying characters within the story. Our main characters are Albert Narracott, Tom Sturgess, and his ever faithful steed, Joey, played collaboratively by; Rianna Ash, Elouise Beaumont-Wood, Felicity Donnelly, Thomas Goodridge, Robin Hayward, Michael Larcombe, Matthew Lawrence, Clara Lioe, Lewis McBean, Chris Milford, Jordan Paris, Tea Poldervaart, Tom Quinn, Gun Suen, and – last but not least – Rafe Young. This team are responsible for all the puppetry within the show, from Joey to his comrade Topthorn. Each horse had their own personality and you could visibly see the effect war had on them. Adrian Kohler who designed the puppets made each horse look exquisite, there is one horse which broke my heart, that almost looked skeletal and quite haunting. Sturgess who played Albert brought this wonderful energy to the performance, you truly felt warmed during the events of the play by his air of optimism. Captain Friedrich Müller, Alexander Ballinger, helps bring the complexity of war to the show, a character hesitant to kill, his performance highlights the struggles people face when forced into combat, it felt equally depressing and warming. Overall there was no wrong choices with the cast everyone did a phenomenal job of bring this story to life under the direction of Tom Morris and Katie Henry, other standout performances were given by Jo Castleton as Rose Narracott, and Gareth Radcliffe as Arthur Narracott, Daniel Rock as Captain Stewart, and Sally Swanson as the Singer.

The current UK tour only has 3 venues left, Edinburgh’s Festival theatre until the 11th, Cardiff’s Wales Millennium Centre 15th-25th October, and finally ending at the Norwich Theatre Royal from the 28th Oct to the 8th of November.

War Horse is an emotional journey that does contain distressing imagery, loud sounds, and at times total darkness. While I don’t believe any of this to be out of place or done poorly, it could cause some mild discomfort to those with sensory issues.

KEVIN MCCOLLUM & LUCAS MCMAHON AND MIKE LAVOIE & CARLEE BRIGLIA

PRESENT

THE WEST END PREMIERE OF THE SMASH HIT COMEDY

OPENING AT TRAFALGAR THEATRE

ON 3 DECEMBER 2025

WRITTEN BY TONY^® AWARD-WINNER

COLE ESCOLA

DIRECTED BY TONY^® AWARD-WINNER

SAM PINKLETON

STARRING

MASON ALEXANDER PARK

AS MARY TODD LINCOLN

KATE O’DONNELL          OLIVER STOCKLEY

        AS MARY’S CHAPERONE                AS MARY’S HUSBAND’S ASSISTANT

WITH

DINO FETSCHER

AS MARY’S TEACHER

AND

GILES TERERA

AS MARY’S HUSBAND

TICKETS ON SALE AT 12.00NOON TODAY,

FRIDAY 3 OCTOBER 2025

Producers Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia are delighted to announce that the Tony^® Award-winning smash hit comedy OH, MARY! will have its West End premiere at Trafalgar Theatre from 3 December 2025,with tickets on sale at 12.00noon today, Friday 3 October. ohmaryplay.co.uk

Directed by Tony^® Award-winning Sam Pinkleton and written by Tony^® Award-winning Cole Escola, the West End premiere will see Mason Alexander Park star as Mary Todd Lincoln, alongside Kate O’Donnell as Mary’s Chaperone, Oliver Stockley as Mary’s Husband’s Assistant, with Dino Fetscher as Mary’s Teacher and Giles Terera as Mary’s Husband.

OH, MARY! is booking until 25 April 2026.

Mason Alexander Park (they/she) is a nonbinary performer and writer whose previous West End credits include Margaret in Jamie Lloyd’s production of Shakespeare’s Much Ado About Nothing and Ariel in Jamie Lloyd’s production of Shakespeare’s The Tempest, both at Theatre Royal Drury Lane, and The Emcee in Cabaret at the Kit Kat Club, which marked their West End debut and gained a WhatsOnStage Award nomination for Best Takeover Performance. Previous theatre credits include the title role in the first Broadway National Tour of Hedwig and the Angry Inch, Charlotte Von Mahlsdorf in a reimagined I Am My Own Wife at the Long Wharf Theatre and The Emcee in Cabaret at Olney Theatre Center, for which they received the Helen Hayes Award. Mason’s television credits include Quantum Leap for NBC, The Sandman for Netflix, as well as Netflix’s live action adaptation of the hit anime Cowboy Bebop and Amazon’s Critical Role: The Legend of Vox Machina. Mason was also seen in the feature National Anthem, which premiered at SXSW in 2023. 

Kate O’Donnell (she/her) is a Manchester-based performer, writer, director and curator. Her theatre work includes the autobiographical shows Big Girl’s Blouse at Soho Theatre and You’ve Changed at The Lowry, Feste in Twelfth Night at the Royal Exchange, Electra in Gypsy at the Royal Exchange and Sunset Boulevard at the Royal Albert Hall. Since 2018 Kate has curated and hosted Trans Vegas Arts Festival and Manchester Pride’s HIV Vigil. In 2021 she created Trans Filth and Joy a cabaret collective with Milk Presents which supported Christine and the Queens as part of the Meltdown festival at Royal Festival Hall.

Oliver Stockley’s (he/him) theatre credits include Cabaret at the Kit Kat Club,Stephen Sondheim’s Old Friends: A Celebration at the Sondheim Theatre, Maria Friedman & Friends at the Menier Chocolate Factory), and the Offie-nominated The Great Gatsby at the Actor’s Church.

Dino Fetscher’s (he/him) theatre credits include The Normal Heart at the National Theatre, for which he was nominated for an Olivier Award for Best Supporting Actor, Torch Song at the Turbine Theatre, As Is at the Trafalgar Studios, and Ghost Stories at the Arts Theatre. His screen credits include Netflix’s Fool Me Once, Silent Witness, The Split, Years & Years, and Gentleman Jack all for the BBC, Humans, and Cucumber and Banana for Channel 4, and will soon be seen in Sky’s new series Under Salt Marsh.

Giles Terera (he/him) is best known for originating the role of Aaron Burr in the West End production of Hamilton, for which he won an Olivier Award for Best Actor in a Musical. He can currently be seen in the titular role of Hamlet at Chichester Festival Theatre. His National Theatre credits include the titular role of Othello, Guy Jacobs in Blues for an Alabama Sky (Olivier Award and Evening Standard Theatre Award nominations for Best Actor, Critics Circle Theatre Award win for Best Actor), Ernesto Roma in The Resistible Rise of Arturo Ui, Prince of Morocco in The Merchant of Venice, Slow Drag in Ma Rainey’s Black Bottom, Caliban in The Tempest and Horatio in Hamlet. His other theatre credits include General Turgidson in Dr. Strangelove at the Noël Coward Theatre and Bord Gáis Energy Theatre, Dublin, Narrator in Passing Strange at the Young Vic, Andreas Kroll in Rosmersholm at the Duke of York’s Theatre and Gary Coleman in Avenue Q at the Noël Coward Theatre.

Cole Escola (they/them) is a comedian, actor and writer. For their work on Oh, Mary!, they received two Tony Award nominations, winning the Tony for Best Actor in a Play. They also received a New York Drama Critics’ Circle Special Citation, a Drama League Award, a Drama Desk Award, a Theatre World Award, two Outer Critics Circle Awards and an Obie Award for the show; the play was also named a 2025 Pulitzer Prize Finalist for Drama. Notable TV includes Search Party, At Home With Amy Sedaris, Difficult People (on which they also wrote), Man Seeking Woman, Mozart in the Jungle and Ziwe (for which they were also a writer). Cole consulted on Hacks for HBO and also wrote for The Other Two for Comedy Central. They were the co-creator, writer and star of the lo-fi cult-hit TV show Jeffrey and Cole Casserole, and were named one of Vanity Fair’s 25 Best Performances of 2023 for their special Our Home Out West and Best Sketch Comic of 2020 by the New York Times for their special Help! I’m Stuck!, which they filmed alone in their apartment during quarantine. Both self-produced specials are available on YouTube.

Sam Pinkleton (he/him)most recently won a Tony Award for directing Cole Escola’s Oh, Mary! on Broadway. In the UK he most recently choreographed Stephen Sondheim’s final musical Here We Are at the National Theatre. Other recent work includes Josh Sharp’s Ta-Da! (Greenwich House), Morgan Bassichis’ Can I Be Frank? (Soho Playhouse), You Will Get Sick (Roundabout), Untitled DanceShowPartyThing (Virgin Voyages), Elizabeth Swados’ Runaways (City Center Encores/Public Theater), The Wizard of Oz (ACT), Head Over Heels and La Cage Aux Folles(Pasadena Playhouse). Highlights of his work as a choreographer include seven Broadway shows including the original production of Natasha, Pierre, and the Great Comet of 1812 (Tony Award Nomination). Film/TV: Dying For Sex, The End. Upcoming: The Rocky Horror Show (Studio 54/Broadway).

OH, MARY! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this 80-minute one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln, through the lens of an idiot (playwright Cole Escola).

Declared “one of the best comedies in years” by The New York Times, OH, MARY! received Tony^® Awards for Best Leading Actor in a Play (Cole Escola) and Best Direction of a Play (Sam Pinkleton), Drama League Awards for Outstanding Play and Outstanding Direction of a Play, as well as a special citation from the New York Drama Critics’ Circle. It was named a finalist for the Pulitzer Prize for Drama. 

OH, MARY! premiered off-Broadway at the Lucille Lortel Theatre in January 2024, before a Broadway transfer to the Lyceum Theatre in July 2024, where it broke box office records and continues to play to sold out audiences.

In addition to Cole Escola (Writer) and Sam Pinkleton (Director), the full creative team includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), David Dabbon (Arrangements) with Casting by Stuart Burt CDG.

The Executive producers of OH, MARY! at Trafalgar Theatre are Wessex Grove.

LISTINGS

3 DECEMBER 2025 – 25 APRIL 2026

OH, MARY!

Trafalgar Theatre, 14 Whitehall, London, SW1A 2DY

ohmaryplay.co.uk

Socials

Facebook, Instagram and X – @ohmaryplayuk

TikTok – ohmaryplay

3 DECEMBER – 20 DECEMBER 2025

Monday – Saturday performances at 7.30pm (except Thursday 18 December, at 7.00pm)

With 3.30pm matinees on: Saturday 13, Wednesday 17 and Saturday 20 December

CHRISTMAS PERFORMANCE SCHEDULE:

Monday 22 December           5.30pm and 8.45pm

Tuesday 23 December            7.30pm

Wednesday 24 December     2.00pm

Thursday 25 December           No performance

Friday 26 December               No performance

Saturday 27 December          3.30pm and 7.30pm

Sunday 28 December             3.30pm and 7.30pm

Monday 29 December           7.30pm

Tuesday 30 December            3.30pm and 7.30pm

Wednesday 31 December     3.30pm

Thursday 1 January                 No performance

Friday 2 January                      7.30pm

Saturday 3 January                 3.30pm and 7.30pm

5 JANUARY – 25 APRIL 2026

Monday          7.30pm

Tuesday           7.30pm

Wednesday    7.30pm

Thursday          5.30pm and 8.45pm

Friday              7.30pm

Saturday         3.30pm and 7.30pm

INITIAL CASTING

AND FULL TOUR DATES

ANNOUNCED FOR

THE 2026/2027 UK AND IRELAND TOUR

OF THE AWARD-WINNING MUSICAL

OPENING AT

MANCHESTER OPERA HOUSE

ON 23 FEBRUARY 2026

‘Mean Girls Day’, Lorne Michaels, Crossroads Live and Sonia Friedman Productions are delighted to announce initial casting and full tour dates for the 2026/2027 UK and Ireland tour of the award-winning MEAN GIRLS THE MUSICAL.

Emily Lane will star as Cady Heron, alongside Vivian Panka as Regina George, Sophie Pourret as Karen Smith, Georgie Buckland as Janis Sarkisian, Max Gill as Damian Hubbard, Karim Zeroual as Kevin Ganatra and Joshua Elmore as Mr Duvall. Further casting to be announced.

The tour will open at Manchester Opera House on 23 February 2026 before touring to venues across the UK and Ireland until the end of January 2027. In addition to the previously announced venues, the tour will also visit Stoke, Eastbourne, Woking, Leicester, Aberdeen, Canterbury, Norwich, Nottingham, Sheffield, Wimbledon, Birmingham, Oxford and Southampton. www.meangirlsmusical.com

Emily Lane’s West End credits include playing Anna in Frozen at Theatre Royal Drury Lane, Hello Dolly! at the London Palladium, and Evita in Concert at Theatre Royal Drury Lane. Her other theatre credits include Starter For Ten at Bristol Old Vic and, most recently, playing Anne Boleyn in Anne Boleyn, The Musical at Hever Castle.

Vivian Panka was most recently seen playing Alana in the UK tour of Dear Evan Hansen. Her previous theatre credits include Heathers the Musical at The Other Palace and the UK Tour of 9 to 5 The Musical. She also appeared in the film of Heathers: The Musical.

Sophie Pourret will soon appear in Elf the Musical at the Aldwych Theatre. Most recently, she was seen as understudy Daisy Buchanan in The Great Gatsby at the London Coliseum, and her past theatre credits include Guys and Dolls at the Bridge Theatre, La Cage Aux Folles at Regent’s Park Open Air Theatre and 42nd Street at the Théâtre du Châtelet, Paris.

Georgie Buckland can currently be seen playing the leading role of Andy Sachs in the musical The Devil Wears Prada at the Dominion Theatre. Her previous theatre credits include UK tours of Shrek The Musical and Bedknobs and Broomsticks, Claus – The Musical at the Lowry, and Rogers and Hammerstein’s Cinderella at the Hope Mill Theatre.

Max Gill’s theatre credits include Charley’s Aunt at the Watermill Theatre, Fly More Than You Fall at Southwark Playhouse, Fangirls at the Lyric Hammersmith, The Boy in the Dress for the RSC and Bugsy Malone at the Lyric Hammersmith. Their film credits include The Lost Girls and Dumbo.

Karim Zeroual is a British television presenter and actor, best known for his work presenting on CBBC and his appearance on Strictly Come Dancing when he reached the 2019 final. His screen acting credits include EastEnders, Da Vinci’s Demons and CBBC sci-fi drama The Sparticle Mystery, and his West End credits include The Lion King and Chitty Chitty Bang Bang.

Joshua Elmore’s many opera credits include La Traviata, Lucia di Lammermoor, Pagliacci and La Boheme, all at Opera Holland Park, Seven Last Words at the English National Opera, Queer Staged Messiah and La Contesa di Pallade e Venere for Les Bougies Baroques, Fame and Envy for the Oxfordshire Contemporary Opera, Gianni Schicchi and Suor Angelica for the Carmina Priapea Opera Company and Brundibar for Boco Arts.

Meet The Plastics – Regina, Gretchen and Karen. They rule North Shore High and will burn anyone who gets in their way. Home-schooled Cady Heron may think she knows a thing or two about survival of the fittest thanks to her zoologist parents, but high school is a whole new level of savage. When Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a queen bee without getting stung. Expect iconic characters, razor-sharp wit, and killer songs.

MEAN GIRLS, the smash-hit musical comedy based on the iconic Paramount Pictures film of the same name, had its first West End performance at the Savoy Theatre on 5 June 2024, where it was seen by over 330,000 people and played until 8 June 2025. MEAN GIRLS recently took home the coveted ‘Best New Musical’ award at the 2025 WhatsOnStage Awards.

MEAN GIRLS had its world premiere in 2017 at the National Theatre in Washington, D.C and opened on Broadway in April 2018 at the August Wilson Theatre to ecstatic responses, where it played to packed houses. The show then went on a hugely successful US tour in 2019 and recently completed a second US tour. In addition, in 2024, Paramount Pictures released a new twist on the fan-favourite film from the comedic mind of Tina Fey with a fresh and fun re-telling of the story featuring sensational musical performances.

The musical MEAN GIRLS has a book by Tina Fey, music and vocal arrangements by Jeff Richmond, lyrics by Nell Benjamin, direction and choreography by Casey Nicholaw, scenic design by Scott Pask, costume design by Katrina Lindsay, lighting design by Kenneth Posner, sound design by Brian Ronan, hair design by Josh Marquette, musical supervision/vocal, dance, incidental and additional music arrangements by Mary-Mitchell Campbell, orchestrations by John Clancy and dance and incidental music arrangements by Glen Kelly.

MEAN GIRLS UK TOUR – 2026/2027 TOUR LISTINGS

www.meangirlsmusical.com

MONDAY 23 FEBRUARY – SATURDAY 7 MARCH 2026  

MANCHESTER OPERA HOUSE

https://www.atgtickets.com/venues/opera-house-manchester

ON SALE NOW

TUESDAY 10 – SATURDAY 14 MARCH 2026  

CARDIFF WALES MILLENNIUM CENTRE

https://www.wmc.org.uk/en

ON SALE NOW

MONDAY 30 MARCH – SATURDAY 4 APRIL 2026

REGENT THEATRE, STOKE-ON-TRENT

https://www.atgtickets.com/venues/regent-theatre

ON SALE NOW

MONDAY 6 – SATURDAY 11 APRIL 2026  

SUNDERLAND EMPIRE

https://www.atgtickets.com/venues/sunderland-empire

ON SALE NOW

TUESDAY 14 – SATURDAY 18 APRIL 2026

MILTON KEYNES THEATRE

https://www.atgtickets.com/venues/milton-keynes-theatre

ON SALE NOW

TUESDAY 21 – SATURDAY 25 APRIL 2026

CONGRESS THEATRE, EASTBOURNE

https://trafalgartickets.com/eastbourne-theatres-eastbourne/en-GB

ON SALE NOW

MONDAY 27 APRIL – SATURDAY 2 MAY 2026  

NEW VICTORIA THEATRE, WOKING

https://www.atgtickets.com/venues/new-victoria-theatre

ON SALE NOW

TUESDAY 5 – SATURDAY 9 MAY 2026

CURVE, LEICESTER

ON SALE NOW

TUESDAY 12 – SATURDAY 16 MAY 2026

HIS MAJESTY’S THEATRE, ABERDEEN

https://www.aberdeenperformingarts.com

ON SALE NOW

TUESDAY 19 – SATURDAY 23 MAY 2026

EVERYMAN THEATRE, CHELTENHAM

https://www.everymantheatre.org.uk

ON SALE NOW

MONDAY 25 – SATURDAY 30 MAY 2026  

HULL NEW THEATRE

https://www.hulltheatres.co.uk

ON SALE NOW

MONDAY 1 – SATURDAY 6 JUNE 2026

BOURNEMOUTH PAVILLION

https://www.bournemouthpavilion.co.uk

ON SALE NOW

TUESDAY 9 JUNE – SATURDAY 20 JUNE 2026

GRAND OPERA HOUSE, BELFAST

https://www.goh.co.uk

ON SALE NOW

TUESDAY 23 – SATURDAY 27 JUNE 2026

GRAND THEATRE, WOLVERHAMPTON

https://www.grandtheatre.co.uk

ON SALE NOW

MONDAY 29 JUNE – SATURDAY 11 JULY 2026 

THE KING’S THEATRE, GLASGOW

https://www.atgtickets.com/venues/kings-theatre-glasgow

ON SALE NOW

TUESDAY 14 – SATURDAY 18 JULY 2026

CLIFF’S PAVILLION, SOUTHEND

https://trafalgartickets.com/cliffs-pavilion-southend

ON SALE NOW

MONDAY 20 – SATURDAY 25 JULY 2026  

VENUE CYMRU, LLANDUDNO

https://www.venuecymru.co.uk

ON SALE NOW

MONDAY 3 – SATURDAY 8 AUGUST 2026  

ON SALE NOW

TUESDAY 18 – SATURDAY 22 AUGUST 2026

BLACKPOOL WINTER GARDENS

ON SALE NOW

TUESDAY 8 – SATURDAY 12 SEPTEMBER 2026

BRISTOL HIPPODROME

https://www.atgtickets.com/venues/bristol-hippodrome

ON SALE NOW

MONDAY 28 SEPTEMBER – SATURDAY 3 OCTOBER 2026

THE HAWTH CRAWLEY

https://www.parkwoodtheatres.co.uk/the-hawth

ON SALE NOW

MONDAY 5 – SATURDAY 10 OCTOBER 2026

ALHAMBRA THEATRE, BRADFORD

https://www.bradford-theatres.co.uk

ON SALE NOW

TUESDAY 13 – SATURDAY 17 OCTOBER 2026

https://norwichtheatre.org

NORWICH THEATRE ROYAL

ON SALE NOW

MONDAY 19 – SATURDAY 31 OCTOBER 2026

LIVERPOOL EMPIRE

https://www.atgtickets.com/venues/liverpool-empire

ON SALE NOW

TUESDAY 3 – SATURDAY 7 NOVEMBER 2026

ROYAL CONCERT HALL, NOTTINGHAM

ON SALE NOW

TUESDAY 10 – SATURDAY 14 NOVEMBER 2026

LYCEUM THEATRE, SHEFFIELD

https://www.sheffieldtheatres.co.uk

ON SALE 18 OCTOBER 2025

TUESDAY 17 – SATURDAY 21 NOVEMBER 2026

EDINBURGH PLAYHOUSE

https://www.atgtickets.com/venues/edinburgh-playhouse

ON SALE NOW

TUESDAY 24 – SATURDAY 28 NOVEMBER 2026

NEW WIMBLEDON THEATRE

https://www.atgtickets.com/venues/new-wimbledon-theatre

ON SALE NOW

MONDAY 14 DECEMBER 2026 – SATURDAY 2 JANUARY 2027

THE ALEXANDRA, BIRMINGHAM

https://www.atgtickets.com/venues/the-alexandra-theatre-birmingham

ON SALE 3 OCTOBER 2025

MONDAY 4 – SATURDAY 9 JANUARY 2027

NEW THEATRE OXFORD

https://www.atgtickets.com/venues/new-theatre-oxford

ON SALE 3 OCTOBER 2025

MONDAY 11 – SATURDAY 16 JANUARY 2027

MAYFLOWER THEATRE, SOUTHAMPTON

https://www.mayflower.org.uk

ON SALE NOW

MONDAY 18 – SATURDAY 30 JANUARY 2027

NEWCASTLE THEATRE ROYAL

https://www.theatreroyal.co.uk

ON SALE NOW

SUSAN EGAN TO JOIN US IN THE UNDERWORLD…

HALLOWEEN COMES TO DISNEY’S HERCULES

AT THEATRE ROYAL DRURY LANE

For one night only this Halloween at Disney’s Hercules, Hades takes over Theatre Royal Drury Lane’s front of house with a trail of music, mayhem, photo opportunities before curtain-up; with Susan Egan the original Meg from the Hercules animated film joining the company at the curtain call to lead a very special Disney villain medley to round off the evening in spook-tacular fashion.

Susan Egan said today, “When Herc comes calling, what’s a Meg to do?! I’m thrilled to be coming to London to join the cast of Hercules for a very special third act this Halloween! That’s Hades’ big day, after all, and I hold no grudges. This brilliant story holds a very special place in my heart, so it’s truly wonderful to celebrate its new life at Theatre Royal Drury Lane – and even make my debut on that iconic stage!”

As well as providing the voice for Meg, Egan was the voice of Lin in Spirited Away, and was nominated for a Tony® Award for originating the role of Belle in Beauty and Beast on Broadway.

Starting at 8pm on 31 October, audiences are invited to come dressed in their best spooky seasonal looks or costumes – extra kudos for being Disney villain-inspired!

The bar will also be taken over by the spirits with special themed cocktails and mocktails for this one-off event.

Lorcana, the Disney trading card game produced by Ravensburger, will be supporting the evening with special giveaways.

Tickets for the Halloween performance can be purchased via: https://www.herculesthemusical.co.uk/

Facebook /HerculesOnStage

Instagram @herculesonstage

www.herculesthemusical.co.uk  

DISNEY’S

HERCULES

Music by Alan Menken

Lyrics by David Zippel

Book by Robert Horn and Kwame Kwei-Armah

Cast: Luke Brady (Hercules), as the Muses, Candace Furbert (Thalia), Sharlene Hector (Clio), Brianna Ogunbawo (Melpomene), Malinda Parris (Calliope), Robyn Rose-Li (Terpsichore), and Kimmy Edwards and Kamilla Fernandes (Standby Muses); Mae Ann Jorolan (Meg), Trevor Dion Nicholas (Phil), Stephen Carlile (Hades), and Craig Gallivan and Lee Zarrett (in the roles of Bob and Charles), with Rhianne Alleyne, Lana Antoniou, Daisy Barnett, Felipe Bejarano, Sarah Benbelaid, Joel Benjamin, Jack Butcher, Nicole Carlisle, Francessca Daniella-Baker, Marie Finlayson, Ryesha Higgs, Cruz-Troy Hunter, Travis Kerry, Stefan Lagoulis, Jason Leigh Winter, Jordan Livesey, Harriet Millier, Ellie Mitchell, Saffi Needham, Ben Nicholas, Ingrid Olivia, Matt Overfield, Patrick John Robinson, Ope Sowande and Rhys West

Director and Choreographer: Casey Nicholaw; Co-Choreographer: Tanisha Scott;

Scenic and Additional Video Design: Dane Laffrey; Costume Design: Gregg Barnes, Sky Switser;

Lighting Design: Jeff Croiter; Sound Design: Adam Fisher; Video Design: George Reeve;

Special Effects Design: Jeremy Chernick; Dance Music Arrangements: David Chase;

Hair and Wig Design: Mia M. Neal; Make-Up Design: Kirk Cambridge- Del Pesche;

Music supervisor and Arranger: Michael Kosarin; Orchestrations: Danny Troob and Joseph Joubert;

Dance Arrangements: David Chase; Casting: Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting

The musical, inspired by the animated film, based on the ancient myth.

It’s what classical civilisation would have wanted.

Ancient Greece. A time of gods, mortals… and Hercules, who isn’t quite either. But if he’s not a god, how can he possibly save the world from Hades? It’s one thing flexing those pecs, but going from zero to hero requires a different kind of strength. 

Get ready for a wise-cracking, column-shaking, underworld-rocking ride of adventure, self-discovery, and love. In tunics. 

LISTINGS

HERCULES

Theatre Royal Drury Lane

Catherine Street, Covent Garden, London WC2B 5JF

www.herculesthemusical.co.uk  

Previews sold out – from £29.50 post press night

Group rates and education rates are available – please see the website

PERFORMANCES:

POST PRESS NIGHT:

Monday to Saturday 7:30pm

Thursday and Saturday matinees 2:30pm 

ACCESS PERFORMANCES: 020 3925 2998 or access@lwtheatres.co.uk

Relaxed performance                1.30pm on 15 November

Audio Described performance              2.30pm on 29 November

Playhouse, Sheffield – until October 11th 2025

Reviewed by Sharon Farley

4****

Consumed packs a lot into its 70 minute slot, it has more layers than an onion and would be hard pushed to study half of them in depth even if given double the time provided. Four generations assemble around a kitchen table for a special birthday lunch, establishing the battleground for long-standing grudges and buried trauma to burst forth and wreak havoc. As many of the emerging themes are familiar to almost anyone who has had to endure the forced joy of a tense family gathering, much of the subtext can rely on audience understanding of family dynamics for some aspects that remain undiscussed. The well crafted, darkly comic quips are gratefully received to regularly release some of the fast-building tension and remind us we are being entertained.

Unsurprisingly, given this piece earned Karis Kelly (Black Sheep, Hysterical, Hope Street) the Women’s Prize for Playwriting in 2022, Consumed is likely to stay with you long after the curtain falls. There are multiple themes to deconstruct and the action does not exhaust this potential but leaves much to the viewers’ own interpretations.

The all-Irish cast brilliantly portray the insecurities and self-centred shortcomings of each character under the direction of Katie Posner (Strategic Love Play, Richard, My Richard, Mold Riots): Julia Dearden (The Bloody Sunday Inquiry, Cal, The Fall), as Eileen Gillespie, plays the hardened, nationalistic, 90-year-old matriarch – whose birthday is being celebrated – to a T, delivering her cynicism, cruelty, and favouritism with the solid grit typical of those who have had to bury their trauma and fears deep just to be able to go on. She sits at the far end of the political spectrum from her Gen Z great-granddaughter, Muirreann (Muireann Ní Fhaogáin – 3 Winters, Chain, Hamlet), with her stereotypical gluten intolerance and anxieties over all the injustices of the world. Ní Fhaogáin underpins the role with the perfectly exaggerated teenage angst and outrage familiar on any social media platform. The distance between these two is palpable, right up until their indelible bond is brought into sharp focus during the play’s dramatic finale. Muirreann’s mother, Jenny O’Shea, played by Caoimhe Farren (The Ferryman, Willow, Derry Girls) demonstrates a
frustrating relationship with her mother, Gilly Gillespie (Andrea Irvine – Agreement, Dead Shot, Blue Lights) who does her best to keep calm and carry on despite guarding the dark secret at the heart of the play.

As intergenerational friction collides with intergenerational trauma, coping mechanisms abound but cannot contain the explosive mayhem that inevitably unfolds. To say the action becomes intense would be to severely understate it. There are good reasons for the trigger warnings as many difficult topics are unearthed. Consumed will shake you up as much as it makes you laugh, and provide much to discuss when you leave, once the stunned silence has subsided that is. This powerful piece is currently touring and is deserving of its well-earned accolades.