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ADDITIONAL DATES AND VENUES ANNOUNCED
FOR THE MAJOR NEW UK TOUR
OF THE WORLDWIDE SMASH HIT MUSICAL
MAMMA MIA!
BEGINNING FROM 24 OCTOBER 2025
NOW TOURING UNTIL 2027

The sensational feel-good musical MAMMA MIA! whichembarks on a new UK tour from 24 October 2025 and today announces further dates and venues.

The new dates and venues for 2026-2027 are: SSE Arena Belfast (9 – 12 September 2026),  Sheffield Lyceum Theatre (15 – 26 September), Nottingham Royal Concert Hall (29 September – 10 October), Milton Keynes Theatre (13 – 24 October), Wolverhampton Grand Theatre (27 October – 7 November), Alhambra Theatre, Bradford (10 – 21 November), Wales Millennium Centre, Cardiff (30 November – 5 December), Liverpool Empire (8 December 2026 – 3 January 2027), and Plymouth Theatre Royal (12 – 30 January 2027).

Previously announced dates are: Mayflower Theatre, Southampton (24 October – 8 November 2025), Bristol Hippodrome (11 – 22 November), New Theatre Oxford (25 November – 6 December), Edinburgh Playhouse (9 December 2025 – 4 January 2026) Swansea Building Society Arena (13 January – 24 January), His Majesty’s Theatre, Aberdeen (27 January – 7 February), Newcastle Theatre Royal (11 – 28 February), Palace Theatre Manchester (3 – 21 March), Curve, Leicester (24 – 29 March), Hull New Theatre (7 – 18 April), Venue Cymru, Llandudno (21–25 April), Blackpool Opera House (28 April –3May), Birmingham Hippodrome (12–30 May), Hall for Cornwall, Truro (2 –13 June), Leeds Grand Theatre (16 – Sat 27June), Norwich Theatre Royal (30 June –11 July), Eastbourne Congress Theatre (14 –19 July), Bournemouth Pavillion Theatre (28 July – 2 August) King’s Theatre Glasgow (13 – 29 August).

Casting for these tour dates and venues are to be announced. For more information and to book visit mamma-mia.com.

From West End to global phenomenon, MAMMA MIA! is Judy Craymer’s ingenious vision of staging the story-telling magic of ABBA’s timeless songs with a sunny, funny tale of a mother, a daughter and three possible dads unfolding on a Greek island idyll.

This irresistibly funny show has been thrilling audiences all around the world and now there’s never been a better time to see this unforgettable musical. Whatever age you are, you can’t help but have the time of your life at MAMMA MIA!

Now in its 27th year, MAMMA MIA! has been seen by over 11 million people and has played over 10,000 performances in London’s West End. The MAMMA MIA! International Tour has visited 42 countries in the past 20 years, performed more than 3,900 shows and has been seen by over 7.7 million people. MAMMA MIA! became the 9th longest running show in Broadway history where it played a record-breaking run for 14 years and recently returned to Broadway this summer playing at the Winter Garden Theatre. In 2011, it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China. MAMMA MIA! has been seen live on stage by over 70 million people across the world and turned into two record-breaking movies.

Produced by Judy Craymer, MAMMA MIA! The Movie became the highest grossing live action musical film of all time upon its release in 2008.  A second film, MAMMA MIA! HERE WE GO AGAIN, opened in July 2018 and became the most successful live musical movie sequel of all time. Both films starred Meryl Streep, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Amanda Seyfried and Dominic Cooper, with Lily James, Andy Garcia and Cher joining them in the second film.

With music & lyrics by Benny Andersson & Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. The production is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce & Bobby Aitken, and musical supervision, additional material & arrangements by Martin Koch.

The MAMMA MIA! UK Tour is produced by Judy Craymer, Richard East & Björn Ulvaeus for Littlestar in association with Universal Music Group and NGM.

LISTINGS

• Dates: Performances from 24 October 2025 (tour schedule below)
• Access Performances: Check individual venue websites for information and booking details
• Social Platforms:

www.instagram.com/mammamiamusical

www.twitter.com/MammaMiaMusical

www.facebook.com/mammamiamusical

www.tiktok.com/@mammamiaworldwide

MAMMA MIA! UK TOUR DATES 2025-2027:

Mayflower Theatre, Southampton                                                             24 October – 8 November 2025

www.mayflower.org.uk/whats-on/mamma-mia-2025

Bristol Hippodrome                                                                                      11 – 22 November 2025

www.atgtickets.com/shows/mamma-mia/bristol-hippodrome   

New Theatre Oxford                                                                                     25 November – 6 December 2025

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

Edinburgh Playhouse                                                                                    9 December 2025 – 4 January 2026

www.atgtickets.com/shows/mamma-mia/edinburgh-playhouse

Swansea Building Society Arena                                                                 13 – 24 January 2026
www.swanseagrand.co.uk

His Majesty’s Theatre, Aberdeen                                                               27 January – 7 February 2026
www.aberdeenperformingarts.com/whats-on

Newcastle Theatre Royal                                                                             11 – 28 February 2026
www.theatreroyal.co.uk/whats-on

Palace Theatre Manchester                                                                        3 – 21 March 2026

www.atgtickets.com/venues/palace-theatre-manchester

Curve, Leicester                                                                                            24 – 28 March 2026www.curveonline.co.uk    

Hull New Theatre                                                                                          7 – 18 April 2026

www.hulltheatres.co.uk

Venue Cymru, Llandudno                                                                             21 – 25 April 2026
www.venuecymru.co.uk

Blackpool Opera House                                                                               28 April –3May 2026
www.wintergardensblackpool.co.uk

Birmingham Hippodrome                                                                            12 – 30 May 2026
www.birminghamhippodrome.com

Hall for Cornwall, Truro                                                                                2 – 13 June 2026
www.hallforcornwall.co.uk

Leeds Grand Theatre                                                                                    16 – 27June 2026
www.leedsheritagetheatres.com

Norwich Theatre Royal                                                                                 30 June –11 July 2026
www.norwichtheatre.org

Eastbourne Congress Theatre                                                                     14 –19 July 2026
www.eastbournetheatres.co.uk

Bournemouth Pavillion Theatre                                                                  28 July – 2 August 2026
www.bournemouthpavillion.co.uk

SSE Arena Belfast                                                                                          9 – 12 September 2026ssearenabelfast.com
on sale 3 Oct

Sheffield Lyceum Theatre                                                                            15 – 26 September 2026
www.sheffieldtheatres.co.uk
on sale 18 Oct

Nottingham Royal Concert Hall                                                                   29 September – 10 October 2026
trch.co.uk
on sale 3 Oct

Milton Keynes Theatre                                                                                 13 – 24 October 2026
www.atgtickets.com/venues/milton-keynes-theatre
on sale 26 Sept

Wolverhampton Grand Theatre                                                                  27 October – 7 November 2026
www.grandtheatre.co.uk
on sale 29 Sept

Alhambra Theatre, Bradford                                                                       10 – 21 November 2026
www.bradford-theatres.co.uk
on sale 13 Oct

Wales Millennium Centre                                                                            30 November – 5 December 2026
www.wmc.org.uk
on sale 3 Oct

Liverpool Empire                                                                                           8 December 2026 – 3 January 2027
www.atgtickets.com/venues/liverpool-empire
on sale 26 Sept

Plymouth Theatre Royal                                                                              12 – 30 January 2027
theatreroyal.com
on sale 6 Nov

www.mamma-mia.com

OLDHAM COLISEUM THEATRE PRODUCES SITE-SPECIFIC REVIVAL OF 

JIM CARTWRIGHT’S 

A CHRISTMAS FAIR IN ASSOCIATION WITH NOT TOO TAME

Embracing the period of its current £10m refurbishment, Oldham Coliseum Theatre continues to make theatre beyond its doors and is producing a revival of Jim Cartwright’s festive play, A Christmas Fair in association with award-winning company Not Too Tame. The immersive, site-specific production will be staged in Oldham’s Chadderton Town Hall, directed by Jimmy Fairhurst (Artistic Director of Not Too Tame), who was nominated UK Theatre Award Best Director alongside Matthew Dunster for co-directing A Midsummer Night’s Dream with David Morrissey and Nadine Shah.

A Christmas Fair will run from 17 December – 2 January, and the cast of five includes John Henshaw (Early Doors), Samantha Robinson and Dickon Tyrrell, with further casting to be announced. 

●      As part of Not Too Tame’s ambition to create professional debut opportunities for every production, Not Too Tame and Oldham Coliseum are hosting open auditions on Monday 6th October. They are looking for two performers who have some form of professional training or have already earned professional credits.

●      Jimmy Fairhurst adds: “We welcome and encourage performers from all backgrounds and abilities – especially those who are working-class or have protected characteristics. We’re passionate about representing real people and telling stories with heart, humour and guts.”

●      For more information, go to https://www.coliseum.org.uk/get-involved/

Martina Murphy, CEO of Oldham Coliseum Theatre, comments: “Christmas at the Coli has always been at the heart of our theatre, and we’re pleased to be keeping that tradition alive. During this time of transformation as we prepare to return to our newly refurbished home next year, it has been fantastic to form a new partnership with Not Too Tame whose work resonates with our desire to interact more with our audiences. As we look ahead to a bright, exciting future, we continue to explore creative opportunities and find new ways of bringing theatre to the people of Oldham. Staging A Christmas Fair written by the inimitable Jim Cartwright in Chadderton Town Hall is the perfect setting to bring Jim’s characters to life in the most joyful and somewhat unruly manner.”

Director Jimmy Fairhurst (Artistic Director of Not Too Tame) says: “I’ve always believed theatre should be fearless, fun and rooted in the lives of everyday people. Being invited to be part of Oldham Coliseum’s history is a delight and working with Jim Cartwright – the Paul McCartney of theatre – is an honour. His plays told me as a young man that this industry could be for me. It’s my responsibility now to make sure that my work does the same for others. His words sing with humour, grit and humanity, and directing his work at Christmas feels incredibly special. This show is about resilience, celebration and togetherness – values that feel more vital than ever.”

Oldham Coliseum Theatre in association with Not Too Tame 

A Christmas Fair 

by Jim Cartwright
Directed by Jimmy Fairhurst

17 December – 2 January 

Cast: John Henshaw (Caretaker), Samantha Robinson (Veronica), Dickon Tyrrell (Vicar)

Director: Jimmy Fairhurst; Associate Director: Kayleigh Hawkins 

Designer: Jen McGinley;Lighting Designer: Benny Goodman; Sound Designer: Jack Baxter

Movement Director: Annie-Lunette Deakin-Foster

Musical Supervisor & Composer: Benjamin Holder 

Young love might be in the air, the vicar’s distracted, Veronica is rallying her troops to keep things on track, and the caretaker just wants to go home. Will romance blossom? Will secrets be revealed? Or will the Christmas fair go with a bang…?

First premièred in 2012, renowned playwright Jim Cartwright’s A Christmas Fair is a love letter to village life. It tells the hilarious and heart wrenching stories of five characters amidst the buzz, bustle and festive mayhem of setting up the annual fair in the days before Christmas.

Following their sell-out production of Twelfth Night with Les Dennis at Shakespeare North Playhouse which saw 38% new attendees to live theatre, A Christmas Fair will be in Not Too Tame’s signature style of energising, popular theatre. Not Too Tame celebrates regional identity and champions community, creating work to attract, entertain and engage new audiences and highlighting that theatre is for all, both as a form of entertainment and as a possible career path.

Jim Cartwright is a multi-award winning, international playwright, screenwriter and director, and his work has been translated into over 35 languages. His plays include Road now considered a modern classic and winner of The George Devine Award, and The Samuel Beckett Award. The Rise and Fall of Little Voice won the Olivier Award for Best Comedy and the Evening Standard Award for Best Comedy. Other plays include, Bed, Two, Eight Miles High, Prize Night, Hard Fruit, A Christmas Fair, Mobile Phone Show and Raz. Film and television credits include Road, Vroom, June, Vacuuming Completely Nude in Paradise, Strumpet, King of the Teds, and the award-winning film Little Voice starring Jane Horrocks and Michael Caine which Cartwright adapted from his play The Rise and Fall of Little Voice. As a director, he has worked at the Royal Court Theatre, in the West End, the Royal Exchange Theatre and he directed a national tour of The Rise and Fall of Little Voice. On television, he directed Johnny Shakespeare, winner of two Royal Television Society Awards, and King of the Teds starring Brenda Blethyn, Alison Steadman and Sir Tom Jones.

John Henshaw plays Caretaker. He is perhaps best known as Ken Dixon, the landlord in the BBC sitcom, Early Doors, written by Craig Cash. His theatre credits include Early Doors (The Lowry), King Cotton (The Lowry/Everyman), Beautiful House (Library Theatre) and Road (Bolton Octagon). Work on television includes The Royle Family, Life on Mars, Cutting It, Born and Bred, Nice Guy Eddie, Confessions of a Diary Secretary, New Tricks, Cops, Downton Abbey and Midsomer Murders. His many screen credits include Ken Loach’s Looking for Eric (British Independent Film Award for Best Supporting Actor), The Keeper (Beijing International Film Festival Award for Best Supporting Actor)and The Angel’s Share.

Samantha Robinson plays Veronica. Theatre credits include Two (New Vic Theatre), Rita, Sue and Bob Too (Out of Joint/Royal Court), The Grand Gesture (Northern Broadsides), Dead, Heavy, Fantastic (Liverpool Everyman), Three Sisters on Hope Street (Hampstead Theatre), The Tempest (Royal Exchange), A Taste of Honey (Oldham Coliseum Theatre/national tour), The Lemon Princess (West Yorkshire Playhouse), Untouchable (Bush Theatre) and Song of the Western Men (Chichester Festival Theatre). Television and film credits include McKenzie, Brassic, Little Boy Blue, Cilla, Casualty, Shameless, Sixty Six and The Island at War.

Dickon Tyrrell plays Vicar. His stage credits include Julius Caesar, Macbeth, Bartholomew Fair, The Merry Wives of Windsor, Twelfth Night, Measure for Measure, The Oresteia, The Duchess of Malfi, The Knight of the Burning Pestle, King Lear, Romeo & Juliet, Hamlet and Anne Boleyn (Shakespeare’s Globe), Anatomy of a Suicide (Royal Court), Labour of Love (Headlong/West End), Rutherford and Son (Northern Stage), The Romans in Britain (Sheffield Crucible), The Merchant of Venice and Major Barbara (RSC), Romeo & Juliet, (Northern Broadsides) and The Taming of the Shrew (West Yorkshire Playhouse). Television credits include Going Forward, Law and Order, Coronation Street, Rough Crossings, Aberfan and Peak Practice, and for film, The Isle.

Jimmy Fairhurst directs. After an early career in rugby league with Bradford Bulls and Leigh Centurions, Jimmy changed careers to become a professional actor, training at The Royal Welsh College of Music and Drama where he was awarded the John Gielgud Award. On stage and screen, he has worked with directors and companies including Cheek By Jowl, Mike Leigh, Sarah Brigham, Owen Horsley, Cate Blanchett, Ruth Carney and Matthew Dunster. Jimmy is the founder and artistic director of Not Too Tame, which he formed with a cohort of working-class artists in 2014. For the company, he is an actor, writer and director, aiming to produce high-octane, heart-on-sleeve stories steeped in working-class culture, and made by working-class artists. He received a UK Theatre Award nomination for Best Director in 2023 for A Midsummer Night’s Dream which was the inaugural production at Shakespeare North Playhouse in a co-production with Not Too Tame and Northern Stage.

Listings

Chadderton Town Hall

Garforth St, Chadderton, Oldham OL9 6PY

boxoffice@coliseum.org.uk/ www.coliseum.org.uk

@oldhamcoliseum

@nottootame

@jimmy_fairhurst 

Performance schedule 17 December – 2 January:

Monday to Saturday at 7pm (except 24 & 31 December)

Saturdays at 2pm

Additional Matinees on 24 & 31 December at 2pm

No Performances on 25, 26 December & 1 January

Ticket prices: from £10

Crossroads Live and Warner Bros. Theatre Ventures Present

IT’S SHOWTIME, LONDON!

THE MOST ANTICIPATED BROADWAY MUSICAL TRANSFER IN YEARS CROSSES OVER TO THE PRINCE EDWARD THEATRE FROM MAY 2026 FOR A LIMITED HAUNTING

SIGN UP FOR PRIORITY BOOKING AT

www.beetlejuicemusical.co.uk

Hold on to your sandworms! Everyone’s favourite ghost-with-the-most, Beetlejuice, is finally crossing the pond. Following multiple smash-hit Broadway runs and a major US tour, Crossroads Live and Warner Bros. Theatre Ventures are delighted to confirm that Beetlejuice: The Musical will make its West End debut at London’s Prince Edward Theatre, a Delfont Mackintosh Theatre, with performances beginning in May 2026.

The London production resurrects its otherworldly Broadway creative team, featuring a Book by Scott Brown and Anthony King withMusic and Lyrics by Eddie Perfect and will be directed by two-time Tony Award winner Alex Timbers (Moulin Rouge! The Musical, Here Lies Love).

Tickets go on general sale Thursday, 30 October 2025. Want to be the first to hear from the other side? Sign up for priority news, ticketing information and the chance to win a trip to see the show on Broadway at www.beetlejuicemusical.co.uk

Based on Tim Burton’s beloved movie classic, this wildly funny – and weirdly life-affirming – musical tells the tale of Lydia Deetz, a strange and unusual teenager sharing her home with a pair of newly-deads and the demonic ghost-with-the-most,  Beetlejuice. He’s dead trouble, but if you really want to feel alive, just say his name three times…

With a gleefully irreverent book, head-spinning set design and a score that’s out of this Netherworld, Beetlejuice is a ‘feast for the eyes and soul’ (Entertainment Weekly). Outrageous, but with a big (cold) heart, this is ‘screamingly good fun!’ (Variety) that’ll make you want to live – and make the most of every Day-O!

James Lane, Producer, Crossroads Live says of the transfer: “The wait is over! We are beyond thrilled to be working alongside Warner Bros. and the ingenious team behind Beetlejuice to bring this highly anticipated Broadway hit to London’s West End at last. There is nothing else quite like this show, and audiences really are in for a terrifyingly hilarious treat at the spectacular Prince Edward Theatre next year.”

“After three successful Broadway engagements, a record-setting 88-city North American tour, and captivating audiences across international stages in Tokyo, Seoul, Abu Dhabi, and Melbourne, Beetlejuice will finally arrive in the United Kingdom,” continue producers Mark Kaufman (Warner Bros. Theatre Ventures) and Kevin McCormick (Langley Park Productions).  “We are thrilled Beetlejuice will soon make its debut in London’s West End with its signature wit and irreverence.”

The London production brings together Beetlejuice The Musical’s celebrated Broadway team: Book by Tony Award nominee Scott Brown (Castle Rock) & Tony and Emmy Award-nominee Anthony King (Broad City), an original score (Music and Lyrics) by Tony Award-nominee Eddie Perfect (King Kong), Tony Award-winning Director, Alex Timbers (Moulin Rouge! The Musical), Choreography by Connor Gallagher (The Robber Bridegroom), Music Supervision, Orchestrations and Incidental Music by Kris Kukul (Joan of Arc: Into the Fire) with Additional Arrangements by Kris Kukul and Eddie Perfect

Beetlejuice: The Musical features Scenic Design by four-time Tony Award nominee David Korins (Hamilton), Costume Design by six time Tony Award winner William Ivey Long (The Producers), Lighting Design by Tony Award winner Kenneth Posner (Kinky  Boots), Sound Design by Tony Award winner Peter Hylenski (Moulin Rouge!), Projection Design by five-time Tony Award-nominee Peter Nigrini (Dear Evan Hansen), Puppet Design by Drama Desk Award winner Michael Curry (The Lion King), Special Effects Design by Jeremy Chernick (Harry Potter and the Cursed Child), Illusions by Michael Weber (Forrest Gump), Hair & Wig Design by Drama Desk Award nominee Charles G. LaPointe, Make-Up Design by Joe Dulude II, Dance Arrangements by David Dabbon, Music Producer, Matt Stine, Casting by Harry Blumenau CDG CSA, UK General Management, Crossroads Live UK and US General Management by Bespoke Theatricals.

Full casting for the hellishly hilarious London production is to be announced.

Beetlejuice: The Musical is based on the 1988 Academy Award-winning cult Geffen Company motion picture presented by Warner Bros., Beetlejuice, with Story by Michael McDowell and Larry Wilson. The hit comedy was directed by Tim Burton and starred Michael Keaton, Alec Baldwin, Geena Davis, Jeffrey Jones, Catherine O’Hara, and Winona Ryder.

Beetlejuice: The Musical opened on Broadway at the Winter Garden Theatre in 2019 and again at the Marquis Theatre in 2022 – following the COVID-19 shutdown – playing 679 combined performances. The first national US tour just concluded an 88-city tour with a final Broadway resurrection planned at the Palace Theatre, where it plays 41 performances from Wednesday, 8 October.  Beetlejuice: The Musical has played internationally in Tokyo, Seoul and Melbourne and is set to open in Abu Dhabi this November.

Beetlejuice: The Musical is produced in the UK by Crossroads Live and Warner Bros. Theatre Ventures.

Festival Theatre, Malvern – until 27th September 2025

Reviewed by Courie Amado Juneau

5*****

2:22 A Ghost Story has been doing roaring trade in the West End and around the world. I kept missing it, so it was with high expectations that I was finally getting to see it tonight – especially with a rather interesting cast.

The story revolves around Jenny and Sam (her husband) hosting a dinner party for their friends. The invitation has an ulterior motive though; Jenny believes the house is haunted and wants all there to stay until the ghost reappears at his usual time (you guessed it – the 2:22 of the title). This revelation sparks a rather lively discussion (as you can imagine) and opinions, which tests the atmosphere somewhat…

The awesome domestic set – living room, dining area, kitchen etc – courtesy of set designer Anna Fleischle – cleverly set the scene for not only the house but also the occupants (think well to do, successful go-getters). It looked sturdy too – which was just as well as it took a beating at times. The set was decorated with the usual domestic accoutrements, leaving many dark corners for the ever present shadows to inhabit. The digital clocks were another key feature which would play a prominent role in the ensuing drama and ramp up the tension

The small but perfectly formed cast was headed up by married couple Stacey Dooley (Jenny) and Kevin Clifton (Sam). I’ll be honest, I had no idea either one could act! Present documentaries and dance, yes – but act…? Well, let me tell you, they sure can! Both actors had a lovely, naturalistic style which was very believable. They also handled comedy, tragedy, fear, suspense etc with an assuredness that would make one believe they were seasoned professionals. I could quite happily watch them in any and every production and can’t wait to see them in their next on stage endeavour!

The story unfolded in logical fashion, as you would expect at such a gathering, and the human drama ensued was just as interesting as the actual ghost story. This was very cleverly scripted and plotted. I found myself genuinely engrossed in the back stories and this was in no small part the result of fine acting from the supporting cast Lauren (Shvorne Marks), Sam’s longstanding friend and her boyfriend Ben (played by Grant Kilburn). A thoroughly modern couple who I warmed to thanks to these exceptional actors thespianic efforts. There’s also plenty in the story to spark debates in the audience about the nature of ghosts and strange events in general – as befitting the playwright’s television output such as Uncanny.

All the best horror tales have a rich seam of tongue in cheek, if not outright humour, and this play is no exception. And it’s all the better for it. But be warned – it’s jumpy. Though I guess that’s to be expected given the title of the play.

There was a genuinely fabulous twist in the tale – but my lips are sealed! And it’s such a good twist I don’t wanna give the game away. I’d love to see it again and highly encourage you to see it also. Five stars really doesn’t do it justice. All in all, this ghost story is a scream!

Yvonne Around, Guildford – until Saturday 27th September 2025

Reviewed by Liberty Noke

4****

Jane Austen’s Emma has long delighted audiences and this adaptation by Ryan Craig is no different. It is the story we know and love with beautiful costumes, charming characters and that oh-so pleasing happy ending. The stage is simple, it gives nothing away as you take your seats. Wooden flooring and a simple tree at the back of the stage.

Emma is an interesting character. Ahead of her time with ideas of never marrying. She is energetic and sure of herself. In this regard she is quite a likeable character and the modern women in the audience can see themselves in her. India Shaw-Smith brings a charming elegance to the character. She walks about the stage with effortless poise. As the play goes on, and we see more of Emma’s meddling, almost bullying behaviour, I find she is still difficult to dislike. Her charming wit and subtle comedy perhaps keep us on side

Rose Quentin plays a spectacular Augusta Hawkins and William Chubb is delightful as Mr Woodhouse. However the show is stolen by Maiya Louise Thapar as Harriet. She perfectly portrays the lovesick teenager with her giggly, excitable manor and slightly clumsy stage presence. The audience sympathise with Harriet and hope that she finds the happy ending she deserves . This is an amazing professional debut from Thapar and I cannot wait to see what is next for her.

I love that this production of a story that was first told in 1815 still holds the power to make an audience laugh out loud. So many of the characters were so relatable to a modern audience. Mr Woodhouse seemed exasperated by his daughter’s constant plotting but he knew he would be foolish to try and stop her. Harriet, the young woman hopelessly in love and easily confused. Jane Fairfax (Jade Kennedy) unsure of whether to follow her heart or her head. Emma is as enjoyable today as it was when it was first written. Funny and heartwarming, this production is the perfect cosy night at the theatre and delivers exactly what a Jane Austen Fan would hope for.

Birmingham Rep – until Saturday 27th September 2025

Reviewed by Nadia Dodd

5*****

From its eerie, slow-burn opening to its chilling conclusion, The Talented Mr Ripley at the Birmingham Rep is a masterclass in psychological tension. Mark Leipacher’s adaptation of Patricia Highsmith’s iconic thriller paints a stylish yet disturbing portrait of identity, desire, and the razor-thin line between charm and manipulation.

Ed McVey, fresh from The Crown, delivers a magnetic performance as Tom Ripley—a character as terrifying as he is beguiling. With a soft voice and perfect manners, McVey’s Ripley lulls the audience into a false sense of security before revealing the cold, calculating sociopath beneath. This is no pantomime villain, but a man who lies with elegance and kills without remorse. McVey embodies Ripley’s dangerous duality: pitiful in his desperation to belong, yet monstrous in how far he’ll go to keep the illusion alive.

Bruce Herbelin-Earle, as Dickie Greenleaf, is perfectly cast as the golden boy Ripley both adores and envies. His performance is effortlessly charismatic, embodying the casual confidence of a man born into luxury. Herbelin-Earle hints at Dickie’s flaws—a selfishness, a restlessness—that make him a tantalising target for Ripley’s obsessive mimicry. Their scenes together are a slow dance of admiration, resentment and repressed threat.

Maisie Smith surprises as Marge Sherwood, bringing emotional intelligence and steely resolve to a role often overshadowed by the central male dynamic. Her Marge is smart, instinctive, and increasingly suspicious of Ripley’s slippery façade. Smith’s performance grounds the story in a much-needed moral compass, as she becomes both witness and threat to Ripley’s dark reinvention.

The production design by Holly Piggott is sleek and minimal—echoing Ripley’s stripped-down psyche. A minimalist stage, cool lighting, and shifting shadows evoke everything from sun-drenched Italian villas to claustrophobic interiors where lies curdle into violence. Scenes slide from one to the next like changing masks, reinforcing the theme of performance at the heart of Ripley’s life.

Director Mark Leipacher keeps the tension simmering throughout, never allowing the thriller to tip into melodrama. Instead, the horror comes from how quiet it all is—how normal. The most chilling moments are not the outbursts of violence, but the way Ripley calmly steps into someone else’s shoes, lies through his teeth, and smiles.

This is not a fast-paced, high-octane thriller—it’s psychological theatre at its finest: intense, stylish, and deeply unnerving. The second half occasionally lingers too long in transition, but it’s a minor flaw in an otherwise taut piece. When the final scene lands, it does so with a cold precision that leaves the audience breathless.

In McVey’s hands, Ripley becomes something unforgettable: not a flamboyant killer, but a sociopath hiding behind politeness, taste, and talent. A mirror held up to the darkness beneath aspiration.

The Talented Mr Ripley is a must-see—a chilling, elegant exploration of identity and amorality. And it asks the most unsettling question of all: could someone like Ripley be sitting right next to you?

Lyceum Theatre, Sheffield – until 27 September 2025

Reviewed by Sal E Marino

5*****

Matthew Bourne’s The Midnight Bell is a haunting, intoxicating dance-drama that takes a deep dive into the murky underbelly of 1930s London. Set through the frosted-glass windows of a traditional working -class pub, the emotions of loneliness, longing desire, and desperation start to mix through the passionate entanglements of its locals.  For most, they reach boiling point and spill over leaving themselves further damaged but, never learning and so repeating the sad cycle they’ve chosen.  Through the dance, we enter a world in which fleeting moments of passion are quickly pulled in to attachments of toxicity, addiction, and disappointment. True to Bourne’s choreographic style, the storytelling is physical, complex, and beautifully told —dancers embody characters who live on the edge of despair.  This environment, penned by novelist Patrick Hamilton is a far cry from the likes of Noel Coward’s high society parties and high life living.  Here, at The Midnight Bell, the mesmerising tales of lonely working- class people are observed with a painfully honest truth.

Playwright Patrick Hamilton whose career peaked in the 1930s and 40s, was an observer of ordinary, working-class Londoners—figures he knew from his many nights in pubs and boarding houses before the Second World War. His novels including: Twenty Thousand Streets Under the Sky, Hangover Square, The Slaves of Solitude and The Gorse Trilogy are rich with dialogue and atmosphere and weave tales of longing, betrayal, and psychological decay.  Having read all of these novels, I was delighted to see the various characters from the different stories and was amazed at how instantly recognisable they were! Through clever and sharp choreography, Bourne translates their less favourable characteristics and vulnerabilities through non-verbal storytelling and the result is outstanding!  The precision and skill of movement is spectacular and characters that the multi-talented dancers portray is simply spellbinding.  Lez Brotherston’s authentic set and and costume designs really bring Patrick Hamilton’s books alive and we go from the bar, to a 1930s club, cinema and tea room with a smooth transition of scenes and all accompanied by Terry Davies phenomenal music.

The ballet brings to life Hamilton’s rogues’ gallery of the lost and the broken. There is the pitiful Miss Roach (Michela Meazza), trapped in a toxic liaison with Ernest Ralph Gorse (Edwin Ray), a charming yet predatory conman who preys on her vulnerability. Echoes of another of Hamilton’s tragic pairings emerge in the dynamic between the manipulative, self-absorbed actress Neta Longdon (Cordelia Braithwaite) and George Henry Bone (Will Bozier), a fragile, mentally unwell man hopelessly ensnared by her cruelty. Bourne shows us how love becomes a weapon in these relationships, leaving only wreckage in its wake.

Equally tragic is Jenny Maple (Ashley Shaw), a prostitute locked into a life she cannot escape. Her relationship with Bob (Dominic North), the cheeky chancer who genuinely wants to love her, is doomed by circumstance. Jenny has been brutalised by survival; when Bob attempts intimacy, she treats him as a client rather than a partner, unable to accept love as anything but transactional. Bourne paints their scenes with devastating clarity: a young man’s warmth and hope colliding with a woman too far gone into despair.

In stark contrast, Ella (Hannah Kremer) the barmaid harbours her own secret love for Bob. When she feels overlooked and unloved, her desperation leads her into a marriage proposal with Ernest Eccles (Reece Causton), an older, fussy, and deeply unromantic man. Their relationship offers no comfort, only a different shade of resignation—a life marked by compromise rather than passion.

There is also the forbidden tenderness between Frank (Andy Monaghan), the policeman, and Albert (Liam Mower). Frank wrestles with his sexuality, torn between his duty and his desire, but cannot help being drawn to Albert. Their stolen embraces carry the weight of secrecy and fear, a reminder of the dangers homosexual men faced in the 1930s, where discovery meant disgrace, even imprisonment. Bourne portrays their bond with heart-breaking delicacy.

In the end, The Midnight Bell closes not with resolution but with the relentless rhythm of the pub, where the same faces return to the same tables, ready to repeat their toxic rituals. Only Bob manages to break free, walking away from the intoxicated haze toward the possibility of a different life. For the rest, the bell tolls again, and the cycle begins anew.  Bourne’s The Midnight Bell is story telling at its very best!  You will be taken on a huge roller coaster of emotions and witness the best of ballet all at the same time.

AMBER DAVIES

TO STAR AS

ELLE WOODS IN

LEGALLY BLONDE THE MUSICAL

UK AND IRELAND TOUR

FROM 7 FEBRUARY 2026

Producers ROYO and Curve are delighted to announce Amber Davies* as Elle Woods in the brand-new Made at Curve production of the West End and Broadway smash-hit musical comedy LEGALLY BLONDE THE MUSICAL. The musical will tour the UK and Ireland in 2026, opening at Leicester’s Curve theatre on 7 February and touring until 7 January 2027.

Amber Davies most recently originated the role of Jordan Baker in the London production of The Great Gatsby, prior to this she starred as Vivian Ward in the UK Tour of Pretty Woman, Lorraine Baines in the West End production of Back to the Future The Musical and Campbell in Bring It On at London’s South Bank Centre. Amber made her professional theatre debut as Judy in the Original West End cast of 9 to 5 the Musical at the Savoy Theatre which she then continued to play on the UK tour. Whilst she prepared for the role, she filmed a documentary for ITVBe Amber and Dolly: 9 to 5, which involved her flying to Nashville to meet and interview Dolly Parton and then followed her journey from auditions to opening night. Her television credits include Love Island 2017, ITV (which she won), Dancing on Ice, ITV (semi-finalist) and Almost Never, CBBC/iPlayer.

Amber said “I’m absolutely thrilled to be playing the iconic role of Elle Woods in ROYO and Curve’s new production of Legally Blonde. As a huge fan of the film and the musical, this part is the role of a lifetime, and I am honoured to be stepping into Elle’s perfect heels. I have always wanted to work with the incredible theatrical mind that is Nikolai Foster, and I am so excited to hit the road again and bring Laurence O’Keefe’s incredible score back to the UK! Get ready Harvard… This is gonna be just like senior year except for funner!”

Further casting and creatives to be announced.

Based on the novel LEGALLY BLONDE by Amanda Browning and the iconic 2001 film of the same name starring Reese Witherspoon and Jennifer Coolidge, the multi-award winning LEGALLY BLONDE THE MUSICAL features a book by Heather Hach and original music and lyrics by Laurence O’Keefe and Nell Benjamin.

LEGALLY BLONDE THE MUSICAL will be directed by Curve’s Artistic Director Nikolai Foster (Kinky Boots, The Wizard of Oz, A Chorus Line) and choreographed by Leah Hill (Kinky Boots, UK and Ireland tour, Beautiful: The Carole King Musical, Curve & UK Tour, The Wiz, Hope Mill Theatre)with musical supervision by Matt Spencer-Smith (Here & Now, Birmingham Alexandra & UK and Ireland tour, Dear Evan Hansen, UK tour), set design by Colin Richmond (The Little Big Things, Soho Place, The Wizard of Oz, UK tour), lighting design by Ben Cracknell (Clueless, Trafalgar Theatre, The Wizard of Oz, London Palladium) and sound design by Adam Fisher (Here & Now, UK & Ireland tour, Evita, London Palladium).

LEGALLY BLONDE THE MUSICAL comes hot off the heels of the sell-out tour of KINKY BOOTS, also directed by Foster and co-produced by Curve and ROYO.

“Whoever said orange is the new pink was seriously disturbed”

This ultimate feel-good rom-com, based on the award-winning film starring Reese Witherspoon, follows Elle Woods on her transformation from ‘It Girl’ fashionista to legal ace at Harvard Law School, all in the name of love. Elle must prove she is more than blonde ambition, swap the changing rooms for the courtroom and learn that ‘being true to yourself never goes out of style.’

LEGALLY BLONDE is produced by ROYO and CURVE.

*Please note, Amber Davies will not be performing at every performance on the tour, please check the venue website for information.

Website: www.legallyblondeshow.com

Instagram, Bluesky, TikTok, Facebook: @legallyblondeshow

X: @legallyshow

2026 TOUR SCHEDULE

7 – 21 February                                 Leicester, Curve                                      0116 242 3595

                                                           curveonline.co.uk                                     

24 – 28 February                               Southampton, Mayflower Theatre          02380 711 811

                                                           mayflower.org.uk                                     

3 – 7 March                                       Sheffield, Lyceum                                    0114 249 6000

                                                           sheffieldtheatres.co.uk                             

10 – 14 March                                   Milton Keynes Theatre

                                                           atgtickets.com/miltonkeynes                   

16 – 21 March                                   Southend, Cliffs Pavilion                         0343 310 0030

                                                           thecliffspavilion.co.uk                              

24 – 28 March                                   Canterbury, Marlowe                               01227 787787

                                                           marlowetheatre.com                                

31 March – 4 April                              Birmingham, The Alexandra

                                                           atgtickets.com/Birmingham                     

7 – 11 April                                         Glasgow, King’s Theatre

                                                           atgtickets.com/Glasgow                          

14 – 18 April                                       Liverpool, Empire Theatre

                                                           atgtickets.com/liverpool                           

21 – 25 April                                       York, Grand Opera House

                                                           atgtickets.com/York                                 

4 – 9 May                                           Truro, Hall for Cornwall                            01872 262 466

                                                           hallforcornwall.co.uk                                

12 – 17 May                                       Newcastle, Theatre Royal                       0191 232 7010

                                                           theatreroyal.co.uk                                    

19 – 23 May                                       Nottingham, Theatre Royal                     0115 989 5555

                                                           trch.co.uk                                                 

26 – 30 May                                       Oxford, New Theatre

                                                           atgtickets.com/oxford

2 – 6 June                                          Plymouth, Theatre Royal                         01752 267222

                                                           theatreroyal.com

8 – 13 June                                        Leeds, Grand Theatre                              0113 243 0808

                                                           leedsheritagetheatres.com                       

16 – 20 June                                      Cardiff, Wales Millennium Centre

                                                           wmc.org.uk                                              

22 – 27 June                                      Aberdeen, His Majesty’s Theatre

                                                           aberdeenperformingarts.com                  

30 June – 4 July                                Bristol, Hippodrome                                

                                                           atgtickets.com/venues/Bristol                  

6 – 18 July                                         Dublin, Bord Gais Energy Theatre           0818719377 (ROI)

                                                           bordgaisenergytheatre.ie                          08442485101 (UK)

`                                                                                                                           

21 – 25 July                                       Belfast, Grand Opera House

                                                           goh.co.uk                                                 

21 – 26 September                            Norwich, Theatre Royal                           01603 630 000

                                                          norwichtheatre.org                                   

29 September – 3 October                Edinburgh Playhouse

                                                           atgtickets.com/edinburgh                         

6 – 10 October                                   Aylesbury, Waterside

                                                           atgtickets.com/Aylesbury                        

13 – 17 October                                 Wolverhampton, Grand Theatre

                                                           grandtheatre.co.uk                                   

20 – 24 October                                 Wimbledon, New Theatre

                                                           atgtickets.com/Wimbledon                      

27 – 31 October                                 Hull, New Theatre                                     01482 300 306

                                                           hulltheatres.co.uk                                     

3 – 14 November                               Manchester, Opera House

                                                           atgtickets.com/Manchester                     

17 – 21 November                             Stoke, Regents Theatre

                                                           atgtickets.com/stoke                                

24 – 28 November                             Woking, New Victoria Theatre

                                                           atgtickets.com/new-victoria-theatre        

1 – 5 December                                 Sunderland, Empire

                                                           atgtickets.com/sunderland-empire          

14 December – 2 January 2027        Brighton, Theatre Royal

                                                           atgtickets.com/brighton                             

Grand Theatre, Blackpool – until Saturday 27 September 2025

Reviewed by Debra Skelton

5*****

The Shawshank Redemption has landed at the Grand Theatre Blackpool and will be showing until Saturday 27th September.

This adapted production by Owen O’Neill and Dave Johns is based on the 1994 film ‘The Shawshank Redemption’ which itself was based on the 1982 Stephen King novella ‘Rita Hayworth and Shawshank Redemption’. It is presented by Bill Kenwright Ltd and directed by David Esbjornson.

As this film is a firm favourite of mine, I was really looking forward to seeing how this was portrayed on the stage and the only word I can say is GRIPPING.

The story of The Shawshank Redemption is around a banker named Andy Dufresne who has been wrongly accused of not only murdering his wife but that of her lover too. He protests his innocence but is still sent to the notorious Shawshank Penitentiary where he is expected to serve two life sentences.

Whilst in prison, Andy realises that he cannot survive alone and ends up befriending an inmate Ellis Redding, better known as ‘Red’ (prison fixer & contraband smuggler) so things start to change for the better for Andy.

However, due to Andy’s excellent accounting skills, Warden Stammas unfortunately decides to intimidate him into helping with his illegal money-laundering schemes, so Andy therefore decides that he needs to escape the notorious position.

Over two decades, through the wall in his cell, he secretly digs a tunnel with a small rock hammer where he eventually through the sewage system escapes the hell hole of a prison that he has been incarcerated in which enables him to expose the warden’s corruption.

Andy now with a false identity has the chance to retrieve the laundered money, fleeing to Mexico where is eventually reunited with a paroled Red.

Joe McFadden as Andy Dufresne was outstanding and his performance around the characters endurance and unrelenting hope drew you in especially when his resolve finally flared (amazing to watch). Ben Onwukwe’s ‘Red’ counterbalanced the character of Andy where he came through with a deeply personal presence and his narration with humanity and humour helped to ground the story with a glimmer of hope (superb). Bill Ward’s Warden Stammas was gripping to watch as he was not only charming but cruel at the same time and with his chilling authority, was unsettling at times to watch (well crafted).

The ensemble were equally outstanding with Keneth Jay as Brooksie, Graham Elwell as Hadley, Jeffrey Harmer as Entwistle, Sean Kingsley as Bogs Diamond, Ashley D Gayle as Rooster, Fernando Mariano as Rico, Owen Oldroyd as Dawkins, Kyle Harrison-Pope as Tommy Williams and Aein Nasseri as Nelson. Their distinctive presences helped to turn the life in the Penitentiary as a living, breathing chorus of desperation, menace, and fleeting humour so well done.

Special thanks are also needed to Tim Welton Associate Director, Gary McCann for creating such an adaptable set and for the costumes, Chris Davey for lighting, Andy Graham for sound and Alison De Burgh as Fight Director.

The Shawshank Redemption is a superb production with a standing ovation from the audience at the end attesting to this.

BROADWAY STAR

MEGAN HILTY

TO PERFORM LIVE IN CONCERT AT

THEATRE ROYAL DRURY LANE

ON SUNDAY 24 MAY 2026

TICKETS ON SALE 25 SEPTEMBER 2025

Producer Darren Bell is proud to announce that Broadway sensation and television star Megan Hilty will bring a very special solo concert to Theatre Royal Drury Lane on Sunday 24 May 2026, at 7pm. Tickets on sale Thursday 25 September. The concert marks Megan’s first return to London since 2018.

On this concert Megan Said “London! If you haven’t been able to cross the pond and catch Death Becomes Her on Broadway yet, don’t worry, I’ll bring a little bit of Death Becomes Her with me when I perform at the iconic Theatre Royal Drury Lane on May 24th.  I’ll also include a little Smash, a dash of Wicked, a pinch of 9 to 5..and mix in some backstage stories to give the show some spice.  I am so excited to return to London and perform for you again. Hope to see you there!”

Megan Hilty is most recognisable for her portrayal of seasoned triple-threat Ivy Lynn in NBC’s musical drama Smash, and is currently starring as Madeline Ashton in the Broadway smash-hit musical Death Becomes Her, for which she received a Tony Award nomination, a Drama League Award nomination and two Broadway.com Audience Awards.

In addition to Smash, Megan’s television credits include playing Lily in Annie Live! on NBC, Bravo’s Girlfriend’s Guide to Divorce, Hulu’s Difficult People, CBS’s The Good Wife, The Good Fight, “Braindead” and “Desperate Housewives.” Hilty also starred in the NBC series Sean Saves the World as well as The Pradeeps of Pittsburgh for Amazon.

Megan also earned a Critics Choice Award nomination for Best Actress in a Limited Series for her portrayal of Patsy Cline in Patsy & Loretta. Additionally, her voice is featured on numerous animated series including KC the Koala on Disney Jr’s T.O.T.S., Holly Darlin on TrollsTopia, Wammawink in Netflix’s Centaurworld, and as Rosetta in many of Disney’s Tinkerbell films. Other animation credits include It’s Pony, Sofia The First, Madagascar: A Little Wild, Doc McStuffins, Phineas & Ferb, Family Guy, American Dad, and the singing voice of Snow White in the film Shrek the Third.

A native of Seattle, Hilty moved to New York City after graduating from the prestigious Carnegie Mellon University, and quickly made her Broadway debut as Glinda in Wicked.  She went on to perform the role in both the national tour and in Los Angeles.

After four and a half years with Wicked, Megan went on to originate the role of Doralee Rhodes in Broadway’s 9 to 5: The Musical. Hilty was honoured with nominations for Lead Actress in a Musical at the Drama Desk Awards, Outer Critics Circle Awards, the Drama League Awards and L.A. Stage Alliance Ovation Awards.

Hilty also received critical acclaim for her role of Brooke Ashton in the Roundabout Theater Company’s revival of Noises Off.  She earned nominations for a Tony Award, Drama Desk Award and Drama League Award and won a Broadway.com Audience Award for Favourite Featured Actress in a Play. 

Hilty released a live album comprising songs from her concert tour entitled Megan Hilty Live at the Café Carlyle which was recorded during one of her residencies at New York’s prestigious Café Carlyle. She also filmed her solo concert for the PBS Live from Lincoln Center series. Hilty continues to perform with world renowned orchestras such as the New York Pops, the National Symphony Orchestra, the New York Philharmonic, the Boston Pops, the Cincinnati Pops, the Houston Symphony, among many others. Megan is a frequent guest on PBS’ televised Live from Capitol Hill concerts and was the guest artist in  the Christmas Concert with the iconic Tabernacle Choir, which aired on PBS in 2022. Her solo concerts, which combine the music from her varied television and theatrical career, continue to sell out and receive critical acclaim wherever she goes.

LISTINGS INFORMATION

MEGAN HILTY in concert

Sunday 24 May, 7pm

Theatre Royal Drury Lane
Catherine Street
London
WC2B 5JF

Box Office: 020 3925 2998

Website:         lwtheatres.co.uk/theatres/theatre-royal-drury-lane/
Instagram:      @MeganHilty