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UK AND IRELAND TOUR ANNOUNCED

FOR
THE SMASH HIT ROMANTIC MUSICAL COMEDY

CARRIE HOPE FLETCHER

TO STAR AS ‘JENNA’

OPENING AT NEW WIMBLEDON THEATRE

FROM 28 MARCH 2026

Producers Barry & Fran Weissler and David Ian for Crossroads Live are delighted to announce that the smash hit romantic musical comedy WAITRESS will return to tour the UK and Ireland, opening at the New Wimbledon Theatre from Saturday 28 March 2026.

Multi award-winning West End star Carrie Hope Fletcher will lead the cast as Jenna for a limited run, with further casting to be announced in due course. waitressthemusical.co.uk

Carrie Hope Fletcher is an actress, author and vlogger. She can currently be seen as the title role in the UK and Ireland tour of Calamity Jane. Her many theatre credits include Cinderella in Andrew Lloyd Webber’s Cinderella at the Gillian Lynne Theatre, Veronica Sawyer in Heathers at the Theatre Royal Haymarket and Wednesday Addams in The Addams Family UK and Ireland tour, all of which won her a Best Actress in a Musical award at the WhatsOnStage Awards. Further credits include Once – In Concert at the London Palladium, Treason – The Musical Concert at the Theatre Royal Drury Lane, Elizabeth in The Crown Jewels at the Garrick Theatre and on tour, Grusha in The Caucasian Chalk Circle at the Rose Theatre, Fantine in Les Misérables: The Concert at the Gielgud Theatre, Eponine in Les Misérables at the Queen’s Theatre, winning a WhatOnStage award for Best Takeover in a Role, and Beth in Jeff Wayne’s War of the Worlds arena tour.

WAITRESS is based on the 2007 movie written by Adrienne Shelly. Music and lyrics are written by GRAMMY award-winning, singer-songwriter sensation Sara Bareilles. With a book by Jessie Nelson, direction by Tony-award winner Diane Paulus and choreography by Lorin Latarro, Waitress has garnered multiple awards and nominations in both America and the UK, receiving acclaim from both audiences and critics alike.

WAITRESS opened on Broadway on 24th April 2016 at the Brooks Atkinson Theatre, where it ran until 5th January 2020. Waitress celebrated its official opening night at the Adelphi Theatre in London’s West End on 7 March 2019. The show has gone on to global success with further productions in North America, Japan, Holland, a French language production in Canada and currently playing a Spanish language production in Mexico.

WAITRESS tells the story of Jenna, an expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a new life, while her fellow waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life. This beautiful musical celebrates friendship, motherhood, and the magic of a well-made pie.

Book by Jessie Nelson

Music and Lyrics by Grammy Award-winner Sara Bareilles

Based upon the motion picture written by Adrienne Shelly

Directed by Tony Award-winner Diane Paulus

WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. The tour is produced by Barry & Fran Weissler and David Ian Productions.

LISTINGS

WAITRESS UK & IRELAND TOUR 2026/2027

SATURDAY 28 MARCH – SATURDAY 4 APRIL 2026

NEW WIMBLEDON THEATRE

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

ON SALE 19 SEPTEMBER 2025

MONDAY 6 – SATURDAY 11 APRIL 2026

THEATRE ROYAL, BRIGHTON

https://www.atgtickets.com/venues/theatre-royal-brighton

ON SALE 19 SEPTEMBER 2025

MONDAY 13 – SATURDAY 18 APRIL 2026

ALHAMBRA THEATRE, BRADFORD

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

ON SALE 13 OCTOBER 2025

MONDAY 20 – SATURDAY 25 APRIL 2026

NEW VICTORIA THEATRE, WOKING

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

ON SALE 19 SEPTEMBER 2025

TUESDAY 28 APRIL – SATURDAY 2 MAY 2026

BIRMINGHAM HIPPODROME

ON SALE 26 SEPTEMBER 2025

MONDAY 4 – SATURDAY 9 MAY 2026

SUNDERLAND EMPIRE

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

ON SALE 19 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

TUESDAY 12 – SATURDAY 16 MAY 2026

EDINBURGH PLAYHOUSE

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

ON SALE 19 SEPTEMBER 2025

TUESDAY 19 – SATURDAY 23 MAY 2026

BORD GAIS ENERGY THEATRE, DUBLIN

https://www.bordgaisenergytheatre.ie

ON SALE SOON

TUESDAY 26 – SATURDAY 30 MAY 2026

MANCHESTER PALACE THEATRE

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

ON SALE 19 SEPTEMBER 2025

MONDAY 8 – SATURDAY 13 JUNE 2026

WALES MILLENIUM CENTRE, CARDIFF

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

ON SALE 3 OCTOBER 2025

TUESDAY 16 – SATURDAY 21 JUNE 2026

CLIFFS PAVILION, SOUTHEND

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

ON SALE 26 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

MONDAY 29 JUNE – SATURDAY 4 JULY 2026

NEW THEATRE, OXFORD

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

ON SALE 19 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

MONDAY 6 – SATURDAY 11 JULY 2026

REGENT THEATRE, STOKE-ON-TRENT

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

ON SALE 19 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

MONDAY 13 – SATURDAY 18 JULY 2026

OPERA HOUSE, BLACKPOOL

Winter Gardens Home

ON SALE 19 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

TUESDAY 28 JULY – SATURDAY 1 AUGUST 2026

GRAND OPERA HOUSE, BELFAST

https://www.goh.co.uk

ON SALE 17 OCTOBER 2025

Casting for the role of ‘Jenna’ to be announced. 

TUESDAY 4 – SATURDAY 8 AUGUST 2026

BRISTOL HIPPODROME

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

ON SALE 18 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

MONDAY 10 – SATURDAY 15 AUGUST 2026

ROYAL CONCERT HALL, NOTTINGHAM

ON SALE 26 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

MONDAY 17 – SATURDAY 22 AUGUST 2026

VENUE CYMRU, LLANDUDNO

https://www.venuecymru.co.uk

ON SALE SOON

Casting for the role of ‘Jenna’ to be announced. 

MONDAY 24 – SATURDAY 29 AUGUST 2026

BOURNEMOUTH PAVILION THEATRE

https://www.bournemouthpavilion.co.uk

ON SALE 19 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

TUESDAY 1 – SATURDAY 5 SEPTEMBER 2026

HULL NEW THEATRE

https://www.hulltheatres.co.uk

ON SALE SOON

Casting for the role of ‘Jenna’ to be announced. 

MONDAY 7 – SATURDAY 12 SEPTEMBER 2026

LIVERPOOL EMPIRE

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

ON SALE 19 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

MONDAY 14 – SATURDAY 19 SEPTEMBER 2026

CONGRESS THEATRE, EASTBOURNE

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

ON SALE 26 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

TUESDAY 22 – SATURDAY 26 SEPTEMBER 2026

MILTON KEYNES THEATRE

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

ON SALE 19 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

TUESDAY 6 – SATURDAY 10 OCTOBER 2026

KINGS THEATRE, GLASGOW

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

ON SALE 19 SEPTEMBER 2025

Casting for the role of ‘Jenna’ to be announced. 

TUESDAY 13 – SATURDAY 17 OCTOBER 2026

SHEFFIELD LYCEUM

https://www.sheffieldtheatres.co.uk

ON SALE SOON

Casting for the role of ‘Jenna’ to be announced. 

TUESDAY 27 – SATURDAY 31 OCTOBER 2026

LOWRY, SALFORD

https://thelowry.com

ON SALE 3 OCTOBER 2025

Casting for the role of ‘Jenna’ to be announced. 

FURTHER DATES TO BE ANNOUNCED

ETT ANNOUNCES THE WORLD PREMIERE OF
CATHERINE DYSON’S THE LAST PICTURE
EMBARKING ON UK TOUR

English Touring Theatre (ETT), York Theatre Royal and An Tobar and Mull Theatre today announce the UK tour of The Last Picture, a brand-new play by Catherine Dyson, known for her evocative storytelling and sharp insight into human connection. Renewing his collaboration with ETT, John R. Wilkinson directs. The production opens at York Theatre Royal on 6 February 2026, with previews from 5 February, and runs until 14 February 2026, before touring to HOME Manchester, Bristol Old Vic, Yvonne Arnaud Theatre, before concluding its run at An Tobar and Mull Theatre.

The Last Pictureis a thought-provoking exploration of empathy, imagination, and collective memory – a play about what connects us across time, place, and experience. On a school trip in 2026, a group of Year 9 students – with Sam, their emotional support dog – are drawn into the story of 1939 Europe. As past and present blur, the play asks what it means to care, to remember, and connect across time.

Catherine Dyson today said, “At a time when empathy and imagination feel more necessary than ever, The Last Picture asks us to come together – to witness, to listen, and to reflect. It’s a piece where the audience is at the heart, and I can’t wait to see it come to life across the country.”

Director John R. Wilkinson: “Working once again with ETT, alongside York Theatre Royal and An Tobar and Mull Theatre, is a real privilege. Catherine’s writing has a quiet intensity – precise, poetic, and deeply resonant. The Last Picture leads audiences through time and space, from classrooms to museums, to moments when history shifts. It’s a profoundly human and immersive journey.”

Artistic Director and Joint CEO Richard Twyman andExecutive Producer and Joint CEO Sophie Scull:
“The Last Picture is a moving and innovative new work that speaks to the power of witness. Catherine Dyson’s writing invites us to re-examine the past and confront the present with honesty and compassion. We’re thrilled to be working with John R. Wilkinson again, bringing this extraordinary play to audiences across the UK alongside our valued partners: York Theatre Royal and An Tobar and Mull Theatre.”

CEO of York Theatre Royal Paul Crewes: “We’re proud to produce this bold new play with ETT and An Tobar and Mull Theatre. Catherine Dyson’s writing challenges us to think differently about empathy, history, and how we tell stories. We’re excited to present it to our York audiences – and to see it reach communities across the UK.”

Artistic Director and Chief Executive ofAn Tobar and MullTheatre Rebecca Atkinson-Lord:

“Catherine Dyson’s writing glows with emotional intelligence. The Last Picture is a vital reminder of the need for empathy in a world that often feels fractured. The play becomes something rare – generous, haunting, and full of hope. We’re proud to share this work with audiences nationwide.”

ETT, York Theatre Royal and An Tobar and Mull Theatre present
THE LAST PICTURE
By Catherine Dyson

Director: John R. Wilkinson

5 February – 14 March 2026

Imagine yourself in a theatre in 2026. Now picture yourself as a Year 9 student on a school trip. And then as a citizen of Europe in 1939 as history takes its darkest turn.

While you imagine, Sam will be by your side. Sam is an emotional support dog. Sam is here to look after you. Sam will keep everyone safe.

This play is about empathy – its power, its limits, and what it asks of us. It’s about our shared past, our present, and the choices we face today.

Catherine Dyson is a writer and performer. Her writing credits include The Luminous, On Track, Thunder Road (UK tours), Peter Pan (Sherman Theatre), Bitcoin Boi (Riverfront Theatre), Believers (South Street Arts Centre), and Transporter (Theatr Iolo, UK and Kolkata tour – also produced in Austria); and for audio, The Egg Man (BBC Radio 4) and Mansfield Park (eight-part adaptation for Audible). She is an Associate Artist with RedCape Theatre, Theatr Iolo and Paptertrail, currently on attachment at the National Theatre, and a member of the 2025 Orange Tree Theatre Writers Collective.

John R. Wilkinson is a multi-award-winning director with Cerebral Palsy. Wilkinson reunites with ETT following his direction of Tonderai Munyevu’s Mugabe, My Dad and Me, which won Best New Play at the UK Theatre Awards. He was named the 2024 Clore Fellow and is the tenth recipient of the Genesis Future Director Award at the Young Vic. Wilkinson is an Associate Director at York Theatre Royal, and a Trustee of Middle Child, the Stephen Joseph Theatre, and Pilot Theatre.

LISTINGS

THE LAST PICTURE
York Theatre Royal

5 February – 14 February

Box Office: https://www.yorktheatreroyal.co.uk / 01904 623568 

HOME, Manchester
18 – 21 February 2026

Box Office: www.homemcr.org / 0161 200 1500

Bristol Old Vic, Bristol
24 – 28 February 2026
Box Office:www.bristololdvic.org.uk / 0117 987 7877

Yvonne Arnaud Theatre, Guildford
5 – 7 March 2026

Box Office: www.yvonne-arnaud.co.uk / 01483 440000

An Tobar and Mull Theatre

Mull Theatre – 11 and 12 March 2026

Bunessan Village Hall – 13 March 2026

Iona Village Hall, Isle of Iona – 14 March 2026
Box Office: www.antobarandmulltheatre.co.uk / 01688 302211

FULL CAST ANNOUNCED FOR

VICTORIA WOOD’S

ACORN ANTIQUES THE MUSICAL

IN CONCERT

AT MANCHESTER OPERA HOUSE

AND SHAFTESBURY THEATRE, LONDON

Hope Mill Theatre are delighted to announce that the full cast for the special fundraising concertof Victoria Wood’s ACORN ANTIQUES THE MUSICAL which will have two performances at the Manchester Opera House on 2 & 16 November and one night at Shaftesbury Theatre in London on 9 November.

Starring in the iconic roles will be Katherine Kingsley as Miss Babs (The Witches, National Theatre; Noises Off, West End; Amandaland, BBC), Gina Beck as Miss Berta (Matilda the Musical, West End; Wicked, West End and UK tour; Guys and Dolls, Bridge Theatre), Anna-Jane Casey as Miss Bonnie (Cabaret, West End, Billy Elliot The Musical, Victoria Palace Theatre; Cats, West End), Tony Jayawardena as Mr Clifford (Ackley Ridge, BBC; Nye, National Theatre; Dr. Strangelove, West End), Rob Madge as Derek (Cabaret, West End; My Son’s A Queer But What Can You Do?, West End; Bedknobs and Broomsticks, UK tour), Harry Hepple as Tony (Hello Dolly!, London Palladium), May Tether as Mimi (Heathers, The Other Palace; Halls the Musical, Turbine Theatre; Gypsy in Concert, Manchester Opera House), Elliot Broadfoot as Hugh (Kathy and Stella Solve a Murder!, West End), Grace Mouat as Miss Wellbelove (Mean Girls, West End, 13 Going on 30 the Musical, Manchester Opera House) Sally Bankes as Christine (The Winter’s Tale, Two Noble Kinsmen for the RSC), George Crawford as Minchin’s lad (The Great Gatsby, London Coliseum), Laura Medforth as Miss Cuff (Hello Dolly!, London Palladium), Steve Elias as Mr Watkins (Godspell, UK tour), Samuel Holmes as Mr Furlong (Calamity Jane, UK Tour), Daniele Coombe as Miss Willoughby (original West End cast of Acorn Antiques the Musical), Bradley Judge as Postie (Sister Act, Dominion Theatre) and Althea Burey (The Parent Agency, Chester Storyhouse) as Lucy Lollipop. 

Reprising her role is Ria Jones as Mrs Overall (Sunset Boulevard, Curve at Home, UK Tour & London Coliseum; Habeas Corpus, Menier Chocolate Factory; Gypsy, Royal Exchange Theatre).

Come along to Manchesterford, a place full of quaint, old-fashioned shops such as “Acorn Antiques” run by sisters Miss Babs and Miss Berta. They are assisted by business partner Mr Clifford, elderly tea lady Mrs Overall, and two ‘pitiful adolescents’. But before long their cosy world faces a threat from developers, who want to turn their high street into a collection of coffee bars and sexy underwear shops. As the plot unfolds, Miss Babs and Miss Berta are faced with financial woes and family secrets, including a lost triplet sister. Will the innocent antique dealers fight off the developers and a sinister loan shark? Can they find the missing will of their father? And will Miss Berta ever find true love?

This laugh out loud musical parody will be sure to have you rolling in the aisles and toe tapping along…so grab yourself a macaroon and don’t miss this special one-off performance.

Victoria Wood originally wrote Acorn Antiques as a weekly slot in her sketch show, Victoria Wood As Seen on TV. She based it on the long-running serial Crossroads, and radio soap Waggoners Walk. Taking swipes at soaps with their wobbly sets, overacting, cheesy dialogue and wildly improbable plots. Its premise – the lives and loves of the staff of an antiques shop – lampooned the staples of soap operas: love triangles, amnesiacs, sudden deaths and siblings reunited. In 2005, Victoria Wood created the musical version, with the intention of giving people a “lovely, happy night in the theatre”. It was directed by Trevor Nunn with choreography by Stephen Mear and opened at the Theatre Royal, Haymarket and had a sellout season. Several key members of the original cast joined the stage production including Julie Walters, Celia Imrie and Duncan Preston – with Victoria Wood alternating with Julie Walters in the role of Mrs Overall.  The show earned several Olivier Award nominations, including Best New Musical and winning Best Supporting Actress in a Musical for Celia Imrie.

The concert will be directed by Hope Mill’s own Joseph Houston and William Whelton with musical direction and supervision by Nigel Lilley, choreography by Sammy Murray, sound by Matt Peploe, set design by Sophia Pardon, costume design by Lorraine Parry, wigs by Chrissie Baker, lighting by Aaron Dootson, orchestrations by Chris Walker, assistant musical direction by Archie McMorran and artwork by Steph Pyne.

The concert will celebrate 10 years of Hope Mill Theatre, with all box office money going towards their Outreach programme, which includes Hope Mill Theatre School, as well as funding a brand-new community space within Hope Mill.

ACORN ANTIQUES THE MUSICAL is produced by Hope Mill Theatre.

Website: atgtickets.com/shows/victoria-woods-acorn-antiques-the-musical/opera-house-manchester / shaftesburytheatre.com/events/acorn-antiques

Facebook: @HopeMillTheatre

X: @hopemilltheatre

Instagram: @hopemilltheatre

LISTINGS INFORMATION

Acorn Antiques The Musical

Tickets from: from £35

Manchester Opera House

Sunday 2 November 2025 – 7:30pm

Sunday 16 November 2025 – 5pm

3 Quay St,

Manchester

M3 3HP

Box office: 0333 009 6690

Shaftesbury Theatre

Sunday 9 November 2025 – 7:30pm

210 Shaftesbury Ave,

London

WC2H 8DP

Box office: 020 7379 5399

WESSEX GROVE AND GAVIN KALIN PRODUCTIONS PRESENT

A NEW PRODUCTION OF

ALAN AYCKBOURN’S

WOMAN IN MIND

STARRING

SHERIDAN SMITH

AND DIRECTED BY

MICHAEL LONGHURST

AT THE DUKE OF YORK’S THEATRE

9 DECEMBER 2025 – 28 FEBRUARY 2026

FOLLOWED BY RUNS AT

SUNDERLAND EMPIRE

4 – 7 MARCH 2026

AND

THEATRE ROYAL, GLASGOW

10 – 14 MARCH 2026

TICKETS ON SALE AT 11.00AM TODAY

Wessex Grove and Gavin Kalin Productions are delighted to announce a new production of Alan Ayckbourn’s psychological comedy WOMAN IN MIND starring Sheridan Smith in a strictly limited West End run at the Duke of York’s Theatre from 9 December 2025 until Saturday 28 February 2026. WOMAN IN MIND marks Sheridan’s return to the Duke of York’s Theatre following her sell-out run in Shirley Valentine. 

WOMAN IN MIND will then play at the Sunderland Empire from 4 March until 7 March 2026 and Theatre Royal, Glasgow from 10 March until 14 March 2026.

Tickets are on sale at 11.00am today, Thursday 18 September, with further casting to be announced soon. www.womaninmindplay.com 

Directed by Michael Longhurst, this spellbinding revival explores one woman’s fractured reality with heart and humour. When Susan sustains a bump to the head, her world splits in two—one mundane, one imagined—and the lines begin to blur. Ayckbourn’s groundbreaking play is a gripping exploration of identity, family, and mental escape.

Sheridan Smith is an award-winning stage and screen actress, currently starring in ITV’s I Fought the Law. Her most recent West End credits include Myrtle in the world premiere of John Cassavetes’ Opening Night at the Gielgud Theatre and the title role in Shirley Valentine at the Duke of York’s Theatre. Her performance as Elle Woods in Legally Blonde at the Savoy Theatre, and as Doris in Flare Path at Theatre Royal Haymarket, both garnered her Olivier Awards, and the latter the Evening Standard Award for Best Actress. She received further Olivier nominations for her performance as Audrey in Little Shop of Horrors at the Menier Chocolate Factory and Duke of York’s Theatre, and Fanny Brice in Funny Girl at the Savoy Theatre. Other notable performances include Hedda Gabler at The Old Vic, Titania in A Midsummer Night’s Dream at the Noel Coward Theatre, the Narrator in Joseph and the Amazing Technicolor Dreamcoat at the London Palladium, and her stage debut as Little Red Riding Hood in Into the Woods at the Donmar Warehouse. Amongst her prolific screen roles, Sheridan was Emmy-nominated and won a BAFTA as Mrs Biggs, and further BAFTA-nominated for The C Word and her titular role in Cilla, for which she was also Emmy-nominated. Big screen credits include Dustin Hoffman’s Quartet and most recently The Railway Children Return.  She has released two albums, titled Sheridan and A Northern Soul, resulting in two Classic BRIT Award nominations.

WOMAN IN MIND is directed by Michael Longhurst, with set and costume design by Soutra Gilmour, lighting design by Lee Curran, sound design by Paul Arditti and casting by Jim Carnahan CSA and Liz Fraser CSA.

Hope Theatre, London – until 20th September 2025

Reviewed by Celia Armand Smith

4*****

It’s the 1980s, the AIDS epidemic is in the headlines, and people are afraid and need somewhere to turn. Four women work in shifts to cover the phones in the office of the newly renamed London Gay and Lesbian Switchboard, united by their purpose – to provide support and information to the wider community. Supervisor Lou (Fatima Abdullahi) is the leader of the group, managing the volunteers with focus and care and being there to fix the dodgy phones. Joan (Megan Keaveny) is a staunch feminist with a determination to educate the male volunteers on women’s issues, and she’s also Lou’s ex. Trainee Jackie (Áine McNamara) is young and keen and a nervous ball of chatty energy. Lastly there is Nana (Hannah Balogun) who has been absent from the switchboard for 6 months and is swerving questions as to where she has been.

The switchboard offices are filled to the brim with files. There is a file for everything from accommodation to AIDS to “women”. The Hope Theatre’s intimate space is no problem for Dan Southwell’s packed set. The walls are lined with posters, information, and more files, all of which you can read from your seat. A microphone hangs to the side and the cast take it in turns to play callers as well as the staff on the phones. Joy, tragedy, anger, and illness are all present on the end of the phone as they learn that more and more friends and colleagues are diagnosed with HIV and AIDS, and they take calls from desperate teens and whispering mothers.

Under direction from Molly Byrne, the cast fizz with energy and excel in their roles. Even though there are only four cast members, they rarely appear in a scene all together, skillfully stitching together the lives of the callers and volunteers they portray. Somehow the 90 minutes seem all at once too long and not long enough. Perhaps The Switchboard Project would be better as a 2 act play, giving the characters more space to breathe and develop.

The Switchboard Project is an ambitious, funny, heartfelt piece of theatre which highlights the often ignored work that women did during the AIDS crisis. Ordinary people doing extraordinary things. The picture it paints is one of survival and hope, and it lays out the historical foundations for Switchboard which is still going today and is still a vital helpline for the LGBTQIA+ community. Different times but same need for a calm word and a non-judgemental ear.

PLAYHOUSE THEATRE, LIVERPOOL – UNTIL 20TH SEPTEMBER 2025

REVIEWED BY MIA BOWEN

5*****

Drawing on his exceptional talent for creating a moving narrative through dance, Matthew Bourne’s The Midnight Bell at the Liverpool Playhouse was a remarkable success in the realm of dance-theatre, leaving the audience captivated by its emotional resonance and cinematic storytelling. Bourne, an accomplished choreographer, skilfully captured the evocative essence of Patrick Hamilton’s novel, presenting a heart-wrenching and unforgettable depiction of love, loss, and loneliness. The performance intricately wove together the complex lives of lonely patrons and staff within a pub, resulting in a truly mesmerizing experience.

The success of the production relies on the harmonious interplay of choreography, design, sound, and lighting, all collaborating seamlessly to convey a deeply human story without any spoken dialogue. Lez Brotherston’s atmospheric sets and period-accurate costumes, brought to life by Paule Constable’s evocative film-noir lighting, vividly capture the essence of 1930s Soho. The original score by Terry Davies, complemented by Paul Groothuis’s immersive sound design, beautifully conveys the production’s emotional depth and ambiance. The fluid choreography enables multiple narratives to emerge simultaneously, weaving a rich and intricate tapestry of human emotion. Together, their collaborative brilliance creates a richly detailed, cinematic world where choreography and design work hand in hand as integral components of the storytelling.

The overlapping bedroom scene is a creative and meaningful dance piece that effectively uses stagecraft to emphasise loneliness and the struggle for connection. Instead of focusing on one intimate moment, Bourne cleverly uses a single bed as a backdrop to illustrate two simultaneous and contrasting romantic stories. Each couple is caught in their own story of longing and sadness, highlighting that even when surrounded by others, it’s common to feel a deep sense of loneliness. This approach adds depth to the narrative, engaging the audience in the experience.

This remarkable piece resonates long after the curtain descends, demonstrating that the most powerful tales of the human experience are frequently conveyed without uttering a single word. It cements Bourne’s legacy as an artist who converts basic human vulnerability into awe-inspiring and indelible theatre.

Festival Theatre, Malvern – until 20th September 2025

Reviewed by Courie Amado Juneau

4****

The Party Girls is in intriguing title for a show and I must confess, until I read the programme, I didn’t really know what the evening’s entertainment had in store. I don’t think I’d even heard of the Mitford girls before now…

The story concerns the aforementioned (Mitford) sisters and the rather colourful time they had during the seismic pre-war (that’s World War 2) years to the late 60’s. While the world was dealing with the looming long, very dark shadow of fascism, the sisters were grappling with their own private wars raging in their hearts, minds and stately home…

Nancy (the eldest, played by Kirsty Besterman) poured her heart and professional focus into her writing whilst Diana (Elisabeth Dermot Walsh) and Unity (Ell Potter) were infatuated with fascism (Diana with future husband Oswald Moseley and Unity with Hitler). Jessica “Decca” was a died in the wool Communist – so you can imagine the familial ructions that caused. Debo (Flora Spencer-Longhurst), youngest of the clan, flitted about like a cranefly in a fan.

The central character and focus of the tale was Decca who was brought to life in barnstorming fashion by Emma Noakes. There was a lot for this talented actress to get her teeth into – dealing with her new life in America as a single mum and the sadly familiar tale of not knowing for certain what had become of her husband, reported a casualty of war. All this while dealing with her unfolding feelings for colleague Bob. The scene in which she confronted Diana about her politics and loyalty to Moseley were where the real fireworks too place in a scene that positively leapt off the stage. She and her potential new man made a handsome and authentic couple. Joe Coen (playing Bob Treuhaft) was charming, witty and charismatic as Bob.

Although the story was an interesting one, I did find that the way it was presented a bit jarring. Playwright Amy Rosenthal avoided a chronological reading in favour of one that jumped back and forth between decades. Artfully done but this made it a little difficult to keep up with the plot at times (especially in the first half when also attempting to remember which sister was which and deal with the slang they called each other – and parents etc). I did feel the play ended abruptly – as if we should have remained in our seats for a third act that never happened. Although I found this a bit of an unsatisfactory ending, it did show that the play had captured my attention and I wanted to know more about how it all panned out with the sisters etc. So, in that respect, the writer had done a rather marvellous job I guess.

All that said, it was a fantastic show which produced many talking points which are tragically relevant today (in many ways, more than ever). The sets were inventive, the acting was fabulous from each and every actor, there was plenty of humour among the weighty issues… So, all in all, this is certainly an entertaining and worthwhile play to see, having much to commend it to audiences. I may well see it myself a second time too.

The Little Theatre Leicester – until 20th September 2025

Reviewed by Amarjeet Singh

4****

Inspired by the life of Louisa May Alcott, Little Women centres around the beloved March sisters, Jo, Meg, Beth, and Amy as they navigate the trials of growing up in Civil War-era America. Mr March is away in the war and Marmie March is tending home and taking care of the girls, in Concord, Massachusetts. At its heart is Jo, an aspiring writer struggling to find her voice in a world reluctant to hear it. Penning stories full of adventure, heroics and thrills, her swashbuckling sagas don’t always hit the mark. Urged by her friend Professor Bhaer to write more authentically, Jo begins to draw inspiration from her own life, crafting the story of her family in all its joy, sorrow, and strength, capturing their moments and memories forever.

This adaptation, directed by John Bale, is playful and full of warmth. Little Women becomes something truly special in his hands. For longtime fans of the March sisters, this staging is a heartfelt return; for newcomers, it’s a beautifully assembled introduction. The set design, with its grand ornate staircase, a glowing hearth, piano, and writing desk all evoke an intimate, and homely space. There is also a backdrop screen projecting bookshelves, changing skies and displaying written changes of time, dates and location, indicating the story is progressing. This is a production that feels both nostalgic and refreshingly modern.

Musically, the production sparkles. Led by musical director Grace Bale and with musical staging by Keiran Whelan-Newby, the original score, paired with dynamic movement, adds emotional depth and narrative texture. There are magical moments of mirroring and enchanting ensemble numbers. The vocal harmonies are rich and layered, and pair wonderfully with the action.

Jo, played by Danielle Sanders, is portrayed with fierce intelligence and emotional fortitude. She anchors the story with a performance that is both engaging and energetic. It would be lovely to see her lean into moments of vulnerability and softness to balance the character, but overall, her performance is bold and brilliant with stunning vocals. Meg March played by Rose Bale, Beth March played by Katie Draper, and Amy March, played by Katherine Wadd, embody their characters perfectly. The chemistry among the sisters is palpable; their sibling dynamic, full of teasing, bickering, shared memories, and affection feels lived-in and utterly authentic.

The supporting cast is equally strong. Laurie played by Tim Stokes is portrayed with charm and charisma, moving beyond the familiar trope of ‘boy next door’, he shines throughout the production. Dan Rowberry’s, John Brooke offers an initially menacing then quietly compelling presence, along with Alexandra Elliott’s Marmie, they ground scenes with gentleness and sincerity. Throughout, the ensemble shares a gorgeous harmony, making the familial and romantic relationships feel both believable and touching.

This is a glorious offering of Little Women. It’s stirring, unforgettable and deeply human. It’s also joyfully funny, with plenty of comedic moments both verbal and physical. Whether you’re encountering the March sisters for the first time or reuniting with them after many years, this production embraces you like an old friend.

Royal & Derngate Theatre, Northampton – until 27th September 2025

Review by Amanda Allen

5*****

Mastermind. Code breaker. Maverick, All accurate descriptions of a man most of us have now heard of. Alan Turing was arguably one of the most important and inquisitive minds of the twentieth century. He is famed for cracking the Enigma code at Bletchley Park, effectively securing victory for the Allied forces in WWII. But this is not a play about his achievements but a story about the man himself, his character, his sexuality and largely his social naivety. This is the first major new production of the play since it was first produced in 1986 and with the addition of a final scene brings us right up to date with our new understanding of the flawed genius that we now see on our bank notes.

From triumph to tragedy, through the dialogue of his personal life and relationships we get to know a human being who loved, lost and never stopped asking questions in a quest for truth and understanding in this new production of Hugh Whitemore’s Breaking The Code.

From the start of the production the staging, lighting, sounds and costume all played a large part in setting the scene. With a single stage set intriguingly turned from Police station to office, to front room, to bedroom, with just a curtain moved or some furniture changed we were transported through the life of Alan Turing from school days to the end of his life and the scientific legacy he left behind. The story stared relatively slowly in the first half with the pace picking up as it unfolded and we became more familiar with the characters and the skipping in time from his schooldays to his work and his life after his work ended.

Mark Edel-Hunt played Turing with excellent characterisation, using his stutter, and his mannerisms to depict a man slightly uncomfortable with himself whilst being supremely confident in his intellect and ability to solve mathematical problems. His social naivety a sharp contrast to his self confidence in his work. We got to know the human side to this complex and troubled man through the excellent telling of his very personal story. The invention of the break-in to cover his embarrassment of being duped out of money and possessions by a male lover being the catalyst for the story of his personal life to be laid bare for us all to witness.

This play tells us more about the changing culture of our country over the last century than anything else. Where homosexuality has gone from being illegal to being completely accepted. It also demonstrates how far we have come scientifically and technologically with the development of computers and now AI, the science was all predicted by the brilliant mind of Alan Turing 80 years ago, but I doubt even he could have predicted the change in attitude to same sex relationships. The unrequited love of Pat Green (played by Carla Harrison-Hodge) was beautifully portrayed, as was Alan’s inability to see it demonstrating once again the social naivety that appeared to accompany him throughout his life.

Special mention must be made of Niall Costigan (who played Mick Ross) he depicted the Police officer with excellent timing, his use of his spectacles as a prop was noticeably ingenious, his comic timing was spot on and his ability to leave an awkward silence even made the audience like him! There were more light-hearted moments than expected in a play of such a serious nature. Especially from Peter Hamilton Dyer who played Dillwyn Knox, I particularly liked the blame being put on dentists for us all living to long, “if our teeth fell out as they would without dentists, we would all starve to death and therefor die younger” I particularly liked the fact that Alan didn’t realise he was also homosexual, again Alans social naivety prevented him from ever questioning him, and it had to be pointed out by another after his death.

The part of Alans Mother (played by Susie Trayling) as a simple woman who eventually tried but failed to understand her son’s preference for male company, always hoping for a woman to come along and save him and never realising that could never happen, she continued to love and support him as a mother would, whilst admitting to not understanding him. Her quiet reaction and acceptance of his death were beautifully portrayed, whilst her questioning of his intent to commit suicide, is a question that still lingers today.

The story was brilliantly acted by all the members of this small cast, taking us right into the world inhabited by Alan and his contemporaries in the 1940’s and early 1950’s. I loved the way the play ended, bringing it right up to date with a speech, an epilogue, delivered at his old school finally admitting the genius of this remarkable man. Although not an easy watch at times this is a story that needs telling and you need to see it

The Birmingham Rep – until Saturday 20 September 2025

Reviewed by Ava Clarkson

3***

A murder mystery like no other…

The Birmingham Repertory Theatre in the heart of Birmingham, is a bright and airy welcoming space. The theatre has been here for over 50 years but feels modern and contemporary.

Tonight’s performance, Murder at Midnight, is written by acclaimed playwright Torben Betts and produced by the award-winning Original Theatre. We are promised “a gripping murder mystery filled with twists, chilling suspense and wickedly dark humour – guaranteed to keep you guessing until the final stroke of midnight”.

The stage is clever – set in a pod formation, so the audience can see all parts of the house at once. Through the design of Colin Falconer’s multi-level set and Philip Franks direction, characters share different parts of the house, at the same time. Although this keeps our attention bouncing around the stage, at times it is more of a distraction and felt like some scenes were frozen in front of us, whilst another continued.

The play starts with a crime scene. Police Officers and forensic officers taking photos in white suits and we ascertain that not just one – but many crimes have taken place on New Years Eve. Blood splattered curtains and evidence numbers show the extent of the crime. As the police officers try and speculate about what has happened, we are given an insight into what is to come. The room is transformed in reverse, and we are taken back in time to the start of the evening.

We meet all the characters in quick succession, the owner of the house and notorious crime boss Jonny the Cyclops (Jason Durr), his possibly demented mother Shirley (Susie Blake) who see’s all and gets all the funny lines throughout. Shirleys jittery and petrified carer Cristina (Iryna Poplavska) who frequently uses her overseas accent and lack of British knowledge to her advantage. Jonnys glamorous wife Lisa (Katie McGlynn) caught in his gangland world along with Jonny’s bumbling sidekick fondly named Trainwreck (Peter Moreton) and the hapless and in his own words “rubbish” undercover police officer Paul (Max Bowden). Lastly, we meet Russell aka Mr Fish (Callum Balmforth) the nervous burglar dressed in a clown mask.

This play is a combination of whodunnit, crime caper, with a farcical slapstick side. Seven characters in the wrong place at the wrong time producing the wrong ending for all. Throw in a stash of drugs, cash and deadly weapons and a previously unsolved murder…What could possibly go wrong?

The actors portray all the characters well, with Susie Blake getting a special mention for her comedic interpretation of Shirley. Her quick one liners and laurel and hardy type body language – she truly stole the show for me. Similarly, Jason Durr commands the stage in a villainous comedic way. His booming laugh exaggerated for effect starting everyone else laughing – it was infectious. However, I felt most of the characters lacked depth. There were parts of the play which felt very laboured and repetitive, in fact the whole story could easily have been covered in one act. Some parts did not seem to have any relevance such as Jonnys obsession with Robbie Williams, or “Trainwrecks” emotional confession that he is in love with Jonny whilst wielding a meat cleaver around the stage. Whilst I enjoy slapstick comedy, at times this came across in parts as silly and childlike.

When we finally after two hours get to the murder scene, the bloodbath is very well done. The finale is loud and bloody, with fake guns mistaken for real guns, cross bows, and confessions. The play is finished in fake blood and loud gunshots, the lights go out and we are done. This play was aiming to be dark and comedic at the same time which I don’t feel works. Overall, it was long, repetitive with insubstantial characters and made two hours a very long slog.