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Curve Theatre, Leicester – until Saturday 17 January 2026

Reviewed by Sam Bradshaw

4****

You would be hard-pushed to find a person on this planet who has never heard of The Sound Of Music. So it’s no surprise that Curve have chosen this beloved family classic as their Christmas show – and while nuns and nazis don’t normally feature in festive favourites, this production is twinkly and heart-warming – everything you’d want at this time of year.

Confidently directed by reliable Nikolai Foster, this revival doesn’t follow the classic film frame by frame – there is no topping any performance by Julie Andrews, so why try? However, it is fresh and pacey, and importantly: relatable for a modern audience, as we find ourselves almost a century away from the date Austria was invaded during WW2.

This epic cinematic production makes the most of the expanse of the Curve main stage. From the simple warm glow of real candles and a single voice, we transition from the most exquisite traditional painted cloth with delicate mountains, which rises to reveal a magnificent natural landscape – no spoilers here, it needs to be seen to be believed. This work by Michael Taylor is theatrical wizardry and you’ll forget you’re not in the West End. Even the programme is elegant and matches the grandeur of the setting. And of course, there is an imposing staircase – well, this is a Made At Curve production!

Lighting by designer Mark Henderson is well-matched, with the warm sunset being so subtle and yet you notice it just before the line points it out, and a delicious sharp contrast between the warmth of home and the clinical white of invasion with a snap faster than you can say “Heil.” Backlighting through the cloister window casts beautiful shapes over the preparation of the young bride. Beloved stagelights become searchlights. Exquisite work by Mark and crew.

Staging is immersive, making use of aisles and exits, and the serene nuns emerge from sub-stage as Joanna Riding (Mother Abess) leads the Sisters in a hauntingly beautiful chorus, surrounding us with choral perfection from the company, lead by George Dyer. As previously mentioned, you will find songs are not ‘in their place’ as per the film – but nothing feels terribly out-of-place either. The audience joy was palpable following a rousing version of The Hills Are Alive. It is a little difficult to confirm the accent of Maria (Molly Lynch) until we hit some dialogue, when we discover this Maria is an Irish postulant who grew up on the mountains and Molly herself is Irish. It seems most actors are using their natural accents, which you just have to accept and I feel we get some very intense performances perhaps because the actors are so comfortable in their characters.

Highlights include the absolutely delightful Rachel Izen as Frau Schmidt, the no-nonsense professionally sarcastic housekeeper – and the comedy trio of Sister Margaretta (Keanna Bloomfield) Sister Sophia (Megan Ellis), and Sister Berthe (Leonie Spilsbury).

The show is absolutely stolen by the Von Trapp children, who are utterly charming and faultless. Kneeslides and cartwheels abound as their energy never drops, and the thunderstorm bedroom seen is another crowd-pleaser. They really are all fabulous but I must make a special mention to Isla Granville as Brigitta, who delivers the most heartfelt and sincere monologue telling Maria she must surely know she and the Captain Von Trapp (David Seadon-Young) are in love – and her look of concern as her Father struggles to hold it together as he sings Edelweiss will break your heart.

The dramatic moments of the show are highly emotive for us as an audience, heightened by energetic performances. Rolf (Christian Cooper) gives strong red flags during ‘16-going-on-17’, with wonderful bike-ography shared by an exquisite Aviva Tulley (Liesl) giving the song a spicy twist. The terror and distress of the children is keenly felt. The inclusion of the ‘Hitler Youth’ is chillingly distasteful but important. Another rare treat in modern theatre – a powerful and exposing ballet at the Von Trapp ball, beautifully crafted by choreographer Ebony Molina. A happy occasion gradually poisoned by hatred, suspicion and distrust. And there is rather a lot of that going on in today’s society too..

As previously mentioned, this isn’t a carbon-copy of the film – and nor should it be. We always have the original and I’ve no doubt I’ll be watching it again this Christmas. This production is brave, fast-paced, immersive, relevant, relatable – and perhaps a little ruthlessly efficient in places. But I encourage everyone to see it, as this monumental spectacle will live long in the memory of theatregoers in Leicester and beyond.

The Glitch – until 22^nd December 2025

Reviewed by Heather Chalkley

5*****

Writer and Director Oli Savage has woven a classic Christmas tale that you will want to see and feel every year. Anyone in search of a little Christmas magic, you have found it! Hidden in plain sight, a room full of delights awaits you.

The performance is layered to grip your attention at every turn. The most obvious is the library itself; a cornucopia of nick knacks that gives something new to look at with every glance. The intimacy of the setting draws you in to the story immediately. You are part of the library and it often feels like you are eavesdropping a private conversation. Other times you are the audience for an exquisite storytelling session.

Then there is the script, from high speed dialogue perfectly paced to hear every syllable to pregnant pauses, where you will involuntarily draw a breath.

The third layer is the acting. Ronay Poole (Isla Greenwood) attentively phases through micro expressions and subtle body language. Poole demands you focus on every detail as she slides easily between teenage girl to married woman, deeply in love, mostly an epic storyteller.

You can feel Maximilian Crimp’s (Malcolm Jeffries) broken heart trying to hide deep in his soul, seeping out into the library, knowing he must share and must pass on the legacy. Jeffries (Crimp) holds the stories in every sinew of his body, ready to pounce. The way he engages with the audience, staring you right in the face at times is totally immersive.

The powerful chemistry between the two actors gives their building relationship life. They encapsulate their characters wholeheartedly. From confidence to nervous fidgeting, you can feel their implied experiences and quirks. The magical twist corrects your false assumptions and adds depth to an already whimsical concept. Jeffries (Crimp) drives the narrative forward with charisma, while Poole (Greenwood) explores it with bountiful curiosity. A faultless performance that leaves you feeling full to the brim. I immediately wanted to see it again!

Unicorn Theatre – until 3 January 2026

Reviewed by Claire Roderick

5*****

Told By An Idiot bring their magical mischievous charm to Mac Barnett and Jon Klassen’s tongue in cheek book asking the big question about the most successful housebreaker in history. Each suggestion raised by the book is demonstrated and expanded on with the flair and charm we have come to expect from Told By An Idiot.

Sonya Smullen’s simple but evocative design (I think every member of the audience, no matter their age, wished they could slide down those rooftops!) provides props and routes for chaotic Santa parkour, chases and dancing, while two simple mic stands either side allow the cast to narrate and provide musical accompaniment and sound effects.

Paul Hunter directs the brilliant cast (Guilia Innocenti, Nathan Queeley-Dennis, Frida Cæcilia Rødbroe and Mikey Ureta) through a parade of Santa contortions, reindeer rebellions (bringing the not-so-subtle facial expressions of the illustrated reindeer to anarchic life), and extended riffs on finding the key under a flowerpot and a gloriously daft dog chase. Mikey Ureta’s energetic choreography and Frida Cæcilia Rødbroe’s delightful sound design are full of impish humour that delights the entire audience. There’s even a Danish singalong!

Audience participation is a must at Christmas, and this cast ensure that the children (and a few lucky adults) feel part of the story, from searches among the rows of seats to children being called up to help Santa get down the chimney. A beautiful moment has a child fixing the power to turn on the Christmas tree lights for the finale. The show is pitched perfectly, with visual jokes and nonsense that appeal to young and old.

How Does Santa Get Down The Chimney? is an endearingly unconventional show that embraces impish Scandinavian drollery, old school English eccentricity and childlike joy. Grab tickets for this charming Christmas fun and get your family to the Unicorn Theatre faster than Santa gets down a chimney.

SEVEN DIALS PLAYHOUSE ANNOUNCES
2026 SPRING SEASON: EXTRAORDINARY STORIES

Seven Dials Playhouse, 1A Tower Street, London WC2H 9NP
3rd February –29th March 2026 https://www.sevendialsplayhouse.co.uk/

Seven Dials Playhouse is delighted to announce Extraordinary Stories, the new Spring Season running from 3rd February – 29th March 2026, that spotlight the vast, complicated and often surprising narratives that shape our lives. From drug-trial confessions to queer history, dementia’s shifting realities to the fervour of fandom, Extraordinary Stories brings together artists delving into remarkable experiences, individual journeys, or the extraordinary stories hidden in everyday life

This season continues Seven Dials Playhouse’s commitment to curated, artist-led programming that elevates bold new work and gives it the time, space and support to grow. The venue’s spring programme reflects an ongoing mission to champion distinctive voices and compelling contemporary storytelling.

In both the main space, The House, and the studio space, The Pen, Extraordinary Stories showcases a wide range of theatrical forms – from solo performance to new writing, musical comedy to darkly comic horror; each reflecting the extraordinary complexity of the choices, histories and relationships that define us. 

Across the spring season, The House plays host to three striking new productions, each offering a sharply different window into contemporary life, with a fourth show still to be announced. Brainsluts introduces a group of strangers thrown together in a clinical drug trial, where oversharing becomes both a coping mechanism and comic chaos. The Night Larry Kramer Kissed Me brings David Drake’s landmark solo play back to the stage in a vivid, tender and politically charged exploration of self-discovery and the legacy of the AIDS crisis. The Murmuration of Starlings closes the season with a sci-fi-tinged love story set inside a mind in decline, tracing the blurred edges of memory, myth and devotion.

Alongside the main House programme, The Pen hosts a trio of shorter runs showcasing bold new comedic voices. Olivia McLeod brings a Work in Progress brimming with gleeful vengeance. Hudson Hughes unveils At Your Service, a comedy-horror featuring a full coffin, electronic props and razor-sharp scares. And A Stan Is Born offers a musical celebration of pop divas and queer devotion, fresh from a sold-out summer season.

Peekaboo, presented by leapday, also joins the season. This monthly improv showcase brings some of London’s most exciting improvisers to the heart of the West End, mixing established performers with rising talent in a lively, playful night hosted by David Elms, a seasoned improviser, acclaimed comedian and the founder of leapday.

THE HOUSE

BRAINSLUTS
3rd – 13th February (Tue–Sat 7.30pm, Sun 8 Feb 5.30pm) | The House
A new comedy play from Charlie Hartill Award finalist Dan Bishop.

Set over five Sundays, Brainsluts – a slang term used for participants of clinical drug testing – is a comedy play following five strangers in the midst of a trial. As the trial unfolds, these guinea pigs discover the sheer lengths each of them will go just to fill the silence. Oversharing ensues, secrets emerge and the stresses of their precarious lives are laid bare.

“Clever, fast and funny” – Beyond The Joke
“Immensely fruitful… smart writing” – Chortle

THE NIGHT LARRY KRAMER KISSED ME
17th February – 1st March (Tue–Sat 7.30pm, Sat 3pm, Sun 5.30pm) | The House
Originally written in 1994 by Obie Award-winner David Drake, this groundbreaking solo piece became one of the longest-running solo plays in New York theatre history.
 

Directed by Offie-nominated Adam Zane and starring Gabriel Clark (Hollyoaks/Jock Night/Tip Toe), Hive North (creators of Jock Night) brings this seminal work roaring back to the stage.

Funny, furious and heartbreakingly tender, The Night Larry Kramer Kissed Me charts one man’s personal journey through self-discovery, desire, loss and activism. With a kaleidoscope of characters and vivid vignettes, the play captures the passion and urgency of the 1980s AIDS crisis, inspired by the indomitable spirit of playwright and activist Larry Kramer.

THE MURMURATION OF STARLINGS
3rd – 14th March (Tue–Sat 7.30pm, Sat 2.30pm) | The House

A love story set against a background of dementia, The Murmuration of Starlings places audiences inside the fragmented world of a man living with a mind in decline. Blurring reality with sci-fi, memory with myth, the piece traces a looping journey beginning just 150 yards from home.

As The Man, The Woman, The Boy and The Girl move through shifting timelines, lurking dangers and moments of unexpected solace, the play explores how far someone will go to protect the person they love, even as their own understanding of reality unravels.

THE PEN

OLIVIA MCLEOD – WORK IN PROGRESS
5th February | 7.45pm | The Pen

For too long, Olivia has not been recognised as the genius she knows she is. Now, she’s seeking vengeance on anyone who’s ever stood in her way.

Directed by multi-award winning comedian Lou Wall.
 
HUDSON HUGHES: AT YOUR SERVICE
6th February | 7.45pm | The Pen
 A comedy-horror centred on a TV celebrity bishop forced to preside over a rural funeral for a woman rumoured to be a witch. Featuring a full coffin on stage and Hudson Hughes’ signature blend of electronic props, video trickery and sharply timed scares.

A STAN IS BORN
10th – 12th February | 7.45pm | The Pen

This debut from Alexis Sakellaris is a musical comedy about obsession, pop divas and the queer joy of becoming a ‘stan’. Following a drastic move from New York City to rural Germany at the age of eight and trapped in a conservative culture clash, discovering women online became Alexis’s salvation. Céline, Whitney, Mariah, Beyoncé, Aretha…this show is a heartfelt tribute to them, and to the women in Alexis’s real life.
 

Fresh from a sold-out summer season, a 4 star review from The Stage and a Best New Show nomination at Brighton Fringe.

PEEKABOO

30th Jan, 27th Feb, 27th Mar & 24th Apr | 7.45pm | The Pen

leapday presents Peekaboo, a monthly showcase of the best and most exciting improv comedy happening in London, in the heart of the West End.

For just £10, this is a chance to see established improvisers alongside up-and-comers in a lively and playful night, hosted by improv veteran and leapday founder David Elms.

LISTINGS INFORMATION
Extraordinary Stories Season
3rd February – 29th March 2026
Seven Dials Playhouse
1A Tower Street, London WC2H 9NP
Tickets and full details: https://www.sevendialsplayhouse.co.uk/

ABOUT SEVEN DIALS PLAYHOUSE

Seven Dials Playhouse is a creative hub for theatre makers and performers at all stages of their careers. Providing rehearsal space, artist development programmes and curated performance opportunities, the venue champions innovation and excellence in live performance in the heart of London’s West End.

Moondance Theatre, Theatr Clwyd, Mold/Yr Wyddrug – until 17th January 2026

Reviewed by Julie Noller

5*****

That long anticipated night of the year is finally upon us; but wait this isn’t just any old panto this is Theatr Clwyds much loved Rock n Roll panto and this year we gather together (oh yes we do) to boo, hiss and cheer not forgetting laugh until we cry, sing and clap Cinderella. My review begins with the very impressive revamp of the programme. There’s the usual meet the cast, behind the scenes but there is also a cut out puppet to try and re-enact the opening scenes. You can also treat your little ones (however old) to a sticker pack with each sticker a cartoon of the characters to pop over the real life photo, helping to showcase the actor as cast. If you are really lucky you may just find a shiny sticker hidden around the theatre to add to your collection!! Just to note please don’t lift plates in the restaurant as they won’t be hidden there.

Cinderella is directed by Daniel Lloyd marking a 20 year love affair that has taken him from on stage to off stage with a wealth of knowledge. He makes a valid point stating that Theatr Clwyds Panto doesn’t rely on star names but uses its reputation of delivering quality, fun packed shows. The unique draw is fantastic actors who act, sing, dance and play; you know they all enjoy the show as much as the audience. Closely snapping at Daniel’s heels is Phylip Harries who returns as Dame Hettie Hardup for his 18th Panto; perhaps next year we will get a Dame of Bingo for we were all waiting for the infamous line ‘looking lush love’ if we didn’t all get to shout it then something would feel amiss. Front row sitters will never learn as one fateful man is selected by Hettie to be her man for the night, much to the delight of his children. Phillip as always steers the ship; it’s not always scripted but it’s always polished. Every year the Dame arrives on stage riding her mobile vehicle (ok it has to be small to fit on stage) this year we were treated to the instrumental Jet 2 advert music and yes you guessed it she arrived aboard a red dragon plane. Her daughter, the lovely Cinderella sees us welcoming local girl Rhianna Goodwin for her first Theatr Clwyd Panto. Her dress I was looking out for was made from recycled jeans highlighting the theatre’s commitment to sustainability. Her stand out scene is when she slips out of gentle character to sassy character to lecture her step sisters. Enter the not so ugly sisters but more mean girls Sam and Ella Hardup (Celia Cruwys-Finnigan and Alice Mckenna) they showcase society today more recognisable to a younger audience, ugliness is not always seen in beauty but is deep inside. Buttons is always one of my favourite characters; the underdog and all round nice guy Robert Wade is also a first timer in Mold, he had perfect comedic timing and used his whole body in over exaggerated movements which all added to the fun. Georgina White returns although not as a baddie (a role she played so well and we loved to hate) she gets to showcase her inner Fairy as the OGFG and there’s the saxophone again!!

Over at the castle live King Benedict and Queen Beatrice (Joe Butcher and Chioma Uma). I couldn’t take my eyes off that impressively twitching moustache. The Queen’s singing and dancing booty drop should be applauded. Steve Simmonds returns this year as Dandini, again the comedy was on another level the hair flicks, the tongue use and not to mention the full kiss make up was outstanding for his full song and dance number – now that’s rock n roll in action. Elliot Parchment-Morrison has travelled just down the road from Manchester for his first Panto in Mold. As Prince Charming I was amazed at his singing, what an incredible voice!!! I look forward to perhaps seeing him perform in more musicals over the years. His impressive exit off stage every time was a very agile front role, that had me thinking oh if only my bones didn’t creek.

I’ve mentioned the cast obviously there’s no need to retell the story for it’s a tale we know so well. The music is all that’s left when I say all; well there would be no Rock n Roll Panto without it hits from 9 til 5, Firework, I Want to Break Free, Royal, Common People a splattering of Elvis and Kiss. I imagine when Christian Patterson wrote this script and Tayo Akinbode was working on the musical Direction the most fun was deciding which songs to include! I dread to think how long the original list was. I can’t leave you (oh no I can’t) without a special mention to Brian the Badger who always appears in his little box up high on the wall; a fleeting glance but he delivered a play on a shakespeare line with the brutal ‘TB or not TB’ ouch.

Panto has played, the songs have been sung, bubbles and snow appeared from the ceiling so Christmas can begin. Panto pure escapism that we all should delight in.

HIT BROADWAY MUSICAL KIMBERLY AKIMBO, STANLEY TUCCI AND THE PREMIERES OF FIVE NEW PLAYS FEATURE IN HAMPSTEAD THEATRE’S PLANS FOR 2026

The Tony Award-winning musical Kimberly Akimbo will have its European premiere at Hampstead Theatre in 2026 alongside the premieres of five new plays and the London stage directing debut of Stanley Tucci.

Kimberly Akimbo, David Lindsay-Abaire and Jeanine Tesori’s profoundly funny and heartwarming musical receives its much anticipated European premiere in a new production by Michael Longhurst. Winner of five 2023 Tony Awards including Best Musical, Best Score and Best Book it tells the story of a 16-year old Kimberly whose rare genetic condition causes her to age four times faster than usual. As she comes of age she searches for love and meaning while knowing time is not on her side. Kimberly Akimbo plays Hampstead’s Main Stage from 28 August to 7 November.

Olivier Award-winning playwright Alexi Kaye Campbell offers a fresh perspective on one of England’s greatest writers, George Eliot, in his new play Bird Grove. A poignant exploration of family ties and self-determination, Bird Grove questions how we can live alongside those we disagree with. Directed by Anna Ledwich it receives its world premiere on Hampstead’s Main Stage from 13 February to 21 March.

Stanley Tucci makes his London stage directing debut with the world premiere of Springwood by Olivier and Tony Award-winning playwright Richard Nelson. Playing Hampstead’s Main Stage from 19 June to 25 July Springwood is a witty and poignant new play that pulls back the curtain on a pivotal meeting in 1939 between King George VI and President Roosevelt.

Three further premieres are also announced for Hampstead Theatre’s Downstairs studio.

American playwright Aaron Loeb makes his UK debut with the world premiere of R.O.I (Return On Investment) a provocative and darkly humorous exploration of power, ownership and the true cost of innovation. The play centres on an ambitious venture capitalist who backs an invention by a young entrepreneur that could be life-changing for the entire human race. Directed by Chelsea Walker itplays Hampstead Downstairs from 6 March to 11 April.

Firewing marks the playwriting debut of David Pearson, a graduate of Hampstead Theatre’s INSPIRE programme for emerging playwrights. Directed by Hampstead Associate Director Alice Hamilton it is a striking new play about connection, artistry and control as a wildlife photographer and his apprentice go in search of the elusive Firewing. It has its world premiere at Hampstead Downstairs from 17 April to 23 May.

Following a successful Off-Broadway run We Had A World by Joshua Harmon has its European premiere. A deeply personal and searingly funny play, Joshua Harmon brings to theatrical life his New York childhood shaped by an eccentric grandmother, revealing thirty years of family fights and enduring love that influenced him both as a person and an artist. Directed by Josh Seymour it plays Hampstead Downstairs from 29 May to 4 July.

Hampstead Theatre’s Producer and Chief Executive, Greg Ripley-Duggan said;

“It’s a privilege to be announcing our plans so far for 2026 – and we’ve more to come! These productions will start the year in classic Hampstead Theatre style – thrilling new plays, exciting debuts and, later in the year the European premiere of a Broadway hit musical. It’s a real joy to welcome David Lindsay-Abaire, Jeanine Tesori and Michael Longhurst back to Hampstead for Kimberly Akimbo and I’m really looking forward to introducing our audiences to a raft of new writers and some truly wonderful new plays by some familiar playwrights.”

Additional shows and casting are to be announced.

Alongside the productions on stage Hampstead Theatre has been awarded a second year of funding from Camden Council to continue its ENGAGE programme for adults at risk of loneliness and isolation in Camden. Working in partnership with Camden Disability Action, Camden Carers and The Winch those who live locally to Hampstead Theatre will have the opportunity to come together to take part in creative writing and dramaturgy sessions, community nights and also a large-scale community production on the theatre’s Main Stage.

As well as continuing to offer £10 tickets across all performances at Hampstead Theatre a new Young Friends scheme for 2026 will enable under 30s to enjoy a further range of benefits.

Priority booking for Patrons opens on Friday 28 November, for Friends Plus on Tuesday 2 December, for Friends on Wednesday 3 December and for Young Friends on Thursday 4 December.  Public booking opens on Friday 5 December at 10.30am.

Freckle Productions present

PARTNERS WITH THE MONTAGUE ON THE GARDENS THIS CHRISTMAS FOR WINTER LODGE DINING EXPERIENCE

STICK MAN TICKETS ON SALE HERE

WINTER FONDUE BOOKINGS HERE

STICK MAN WILL RUN AT THE BLOOMSBURY THEATRE

THURSDAY 4 DECEMBER – SUNDAY 4 JANUARY

This Christmas, Julia Donaldson and Axel Scheffler’s beloved Stick Man returns to the Bloomsbury Theatre, for their annual festive run in the capital, running from Thursday 4 December 2025 – Sunday 4 January 2026 with a press performance on Friday 5 December at 1pm. The production has partnered with The Montague on the Gardens hotel to offer theatre goers a unique family experience this festive season.

Nestled in the heart of Bloomsbury, The Montague on the Gardens’ enchanting pop-up Winter Lodge is adding a touch of magic to family outings. Children attending the Stick Man performance are invited to indulge in a complimentary signature hot chocolate, available before or after the show, and enjoy themed colouring sheets and posters — the perfect way to embrace the holiday spirit. For those looking to elevate the experience, families can upgrade to the lodge’s celebrated cheese fondue. Crafted with rich Swiss Gruyère and Vacherin, this indulgent treat is served with crusty bread, potatoes, gherkins and all the classic accompaniments. Curated children’s menus are also available.

The Winter Lodge offers an inviting retreat into warmth and charm, where freshly fallen snow and the gentle crackle of a fireplace transport guests far from the city into a serene winter escape. Styled as a traditional log cabin, this intimate setting is perfect for couples, friends, or groups of up to 30. Adorned with twinkling lights and infused with the scent of pine, it stands as Bloomsbury’s very own festive hideaway.

Jennifer Sutherland from Freckle Productions said,”We are elated to partner with the Red Carnation team again this year after our prior collaborations with our shows Zog and the Flying Doctors and The Baddies. Stick Man is a perennial family favourite, and we hope that this new dining experience will add another layer of fun this festive season! 

“We’re delighted to partner with the Bloomsbury Theatre for the return of Stick Man this Christmas,” comments Managing Director of The Montague on the Gardens, Dirk Crokaert. “Our Winter Lodge provides families with a touch of gourmet magic in the heart of Bloomsbury, and with its cosy log cabin setting, twinkling lights and festive charm, it’s the perfect way to make a theatre trip even more memorable. At The Montague, we pride ourselves on warm hospitality and outstanding service, ensuring every family feels truly welcome and cared for throughout their visit.”

‘Stick Man lives in the family tree 
With his Stick Lady Love 
and their stick children three…’ 

What starts off as a morning jog becomes quite the misadventure for Stick Man: a dog wants to play fetch with him, a swan builds a nest with him, and he even ends up on a fire! How will Stick Man ever get back to the family tree in time for Christmas?” 

Stick Man has become a much-loved festive tradition, enchanting audiences in London’s West End and across the UK for more than a decade.   This acclaimed adaptation from Freckle Productions, the team behind Zog, The Baddies, and Zog and the Flying Doctors, features a trio of top actors and is packed full of puppetry, songs, live music and funky moves! 

Tickets for Stick Man can be booked here.  

To redeem the children’s complimentary hot chocolate, please show your Stick Man theatre tickets to the hotel team upon arrival.

 The Cheese Fondue Experience at The Winter Lodge, The Montague on the Gardens starts from £60 for two people sharing. For more information, please see here. Instagram @montague_hotel.
Please note: The fondue is prepared with wine; however, the alcohol is fully cooked off during the process. Parents may use their discretion when deciding whether their children should enjoy the fondue.

The London cast features Shaun Mendum (CATS the Musical; Romeo & Juliet) as ‘Stick Man’, Eleni Papaioannou (Dear Santa, UK Tour; Stick Man, UAE and The Lowry) as ‘Stick Lady Love’, Elizabeth Ellen as Swing and Peter Shipway (Stick Man, The Lowry, Salford) as ‘Actor/Musician’.  

The creative team includes director Mark Kane, composer Benji Bower, musical director Brian Hargreaves, assistant director Emily Pollet, designer Katie Sykes lighting designer Eleanor Higgins, production manager Suzie Normand, and costume supervisor Louise Smith. 

Stick Man is adapted from the book by Julia Donaldson, the multi award-winning author of some of the world’s best loved children’s books including The Gruffalo and Zog. Julia is best known for her popular rhyming stories for children, especially those illustrated by Axel Scheffler, which have sold over 75 million copies and have been published in over 100 languages. 

Stick Man is a perennial bestseller and has been translated into 23 languages. In 2015, Magic Light Pictures premiered the animated film of Stick Man with an all-star cast including Martin Freeman, Jennifer Saunders and Hugh Bonneville. The film was the 4th most-viewed 2015 Christmas Day TV programme in the UK, and the book went to number one in the children’s chart. Stick Man celebrates its 18^th anniversary this year. 

Facebook, Instagram – @StickManOnStage 

TikTok – @freckle_prods 

CHANNING TATUM’S

MAGIC MIKE LIVE IN LONDON

EXTENDS RUN

AT THE HIPPODROME CASINO

TO SUNDAY 3 JANUARY 2027

ON SALE TODAY

MARKING THE SHOW’S 7^th BIRTHDAY

Channing Tatum and his co-producers are delighted to announce a new booking period for Magic Mike Live at The Theatre at the Hippodrome Casino in London. Patrons will be able to book performances through to Sunday 3 January 2027 from today, Friday 28 November 2025 at 12pm, marking the West End production’s 7^th Birthday.

The cast of Magic Mike Live in London currently includes Espoir Alpha, Clare Billson, Nick Brown, Jo Calderwood, Jake Cocca-Brewer, Reece Darlington-Delaire, Taylor Diamond-Lord, Ryan Elson, Carles Escoms Ferrer, Myles Harper, “Sweeney” Todd Holdsworth, Jack Manley, Amy Nic, James Percy, Charlotte Perry, Shane Scarth, Kevin Velez and Marcus Vrondas.

Created and co-directed by Channing Tatum, Magic Mike Live, celebrates its 7^th Birthday in London, having performed 2800 shows in the West End and wowed over 850,000 people in London and more than 2,000,000 worldwide. It is a large-scale, live production show based on the hit films Magic Mike and Magic Mike XXL, which opened at The Theatre at the Hippodrome Casino in London’s Leicester Square in November 2018.  Magic Mike Live inspired a new television series on HBO Max, Finding Magic Mike, and the third instalment of the Magic Mike film franchise, Magic Mike’s Last Dance. Magic Mike Livehas become an international sensation since opening in Las Vegas in April 2017.  In addition to breaking box office records and performing to sold-out audiences in Las Vegas and London, the show has thrilled audiences around the world with engagements in Berlin, Australia, and Miami and Dallas in North America.

From the bespoke entrance off Cranbourn Street, to the specially curated lounge and bar experience, to the cast of world-class performers, Magic Mike Live is a complete evening of unparalleled entertainment for guests aged 18 and up.  Audience members enter Magic Mike’s mythical club and marvel as a group of extraordinary artists perform a 360-degree dance and acrobatic spectacular in front of, behind, and above them.  Sexy dance routines intertwined with one-of-a-kind acts, are presented by a diverse cast of performers from around the world.

Guests can also enjoy pre and post-show cocktails and cuisine at two bespoke bar and lounge experiences – Permission and Archive & Myth – designed and curated by Magic Mike Live designer Rachel O’Toole. Patrons can either book their spots in advance or drop in if they fancy an intimate and luxurious space to unwind in the heart of London’s West End.

Permission was recently voted one of Open Table’s ‘Top 10 Best Restaurants in London.’ The intimate and atmospheric lounge, located just steps from the theatre entrance offers a range of food and beverage options, as well as live music curated by the Magic Mike Live team.

Recently named one of the UK’s Top 50 Cocktail Bars, Archive & Myth is hidden beneath the Hippodrome Casino and is accessed by a password-protected door off Cranbourn Street.  This secret bar offers a stylish escape from the Square’s hustle and bustle, with a tempting menu of elevated classic cocktails, bespoke vintage spirits and light bites, enjoyed in an elegant space that is richly-inspired by the heritage and legends of the venue itself.

Patrons can also book a VIP Luxe Seats package, guaranteeing the best seats in the house, complimentary cocktails, and entry to Permission with a personal concierge escort to the show. The VIP Luxe package also includes a meet and greet with some of the dancers after the show. For more information visit magicmikelondon.co.uk

Magic Mike Live in London is co-directed by Channing Tatum and Alison Faulk, with Luke Broadlick as associate director, and choreography by Alison Faulk and Luke Broadlick.The Executive Producer is Vincent Marini with General Management by Crossroads Live. The production designer is Rachel O’Toole, with scenic design by Rob Bissinger and Anita LaScala (Arda Studio), costume design by Marina Toybina, lighting design by Philip Gladwell and video design by Luke Halls.  Musical supervisor is Jack Rayner, with sound design by Nick Kourtides. Dreya Weber is aerial choreographer & aerial apparatus designer and Ross Sands is resident choreographer. 

Magic Mike Live is produced in London by Channing Tatum, Reid Carolin, Greg Jacobs, Peter Kiernan, Steven Soderbergh, Nick Wechsler and United Talent Agency in association with Warner Bros., Vincent Marini, The Hippodrome Casino, Bruce Robert Harris and Jack W. Batman, TSG Entertainment & Ashley DeSimone, Richard Winkler and The Creative House.

LISTINGS INFORMATION

Magic Mike Live

The Theatre at the Hippodrome Casino

Cranbourn Street

Leicester Square

London WC2H 7JH

Website:  www.magicmikelondon.co.uk  

Twitter:  @MagicMikeLDN

Facebook:  @MagicMikeLDN

Instagram:  @MagicMikeLiveLDN

TikTok:  @Magicmikelivelondon

Box Office:  tickets@magicmikelondon.co.uk

Ticket Prices from: £42 (including booking fee)

Current Booking Period: Sunday 28 June 2026

Running Time:  approximately 90 minutes (no interval)

Performances: Wednesday 7pm, Thursday 7pm & 9.30pm, Friday 7pm & 9.30pm, Saturday 4pm, 7pm & 9.30pm, Sunday 4pm & 7pm.

Please note there are no performances w/c 5 January 2026, w/c 31 August 2026 and w/c 7 September 2026.

Magic Mike Live London is also introducing the following accessible performances:

Captioned – Stagetext for those who are D/deaf / Hard of Hearing

Wednesday 28 January 2026, 7pm

Audio Described – Vocal Eyes for those who are SI/SSI (Sight Impaired/Severely Sight Impaired)

Wednesday 29 April 2026, 7pm

BSL – Theatre Sign for those who are D/deaf / Hard of Hearing and whose main communication is BSL

Wednesday 3 December 2025, 7pm

Wednesday 3 June 2026, 7pm

Customers attending with Nimbus access card are entitled to tickets for these performances at the reduced rate of £67.50 per person. Those entitled to an essential companion will receive that ticket complimentary. For further information on our access performances please email access@magicmikelondon.co.uk or call the box office 020 3978 4400. Customer Service hours are between 12pm – 6pm Tuesday through Sunday.

Christmas 2025 Performance Schedule

Monday 22 December – No Performance

Tuesday 23 December – 7pm & 9:30pm

Wednesday 24 December – 4pm

Thursday 25 December – No Performance

Friday 26 December – 7pm & 9:30pm

Saturday 27 December – 4pm, 7pm & 9:30pm

Sunday 28 December – 4pm & 7pm

Monday 29 December – No Performance

Tuesday 30 December – No Performance

Wednesday 31 December – 7pm

Thursday 1 January – 7pm & 9:30pm

Friday 2 January – 7pm & 9:30pm

Saturday 3 January – 4pm, 7pm & 9:30pm

Sunday 4 January – 4pm & 7pm

Christmas 2026 Performance Schedule

Tuesday 22 December 2026 – 7pm & 9:30pm

Wednesday 23 December 2026 – 7pm & 9:30pm

Thursday 24 December 2026 – No Performance

Friday 25 December 2026 – No Performance

Saturday 26 December 2026 – 7pm & 9:30pm

Sunday 27 December 2026 – 4pm & 7pm & 9:30pm

Tuesday 29 December 2026 – 7pm

Wednesday 30 December 2026 – 7pm & 9:30pm

Thursday 31 December 2026 – 4pm & 7pm

Friday 1 January 2027 – 7pm

Saturday 2 January 2027 – 4pm, 7pm & 9:30pm

Sunday 3 January 2027 – 4pm & 7pm

Magic Mike Live guests must be at least 18 years to attend – appropriate photo ID will be requested on arrival at the venue – GambleAware.org

Lyceum, Sheffield – until November 29th 2025

Reviewed by Sharon Farley

4****

Midsomer Murders has been a household name and one of ITV’s biggest hits for decades, demonstrating how much people enjoy both the intricate puzzle of a whodunnit and a giggle provoked by subtle – and not so subtle – tongue-in-cheek humour. Albeit a rather twee take on village life set in the eternal summer of the English countryside, it has carved out a seemingly immovable spot in TV viewing since 1997.

Now, writer and director Guy Unsworth (Joyride, Bring It on, Sweet Smell of Success) has chosen the pilot episode of this long- running series to adapt for the stage. ‘The Killings at Badger’s Drift’ is brimming over with eccentric characters, all dripping with received pronunciation and afternoon teas. Over the course of this two hour production, the audience is blasted with a vast number of characters and plot lines that are almost too much to keep track of. Fortunately, the well designed set provides various methods of invoking snapshots from the past to help refresh your memory.

The cast are excellent, most of them showcase their talents by taking on multiple roles, keeping track of who each of them play is a formidable challenge. Stand out performances include those from John Dougall (The Girl on the Train, The Wars of the Roses, Waking the Dead) and Rupert Sadler (The Deep Blue Sea, Jekyll and Hyde, My Phone Genie) as iris and Dennis Rainbird, the peculiar mother and son duo who take curtain twitching to a professional level, and Chandrika Chevli as Dr Lessiter’s flirty wife, Barbara; between them, these three provide some of the most comic moments of the performance.

Though the cherry on the Bakewell Tart has to be the premium credentials of the leading man, Daniel Casey. The role of the quietly watchful Detective Chief Inspector Tom Barnaby, originally made famous by John Nettles, is perfectly inhabited by Casey (Cluedo, Abigail’s Party, Steel River Blues), as well it might be. Back in 1997, it was Casey who starred alongside Nettles as Detective Sergeant Gavin Troy, and he spent six years in the role. Here, that mantle is bravely taken up by James Bradwell (The Beautiful Future, Bridgerton, Victoria) who very much makes the part of Troy his own. Between them, Barnaby and Troy wade through the twisted mass of interviews and evidence, and piece by piece uncover various murders and the many sordid secrets obscured beneath the thin veil of respectability donned by the residents of Badger’s Drift.

Overall, this is an excellent production, with a brilliantly mobile set, marvellous performances, and enough intrigue to satisfy any murder mystery fan. But where Midsomer Murders proves itself exceptional in the genre is through its caricatures of stereotypical British eccentricity and that, despite the gruesome storylines, it never takes itself too seriously. One wonders if this stage tour is just the start of something as enduring as the TV series.

Mayflower Theatre Southampton – until 29 November 2025

Reviewed by Joanna Huggett

5*****

The English National Ballet’s Sleeping Beauty, directed by Aaron S. Watkin, is a beautifully polished revival that blends Kenneth MacMillan’s choreography with Peter Farmer’s elegant set designs. It stays true to the classical story while feeling fresh and full of life. The whole production was brought to life by the orchestra, whose warm, expressive playing enhanced the performance, giving it energy and emotional depth. The familiar music of Tchaikovsky was brought to the forefront.

The whole company danced superbly, with the male dancers especially standing out for their strength, precision, and perfect synchronisation. The production was filled with lovely solo moments. Aurora’s radiant musicality, the calm authority of the Lilac Fairy, and the sparkling jumps of the Bluebird. As well as the polished duet by the Bluebird and Princess Flourine. The divertissements add real charm, including the playful character dance of Puss-in-Boots and the White Cat, which delighted the audience.

The formations throughout were clean, expressive, and beautifully arranged—MacMillan’s choreography really shines through Watkin’s clear, story-focused direction. The sets drift like a dream, and the Act II wedding scene bursts with colour and celebration.

I attended with my 16-year-old daughter, who studies ballet, and who was especially struck by the costumes—she said they were the nicest she had ever seen in a ballet. It was hard to disagree. They were colourful, rich, and flattering, and they genuinely enhanced the storytelling.

Overall, this Sleeping Beauty is charming, confident, and visually enchanting. A strong, engaging production that highlights the company at its best. A must see!