Leeds Grand Theatre – until Saturday 26th April 2025
Reviewed by Michelle Richardson
5*****
The award-winning, hit musical, Bat Out of Hell, has returned once again to Leeds Grand Theatre. A rock musical with music, lyrics and book by Jim Steinman. Created mostly out of the iconic Bat Out of Hell albums by Meat Loaf, the show is packed full of explosive rock anthems written by Steinman.
This was my first time of seeing Bat Out of Hell, and apart from knowing it centred around the music of the late, great Meat Loaf, I knew nothing else. I was pretty sure this show would be right up my street. You could tell as soon as you arrived at the theatre that it has a large fan base. There was a buzz in the air, Bat Out of Hell t-shirts everywhere, talk of how many times people had been to see the show, the highest I heard was 29, since its debut in 2017. The icing on the cake was the thunderous motorcade driving around the theatre. Riders from Aire Valley and St Leger HOG put on a fabulous show, revving their magnificent machines whilst we had the chance to take photos and videos. What a truly electrifying start, and that was before we had even entered the theatre.
Roughly based around the story of Peter Pan and the Lost Boys, it follows the story of a dystopian world. Set in Obsidian, where the tyrannical Falco (Rob Fowler) runs the city with an iron fist. He lives in his ivory tower with his jaded, unhappy wife Sloane (Harriet Richardson-Cockerline), and bored, sheltered daughter Raven (Katie Tonkinson). Strat (Luke Street) is the 18-year-old leader of The Lost, a ragtag band of youthful misfits, who will never grow old. They live in the tunnels that wind under the city, outcasts, vilified by Falco. Their lives will never be the same again once Raven meets Strat, and they find romance and heartbreak.
The set worked very well, with the stage having three different distinct areas. One for the supremely talented musicians, elevated to the left at the back of the stage, another top right for the Falco family home, and the lower stage depicting the tunnels where The Lost hang out. As part of the show, a cameraman is frequently filming, especially in the Falco’s area, which is then relayed onto screens on the stage. This is something I have never seen before, and though I did find this distracting at first, I got used to it and it added another dimension to the story telling. Though the stage is dark, the props, which included a motorbike and car, and the 80’s inspired outfits and hair certainly aren’t.
All the cast are pretty amazing with their high energy dancing and incredible singing capabilities. Standouts are Luke Street as alternate Strat. He was charismatic to watch, encapsulating the essence of his eccentric complex character. His vocals just smashed it, he has such an amazing ability. His rendition of Bat Out of Hell was sublime. I was so glad I got to see his performance. Understudy Harriet Richardson-Cockerline, as Sloane, has such a powerful voice, you cannot help but be wowed by her. Her, and the equally impressive Rob Fowler, share great chemistry, their raunchy performance during Paradise by the Dashboard Light was just hilarious. Check out the pink undies.
Bat Out of Hell is an exhilarating production, stacked full of great Meat Loaf/Steinman tunes that we all know and love. Yes, it may be a bit wacky, loud and ridiculous, but it is up my street and thoroughly deserved the standing ovation at the end of the night. A rock music extravaganza from start to finish.
I can understand why this show has such a following and I would definitely go and watch it again and again.
Royal Shakespeare Theatre Stratford-Upon-Avon – until 24th May 2025
Reviewed by Amarjeet Singh
3***
Swap a victorious battle for a triumphant football match, soldiers for footballers and you have director Michael Longhurst celebrity spin on a Shakespearean romantic romp. Top players Claudio and Benedick play for FC Messina, the latter a confirmed bachelor, the prior falls in love with Hero, an aspiring popstar and the daughter of Leonato, a club owner. A huge WaG wedding is planned, but Claudio is deceived by a malicious deep fake plot and denounces Hero as unchaste before they marry. She faints at the alter and is believed dead, but all is not what it seems. Hero’s cousin Beatrice, a feisty football commentator, and confirmed singleton, is caught up in a plot with Benedick, both are duped into believing the other is in love with them. Denying their true feelings, he attempts to win Beatrice over by defending Hero’s honour and challenging his friend Claudio for trashing Hero’s reputation.
I can’t help but feel that Longhurst drops the ball a bit with this rendition. There are some very clever ideas and elements with the use of multimedia and its ability to amplify and distort gossip in this modern world. Unfortunately, it’s all a bit much. Screens, cameras, jacuzzies, statues, fountains, karaoke, projected messages, fellatio, threesomes and then some, all distract from the actual theatrical performances. The football setting genuinely works, but by the second half of the play, the motif is mostly redundant.
A beautiful working jacuzzi/pool/fountain sits centre stage upon a marble effect floor. There are banner screens around the top of the stage and a large screen angled at the top front facing and the back. These work brilliantly in the beginning. Entering the theatre we are treated to a match like feel, the sound of a roaring crowd, seeing the banner score scroll across the screen lets us know the winning score. The players come running onto the stage, into a dressing room to cool off in the pool. Designed by Jon Bausor and lit by Jack Knowles, it’s stunning, but elements are distracting. Characters running on wet floors set my heart racing whilst knocked chairs left on stage during the wedding threatened to trip characters up. Tal Rosner’s social media notifications and messages repeatedly popping up on screen were sorely overused as were video footage and cameras.
There is a heavy leaning into the dark misogynistic shaming of a woman over rumours of her having an illicit tryst. How quickly she goes from Hero to zero. The trolling, the unexpected rejection from her doting daddy, double standards and quite sinister imagery. The American Horror Story bulls head and naked torso before a threesome were particularly disturbing. These didn’t quite marry up with the immediate candyfloss happy ending, when suddenly everything was happily ever after.
There were some great comedic moments, Benedick overhearing the news that Beatrice is in love with him whilst trying to hide behind a masseuse table and his wonderful escape into the pool was perfection. However, some of the jarring Watch scenes could have happily been edited out. This production is wonderfully and diversely cast. Freema Agyeman and Nick Blood sizzle as Beatrice and Benedick, delighting us with their dance of denial, chemistry oozing from them with every curse and kiss. Daniel Adeosun plays the cocky Claudio confidently, alongside Eleanor Worthington-Cox’s poised performance as Hero, they make a couple worthy of the cover of any WaG’s mag. Tanya Franks is a potent Antonio, challenging chauvinism. Antonio Magros and Nick Cavalieres have brilliant comic timing as the Watch even if the scenes were occasionally out of place in this production. Oliver Huband is wonderfully smooth, suave and sophisticated as Don Pedro, perfectly balancing out Peter Forbes’ smarmy Leonato.
This version of Much Ado About Nothing feels forced and full on. Longhurst, overwhelms and overstimulates audiences by throwing everything into it, so we lose the authenticity and simplicity of Shakespeare’s tale and are left waiting for a streaker on the pitch.
With some trepidation producers Kenny Wax and Stage Presence nervously announce the 11th full cast change of The Play That Goes Wrong at London’s Duchess Theatre. Mischief’s Olivier and Tony Award-winning smash hit is unbelievably still in the West End for its 11th year.
Joining the mayhem from Tuesday 3 June 2025 are new cast members: Izzy Edmunds-Clarke as Annie, Jack Hardwick as Chris, Robert Jackson as Robert, Jonty Peach as Jonathan, Charlotte Scott as Sandra, Mitesh Soni as Dennis, Tom Wainwright as Max and Ronnie Yorke as Trevor. Winston the dog returns to play Winston the dog. (If Winston is found). The understudies are: Alex Blackie, Jake Burgum, Kitty Devlin, Louise Hoare and Ed Shamwana.
‘Break a leg Team!’
The Cornley Drama Society have announced that they intend to keep performing the show until they get it 100% right. In light of this, the producers have extended booking until ‘at least’ August 2026, with some confidence. Cornley have yet to notice.
The Play That Goes Wrong opened at London’s Duchess Theatre in September 2014 and the production shows no signs of slowing down since its first performance at The Old Red Lion Theatre playing to only four paying customers. The show’s success is a testament to the hard work and determination of a group of drama school graduates who became friends, set up a company under the name ‘Mischief’ and created an extraordinary body of work over the past decade.
There will be a media night to celebrate the new cast on Tuesday 1 July 2025.
PRIORITY BOOKING OPENS ON 13 MAY, WITH PUBLIC BOOKING ON 15 MAY
Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK today announce that PADDINGTON The Musical will receive its world premiere this Autumn – opening at the Savoy Theatre on 1 November.
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, priority booking will open on the 13 May, with public on sale on 15 May. Full cast, creative team and performance schedule will be announced shortly.
Tom Fletcher“It’s an honour to be entrusted to bring the story of Paddington to life on stage with the very best of creative collaborators in Jessica, Luke, and our producers Sonia and Eliza. This unique and special bear is at the very heart of our nation, and I’m aware of the awesome responsibility we all have in taking on his story. It’s beyond exciting, and an absolute dream come true – we look forward to welcoming you to join us at the Savoy this Autumn.”
Jessica Swale: “It’s such a privilege to be telling the story of this beloved cultural icon. Paddington is so much more than a fictional character; this special bear has come to represent hope, kindness and acceptance, so it’s never felt like a more apt time to bring this story to the stage. And with such a dream team! Tom’s songs are extraordinary, earworms on a first listen, Luke is the most masterful director, and our producers are so incredibly passionate and dedicated, it really is a great honour to be on this adventure with them all. I can’t wait to share this beautiful, funny and heartwarming story.”
Director Luke Sheppard: “Discovering how to bring Paddington’s story to the stage continues to be an enormous privilege – with Jessica Swale and Tom Fletcher, it’s been thrilling to see this show grow into something very special, packing an incredible new score and a heart wrenching script into a marmalade filled suitcase. This is Paddington as you’ve never seen him before, bought to life by a team celebrating all of the magic and wonder of live theatre. Alongside our producers Sonia Friedman and Eliza Lumley, who look after this bear with the greatest care, we’ve been dreaming up big things for Paddington and can’t wait to welcome him to this iconic venue later this year.”
Producers Sonia Friedman and Eliza Lumley: “It’s a true honour to be giving Paddington a new home at the Savoy Theatre with this glorious and deliciously funny new musical from Tom Fletcher and Jessica Swale. We’re thrilled to be embarking on this special journey with our incredible team, led by Luke Sheppard, to bring the world of this much-loved bear, the Brown family, and many more of Michael Bond’s beloved characters to life. Paddington holds a unique and lasting place in so many hearts. He represents so much that is good in the world, including kindness, warmth and decency—and it’s an immense privilege to look after this bear as we bring him to the West End stage.”
Anna Marsh CEO of STUDIOCANAL, Deputy CEO of CANAL+ & Chief Content Officer of CANAL+: “We are delighted that this brilliant team will be bringing Paddington to the West End stage with us. Their collective gift in bringing Paddington The Musical to life with such heart, humour, wonder and vivid imagination has been a privilege to witness and we simply cannot wait for audiences to discover the magic of this production. We are constantly thinking of innovative ways to continue Paddington’s journey while honouring Michael Bond’s legacy and his invitation to ‘please look after this bear’.”
Audiences are invited to sign up for more information and priority booking for PADDINGTON The Musical atwww.paddingtonthemusical.com.
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, voiced by Michael Hordern; and most recently adapted by STUDIOCANAL. Paddington has enjoyed three successful big-screen outings, all by STUDIOCANALandHeyday Films – Paddington released in 2014, Paddington 2 in 2017, and Paddington in Peru in 2024, enjoying critical and commercial acclaim.
Instagram, Facebook and TikTok: paddingtonthemusical
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
Director: Luke Sheppard
Based on
A Bear Called Paddington written by Michael Bond and by special arrangement with STUDIOCANAL
A rather wonderful adventure is about to begin.
The world premiere of PADDINGTON The Musical lands in London’s West End this autumn.
Bringing one of Britain’s best-loved characters to life on stage, this unmissable major new production at the Savoy Theatre is jam-packed with irresistible songs, dazzling choreography – and of course, marmalade sandwiches.
It’s Paddington as you’ve never seen him before.
When a lost, small 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 cream teas and friendly faces – and even the happiest families have their cracks beneath the surface. So when Paddington’s life is suddenly in peril, the Browns must decide just how far they’re willing to go — and what they’re willing to risk — to give this special bear a home.
Based on the iconic characters from Michael Bond’s books and the award-winning films, PADDINGTON The Musical is directed by Luke Sheppard, with original music and lyrics by Tom Fletcher and book by Olivier Award winner Jessica Swale.
Please look after this bear. Thank you.
Tom Fletcher is the founding member of Brit Award-winning band McFLY, and a number-one, bestselling children’s author.
Writing music has always been Tom’s first passion, he has penned ten #1 singles and his band McFLY, who were founded in 2003, remain one of the most successful and cherished bands in the UK. McFLY are the youngest band to chart a debut album at #1 – taking the record from The Beatles – have recorded 7 studio albums and sold over 10 million albums. Tom is also a coach on The Voice UK, alongside band mate Danny Jones.
In 2016 Tom published his first novel The Christmasaurus which was the biggest debut middle-grade novel that year and was shortlisted for a British Book Award. He has written over 30 children’s books, which have been translated into 45 languages and have sold over 10 million copies. Three of these chart- topping novels, The Christmasaurus, The Creakers and Space Band are published alongside accompanying soundtrack albums, written and performed by Tom, which are available to stream throughout the story, taking the reader on a magical musical journey.
For younger readers, Tom writes the number one, best-selling picture book series Who’s in Your Book? and he is one half of the author duo behind The Dinosaur that Pooped series with bandmate Dougie Poynter. Both book series have been adapted into popular stage productions that are currently touring the UK, featuring music written by Tom. The Creakers theatre production also completed a sold-out run in the West End in 2024 and will be touring in the near future.
While continuing to work on multiple exciting projects, Tom will also be embarking on the sold-out, 35 date arena tour BUSTED vs McFLY across the UK at the end of 2025.
Jessica Swale is an Olivier Award-winning filmmaker, writer and director. As a playwright, her first play Blue Stockings, won her an Evening Standard Most Promising Playwright nomination and is now on the GCSE drama syllabus. Her second, Nell Gwynn, won the Olivier Award for Best Comedy after transferring from the Globe to the West End, starring Gemma Arterton. She is currently penning the screenplay for Working Title. Her much-performed theatre adaptations include Sense and Sensibility, Far from the Madding Crowd, The Jungle Book and The Secret Garden.
In film, her romantic comedy Merv, starring Zooey Deschanel and Charlie Cox, will be released later this year with MGM/ Lightworks and Amazon. Prior to that, her first short, the comedy Leading Lady Parts (starring Felicity Jones, Florence Pugh, Emilia Clarke, Tom Hiddleston and Gemma Chan) became a viral hit with over 25 million views and her debut feature film, Summerland (starring Gemma Arterton and Gugu Mbatha-Raw) was released in 2020 by Lionsgate, Embankment & BFI. She also wrote the screenplay for the Horrible Histories Movie starring Emilia Jones.
She has since directed episodes of Ten Percent for BRON/Headline starring Dominic West, Himesh Patel and Emma Corrin. Her latest projects include a new adaptation for Netflix and Lookout Point and a re-working of The Taming of the Shrew for Working Title.
Luke Sheppard’s theatre credits include & Juliet (West End, Broadway, Toronto, Hamburg, Australia), Starlight Express (Troubadour), Just For One Day (West End, The Old Vic, Toronto), The Little Big Things (West End), In Dreams (Leeds Playhouse/Toronto), My Son’s A Queer(But What Can You Do?) (West End, Turbine Theatre and Edinburgh Fringe), What’s New Pussycat? (Birmingham Rep), Rent, Spring Awakening (Hope Mill Theatre), The Secret Diary Of Adrian Mole Aged 13 ¾: The Musical (West End, Menier Chocolate Factory and Leicester Curve), In The Heights (King’s Cross Theatre and Southwark Playhouse), Billionaire Boy (Nuffield Theatre, Southampton), Peter and the Starcatcher (Royal & Derngate), Night Must Fall (Salisbury Playhouse & UK Tour), Oliver! (Watermill Theatre), and Working, Casa Valentina, and Next Fall (Southwark Playhouse).
The Nottingham Playhouse production of Dear Evan Hansen is based on the book by Steven Levenson with music and lyrics by Benj Pasek and Justin Paul. And it’s an ATG Productions and Gavin Kalin Productions.
I didn’t really know what Dear Evan Hansen was about before I went last night to Hull New Theatre. I was given a rough outline of the plot while we waited for it to start and I wasn’t sure if I was going to enjoy it as the storyline seemed a bit dark and gloomy. But I really enjoyed it, it was brilliantly performed by a very talented cast. Yes, the storyline is dark, as it is about suicide, but it is very uplifting, funny and the music is fabulous.
I think everyone probably knows an Evan Hansen, or maybe you’re him yourself, the person at school who doesn’t quite fit in with everyone else, they’re quirky, nervous, speak too quickly and a loner.
Evan Hansen (Ryan Kopel) lives with his mum Heidi (Lara Beth-Sas). His Mum is really busy, working and attending college so Evan is left a lot of the time by himself. His mum has sent him to therapy and tells him that his therapist wants him to write a letter to himself, saying what kind of day he’s had. He doesn’t have any friends, apart from Jared Kleinman (Will Forgrave) who only talks to him so he gets his car insurance paid and anyway he’s just a “family friend”. On the first day back at school we see Evan with a plaster cast on his arm, he tells people he broke it falling out of a tree and wants people to sign it but struggles asking people to do it. In the computer suite, at the end of the day, he has typed up his letter to take to his therapist when school misfit Connor Murphy (Killian Thomas Lefevre) takes it from the printer, grabs his arm and writes his name on the cast. Connor, is violent, another person who has no friends, earlier that day he had pushed Evan into the school lockers which was witnessed by Connors sister Zoe (Lauren Conroy). Evan asks Connor for his letter back but he refuses.
The next day Evan is called into the principal’s office and in there are Connors parents Cynthia (Helen Anker) and Larry (Richard Hurst) they are very upset and tell Evan that Connor had taken his own life and that in his pocket was the letter. Connors parents think that he had written it to Evan. They just presume that they were friends. Evan, not wanting to upset them even more, says that yes, they were friends. The stories that Evan tells the Murphy family get bigger and bigger over the following weeks and months, giving solace to the family. Alana Beck (Vivian Panka), another student from the school, gets involved, trying to keep Connors memory alive. When the lies start to unravel, as lies tend to do, Evan has to decide what he should do, should he tell the truth?
The set (designed by Morgan Large who was also costume and Co-video designer) was very effective and really added to the story. The band under Musical Director Michael Bradley were outstanding.
Thes cast are all fabulous all of them triple threats, their singing was sublime. Ryan Kopel plays Evan with such heartfelt feeling, what a brilliant actor, the absolute stand out performance for me.
I think everyone should try and watch Dear Evan Hansen; it shows the power of social media and how it works for good and also for bad. A must-see production.
ROYAL CONCERT HALL, NOTTINGHAM – UNTIL 26 APRIL 2025
Reviewed by Geraldine Rennie
5*****
LOVELY JUBBLY!
Being of a certain age there’s an appealing nostalgia at the chance to revisit the tv classic that is Only Fools and Horses. Christmas day specials for many years had me humming along to ‘no income tax, no vat, no money back, no guarantee.’ This time the trip back to Del Boy’s market stall and the roguery of the Trotter family is in the form of a musical. For the social experiment I took along my 18 year old to see if the comedy connected with a younger audience. So for him and those who are new to this cultural cornerstone of comedy here’s a little background:
Only Fool and Horses aired on the BBC from 1981 to 1991 in 64 episodes with 16 Christmas episodes taking us up to the final show in 2003. It was written by the late John Sullivan who created characters such as Del Boy, Rodney, Trigger, Boycie and Marlene and catch phrases such as ‘ you plonker’ and ‘ this time next year we’ll be millionaires,’ that have become part of our national fabric. John Sullivan’s legacy was passed to his son Jim Sullivan who collaborated with the comedy genius Paul Whitehouse (The Fast Show, Mortimer & Whitehouse: Gone Fishing) to carry forward his Dad’s idea to take Only Fools and Horses onto the stage. Using the already written introductory scene, his Dad’s notes and 20 catchy songs, Sullivan and Whitehouse opened Only Fools and Horses in the West End in 2019 to rave reviews. Now touring around the UK, I was keen to see if it lived up to the legacy.
The action for the musical is set in Peckham, East London in 1988. The opening scene shows the bustle of the market stalls. An ingenious rotating set then follows this with a visit to their flat and to complete the trinity, a trip to the Nags Head pub. The heart of the story is the kindness of Del Boy who has cared for Grandad and brought up his splendidly gangly younger brother Rodney, played brilliantly by Tom Major in his professional debut. Special mention has to be given to Rodney’s flat toned, drawn out cockney accent which made each word he uttered a total hoot. Rodney is about to fledge the nest and marry the quietly sophisticated Cassandra, played with reserved grace by Nicola Munns. Del Boy, played to a tee by Sam Lupton offers up a steady stream of malapropisms in a selection of languages … in a moment of clarity he declares “I’ve had an apothecary!” and bids farewell with a hearty “bonjour, bonjour!” As he considers life without Rodney in the flat, Del Boy decides it’s time to find himself his own special lady. Through a dating agency he meets Racquel and their lack of honesty about their true identities drives the story through a series of mishaps and revelations.
There are 70s and 80s tv and advertising references scattered throughout that were great fun to spot, such as The Rockford Files, Um Bongo – they drink it in the Congo, and You can’t fit quicker than a Kwik Fit fitter. Whilst the Trotters flat still remains a decade or two behind with its gloriously brown geometric wallpaper, Marlene’s perm, the giant mobile phones and the swish of Del Boy’s trench coat sets us firmly in the 1980s yuppie era.
The musical numbers are all absolute winners. So many of the songs leave you reeling at just how many words can be squeezed into a comedic phrase and the performers did not falter despite requiring the verbal dexterity of a furious Italian. Stand out moments were Grandad’s lament in Where have all the Cockneys gone? which smoothly slides into a heartily uplifting chorus of Any Old Iron. And also the beautiful version of Holding Back the Years by Gloria Acquaah – Harrison held the audience spellbound.
Summarising the musical Jim Sullivan said:
“What we’ve ended up with is (hopefully) something that captures and celebrates the heart and spirit of what the series was all about.”
And I would say they achieved that and raised it to another level.
And finally, what did the teenager think? After chuckling through many of the songs he decided – ‘that was unexpectedly funny.’ Praise indeed, or as Del Boy would say “that is the bonnet de douche!”
Nottingham Theatre Royal – Tuesday 22 April 2025 and on UK Tour
Reviewed by Amy V Gathercole
5*****
“Chaotic comedic chaos and an unpredictably delightful night at the theatre for all!”.
I’ve been reviewing theatre for many years now and have been seeing it since I was a child and having been fortunate enough to experience hundreds of productions all over the world, I can honestly say that I’ve never seen a professional theatre show like Earnest?
Earnest? starts like any other play, really, there are actors on the stage, there’s blocking being performed and a script being interpreted to an audience. However, soon into the show, it’s revealed that the lead actor is missing and a new lead, aka Earnest must be cast. Here begins the fun. From that moment on, the play unravels into a whirlwind of guided improvisation, with volunteers delivering iconic lines while professional actors, including the incredibly adaptable Josh Haberfield as director Simon and Guido Garcia Lueches as an original cast member, Terry, provide guidance, encouragement, and, at times, damage control.
Mixing live professionals with complete unknowns on the stage is genius. If you know the historic classic play The Importance of Being Earnest by Oscar Wilde, then you’ll be aware of why this script may have been chosen. All our favourite elements from the story of misconceptions and misunderstandings are still there to enjoy.
The key reason this show is different from others is that to make it work, to engage, and to pull it off, they rely on audience participation to create the magic. It’s no secret or spoiler for this show that audience members are asked to leave their comfy seats and take the stage! A prospect that’s terrifying for many, but thrilling for others and this courage and curiosity is what the show relies on. In the Nottingham performance, a talented usher, Ned even wound up on the stage.
My favourite performances from the actual cast came from Ben Mann as Josh, the bewildered stagehand and props guy – his comic timing was brilliant throughout- and Trynity Silk as Jennifer, who is also behind the clever set design. She was memorable for all the right reasons.
The show and the team behind it as Say It Again,Sorry have had quite the rollercoaster in bringing the show to life, which, after big successes and rave reviews in London, was halted due to COVID. Having weathered the storm and survived as a show and a company, they’re about to take it back to the Edinburgh Fringe this year, after this UK tour ends.
Some of the cast and creatives popped their heads out after the show and greeted theatre goers in the foyer as they left and I caught the director and co-writer of the show, Simon Paris. I politely detained him a little and asked him (on his very hurried walk to his taxi with his family!) After seeing the show so many times in so many iterations, what still kept him excited and he shared “It’s those 3 seconds, the 3 seconds where you see if someone in the audience is going to join in and if they’re prepared to embrace the unexpected”).
Every performance is a gamble, a glorious roll of the dice where the audience steps up, and anything—truly anything—can happen. Each volunteer arrives with their own mix of nerves, enthusiasm, and sheer unpredictability, turning Wilde’s sharp satire into a living, breathing spectacle. Creative chaos reigns, with professional actors guiding their impromptu co-stars through the twists and turns of Wilde’s razor-sharp dialogue. The stripped-down aesthetic prioritises spontaneity, allowing the absurdity to unfold without distraction.
Beyond its entertainment value, Earnest? is a testament to the magic of live theatre—the vulnerability, excitement, and camaraderie that make every show unique, all depend on who is convinced enough in that moment to throw in some courage and put their hand up, to join in all the fun. Would you dare?
Whether you’re a Wilde purist or new to theatre, this production delivers laughter, surprises, and an unforgettable night of comedy that you’ll leave recommending to anyone who will listen.
& Juliet, a reimagining of William Shakespeare’s tragic tale of star-crossed lovers, premiered at Manchester Opera House in September 2019 before transferring to the West End in November of the same year. The show went on to win three Olivier Awards in 2020. It explores the question of what would have happened if Juliet had lived. The jukebox musical features the music of Swedish songwriter Max Martin, music arranged by Bill Sherman, with a book by David West Read. Filled to the brim with Martin’s impressive back catalogue of hits originally performed by an array of artists, including Katy Perry, Britney Spears, and Taylor Swift.
The show begins unexpectedly, as the cast begin to take to the stage to have a dance, or a chat with each other while waving at the crowd. We meet William Shakespeare (Jay McGuiness), who is about to stage the first production of Romeo and Juliet. His wife, Anne Hathaway (Lara Denning), who is visiting from Stratford-upon-Avon, makes a few suggestions on how he can improve the play. The main one being that Juliet (Gerardine Sacdala, making a stunning professional debut) decides not to end her life, and instead sets out on an adventure with her friends. Shakespeare is less than impressed with this idea, but decides to see how this will work in the play, with both Shakespeare and Hathaway taking part in the action as additional characters. Juliet soon discovers that Romeo (Ben Jackson Walker, who originated the role in the Broadway production) had dated many other ladies in Verona. Juliet, her Nurse/Angelique (Sandra Marvin) and her non-binary best friend May (Jordan Broatch) decide to head off to Paris in search of adventure. Anne Hathaway joins them along the way in the guise of a new friend called April.
In Paris, they gatecrash a party Lance (Ranj Singh) has thrown to try to find a wife for his shy son, Francois (Kyle Cox). Lance and Angelique rekindle their romance in a hilarious bedroom scene as they both belt out ‘Teenage Dream/Break Free’, made even funnier by Ranj Singh’s slightly over-the-top French accent. Francois meets both Juliet and May, making an instant connection with May. A series of typically Shakespearean comedic misdirections and confusion ensues as Francois is torn between two lovers. To complicate matters further, Romeo reappears ‘from the dead’, adding to Juliet’s confusion.
Luke Sheppard’s direction perfectly brings together all the production elements. The set design by Soutra Gilmour is exquisite, transporting us to Paris and Verona. Jennifer Weber’s choreography is just the right side of frenetic. At times, it felt like we were watching a pop concert with group dance numbers, confetti cannons and Howard Hudson’s beautiful lighting design. The songs all complement the storyline, especially Juliet’s rendition of ‘….Baby One More Time’ and ‘Roar’, which both drew huge applause from the crowd.
Although the show boasts an impressive ensemble cast, the trio of remarkable leading ladies, Garardine Sacdalan, Lara Denning, and Sandra Marvin, truly shine. Their exceptional vocal abilities and impeccable comedic timing are evident throughout. The show is unashamedly camp and never takes itself too seriously. It delivers a fun-filled night of catchy tunes, laughter, female empowerment….. and lots of confetti!!
BAT OUT OF HELL ROARS INTO LEEDS WITH THUNDEROUS BIKE MOTORCADE
Before a single guitar riff echoed through The Grand Theatre last night, Leeds was rocked by the roar of classic engines as a striking motorcade of vintage bikes from Aire Valley and St Leger HOG thundered through the city streets. This high-octane spectacle marked the electrifying arrival of Bat Out of Hell The Musical, setting the tone for a night of explosive rock anthems by the legendary Jim Steinman and Meat Loaf.
Cast members Luke Street (Strat) and Katie Tonkinson (Raven) joined the riders outside the venue for photos and fan moments before hitting the stage and delivering a powerhouse opening performance.
SIX THE MUSICAL WEST END WELCOME THE JAPANESE QUEENS FOR A STRICTLY LIMITED RUN
Following sold out seasons in Tokyo, Osaka and Nagoya earlier this year, the producers of SIX the Musical, are thrilled to announce that members of the critically acclaimed Japanese cast will take the stage at the Vaudeville Theatre, for one week only from Tuesday 4 to Sunday 9 November 2025, performing the show in Japanese (with English captions) for the first time in the UK. Performances go on sale at 10am on Wednesday 30 April.
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 celebrated performances in Japan, all of whom will make their West End debuts.
For 8 performances only, members of the original Japanese cast will ‘Get Down’ and thrill West End audiences, performing the show with a linguistic twist, the first time the production will be performed in the UK in a different language.
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: “It’s incredible to see how SIX has resonated with audiences around the world, and we are thrilled to welcome our wonderful Japanese cast members to London so they can reprise the roles they played so brilliantly in Japan. We, and the incredible current London cast, can’t wait for audiences to experience the Queens in a whole new way.”
Umeda Arts Theater Team said: “We are incredibly honoured that Japan has been chosen for the very first foreign-language production of SIX the Musical in London. We cannot wait for London audiences to feel the power of our unstoppable Japan Original Queens — through a `one of a kind, no category` experience – delivered entirely in Japanese! Otanoshimini!
Performed in Japanese, with English captions, audiences can experience the global phenomenon like never before.
Tickets will go on sale on Wednesday 30 April at 10am via sixthemusical.com
