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FIRST LISTEN TO PADDINGTON THE MUSICAL

EXPLORER & THE BEAR

RELEASED AS A SINGLE BY DECCA RECORDS

WRITTEN AND PERFORMED BY TOM FLETCHER

With the company currently in rehearsals, producers Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK today announce the release of Explorer & the Bear, written and performed by the show’s composer Tom Fletcher. This is the very first song to be released to the public from the score of more than 18 brand-new original songs written for PADDINGTON The Musical. The single will be available from Decca Records this Friday, 26 September.

Tom Fletcher said today, “This is such an exciting day for us all on PADDINGTON The Musical – to finally share our first song with you all! It’s been an amazing process making this musical with a team of incredible creatives, and it’s both nerve wracking and thrilling in equal measure to begin to put it out into the world. We hope you love it as much as we do.”

Producers Sonia Friedman and Eliza Lumley commented, “It’s a privilege to be able to share Explorer & the Bear – the very first song we are releasing from PADDINGTON The Musical. It’s truly wonderful to have Tom perform the vocals for this track, which in the show is sung by Paddington himself. This release marks the beginning of a series of songs we’ll be sharing in the months ahead, as we build towards the official opening at the Savoy Theatre at the end of November.”

In the show, Explorer & the Bear is sung by Paddington as he searches for the Explorer, who had once promised Aunt Lucy and Uncle Pastuzo that they would always find a home in London if ever they needed one.

The accompanying video to the single was shot in multiple recording studio locations including Abbey Road, where Tom recorded both this song and others upcoming from the musical, as well as in the rehearsal room with the cast and company of the musical.

Adapted from the much-loved books written by Michael Bond, and the award-winning films by STUDIOCANAL, with music and lyrics by Tom Fletcher, book by Jessica Swale and direction by Luke Sheppard, PADDINGTON The Musical opens at the Savoy Theatre on Sunday, 30 November, with previews from Saturday, 1 November, and is currently booking until 25 May 2026.

Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK present

PADDINGTON THE MUSICAL

MUSIC AND LYRICS BY TOM FLETCHER BOOK BY JESSICA SWALE

DIRECTED BY LUKE SHEPPARD

Based on A Bear Called Paddington written by Michael Bond and the film ‘PADDINGTON’, by special arrangement with STUDIOCANAL

Cast:Timi Akinyosade (Tony), Delilah Bennett-Cardy (Judy Brown), Amy Booth-Steel (Lady Sloane), Tarinn Callender (Grant),  Adrian Der Gregorian (Mr. Brown), Tom Edden (Mr Curry), Brenda Edwards (Tanya), Victoria Hamilton-Barritt (Millicent Clyde),  Teddy Kempner (Mr Gruber), Bonnie Langford (Mrs Bird), Amy Ellen Richardson (Mrs. Brown), and in the role of Jonathan Brown Joseph Bramley, Leo Collon, Stevie Hare and Jasper Rowse, are Esme Bacalla-Hayes, David Birch, Tiago Dhondt Bamberger, Aimée Fisher, Jacqueline Hughes, Kellianna Jay, Sam Lathwood, Natasha Leaver, Katie Lee, Sunny Lee, Vicki Lee Taylor, Jáiden Lodge, Andilé Mabhena, Rose Mary O’Reilly, Ben Redfern, Hugo Rolland and Simon Shorten

Matt Brind (Musical Supervisor, Orchestrations and Arrangements), Ellen Kane (Choreographer), Tom Pye (Scenic Designer), Gabriella Slade (Costume Designer), Paddington Bear Designer: To be revealed, Neil Austin (Lighting Designer), Gareth Owen (Sound Designer), Ash J Woodward (Video Designer and Animation), Campbell Young Associates (Hair, Wig & Make-Up Designer), Majid Adin (Illustration and additional Animation), Laura Bangay (Musical Director), Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting (Casting Director), and Nick Hockaday (Young Persons’ Casting Director), Javier Marzan (Physical Comedy Consultant, Tobago and D-Lime (Additional Music Consultants)

A rather wonderful adventure is about to begin…

Hold on to your hats for the world premiere of PADDINGTON The Musical in London’s West End.

When a small, lost bear from Peru arrives in London in search of a new home, a chance encounter with the Brown family leads him to the wonderful world of Windsor Gardens.

But London isn’t all afternoon teas and friendly faces – and even the happiest families have their cracks beneath the surface. So when a mysterious and vengeful villain sets her sights on Paddington, the Browns embark on a thrilling rescue mission, realising they need this special bear as much as he needs them.

Packed with show-stopping songs, dazzling choreography, mischief and mayhem at every turn – and of course, marmalade sandwiches – PADDINGTON The Musical is based on the iconic characters from Michael Bond’s books, with a story inspired by the award-winning 2014 film.

Michael Bond’s A Bear Called Paddington was published in 1958 by Collins, later Harper Collins – the first of 29 Paddington books he was to write, with the final one Paddington at St. Paul’s, published posthumously in 2018. The books have sold over 35 million copies worldwide.

Paddington has been adapted for television several times – first by the BBC in 1976; and most recently adapted by STUDIOCANAL who have produced three Emmy Award-winning series of The Adventures of Paddington. Paddington has also enjoyed three successful big-screen outings, all produced and developed by STUDIOCANAL – Paddington released in 2014, Paddington 2 in 2017, and Paddington in Peru in 2024, enjoying critical and commercial acclaim becoming the biggest independent family franchise of all time.

Instagram, Facebook and TikTok: paddingtonthemusical

Listings

Paddington The Musical

SAVOY THEATRE

Savoy Court, Strand, London WC2R 0ET

Box Office: 0844 871 7687 / www.paddingtonthemusical.com

Previews from £15

Post Opening Performance from £25

PREVIEW SCHEDULE:

Saturday            1 Nov                 7pm     

Monday            3 Nov                 7pm     

Tuesday             4 Nov                 7pm     

Thursday           6 Nov                 7pm     

Friday                 7 Nov                 7pm     

Saturday            8 Nov                 7pm     

Monday            10 Nov               7pm     

Tuesday             11 Nov               7pm     

Thursday           13 Nov               7pm     

Friday                 14 Nov               7pm     

Saturday            15 Nov               7pm     

Monday            17 Nov               7pm     

Tuesday             18 Nov               7pm     

Thursday           20 Nov               7pm     

Friday                 21 Nov                             7pm     

Saturday            22 Nov               2pm & 7pm

Monday             24 Nov               7pm

Wednesday      26 Nov               7pm     

Thursday           27 Nov               7pm     

Friday                 28 Nov               7pm     

Saturday            29 Nov               2pm & 7pm     

Sunday              30 Nov               5pm – OPENING PERFORMANCE

REGULAR PERFORMANCE SCHEDULE:

Monday            7pm

Wednesday      7pm

Thursday           2pm & 7pm

Friday                 7pm

Saturday            2pm & 7pm

Sunday              2pm

Please check the website for the Christmas/New Year schedule.

Recommended for ages 6+

OTANOSHIMINI!

 SIX THE MUSICAL ANNOUNCES SPECIAL WORKSHOPS TO CELEBRATE THE JAPANESE CAST’S WEST END DEBUT THIS NOVEMBER

This November, SIX the Musical makes herstory once again, as the members of the original Japanese cast take to the Vaudeville Theatre stage for one week only – performing the global phenomenon entirely in Japanese (with English captions) from Tuesday 4 to Sunday 9 November 2025.

Following sold out seasons in Tokyo, Osaka and Nagoya earlier this year, the critically acclaimed Japanese Queens now bring their celebrated performances to London, making their West End debuts.

Original producers Kenny Wax, Wendy & Andy Barnes and George Stiles, by special arrangement with Umeda Arts Theater, the producers of the Japanese production, are delighted to invite the cast to London following their acclaimed run in Japan. 

To celebrate this landmark moment, audiences can also take part in two special cultural experiences. On Thursday 6 November from 5.15 – 6.45pm, Dear Asia will host a Japanese Language Workshop, inviting participants to explore the language and culture of Japan through the songs of SIX. Fans will have the chance to learn the lyrics to their favourite numbers in Japanese, while also trying their hand at traditional arts and crafts in this fun and immersive session suitable for ages 10+.

Then, on Saturday 8 November from 12 – 1.30pm, acclaimed illustrator Chie Kutsuwada will lead a Manga Workshop with a SIX-inspired twist. This beginner-friendly class introduces participants to the fundamentals of manga drawing before guiding them to create their own manga-style portraits of the Queens. All drawing materials will be provided, and the workshop is also suitable for ages 10+.

Capacity for both workshops is limited, so patrons are advised to book early.

The cast will be Sonim as ‘Aragon’, Meimi Tamura and Maho Minamoto alternating the role of ‘Boleyn’, Harumi as ‘Seymour’, Eliana and Marie Sugaya alternating the role of ‘Cleves’, Airi Suzuki and Erika Toyohara alternating the role of ‘Howard’, Sora Kazuki  and Ruki Saito alternating the role of ‘Parr’. They will be joined by Aoi Tanaka as Musical Director. Due to existing scheduling commitments, original Japanese cast members Emiko Suzuki and Mahya Harada will not be appearing.

Producer Kenny Wax said: “The arrival of our Japanese Queens is a landmark moment for SIX. These workshops will give fans an extra way to connect with the production – not only through the performances at the Vaudeville, but also by experiencing the language and culture of Japan first-hand.”

Umeda Arts Theater Team said: “We are honoured that London is hosting the Japanese language production of SIX. The incredible response in Japan showed us how powerfully audiences connect with these Queens, and we are thrilled to now bring that energy to the West End. The addition of the masterclasses makes this visit even more special — it’s not only about seeing the show in Japanese for the first time in the UK, but also about sharing our language and culture with audiences in a truly interactive way.”

Tickets for the workshops are available here. 

Tickets for the show are available now via sixthemusical.com

To book access rate tickets for either of these workshops, please email access@nimaxtheatres.com  or call 0330 333 4815 to speak to our access team.

Social media:

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www.sixthemusical.com

JERMYN STREET THEATRE ANNOUNCES
INITIAL PROGRAMMING FOR
2026 SEASON

With rehearsals currently underway for Katherine Moar’s world premiere Ragdoll, Jermyn Street Theatre today announces the first two productions in its 2026 Season.

The season opens with a revival of Lyle Kessler’s Tony Award-nominated modern classic Orphans, starring Forbes Masson as Harold, and directed by former Carne Deputy Director of Jermyn Street Theatre Al Miller. The production opens on 7 January, with previews from 5 January, and runs until 24 January 2026. Further casting to be announced at a later date.

Following this, Emma Howlett’s Aether makes its London premiere following a sold-out run at the 2025 Edinburgh Festival Fringe. Howlett also directs the production, which features returning cast members Gemma Barnett, Sophie Kean, Anna Marks Pryce, and Abby McCann. The production opens on 17 March, with previews from 16 March, and runs until 21 March 2026.

Artistic Director Stella Powell-Jones and Co-Artistic Director and Executive Producer David Doyle said: “We’re spotlighting two exciting productions ahead of our Spring season announcement: Al Miller’s revival of Lyle Kessler’s Orphans and Emma Howlett’s Aether. Al has left a lasting mark on our theatre during his time as Carne Deputy Director, and it’s a joy to welcome him back as a director in his own right with Orphans. Emma’s Aether captivated Edinburgh audiences, and we’re delighted to share it with London audiences. Both Al and Emma are directors on remarkable journeys, and it’s a privilege to be part of their story.”

Tickets are on-sale from today and are available via this link: www.jermynstreettheatre.co.uk.

Further productions for the 2026 season will be announced shortly.

Jermyn Street Theatre presents

ORPHANS

By Lyle Kessler

5 – 24 January 2026

Cast: Forbes Masson (Harold)

Director: Al Miller; Set and Costume Designer: Sarah Beaton;
Lighting Designer: Simeon Miller; Sound Designer and Composer: Donato Wharton

If you’re looking for justice, you’re living in the wrong century.

Philadelphia, 1983. Twenty-eight year old Phillip hasn’t stepped outside in years — happily surviving on canned tuna, encyclopedias, and his own wild theories about the dangers beyond the door. His older brother Treat runs his world with rules and rituals to keep them safe, bringing home whatever he can steal. Then, one night, Treat drags in Harold, a dapper stranger stuffed with cash and soaked in whiskey. The perfect target… or so it looks. By morning, nothing will be the same.

After taking Broadway by storm, a new production of Lyle Kessler’s Tony Award nominated play comes to Jermyn Street Theatre. Former Carne Deputy Director Al Millerdirects this darkly comic, unflinching and moving modern classic.

Lyle Kessler is a playwright, screenwriter and actor. His other playwriting credits include The Watering Place, Perp, House on Fire, Robbers, Unlisted, Burning Bright (winner of the New York State Council on the Arts Playwright Award), The Family Circle, The Engagement, and The Viewing. His work for screen includes Orphans, The Saint of Fort Washington, Gladiator, and Touched.

Forbes Masson plays Harold. He returns to Jermyn Street Theatre following his roles in Laughing Boy and Farm Hall (also Theatre Royal Haymarket and UK tour). His further theatre credits include Much Ado About Nothing, The Tempest (Theatre Royal Drury Lane), Jekyll and Hyde, Rebus: A Game Called Malice (UK tours), Newsies (Troubadour Wembley Park Theatre), The Taxidermist’s Daughter (Chichester Festival Theatre), The Magician’s Elephant, The Boy in the Dress, The Taming of the Shrew  (RSC), Bartholomew Fair, The Merry Wives of Windsor, Boudica (Shakespeare’s Globe), Summer and Smoke (Almeida Theatre and Duke of York’s Theatre), Little Shop of Horrors (Regent’s Park Open Air Theatre), Big Fish (The Other Palace), Terror (Lyric Hammersmith Theatre), Travesties (Menier Chocolate Factory and Apollo Theatre), A Midsummer Night’s Dream (Theatre Royal Bath), Doctor Faustus (Duke of York’s Theatre), Mr Foote’s Other Leg (Hampstead Theatre and Theatre Royal Haymarket), The Ruling Class, Richard III, Macbeth (Trafalgar Theatre). His television credits include The High Life (as series regular Steve McCracken), The Crown, The Marlowe Sessions, As You Like It, Royal Mob, Crime, Father Brown, Catastrophe, Shetland: Dead Water, My Life Story, No Holds Bard, Monarch of the Glen, Supergirly, EastEnders, The Young Person’s Guide to Becoming a Rock Star, and Only Child; and for film, The Road Dance.

Al Miller directs. He is the former Carne Deputy Director of Jermyn Street Theatre. As Assistant and Associate Director, his credits include The Hobbit, Cinderella (Oxford Playhouse), and Bon Ami (Battersea Arts Centre, Unicorn Theatre and UK tour).

Jermyn Street Theatre presents the TheatreGoose production of
AETHER

Written and Directed by Emma Howlett

16 – 21 March 2026

Cast: Gemma Barnett, Sophie Kean, Anna Marks Pryce, Abby McCann

Set & Costume Designer: Ellie Wintour; Lighting Designer: Ed Saunders; Composer and Sound Designer: Sarah Spencer; Dramaturg: Sophie Kean

Beauty, to us physicists, is something we’ve never seen before.

A PhD student hunting dark matter collides with a disillusioned illusionist, a teenage medium with a secret, a murdered mathematician, and a trail-blazing astronomer to investigate the greatest unsolved mystery of the universe. Weaving together fact, fiction, and everything in between, Aether explores physics, faith, and magic in rich theatrical spectacle to uncover humanity’s insatiable fascination with the unknown.
 
Fresh from its sold-out run at Edinburgh Fringe 2025, Aether makes its London premiere at Jermyn Street Theatre. Crowned Best Theatre Show of the Fringe by The Telegraph and with writer-director Emma Howlettnamed one of The Stage’s Fringe Five, this breakthrough hit plays just eight unmissable performances.

Emma Howlett is a writer and director. As Artistic Director of TheatreGoose, she has written and directed Her Green Hell, Sisters Three, and Aether (winner of The Fringe Five Award). Her other directing work includes Grounded (The Bridge Theatre, Brussels), Enron (Oxford Playhouse), and Copenhagen (Theatre Royal Bath); and as Assistant Director, Farm Hall (UK tour), and A View from the Bridge (Theatre Royal Bath and West End). Howlett is a member of the Royal Court Writers’ Group, a recipient of the New Theatre Writing Residency from the Hugo Burge Foundation and the Lustrum Award, and is currently adapting her full-length play Bumps into a feature film.

Gemma Barnett’s theatre credits include Revenge: After the Levoyah (The Yard Theatre, Soho Theatre and Edinburgh Festival Fringe), The Invincibles (Queen’s Theatre Hornchurch), The Beach House (Park Theatre), Crimea 5AM (Kiln Theatre), Dido’s Bar (Dash Arts), Agatha (Pleasance Theatre, London), Dr Korczak’s Example (Leeds Playhouse), A Midsummer Night’s Dream (Shakespeare in the Squares), A Hundred Words for Snow (Trafalgar Theatre – Best Solo Performance OffWest End Award), and Lola (Vaults Festival). Her film credits include Please Carry On, Preggo, Bridge, I Killed Them When They Came for My Kid, and Miss.

Sophie Kean’s theatre credits include Sisters Three, Her Green Hell (UK tours), and Scenes for John (National Theatre Studio). Kean graduated from Rose Bruford College in 2024.

Anna Marks Pryce’s theatre credits include 4 Girls the First Letter E (King’s Head Theatre), Fairytale Ending (‘A Word After A Word After A Word’) (Union Theatre), The Creature, The Snow Queen (Rose Theatre Kingston), and It’s Ok, I Still Think You’re Great (Baron’s Court Theatre).

Abby McCann’s theatre credits include Sisters Three (UK tour), Looking for Giants (King’s Head Theatre), Short Pleasures Long Woes (Omnibus Theatre), Thas’ a Rummun! (Seagull Theatre, Lowestoft), Peter and the Wolf (Waterperry Opera Festival), If We Ended This (Camden People’s Theatre), and Enron (Oxford Playhouse).

LISTINGS

JERMYN STREET THEATRE
16B Jermyn Street, London, SW1Y 6ST

Box Office: 020 7287 2875
www.jermynstreettheatre.co.uk

RAGDOLL
9 October – 15 November 2025
Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performances: Thursday 23 October at 7:30pm and Tuesday 4 November at 3pm
Captioned Performance: Wednesday 5 November at 7:30pm
Tickets from £18

DAVID COPPERFIELD
20 November – 20 December
Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performance: Wednesday 10 December at 7:30pm 

Captioned Performance: Wednesday 17 December at 7:30pm

Tickets from £18

ORPHANS
5 – 24 January 2026
Monday – Saturday, 7:30pm
3pm matinees on Tuesdays and Saturdays
Relaxed Performance: Thursday 22 January at 7:30pm
Tickets from £18

AETHER
16 – 21 March 2026
Monday – Saturday, 7:30pm
3pm matinees on Tuesday and Saturday
Tickets from £22

Thomas Hopkins and John Rogerson announce that Rufus Hound, Bronté Barbé, and Natalie Casey will head the cast for an industry presentation of the final two-act show before a full  prodution is announced of Maid Marian and Her Merry Men A New Musical, based on Sir Tony Robinson’s hit BBC TV series.

Book, Music & Lyrics by Olivier Award winning writer Vikki Stone (Hey Duggee: The Live Theatre Show, Cinderella – Lyric Hammersmith), directed by Benji Sperring (An Act Of God, The Toxic Avenger).

Sir Tony Robinson is now confirmed as Executive Producer for the production as it prepares for an expected UK premiere in early 2026.

Sherwood just got a serious shake up! Maid Marian and Her Merry Men are back and this time, the girl with the brains is calling the shots. Forget everything you thought you knew about Robin Hood: Marian is the true rebel leader, running rings around power-mad King John, the hapless Sheriff, and a forest full of fools.

After two years of raucous workshops and development, the show now arrives in its final, dazzling form, a brand-new musical comedy packed with outrageous songs, wild slapstick, and razor-sharp wit. Catapulting Tony Robinson’s BAFTA-winning cult TV hit onto the stage, it explodes with daft disguises, disastrous archery, ludicrous taxes, and plenty of merry mayhem. Smart, silly, and gloriously subversive. Marian’s gang is ready to steal the show.

Vikki Stone said:
“I cannot tell you how delighted I am to be writing Maid Marian. Its was one of my absolute favourite kids TV shows in the ‘90s, and I couldn’t be more excited to be working with comedy legend Sir Tony Robinson on this wonderful show.”

Producer Thomas Hopkins said:
“I’m beyond excited to bring one of my all time favourite childhood TV shows to life as a brand new British family stage musical. Tony’s hit BBC TV show Maid Marian and Her Merry Men was a huge part of my growing up, and to reimagine it now for the stage, with such an exciting team of creatives and a dream cast is a real honour. I can’t wait for audiences to experience the magic and mayhem we’ve created together in this new musical.”

Cast includes
Bronté Barbé (Maid Marian) was Kathy in Kathy & Stella Solve a Murder, Katherine Plumber in Newsies.
Rufus Hound (King John) is an award winning actor, presenter and comedian. His extensive list of West End stage credits include the lead role of ‘Freddy’ in Dirty Rotten Scoundrels, Francis  Henshall in One Man Two Guv’nors and ‘Toad’ in Wind In The Willows.
Natalie Casey (Sheriff of Nottingham) was Carol Groves in the C4’s Hollyoaks (1996–2000) and Donna Henshaw in Two Pints of Lager and a Packet of Crisps (2001–2011). 
Mateo Oxley (Robin Hood) was recently Richard Hannay in The 39 Steps.
Ashley Samuels (Barrington) was Jim in Just For One Day (Old Vic).
Jennie Jacobs (Graham/Old Tony) was The Mezzo Soprano in Stiletto (Charing Cross Theatre).

Creative team:

Executive Producer: Tony Robinson
Book, Music & Lyrics: Vikki Stone
Director: Benji Sperring
Musical Supervisor & Arranger: Paul Schofield
Musical Director: Gabriel Chernick
Movement Director: Sundeep Saini
Sound Designer: Dan Samson
Producers: Thomas Hopkins & John Rogerson
General Management: Thomas Hopkins Productions

SIR TONY ROBINSON
Sir Anthony Robinson is an actor, author, comedian and presenter best-known for playing Baldrick in BBC’s instant classic, Blackadder. The TV star, born in August 1946, studied at Wanstead County High grammar school before later enrolling at the Central School of Speech and Drama in 1963. He kicked off his acting career at the age of 13, appearing in a number of West End plays and musicals including Oliver!. Tony went on to win an Arts Council bursary to work as a director at the Midlands Arts Centre, Birmingham where he founded the Avon Touring Company. In the early 1970s, Tony made his debut on the silver screen, appearing in Sam on Boffs’ Island and Play Away. Clearly a natural, the comedian went on to star in Channel 4’s series, Who Dares Wins. Tony enjoyed a meteoric rise to fame in the 1980s thanks to his memorable performance as bumbling servant Baldrick in Blackadder. As the series progressed, Tony quickly became associated with the catchphrase “I have a cunning plan.” In 1989 the show Maid Marian and her Merry Men first aired and would continue to run for four series. Tony created and wrote the show, as well as starring as the Sheriff of Nottingham.

VIKKI STONE
Vikki Stone is an award-winning writer, composer, comedian and musician, who has a rather unique set of skills in writing, classical music, musical theatre as well as over ten years on the road as a stand-up comedian. Her writing credits include:  co-adapter, writer and music supervisor for the Oliver Award winning Hey Duggee Live, #zoologicalsociety for Royal & Derngate, Cinderella & Aladdin for The Lyric Hammersmith, Alice In Wonderland (music and lyrics) for the Liverpool Everyman Playhouse, Peter Pan (music and lyrics) for Rose Theatre Kingston, Dick Whittington for the New Wolsey Theatre, Ten Pieces Special Report for BAFTA Nominated children’s music series BBC Ten Pieces, Our Girls Our Game for The British Youth Music Theatre. Vikki made history when she was the musical director, pianist and band leader of the Saturday night ITV prime-time show Romeo and Duet, making her the first on-screen female musical director of a primetime entertainment show in the UK. She has also been developing a major musical theatre series for Disney +.

BENJI SPERRING
Benji’s directing credits include: Yeast Nation (Southwark Playhouse), An Act of God (Vaults Theatre), Night Of The Living Dead Live (Pleasance Theatre), Liver Birds – Flying Home (Royal Court Liverpool), Toxic Avenger The Musical (Southwark Playhouse, Pleasance Edinburgh, Arts Theatre West End), Shock Treatment (Kings Head Theatre), How To Succeed in Business Without Really Trying (Wilton’s Music Hall).

Bridewell Centre – until 27 September 2025

Reviewed by Claire Roderick

4****

When SEDOS do Sondheim, you know it’s going to be special, and this energetic production of Assassins hits the mark with style.

Americon 2025 (Take Your Shot) is a flag-waving extravaganza with grinning cheerleaders instructing when to wave flags and cheer – so far, so normal USA. But the delegates at this conference are all people who have killed or attempted to kill presidents. Standing behind podiums with their names in lights, each assassin gets a time to shine with Sondheim giving each a particular musical style. The convention hosts (Anna Buckmaster and Chris Daniel Cahill) are wonderfully polished and insincere, playing to the crowd and treating the delegates, standing stony faced as they view proceedings, like carnival freaks.

John Weidman’s book allows each person’s story and motivation some explanation in the downtime between songs as the convention takes breaks. The assassins’ reasons, including social injustice, burning anger, devotion to Charles Manson, are varied, but the underlying idea that “All you have to do is move your little finger to change the world” is consistent – with the charismatic John Wilkes Booth (Rourke Puksand laying on the snake oil charm) using this argument to convince the confused and embittered Lee Harvey Oswald (an intense Joe Dickens) to do the deed. Sondheim’s music soars and teases – getting the audience’s feet tapping to songs of violence and squeezing every emotion from fabulous duets and harmonies.

The cast are a joy, from the dynamic convention chorus and ensemble to the assassins themselves. Jake Dufton’s incredible voice brings gravitas and pathos to Leon Czolgosz, David Phipp-Davis is wonderfully and weirdly sympathetic as Guiseppe Zangara and Sam Sugarman is hilariously unhinged as the effervescent Charles Guiteau. Adam Moulder seethes with standup comedian style anger as Samuel Byck and Glen Jordan’s obsessed John Hincley Jr is creepily sweet and innocuous. The female assassins are a hoot, with Jessica Dawes’s flustered and frustrated Sara Jane Moore struggling to find her gun inside her ever-present handbag and Claire Brewin’s brainwashed Manson devotee veering between spaced out teen vibes and lost soul. Sometimes it is hard to remember that these are not professionals.

Dan Edge’s skilful direction creates a fantastic, heightened energy dynamic for this glorious parody of desperation and political violence, and Adrian Jeakins production design is wonderfully brash. The production adds another, more recent assassination attempt, reminding us that the grim reality behind the showmanship and theatre onstage is even more relevant and prevalent today.

Another triumph for the talented team at SEDOS.

STORYHOUSE, CHESTER UNTIL – SATURDAY 27TH SEPTEMBER 2025

REVIEWED BY MIA BOWEN

4****

The Woman in Black stands out as one of the most haunting and atmospheric theatrical experiences I have ever encountered. From the outset, the production immerses the audience in a world filled with shadows, silence, and suspense, where every creak of the floorboards and flicker of light evokes a profound sense of unease. What makes the play particularly remarkable is its simplicity: with a nearly bare stage, just two actors, and a skilful use of sound and lighting, the production relies heavily on imagination. This minimalist approach intensifies the tension and demonstrates that genuine fear often resides not in grand displays, but in the power of suggestion.

Theatre can spark the imagination in ways that film simply cannot The performances are remarkably precise. The actors skilfully and intensely bear the weight of the entire story, effortlessly switching between roles and drawing us further into the mystery. Their artistry breathes vivid life into Susan Hill’s ghost story, demonstrating that.

From the moment he steps onto the stage, John Mackay as Mr Kipps commands attention with his gravitas and emotional depth. This seasoned actor draws the audience into a tale that has haunted him for years, infusing the role with a profound sense of humanity. His nuanced performance strikes a delicate balance between restraint and moments of raw vulnerability, effectively pulling the audience into his dread-filled recollections. Each pause and every flicker of fear across his face adds layers to the narrative and heightens the suspense.

Opposite him, Daniel Burke as The Actor is utterly magnetic, imbuing a diverse array of characters with remarkable versatility. He transitions seamlessly from light-hearted charm to spine-chilling menace, guiding the audience through the twists of the story with unwavering precision. Burke’s energy and presence elevate even the simplest stage effects, making them feel electrifying and amplifying the tension that steadily builds throughout the evening. The dynamic between Mackay and Burke exemplifies stagecraft at its finest. Their chemistry is palpable, their timing flawless, and together they create an atmosphere thick with unease, making the audience hesitant to breathe. By the climax, the theatre is enveloped in a silence broken only by gasps of shock and awe.

The sound design by Sebastian Frost and the lighting by Kevin Sleep deserve commendation. A sudden creak, a moment of silence, or a quick shadow darting across the stage can be far more chilling than any grand spectacle. The outcome is a production that fully engages the audience, drawing you in with suspense one moment and causing you to recoil in fear the next.

Darkly atmospheric, excellently performed, and truly haunting, The Woman in Black is a play that captivates, terrifies, and lingers in your mind long after the curtain has fallen.

The Other Palace – until 16 November 2025

Reviewed by Emily Smith

3***

Based on the popular 2004 film of the same name, 50 First Dates is a new musical that makes its premiere at The Other Palace this autumn. Henry Roth (Josh St. Clair) is a travel blogger meaning he travels the world and meets many girls – but never sticks around long before the next destination. While in Key Largo, Florida, he falls for Lucy Whitmore (Georgina Castle) who he later finds out was in an accident and cannot make long-term memories meaning she re-lives the same day on repeat.

If, like me, you’re a fan of the original film, you may spend a bit of time readjusting to the storyline changes made by David Rossmer and Steve Rosen. Things that made the original film so charming, such as the use of Wouldn’t It Be Nice by the Beach Boys, the backdrop of Hawaii, and Henry’s sidekick Ula (played by Rob Schneider), are notably missing. There were attempts to include elements of these, but they fell a bit flat for me. For example, Lucy seems to be humming a tune throughout the show but there is no connection to this being only on days she meets Henry, and it is never really discussed. Equally while there is some ukelele playing, it doesn’t have the same charm. I almost wonder if these could have been omitted, rather than shoe-horned in.

David Rossmer and Steve Rosen’s songs are reminiscent in style of other great musicals like Dear Evan Hansen, Book of Mormon and The Little Big Things, with some beautiful group numbers and duets, but they were also forgettable. If there was a cast recording to listen back to, I may feel differently, but I didn’t leave the theatre humming a favourite tune and nor could I tell you the names of many of them now. That being said, one of the numbers in particular, I’ll Be Back Tomorrow, is very moving.

Despite the sometimes lacklustre songs, the cast do a phenomenal job of delivering great vocals and comedic moments. Both Josh St. Clair and Georgina Castle are given the chance to showcase their stunning vocals, especially in duets where their voices blend effortlessly. Georgina in particular had great comedic timing and really brought the character of Lucy to life. In my opinion, the star of the show was Chad Saint Louis who delivered a fabulous performance as Sandy, expertly turning from a seductive pin-up style singer to a comedy queen delivering some brilliant puns. I would also be remiss not to mention the hilarious performances of Charlie Toland and John Marquez who played Doug and Marlin Whitmore, Lucy’s brother and father. Charlie’s comedic delivery especially had the whole audience laughing and every scene he was in was made better by his presence! Last notable mention for the cast has to be Aiesha Naomi Pease (Ukelele Sue) who has a powerful voice that carried great emotional depth.

As a venue, The Other Palace is a great choice for this production given its small and intimate feeling combined with a good rake so there likely isn’t a bad view anywhere! The staging, by Fly Davis, is adaptable, predominantly using screens and projectors combined with folding and moving set pieces to create different environments. Fly Davis is also responsible for the costume design, and I must applaud the scene that involved at least four seamless costume changes for Henry and Lucy without leaving the stage!

The show is 1 hour 40 minutes straight through with no interval. Personally, I wonder if making this a longer production could have allowed more character development for Henry as the first 30 minutes or so felt under-developed and insincere. Only once Lucy is introduced and we learn of her accident does the show develop heart and meaning. In fact, it was only then that it felt to me that the show had truly begun.

Casey Nicholaw, a two-time Tony Award winning director and choreographer, has put together a beautiful show which captures the heart of the original film, and if you take it with a pinch of salt, it is a joyful production with a great cast and lots of funny moments to enjoy.

Nottingham Theatre Royal – Saturday 27 September 2025

Reviewed by Amy V Gathercole

4****

“Whether you’re a die-hard football fan or you’ve never seen a match, you’ll be cheering for this production!”

Now, I start this by saying I’m not necessarily the target audience for this show. I’ve grown up in a football-obsessed family and it’s just never been for me. So coming into this Olivier Award-winning production, Dear England, I wasn’t expecting to be treated to such a stark and special show – one that’s full of heart, humour and hope.

Local writer James Graham penned the draft of the play after witnessing the dramatic journey of the England men’s team up to those painful penalties in the 2018 World Cup. He’s crafted an intelligent, emotionally resonant piece that balances national pride with personal vulnerability.

Football meets theatre? It’s not a combination you’d expect – and that’s exactly why it works so effectively. It’s not about goals and glory; it’s about identity, pressure, masculinity, and the weight of expectation.

300,000 people have seen this play across its West End run and at the National Theatre, and now it’s headed out on tour across the UK.

Watching the lads in many locker room scenes, I found myself making comparisons to the growing pains of the boys in Alan Bennett’s The History Boys. There’s a similar mix of bravado, insecurity and yearning to be understood — especially among some of the players, like Harry Kane (Oscar Gough’s professional theatre debut) and Marcus Rashford (Jayden Hanley).

David Sturzaker as Gareth Southgate is compelling and embodies the role completely. The play focuses on snippets of his life and time as manager of the England football team. Southgate, famed for missing an oh-so-important penalty in his own playing days, re-wrote his story over eight years as manager — challenging the status quo and introducing new techniques to support the team.

During his time, he brought in a new way of thinking, feeling and sharing – which wasn’t exactly welcomed by older coaches and more traditional officials. He insisted that the team work with psychologist Dr Pippa Grange (Samantha Womack), whose focus was to encourage the lads to embrace vulnerability, leading to more authentic connections and a stronger sense of team.

One of my favourite things about Dear England is that the actors playing the world-famous footballers are predominantly performers with backgrounds in dance and musicals. I’ve never considered ‘sports choreography’ before – just take a second and name a show where it features? It’s brilliantly original, especially as there’s rarely a physical football on stage.

Because of their physicality and precision, the scenes where the cast play football are dynamic, believable and somehow deeply impactful. The audience doesn’t just watch, they feel the rhythm of the game.

Dear England is a production that delves into the history of English football, weaves in nostalgia throughout and remains culturally relevant. There’s sharp comedy created by caricatures of previous managers, political figures and commentators like Gary Lineker (played expertly by Ian Kirby).

The set design by Es Devlin is a brilliant combination of modern, simplistic and effective. Most scenes take place on a football pitch or behind closed doors at training sessions and in pre- and post-game moments.

Keeping it lean, many of the visuals are delivered through in-depth projections — shifting countries and locations with recognisable stadiums like Wembley and the infamous wings.

The sound is pretty loud, replicating crowds in the stands and it’s full of lots of well-known and loved football songs from across the decades, including a sing-along or two.

Whether you’re a die-hard football fan or you’ve never seen a match, you’ll be cheering for this production. The Lionesses (ladies winning England team) are rightly credited too, reflecting how the national conversation around football has evolved not just on the pitch, but in who gets to shape the story.

It’s bold, brilliant, and brimming with heart. And in a time when connection feels more vital than ever, Dear England delivers it in spades.

As I mentioned, my family’s football mad and I took my mum along as my plus one – she loved Dear England for the game references and the rich history.

I, on the other hand, was drawn in by the strength of the script and captivated by the hope and heart of the story. There really is something for everyone here.

Dear England is visiting theatres across the UK in 2025 and you can purchase your tickets here

Please note the show has a 10+ age recommendation

MISCHIEF RELEASES BRAND

NEW IMAGE

FOR

By Henry Lewis, Jonathan Sayer and Henry Shields

Directed by Matt DiCarlo

AT THE APOLLO THEATRE IN LONDON’S WEST END

AND ON TOUR

www.ChristmasCarolGoesWrong.com 

(London – September 25 2025 – just a few short months away from Christmas Day) Mischief, the multi-award winning creators of The Play That Goes Wrong (now in it’s 11^th year at  London’s Duchess Theatre) have released brand new images for its upcoming  festive fiasco, Christmas Carol Goes Wrong.  

West End performances begin at the Apollo Theatre on 6 December 2025 and its UK tour begins in Salford on 2 November 2025.

Turning this Christmas classic into chaos are:  Matt Cavendish as Max, Daniel Fraser as Chris, Sasha Frost as Sandra, Chris Leask as Trevor, Henry Lewis as Robert, Jonathan Sayer as Dennis, Greg Tannahill as Jonathan, and Nancy Zamit and Dumile Sibanda will share the role of Annie.  The understudies are: Alex Bird, Will Bishop, Siobhan Cha Cha, Colm Gleeson and Ashley Tucker.

This brand new Goes Wrong comedy sees the chaos and humour of the Cornley Amateur Dramatic Society return, and is written by original Mischief Members Henry Lewis, Jonathan Sayer and Henry Shields. The production welcomes back director Matt DiCarlo following critical claim for his West End directorial debut of the Comedy About Spies.

Christmas Carol Goes Wrong will run at the Apollo Theatre, Shaftesbury Avenue for a limited 7 week run from Saturday 6 December 2025 – Sunday 25 January 2026 and there will be a Gala Performance on Sunday 14 December 2025 at 5pm. 

The show will embark on a short UK Tour from 2 November 2025 at the Lowry in Salford, then tours to the Cheltenham Everyman Theatre, the Wales Millennium Centre in Cardiff and Theatre Royal Bath before heading into the West End.  It will then continue to crash around the UK until March 2026, visiting Nottingham Theatre Royal, the Waterside Theatre in Aylesbury, the Edinburgh Festival Theatre, the King’s Theatre in Glasgow and the Marlowe Theatre in Canterbury, where the tour finishes on 1 March 2026.

The Cornley crew battle miscommunication, delays to their set, actors missing in action and a growing feud over who will play the lead. It’s sure to be a disastrous take on the much-loved classic Christmas story of Ebeneezer Scrooge. Will Cornley finally change their ways, or will their misfortunes wreak havoc yet again?

Christmas Carol Goes Wrong is produced by Kenny Wax and Stage Presence. 

HFH PRODUCTIONS AND HAMPSTEAD THEATRE

ANNOUNCES CAST FOR

JAMIE ARMITAGE’S A GHOST IN YOUR EAR

HFH Productions and Hampstead Theatre today announces the cast for the world premiere of Jamie Armitage’s A Ghost in Your Ear -Armitage directs George Blagden and Jonathan Livingstone.

The production opens at Hampstead Theatre Downstairs on 8 January 2026, with previews from 6 December and running until 24 January.

Jamie Armitage said today, “It is a true privilege to have George and Jonathan as the cast to bring this new horror play to life. They are actors I’ve admired for a long time, and their brilliance as story-tellers will be essential to guide the audience through this headphone horror show. I am so excited for everyone to experience their thrilling performances which will be enhanced by the innovative sound design from Ben and Max Ringham, so that the horror can be whispered right into the audience’s ears. It should be a horrifying delight!”

HFH Productions and Hampstead Downstairs presents

A GHOST IN YOUR EAR

Written and Directed by Jamie Armitage

A collaboration with Ben and Max Ringham

Cast: George Blagden (George), Jonathan Livingstone (Sid)

Creatives: Becky Paris CDG (Casting Director)

6 December 2025 – 24 January 2026

‘The ghost is not real, it is only in your ear…’

An actor arrives late at a sound studio for a last-minute job that he is yet to see the script for: an audiobook recording of a particularly chilling ghost story. But as the evening progresses, the horrors start to escape the pages of the story, and haunt the studio itself…

A Ghost In Your Ear is the new play from Jamie Armitage, the writer/director of 2024 sell-out hit An Interrogation. Made in collaboration with Ben and Max Ringham (ANNA, National Theatre and Blindness, Donmar Warehouse).

Using binaural sound technology, the audience wears headphones so they are immersed in the terrifying auditory world of the show.

Health warning: this play is intentionally looking to scare its audience. If you are of a nervous disposition, then caution is advised…

Jamie Armitage’s first play, An Interrogation, opened at Summerhall, Edinburgh in August 2023, where it won the Lustrum Award before transferring to Hampstead Theatre in 2025 – enjoying entirely sold-out runs at both venues. As a director, Armitage’s work includes co-directing SIX: The Musical, which is currently playing in the West End, Broadway, and multiple locations worldwide – Tony Award nomination for Best Direction of a Musical. His other directing credit include The Red and The Black (Tokyo Metropolitan Theatre), Straight Line Crazy (The Shed – co-directed with Nicholas Hytner), Southern Belles: A Tennessee Williams Double Bill, And Tell Sad Stories of the Death of Queens (King’s Head Theatre), Spring Awakening, Sweeney Todd (Royal Central School of Speech and Drama) and Love Me Now (Tristan Bates). He is an Associate Director of the Bridge Theatre. He was a Resident Director at the Almeida Theatre from 2019 to 2021, and an Associate Artist at the King’s Head Theatre.

George Blagden plays George. His theatre credits include The Cabinet Minister (Menier Chocolate Factory), White Christmas (Sheffield Theatres), Company (Gielgud Theatre), Tartuffe (Theatre Royal Haymarket), Platinum (Hampstead Theatre), and The Pitchfork Disney (Shoreditch Town Hall). His television credits include Vikings (as series regular Athelstan – Series Lead 1-3), Versailles (as series regular Louis XIV – Series Lead 1-3) and Black Mirror; and for film, Wrath of the Titans, The Run, Blood Moon, Hello Stranger, Les Miserables, No Postage Necessary, The Land of Dreams, The Gallery, Rubikon, After the Dark, and The Three of Us.

Jonathan Livingstone plays Sid. His theatre credits include Troilus and Cressida, After Edward, Edward II, Romeo and Juliet (Shakespeare’s Globe), Hamlet, Twelfth Night, Now We Are Here (Young Vic), Cash Cow (Hampstead Theatre), Machinal (Almeida Theatre), Pandora (Arcola Theatre), ‘Tis Pity She’s a Whore (Bristol Old Vic), The Caretaker (Bristol Old Vic, Royal and Derngate), Our Country’s Good, Treasure Island (National Theatre), White Hot And Weak (Old Vic New Voices Festival), Superior Donuts (Southwark Playhouse), 7 New Plays by Young Writers (National Theatre Studio), The Taming of the Shrew (RSC), War Horse (National Theatre production at New London Theatre), and Ignition 2 (Royal Court Theatre). His television credits include Entitled, Bridgerton, Criminal Record, Peacock, The Pentaverate, Pls Like and Chewing Gum; and for film, Hard Truths, The Trouble With Jessica, The Witches, and Still Life.

Ben and Max Ringham are multi-award-winning composers, sound designers, and writers. In a career spanning more than two decades, they have created sound designs and scores for over 200 productions in the UK, West End, and Broadway. Notable productions include The Tempest/Much Ado About Nothing (West End), Prima Facie (West End/Broadway), A Doll’s House (Broadway), Cyrano (West End), and Blindness (Donmar and International). They have created a number of original works for, amongst others, the National Theatre – (ANNA, 2019, created in collaboration with Ella Hickson), and the BBC (EXEMPLAR, 2022-24, cowritten with Dan Rebellato). They are the recipients of five Olivier Award and two Tony Award nominations, two Drama Desk Awards, a Critics’ Circle nomination, a BBC Radio Drama Award, two Off West End Awards, and the H100 Award for Innovation in Theatre.

Listings

A Ghost in Your Ear

Hampstead Theatre

Eton Avenue, London NW3 3EU

www.hampsteadtheatre.com

Box Office: 020 7722 9301 (Mon – Sat 10.30am – 7pm)

TICKETS

£10-40, previews £10-35

6 December 2025 – 24 January 2026

Performances Monday to Saturday at 7:45pm

Performances on Thursday and Saturday matinees at 2:45pm