Producers Vicky Graham, Birmingham Hippodrome, and Aria Entertainment are delighted to announce that the multi-award-winning 5-star new musical Hot Mess will return to London this summer for a strictly limited season at The Other Palace, running from Saturday 13 June to Sunday 6 September 2026
Following its world premiere at the Edinburgh Festival Fringe 2025 and subsequent London transfer to Southwark Playhouse last September, the show has quickly become one of the most exciting new British musicals, winning a Fringe First Award, the Popcorn Writing Award and Musical Theatre Review’s Best Musical Award, alongside widespread critical acclaim.
Created by the award-winning duo behind 42 Balloons, Jack Godfrey and Ellie Coote, Hot Mess is a high-energy original romcom that reimagines the climate crisis as a turbulent love story between Earth and Humanity.
After a billion years of bad dates, Earth has finally found the one… Humanity. Sparks fly. Seeds are sown. Ground is broken. But what begins as a passionate love affair between the universe’s most iconic couple quickly descends into a hot mess.
An original pop musical about love, hope, and the ultimate break up.
Jack Godfrey and Ellie Coote said: “We are over the moon that Hot Mess will be coming to The Other Palace this summer! We’ve been hard at work developing and expanding the show since its run at the Edinburgh Fringe last year, and we can’t wait to share the story of Earth and Humanity’s messy romance with audiences again very soon!”
The producers said: “We are immensely proud to be bringing Hot Mess to London for a 12-week season this summer and giving audiences another chance to experience Jack and Ellie’s sharp, fresh and unapologetically funny writing. We can’t wait to share further details of the production, to build on the success of the premiere and original cast album and lift the roof off The Other Palace this summer.”
Full casting and creative team to be announced soon.
Hot Mess is produced by Vicky Graham Productions, Birmingham Hippodrome, and Aria Entertainment, with Global Creative and TRW Production, and RJG Productions as General Managers.
I make no apologies for my love of Abba and this musical. Having had the good fortune to see it several times, I can confidently say that this production was the best I have experienced. The performance was polished, brimming with humour, and the cast delivered magnificent portrayals throughout.
While some jukebox musicals force songs into the narrative, often disrupting the flow or detracting from the story, Mamma Mia stands out in how its musical numbers truly drive the plot forward. Here, the songs are integral, shaping the story and enhancing the overall experience.
For those unfamiliar with the tale, it unfolds on a small Greek island, where we are introduced to Sophie Sheridan (Lydia Hunt). Sophie is preparing to marry Sky (Joe Grundy), and her greatest wish is to have her father present at the ceremony. Unfortunately, her mother, Donna (Jenn Griffin), doesn’t know who he is. After reading Donna’s diary, Sophie discovers that her father could be one of three men: Harry Bright (Richard Meek), Sam Carmichael (Luke Jasztal), or Bill Austin (Mark Goldthorp). To uncover the truth, Sophie invites all three to her wedding.
Sophie’s two closest friends, Ali (Bibi Jay) and Lisa (Eve Parsons), travel to the Greek island to celebrate her upcoming wedding. When they arrive, they are shocked not only by Sophie’s plan to invite all three potential fathers but also by the fact that they had all turned up! They are surprised when they realise that Donna remains completely unaware of what her daughter has done.
When the three men arrive on the island, Donna is taken aback and visibly shocked at them being there, so she turns to her lifelong friends, Tanya (Sarah Earnshaw) and Rosie (Rosie Glossop), for support. Hearing Donna’s revelation about the men and the possibility of one being Sophie’s father, Tanya and Rosie are surprised to say the least.
During the Hen and Stag nights, the three men realise that each one could indeed be Sophie’s father. And what follows is both funny and heartwarming.
The storyline of Mamma Mia unfolds at a brisk pace, making sure that audiences remain captivated throughout. Each musical number is performed with skill, showcasing both the vocal talents of the cast and the outstanding band, led by conductor Carlton Edwards. The seamless integration of songs and the energetic performances contribute greatly to the vibrant atmosphere, making the show a joyous and memorable experience.
Mamma Mia is a truly uplifting musical that guarantees to leave audiences grinning from ear to ear and humming their favourite tunes as they leave the theatre. The show is running at Hull
New Theatre until 18th April, and there are still some tickets available. Be sure to try and to see this fabulous production while you can—you certainly won’t regret it.
Cambridge Arts Theatre, Cambridge – until Saturday 11th April 2026
Reviewed by Steph Lott
5*****
Fly anything to anywhere. That was the objective of the Air Transport Auxiliary (ATA) a civilian organisation founded to fly warplanes between factories, maintenance units and the front line.
I had no idea what the ATA was before last night. By the time the lights came up at the Cambridge Arts Theatre, I felt deeply grateful to have my ignorance corrected in such a moving, beautifully crafted way.
Spitfire Girls, a Tilted Wig production, written by Katherine Senior, tells the story of the ATA’s remarkable female pilots — women who flew Spitfires, Hurricanes and a bewildering variety of other aircraft during the Second World War, navigating under the clouds without instruments, and without radio. It is a slice of history that has been shamefully overlooked, and this production does it proud.
Senior herself plays Bett, and it is a performance of quiet, steely conviction. But for me, the evening belonged to Hannah Morrison as Dotty. She lit up the stage — all infectious energy and warmth — and made the relationship between the two sisters feel utterly real. The sibling dynamic at the heart of this play is its greatest strength: the love, the rivalry. It’s about two women navigating not just the skies but a world that kept trying to put them back in the kitchen. Morrison and Senior struck sparks off each other in the best possible way, and it gave a story already rich in historical interest a genuine emotional core.
The supporting cast filled out the world around them with colour and confidence. There was not a weak link on stage, and every character felt like a real person with a life beyond the script. Credit too to Stephen Moynihan, whose movement direction and choreography were quietly extraordinary. The physical language of the production — the way the cast used their bodies to suggest flight, effort, and freedom — added a dimension that words alone could not have achieved.
What struck me most was how the play holds two worlds in balance. On one side, the cramped domesticity of 1940s womanhood. On the other, the vast, exhilarating freedom of being thousands of feet up in a Spitfire. The contrast is never laboured, but it is always there, and it makes the achievements of these women feel all the more extraordinary.
This is theatre that entertains and educates in equal measure — a tribute to a forgotten generation. Do not miss it.
Fawlty Towers is one of those TV shows that sits firmly in the “they don’t make them like that anymore” category — so I couldn’t help wondering whether it would really work on stage 50 years down the line. Safe to say, it absolutely does.
Adapted by the original Basil Fawlty himself, John Cleese, and directed by Caroline Jay Ranger, the play cleverly brings together three classic episodes — The Hotel Inspectors,Communication Problems and The Germans — into one seamless storyline.
The nostalgia kicks in as soon as you walk in and see the full set on stage. Liz Ascroft’s detailed design includes the reception, dining room and even an upstairs bedroom, and once that familiar music starts to play, it really does feel like stepping back in time.
The whole cast do a brilliant job of capturing the quirks and mannerisms of the original characters, and the relationships between them feel just right. Add in the excellent costumes, hair and make-up, and it genuinely feels like you’ve stepped straight back into the TV show.
John Cleese is a very hard act to live up to, but Danny Bayne is outstanding as Basil Fawlty. His comic timing is spot on, with outbursts that sit perfectly on that fine line between funny and completely over the top — and that’s not an easy balance to get right.
Understudy Emily Winter was equally excellent as Sybil Fawlty, and the dynamic between the two worked perfectly. And of course, Manuel — played brilliantly by Hemi Yeroham. You know the jokes are coming, you even know what the jokes are, but they’re delivered so well it still has the whole audience laughing.
Paul Nicholas deserves a mention as the bumbling Major, and the moose scene is pure comedy gold.
You really get the sense that the cast are having the best time up there, and that just makes it all the more enjoyable to watch.
The Lyceum had that lovely, slightly giddy buzz — people of all ages ready to relive an old favourite or discover it for the first time. And honestly, with everything going on in the world right now, sitting in the Lyceum with a few hundred others all laughing together felt like exactly what we needed. I know I wasn’t the only one who left smiling.
Wycombe Swan, High Wycombe – until Saturday 11th April 2026
Reviewed by Rachel Clark
4****
The stage was set and screens were up and it was quiet, the lights didn’t go down at first and a guy walked on the stage and started talking. Was this the start of the play? Was it just to ask us to turn our phones off! It was the start of the play, and he started to tell his story. This was Walter Huff, an insurance salesman, played really well by Ciaran Owens. Ciaran has played in televisions – Granchester, Father Brown, Peaky Blinders and many more. He was dressed in the 1930’s and had a really clear voice with an American accent, as I was at the front you could clearly see his microphone on his head – that I kept focussing on. Then walks in Phyllis Nirdinger played by Mischa Barton – Mischa Barton was born in London and has had the pleasure of working with Richard Attenborough, she starred in The Sixth Sense and seems to play regular roles in murder mysteries.
Double Indemnityis an Ionic Hollywood thriller by James M Cain and adapted for the stage by Tom Holloway. A story full of mystery, murder and deceit. The story is based in Los Angeles in the 1930’s in the time of the great depression. Walter Huff and Insurance salesman who comes across Phyllis Nirdlinger and discusses her husband’s life insurance and he gets drawn into her seduction, greed and betrayal. Together Walter and Phyliss plot the perfect murder, or do they?
Martin Marquez plays Keyes, Walter Huff’s boss, he was a really good, loud American, playing around with his large cigar.
I was was a bit confused as only a small cast Gillian Saker played several parts that worked, as each part she had a different hairstyle and look but Joseph Langdon played, three parts, but as his hairstyle was the same and voice I got a bit lost on why he was a student and then the owner of the Insurance firm, but it was me not being 100% on the ball, I would have preferred the ensemble members to play some of the parts – but that is just my thoughts.
It was an enjoyable play with twists and turns and kept you entertained, a simple stage set as such, but a lot of work had gone into it, easy set changes and a very well-acted and a story with a twist! Before you knew it the play was over, the time flew by and the play kept you enthralled.
Curve Theatre, Leicester – until Saturday 25 April 2026
5*****
A truly arresting and unforgettable production, Kiss of the Spider Woman at Leicester Curve is as gripping as it is visually stunning. Set within the claustrophobic confines of a jail in Argentina, the story explores gritty and dark themes with remarkable sensitivity and power. The unlikely bond between flamboyant dreamer Molina and hardened revolutionary Valentin unfolds with emotional depth, as the two men share both a cell and their contrasting worldviews.
Fabian Soto Pacheco delivers a captivating Molina, full of warmth, vulnerability, and theatrical flair, while George Blagden brings a compelling intensity to Valentin. Their chemistry anchors the piece beautifully. Meanwhile, Anna-Jane Casey is utterly mesmerising as Aurora, the glamorous star of Molina’s beloved film fantasies, each one a vivid escape from reality. Her performance is magnetic, particularly in the moments when she embodies the chilling Spider Woman, a role Molina fears despite his devotion to her cinematic world.
The design is nothing short of spectacular. Gabriella Slade’s magnificent outfits are a constant visual delight, especially Aurora’s ever-changing looks, complete with perfectly coordinated wigs and lipsticks. The Spider Woman’s striking appearance is further elevated by the exceptional work of Wig Designer Sam Cox and Make-up Designer Jackie Saundercock, creating an image that is both alluring and unsettling.
The intimate setting of the Curve Studio draws the audience right into the heart of the action, making every moment feel immediate and personal. One of the most breathtaking sequences sees Casey quite literally climbing the scenery in her Spider Woman guise—an unforgettable visual that perfectly captures the show’s haunting tone.
Musically, the live band led by Dan Glover provides a rich, atmospheric score that enhances the emotional weight of the narrative. Kander and Ebb’s music underscores the tension, longing, and fleeting escapism that define the characters’ lives.
This is not a musical of jazz hands and easy resolutions – it’s a bold, adult piece with a deeply moving, and undeniably sad, conclusion. Powerful, provocative, and exquisitely staged, it’s theatre that lingers long after the final note.
From the moment the curtain rose, it was clear we were in for something truly special. This show is far more than just a tribute—it’s a heartfelt, high-energy celebration of one of Ireland’s most iconic folk bands, and it delivers on every level.
The music and talent of every performer throughout was outstanding. Each performer brought exceptional talent and authenticity to the stage, capturing not just the sound but the spirit of The Dubliners. The vocals were powerful and rich with character, perfectly suited to the storytelling nature of the songs, while the instrumental performances—particularly the fiddle, banjo, and tin whistle—were simply superb. It genuinely felt like stepping back in time and experiencing the magic of a live Dubliners performance.
One of the standout aspects of the show was the seamless blend of music and storytelling. Between songs, the performers shared anecdotes and insights into the lives, personalities, and history of the band. These moments added depth and warmth to the evening, giving the audience a real sense of connection to the music and its origins. It wasn’t just entertaining—it was genuinely moving at times, especially when reflecting on the legacy of such an influential group.
The setlist was perfectly curated, featuring all the classics you’d hope to hear. Each song was met with enthusiastic applause, and it didn’t take long for the audience to start singing along. By the second half, the entire theatre felt united in a joyful celebration, with people clapping, swaying, and joining in with huge smiles on their faces. The atmosphere was electric—uplifting, nostalgic, and full of life.
The production itself was simple but effective, allowing the music to take centre stage. There was no need for flashy effects or elaborate staging—the strength of the performances carried the entire show effortlessly. The pacing was spot-on, with just the right balance of lively, foot-stomping numbers and more reflective, emotional moments.
What really made the evening special, though, was the sense of authenticity and respect for the original band. This wasn’t a gimmicky tribute; it was clear that everyone involved had a deep appreciation for The Dubliners and their music. That passion shone through in every note and every story told on stage.
Whether you’re a lifelong fan of Irish folk music or simply looking for a fantastic night out, the show is an absolute must-see. It’s rare to find a show that combines such musical excellence with genuine heart and audience connection. I left the theatre smiling, singing, and already wanting to see it again. Truly a five-star experience from start to finish!
Mythos: Ragnarok at Darlington Hippodrome was an absolute triumph – an electrifying fusion of Norse mythology and professional wrestling that completely exceeds expectations.
From the moment it begins, the show pulls you into a world where gods clash not just with brute force, but with storytelling, humour, and surprising elegance. The concept alone is brilliant, but what truly elevates it is the execution: this is wrestling in its purest form, yet performed with the grace and precision of ballet. And it’s genuinely beautiful.
The cast, made up of professional wrestlers, deliver performances that are both physically impressive and dramatically engaging. Ed Gamester shines as a mischievous and charismatic Loki, while Howard Drake brings gravitas to Odin. Fin McCarthy is commanding in dual roles as Borr and Fenrir, and Louise Young’s Gullveig is captivating. Beau Charles (Baldr) and Rhonda Pownall (Freyja) add depth and presence, while Miles Ley’s Thor is every bit the powerhouse you’d hope for.
Special mention must go to Sam Gardiner, who impressively embodies both Surtr and Jormungandr, and to Daisy Jenkins as Hel, whose performance is striking and memorable. Melanie Watson rounds out the cast beautifully as Skuld.
The humour throughout is sharp and well-timed, perfectly balancing the epic scale of the mythology with moments of genuine laugh-out-loud fun.
That this entire production is written, directed, and produced by Ed Gamester makes it all the more remarkable. It’s a bold, inventive piece of theatre that proves wrestling can be not just entertainment, but art.
A must-see – whether you’re a wrestling fan, a mythology lover, or simply someone looking for something completely different
THE WATERMILL THEATRE ANNOUNCES CASTING FOR CHITTY CHITTY BANG BANG
TUESDAY 26 MAY – SUNDAY 13 SEPTEMBER 2026
BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044
Licensed by Music Theatre International
Joint CEOs, Artistic Director Paul Hart andExecutive Director Claire Murray, and the whole team at Newbury’s Watermill Theatre are delighted to announce casting for their summer musical Chitty Chitty Bang Bang. The production will run from Tuesday 26 May to Sunday 13 September, with a national press night on Thursday 4 June at 7pm.
Soar far above the clouds and across the seas with a fantasmagorical new Watermill Theatre production of the iconic Chitty Chitty Bang Bang.
Delve into the hearts and imaginations of eccentric inventor Caractacus Potts, his children Jeremy and Jemima, and Truly Scrumptious as they set off on an audacious adventure in a car with a big personality.
The cast for Chitty Chitty Bang Bang will feature Christian Edwards(Jesus Christ Superstar at Watermill Theatre, A Christmas Carol at Sheffield Crucible) as Caractacus Potts and Lydia Louise making her professional debut in the role of Truly Scrumptious. Grandpa Potts will be played by Mark Curry (Wicked at Apollo Theatre, The Rocky Horror Show for the UK Tour) and Susannah van den Berg (Fiddler on the Roof at the Barbican and UK Tour, Oliver! at the Watermill Theatre) will play The Childcatcher.
In the role of Baron Bomburst will be Samuel Morgan-Grahame (Jesus Christ Superstar and Sweet Charity at the Watermill, Amelie on the West End and UK Tour); Mairi Ikegami (Your Lie In April withCarter Dixon McGill Productions, Aladdin with UK Productions) will play Baroness Bomburst; Sam Pay (Witness For The Prosecution with Eleanor Lloyd, Piaf at the Watermill Theatre) will be Boris/Lord Scrumptious; in the role of Goran/Onstage MD will be Alexander Zane (Jesus Christ Superstar at Watermill Theatre, Jack and the Beanstalk with Hopkins Associates), The Toymaker/Onstage Deputy MD will be played by Reuben Greeph (The Lion, The Witch and the Wardrobe at the Leeds Playhouse, Cabaret at Playhouse Theatre) and Theo Diedrick (The (Beat) Rover with The Thelmas, Jack and the Beanstalk at Liverpool Everyman Theatre) will play Coggins. The ensemble cast will be Tasha Chu (Dance Captain), Sameer Dhanjee, Georgie Hales, Javai James, Maya Khatri Chhetri and Josh Rosewood.
The role of Jeremy will be shared by Francis Adams, Bodhi Allnutt, Elijah Bailey and Lucas Froud andthe role of Jemima will be shared by Auora Breslin, Juyoung Chang, Sophie George and Aila McLeish.
The Children of Vulgaria will be played by Chika Atakorah, Felix Brims, Amelia Cartwright, Willow Daniels, Roko Duckling, Ivy Evans, Rafe Evans, Cosmo French, Hugo Haworth, Asha Ibrahim, Imogen Jermey, Sophie Jones, Sam Llewellyn, Florence Martin, Kweji Sameke, Wilf Seymour, Cassia Tipp and Audrey Williams.
Paul Hart said “We’re absolutely thrilled to announce full casting for this summer’s brand-new production of Chitty Chitty Bang Bang. I know we say this every year, but this really is our most ambitious one to date! Following on from our shows in recent years, we’ll be taking over the entire site to bring you the Watermill’s unique take on this iconic musical. This will include the back lawn becoming a fair ground in which Me Ol’ Bamboo will take place in a tent outside. The designs for the car are also looking absolutely incredible!
We have had an epic time casting this massive piece, meeting incredible actor-musicians and building a wonderful ensemble. As part of this, we’ve met hundreds of talented young people from across the region who will be the absolute heartbeat of this show. We’ve also met an incredible array of recent graduates and have offered five ensemble roles to talented individuals for whom this will be one of their first professional roles. All of which has fed into creating a really special group of people, onstage and off, who will be bringing this magical show to life.”
With music and lyrics by Richard M Sherman and Robert B Sherman, adapted for the stage by Jeremy Sams, and based on the MGM motion picture, Chitty Chitty Bang Bang will be directed by Watermill Artistic Director, Paul Hart, who previously directed Jesus Christ Superstar and The Lord of the Rings.
This new production will feature classic songs played live by an ensemble cast, including “Truly Scrumptious”, “Hushabye Mountain” and “Chitty Chitty Bang Bang”.
The creative team will include set and costume designer Katie Lias, musical supervisor and orchestrator Stuart Morley, choreographer Anjali Mehra, puppet designer, maker and director Marc Parrett, lighting designer Jai Morjaria, sound designer Tom Marshall, video designer Daniel Denton, associate director Eva Sampson, associate choreographer Vanessa Vince-Pang, associate musical supervisor George Francis, associate lighting designer and lighting programmer Sam Osborne, associate sound designer Zac Woodman, assistant designer Emily Nelson and assistant musical director Inés Ruiz.
Casting is by Cydney Beech. The stage management team consists of Cat Pewsey as Company Stage Manager, Geoffrey Field as Stage Manager, Alice Barber as Deputy Stage Manager, Fern Bamber as Assistant Stage Manager (Book Cover) and Hanna O’Connor as Assistant Stage Manager (Placement). The Sound No. 1 is Rob Summers, and the Sound No. 2 (Placement) is Daisy Taylor.
Following three consecutive sell-out and critically acclaimed summer musicals — The Lord of the Rings, Barnum, and Jesus Christ Superstar — the last of which is one of the most successful productions in the Watermill’s history and won the prestigious 2025 UK Theatre Award for ‘Best Musical Production’ – the Watermill will once again transform its beautiful theatre and gardens into a spectacular world of music, magic and imagination.
Presenters and performances announced for the Olivier Awards 2026 with Cunard
To mark the 50th anniversary, a star-studded array of presenters will include Lord Andrew Lloyd Webber, Sir Ian McKellen, Dame Helen Mirren, and Dame Arlene Phillips
Performances will showcase many of this year’s nominated shows, and celebrate the anniversaries of two iconic West End musicals, Phantom Of The Opera and Wicked
The ceremony takes place this Sunday 12 April, and will be broadcast on BBC Two and iPlayer at 7pm
Final details of the ceremony – including presenters and performances – have been announced ahead of the Olivier Awards 2026 with Cunard, taking place this Sunday 12 April. Marking their 50th anniversary, the Olivier Awards celebrate the very best of London’s world-leading theatre industry and will be held at the iconic Royal Albert Hall, hosted by Nick Mohammed.
The presenters, who will hand out the coveted awards to this year’s winners, will include Bridgerton star Adjoa Andoh;Monica Barbaro (currently appearing in Les Liaisons Dangereuses at the National Theatre); Danielle de Niese (this year’s Outstanding Contribution to Opera recipient); presenter and Chicken Shop Date creator Amelia Dimoldenberg;Minnie Driver & Ambika Mod (who both recently appeared in the Olivier Award-nominated Every Brilliant Thing at @sohoplace); David Harewood (whose Othello can now be seen in cinemas); musical theatre impresario Lord Andrew Lloyd Webber; Sir Wayne McGregor (Outstanding Contribution to Dance recipient); Sir Ian McKellen & Dame Helen Mirren (as ambassadors for Denville Hall, the retirement home for members of the theatrical professions); presenter, novelist and The Rest Is Entertainment podcaster Richard Osman;Dame Arlene Phillips (who also serves as Stage Director for this year’s ceremony); Aaron Pierre & Olivia Williams (currently appearing in One Flew Over The Cuckoo’s Nest at The Old Vic); Johannes Radebe (currently starring in Kinky Boots at the London Coliseum); Sam Ryder (soon to make his West End debut in Jesus Christ Superstar at the London Palladium); Russell Tovey (star of upcoming thriller The Guilty at the Donmar Warehouse); Vanessa Williams (currently starring in The Devil Wears Prada at the Dominion Theatre); Matt Willis (currently starring in the multi-Olivier Award-winning Cabaret at the Kit Kat Club).
The ceremony will also include performances from Cunard Best New Musical nominees Paddington The Musical, Shucked, and The Unlikely Pilgrimage Of Harold Fry, and Best Musical Revival nominees Evita, Into The Woods andThe Producers. A special performance marking 40 years of Cameron Mackintosh’s production of Andrew Lloyd Webber’s Phantom Of The Opera will open the show, and a dazzling finale will celebrate 20 years of Wicked in the West End.
On Sunday 12 April, the Olivier Awards 2026 will be broadcast on BBC Two and iPlayer at 7pm. BBC Radio 2 will also broadcast a special two-hour show (8-10pm), hosted by Jo Whiley, featuring performances from some of the night’s biggest shows and exclusive interviews with a dazzling line-up of stars. Ex-UK viewers can tune into Official London Theatre’s YouTube channel to watch the highlights programme from 7pm BST.
