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Festival Theatre, Malvern – until 13th September 2025

Reviewed by Courie Amado Juneau

5*****

Buddy, a musical whistle-stop tour through the creative life of the great man and his band (The Crickets) music, was first performed in 1989. I first saw it shortly after, in its original touring run and have long maintained that it was the best musical I’d ever seen.

AJ Jenks brought vigour and bags of personality to his portrayal of Buddy. I got a real feel for the man himself, his joy and humour but also his determination to have his unique voice heard – through his music. A superlative performance, which positively leapt off the stage: especially during the concert sequences.

Ably supported by a compact cast playing multiple roles, I was impressed by everyone’s acting ability. The comic timing and musicianship was first class. There is not a weak link in this ensemble which rocks in every sense.

I could wax lyrical about everyone (with justification) but will confine myself to a mention of Marta Miranda who played Vi Petty, Maria Elena, one of the Snowbirds group and then wowed on saxophone in the finale! Also Miguel Angel who was exceptional vocally and in terpsichorean terms as both Tyrone Jones and Richie Valens. Both actors showing fine displays of multi-talented and faceted performances, excelling across a range of theatrical disciplines! Another standout was Thomas Fabian Parrish as the compère at Clearlake. He really got the crowd going, including reacting to the ad-libs of the audience with suitable in character comebacks.

This is an extremely well put together story by writer Alan Janes – whipping along at a cracking pace with just enough detail to tell the tale without becoming bogged down. All major events were represented, including Buddy’s sad demise which was handled sensitively yet impactfully. There was plenty of humour too, striking the perfect balance.

But above all sits the music – even people who don’t think they know Buddy’s music will have a hatfull of tunes that they know all the words to. It’s hit after hit and take your pick as to which is your favourite – mine was “True Love Ways” (in a gorgeous acoustic, intimate version),

“Peggy Sue Got Married” and “Rave On” (a barnstormer of a closing number if ever there was one). And, there’s plenty of non-Holly hits too, like “Why Do Fools Fall In Love”, “Chantilly Lace”, “La Bamba”, “Shout” and others to warm the heart and get those toes tapping. Truly, something for everyone.

For any musician, having their music kept alive and loved must be their greatest wish and the greatest gift one could receive – and the audience reaction certainly attests to that being the case here. Everyone was up on their feet, clapping, cheering, whooping and hollering. I, for one, left the auditorium feeling elated and wanting to hear Buddy’s music again – a fitting epitaph and conclusion to a stunning evening of Rock n Roll gold via the finest musical theatre.

Did this new production live up to my high expectations? Oh boy, did it ever! My opinion remains that this show is the finest musical I’ve ever seen. Totally unmissable and I recommend this show unreservedly. In fact, I’d give this 6 stars if they were available!

SOHO THEATRE – UNTIL 13th SEPTEMBER 2025

Reviewed by Jackie Thornton

4****

Fresh from a successful Edinburgh run, Lorna Rose Treen’s brand of exuberant, zany character comedy makes its way to the Soho Theatre. Here she teams up again with director Jonathan Oldfield, who directed her multi-award winning show Skin Pigeon, to write and perform a fun-filled and imaginative hour of character sketches loosely held together by the American Blue Tit diner setting. And if you’re expecting a passive ride then you’ll be sorely disappointed as Lorna taps into the audience for cameos and good old fashioned crowd participation. Leave your inhibitions at the door.

The archetypal 1950s style diner pings with brash pinks and greens tying in seamlessly with “always the waiter, never the wait” Lorna in her cute waitress uniform, made by her sister Jennie, and even managing to include inflatable boobs which two gallant audience members attempt to inflate.

As well as the waitress, she brilliantly inhabits a grotesque and horny teenage girl, an undercover spy and a curiously limbed truck driver. Her skill is in drawing on stereotypes and contorting them into wackier versions of familiar tropes. Lorna’s multi-layered and distinctive sense of humour flips from puns to farce to satire to outrageous visual gags in the blink of an eye. There’s also a wonderful self-awareness as she regularly breaks the fourth wall, allowing us into the messy, haphazard construction of the show. It’s here that the true magic can be found.

This is a show that sets out to entertain and is armed with a million tricks up its sleeve to ensure there’s a joke for everyone.

Emerald Theatre, London – until 7 September 2025

Reviewed by Janny Addley

5*****

When first entering the Theatre, it was just like walking into a 1920’s/30’s Art Deco time, seeing the hat check girls waiting for the customers to place their coats and belongings over their counter before entering the seating areas. Once in there, the place was SO where the High Society would go to see a Cabaret Show. The seating of table and chairs around the stage, and also sofas with tables which also captures an essence of its era.

To say, if Riverdance and Tap Dogs had a baby, and then Stomp and Coyote Ugly had a baby, and their kids had a baby then that’s Emerald Storm!

It is an electrifying world of music, dance and untamed spirit. From the moment you enter, you are not just watching the story unfold, you are living it. The air hums with the scent of Whiskey and the thrum of anticipation, drawing you deep into a realm where anything can happen. Suddenly before the storm begins you are in the spirit of Ireland with the uplifting sounds of a Celtic Band ‘Fiddlin’ About’ playing well know Irish music and songs with toe-tapping Jigs, Reels and Soulful melodies, who have Jay Bishop a Cajonist joining them. This gets the audience clapping and singing to their music.

Suddenly, The Boss (Tom Ball) comes on and welcomes you to a wonderful evening of singing some of the lovely Irish songs with his wonderful voice, one song being Fields of Athnery. Suddenly out comes (Olivia Graydon (lead dancer)), what a brilliant dancer she is, her footwork and high kicking was superb, just hypnotic! She is then joined by the other dancers (James Wakeling, James Worthington, Lizzie Pitt and Olivia Leanne Grainge) setting off the wonderful Irish Dancing at the heart of the experience is a spellbinding fusion of tradition and rebellion.

These Dancers surround you on stage, beside the bar, even weaving through the crowd as traditional Irish Dance is reborn through fierce modern beats and raw, pulsing energy. You don’t just witness the performance, you can feel it beneath your feet. Whilst the dancing is going on, there are also the lovely singers (Anja Wyatt, Alannah McCarthy Mahaer, Caitlin O’Donnell, Charlie Archer, Emily Celine, Erkika Van Halm, Poppy Parker and Sophie Bushell) going around singing the songs.

When the dancing finishes and they go off, on comes the Mop Boy (Adam Brant) who starts cleaning the floor, listening to music with his headphones on. This being a bit loud then brings on the Assistant Weekend Manager (Robbie Browning), who tells him to get on with his work, so the Mop Boy carries on cleaning the floor listening to his music, just wishing that he could be part of the dancing and dancers.

Suddenly, the doors burst open. A crew of Urban Tap Dancers storm the scene with a cool look and move about them! Their presence is undeniable, their rhythm infectious. A friendly rivalry ignites around you. The performers draw you in with each stomp, clap and slide. Blurring the boundaries between audience and artist. The dancing is SO intense between them. The modern tap dancing is absolutely energising and uplifting. Dancing to the music, of which also, had a hip-hop vibe to it. Out comes the Tap Dancers (Brooklyn Barber, Florence Georgia and Sophie Parris) tapping and pounding to the beat with all the moves. Then comes the Leader of the Pack (Bayley Graham). Wow, what a tap dancer, absolutely phenomenal! His footwork is out of this world, quick and crisp on a par to a young Ann Miller.

As the night crescendos, a transformation takes hold. The duelling styles begin to intertwine, creating a powerful new rhythm – part Irish and part Urban, which also brings in the Swing Dancers (Catherine Jeffrey, Gracie Adams and Lexie Finch) bringing in the Latin feel of an Argentine Tango. As the time draws on the dancers go their different ways. The Mop Boy comes on with his Mop and starts to do some dance moves, wishing he could dance like the others. On comes the Leader of the Urban Crew and joins him, showing what he could achieve with time and patience, ending up with him joining the other dancers closing the evening of a wonderful show, which felt you were all a part of it!

Manchester Opera House, Manchester – Sunday 21 September until 12 October 2025

Reviewed by Kirsty Thomson

5*****

I had the pleasure to attend a rehearsal event for the new 13 Going on 30 musical, and let me tell you, it blew me away. From the moment the cast started singing, I was hooked.

This new adaptation of the 2004 movie is directed by Andy Fickman who also directed Heathers The Musical. The musical adds new life to the comedy film which follows Jenna’s unforgettable journey from being an awkward teen to being a “30, flirty, and thriving” editor for a magazine, where she learns that being 30 has its own challenges and what is truly important in life at 30, wasn’t what she believed it to be at 13. The incredible Lucie Jones will be playing Jenna Rink, previously played by Jennifer Garner in the movie. In the rehearsal her extraordinary vocals shone through with an incredible vulnerability, and I believe she has been cast perfectly into this role. David Hunter will be playing Matt Flamhaff, played by Mark Ruffalo in the film, and from one musical number alone it was clear to see the character development and the chemistry built between himself and Lucie. The whole cast had such a vibrant energy, and you could really feel the enthusiasm radiating from them, sweeping you up with the excitement!

The choreographer, Jennifer Weber, who also choreographed the musical ‘& Juliet’ is an excellent choice for this show. From the numbers I witnessed in the rehearsal event, she has really brought her storytelling style of movement to the stage with so much energy and drama. I thought the choreography in the finale song ‘Living In The Here And Now’ particularly stood out with the 13 year old Jenna and Matt mirroring the moves of 30 year old Jenna and Matt to demonstrate the connection of the characters remaining unchanged across the years. The combination of the diverse age groups of the cast members on stage created a profoundly powerful dynamic which demonstrated the passing of time in a way that the film simply couldn’t capture.

It was fantastic to see so much new life breathed into an old classic, with witty humour, explosive choreography and fantastic vocals. This new musical is set to be a crowd pleaser, and I am certainly excited to see the full show. Whether you want to relive the nostalgia of this story or just want a feel-good musical that will have you laughing and reminiscing, grab your Razzles and get booking, this isn’t one to be missed

Darlington Hippodrome – until Saturday 13th September

Reviewed by Adam Craddock

5*****

I was delighted to be invited along to review the third UK tour of the stage adaption of Stephen King’s “The Shawshank Redemption”, starring TV’s Joe McFadden as the iconic Andy Dufresne. Rather than being based off the legendary film this stage adaptation is based on the original short story from 1982 so there may be some subtle differences if you were expecting to see a like for like copy of the film, but believe me it more than lives up to the legacy set out by Morgan Freeman and co.

Joe McFadden shines as Andy Dufresne, with a very likeable and natural performance. My partner in particular picked up on his portrayal of Dufresne as being on the Autistic Spectrum and said that this was portrayed very naturally indeed. Ben Onkunkwe was brilliant as Ellis “Red”Redding. Onkunkwe was very charming and warm as the iconic character, with some very obvious nods towards Morgan Freeman’s portrayal through his character work, but having enough of his own spin as to not feel like a carbon copy. His command of the audience and comedic timing were perfect. Bravo!

Bill Ward was strong as Warden Stammas, being deliciously seedy and corrupt, but with enough of a charm so as to make you understand how he has managed to keep up his facade. Kenneth Jay was fabulous as Brooksie, with his later scenes being particularly tragic and moving. His last scene in the Shank had myself and my partner on the edge of our seats and this was in no small part down to Jay’s performance. Graham Elwell and Jeffrey Harmer were both strong as Hadley and Entwistle respectively, being brilliantly awful as the corrupt prison guards with a sadistic sense of authority. Sean Kingsley was very good as Bogs Diamond, as was Ashley D Gayle as Rooster. Both had a brilliant screw loose energy but in different ways, with Gayle being completely off his rocker pinging around the stage with his piercing laugh and Kingsley being much more stoic and cold. The scene where Dufresne was assaulted by both in Act 1 was carried out to perfection and really set the tone!

The set design for the production was absolutely perfect, with a cold and clinical feel to the facility and the use of flights to change the scene was very effective. The lighting was spot on, adding a slight feeling of a sepia tone as if you were watching an old film. The sound and costume design were both also absolutely perfect, with the music used in the scene transitions fitting like a glove to the show, you can not have an old school prison drama without a bit of Johnny Cash!

Overall I would recommend seeing this production in the highest regard! As someone who had only seen clips of the film this has me desperate to drive home and stick the DVD on to see what is the same and what is different. The story alone sells the show but combine that with the masterful performances on display and this is a show that cannot be missed.

Little Theatre Leicester – until 13th September 2025

Reviewed by Amarjeet Singh

2**

The Best Exotic Marigold Hotel is based on Deborah Moggach’s best-selling novel, ‘These Foolish Things’, which went on to inspire the 2011 hit film. The story centers around seven elderly British retirees who leave their old lives behind to move to India for a better life. They all have a different story which is slowly revealed, enabling us to understand their journey. In India we find the hotel is not quite as its being marketed. More dilapidated than deluxe, it’s run by a recently bereaved mother and her haphazard son. The idea of the family home being saved by transforming it into a hotel is a counter to an arranged marriage for money. Every resident and guest are invested in its success for the sake of their future.

Let’s start with the positives. A major commendation must be given to scenic design by Phil Newman for the elaborate, impressive and highly realistic stage setting of the Marigold Hotel. It is intricate, multi-level, with clever details such as a wobbly sign which often needed straightening and a periodically crumbling ceiling which would drop rubble unexpectedly. You fully believe that you are in sunny southern India.

This rendition, by director Lynn Moore is puzzling. Citing Leicester’s diversity and a desire to widen its theaters appeal to mixed heritage communities, the inaccuracies in some of the cultural references and reinforcements to tired tropes is disappointing. This could have been an opportunity to revamp the tired, outdated and in some places, offensive text, but is instead just a series of staccato stereotypes. Why would the call center need newspapers to learn about Britishness? Why would the Islamic call to prayer be played regularly in the predominantly Hindu city of Bengaluru? There were other concerns. Had diversity not solely been on the stage but been an integral part of production it would have lifted and enhanced the show, making it a true piece of cultural co-creation.

In a play which relies heavily on exposition, telling me rather than showing me, characterisation and the building of relationships is everything. We hear a lot about people going to temples, exploring, and having street food. We hear about what happened to the older people and their lives back home, but we don’t see it. The connections between the characters during these retellings are crucial. Unfortunately, these connections don’t feel authentic or offer warmth. Madge (Helen Gronhaug) is haughty and cold, her quips are snide and fall flat. Douglas’ (Richard Hill) speedy hop from one lady to another when things become difficult is weird. Evelyn’s development from shy mouse to empowered woman is hard to ascertain as her mannerisms don’t change. With a quick Clark Kent disappearing of glasses we are led to believe she has gained confidence. Dorothy, (Katy Weaver) seems very sprightly for a lady as old as the doddery servant. Her scenes with Jimmy (Raj Brahmbhatt) are quite disjointed. Jimmy was great as the Indian servant. The relationship between Muriel (Trish Kenyon) and Tikal (Yasin Mohammed) is baffling. Described as an ‘untouchable’ he is crammed on to the small veranda with her during their scenes together, with no fear of touching or mixing. There is zero connection between the two, even during moments which felt essential to Muriel’s development, it comes across as joke like. Yasin Mohammed also plays Mohan a Call center worker; there was no differentiation between the two characters. Tejal Purohit as the second call center worker is a delight. Norman (Carolos Dandolo) is a lecherous, bigot whose jokes are offensive and offer some awkward humour. Muriel also holds some bigoted views. The play touches on challenging topics such as the differences in cultures, food, the Hindu caste system, and the legacy of colonialism. Muriel finds some reparation through her relationship with Tikal. Norman’s racist, homophobic and perverted views are left in the ether. Again, had there been some amendments to the text, it would have enabled the piece to make more sense and the characters less one dimensional. Nisha Vegad as Sahani and Bhav Bhella were a lovely Sonny and Sahani, but their relationship was secondary to the other characters and again was cartoonish, with zero depth. Nikhil Raja as Mr Gupta and Sadhu plays his roles well, with very individual styles.

Rachel Draper as Jean and Ketna Butrón as Mrs Kapoor are sensational. Draper conveys the vitriol of a woman scorned well. It would have been easy to give Jean one dimension, but for a moment we get a glimpse of how difficult it must be for her to be in the relationship. Her nuanced performance made the production palpable. Butrón is an utter delight, navigating every emotion of her character with aplomb. She fully embraces what this woman must have felt with every experience she has been through, not once giving into histrionics. Her subtle strength is a joy to behold.

Ultimately, every member of the cast did the best they could with what they were given. There are some questionable production choices, but the biggest question is why someone would want to put on this production in its original format.

In this adaptation relationships are not believable. It tries to pack too much plot into an oddly structured play which results in a shallow and unsatisfying piece of drama.

(ALMOST) FULL COMPANY ANNOUNCED FOR

THE WORLD PREMIERE OF

PADDINGTON THE MUSICAL

OPENING IN THE WEST END THIS AUTUMN

With rehearsals underway for the world premiere of PADDINGTON The Musical, producers Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK today announce the full company (well, full, ish…).

Joining the previously announced Timi Akinyosade (Tony), Amy Booth-Steel (Lady Sloane), Tarinn Callender (Grant), Delilah Bennett-Cardy (Judy Brown), Adrian Der Gregorian (Mr. Brown), Tom Edden (Mr Curry), Brenda Edwards (Tanya), Amy Ellen Richardson (Mrs. Brown), Victoria Hamilton-Barritt (Millicent Clyde),  Teddy Kempner (Mr Gruber), Bonnie Langford (Mrs Bird), and in the role of Jonathan Brown Joseph Bramley, Leo Collon, Stevie Hare and Jasper Rowse, are new cast members Esme Bacalla-Hayes, Tiago Dhondt Bamberger, David Birch, Aimée Fisher, Jacqueline Hughes, Kellianna Jay, Sam Lathwood, Natasha Leaver, Katie Lee, Sunny Lee, Vicki Lee Taylor, Jáiden Lodge, Andilé Mabhena, Rose Mary O’Reilly, Ben Redfern, Hugo Rolland and Simon Shorten.

Adapted from the much-loved books written by Michael Bond, and the award-winning films by STUDIOCANAL, with music and lyrics by Tom Fletcher, book by Jessica Swale and direction by Luke Sheppard, PADDINGTON The Musical opens at the Savoy Theatre on Sunday, 30 November, with previews from Saturday, 1 November, and is currently booking until 25 May 2026.

Casting for Paddington, together with the Bear Designer and Bear Creative team, will be revealed on the first preview, alongside the wider team responsible for bringing this very special bear to life on stage.

Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK present

PADDINGTON THE MUSICAL

MUSIC AND LYRICS BY TOM FLETCHER BOOK BY JESSICA SWALE

DIRECTED BY LUKE SHEPPARD

Based on A Bear Called Paddington written by Michael Bond and the film ‘PADDINGTON’, by special arrangement with STUDIOCANAL

Matt Brind (Musical Supervisor, Orchestrations and Arrangements), Ellen Kane (Choreographer), Tom Pye (Scenic Designer), Gabriella Slade (Costume Designer), Paddington Bear Designer: To be revealed, Neil Austin (Lighting Designer), Gareth Owen (Sound Designer), Ash J Woodward (Video Designer and Animation), Campbell Young Associates (Hair, Wig & Make-Up Designer), Majid Adin (Illustration and additional Animation), Laura Bangay (Musical Director), Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting (Casting Director), and Nick Hockaday (Young Persons’ Casting Director), Javier Marzan (Physical Comedy Consultant, Tobago and D-Lime (Additional Music Consultants)

A rather wonderful adventure is about to begin…

Hold on to your hats for the world premiere of PADDINGTON The Musical in London’s West End.

When a small, lost bear from Peru arrives in London in search of a new home, a chance encounter with the Brown family leads him to the wonderful world of Windsor Gardens.

But London isn’t all afternoon teas and friendly faces – and even the happiest families have their cracks beneath the surface. So when a mysterious and vengeful villain sets her sights on Paddington, the Browns embark on a thrilling rescue mission, realising they need this special bear as much as he needs them.

Packed with show-stopping songs, dazzling choreography, mischief and mayhem at every turn – and of course, marmalade sandwiches – PADDINGTON The Musical is based on the iconic characters from Michael Bond’s books, with a story inspired by the award-winning 2014 film.

Michael Bond’s A Bear Called Paddington was published in 1958 by Collins, later Harper Collins – the first of 29 Paddington books he was to write, with the final one Paddington at St. Paul’s, published posthumously in 2018. The books have sold over 35 million copies worldwide.

Paddington has been adapted for television several times – first by the BBC in 1976; and most recently adapted by STUDIOCANAL who have produced three Emmy Award-winning series of The Adventures of Paddington. Paddington has also enjoyed three successful big-screen outings, all produced and developed by STUDIOCANAL – Paddington released in 2014, Paddington 2 in 2017, and Paddington in Peru in 2024, enjoying critical and commercial acclaim becoming the biggest independent family franchise of all time.

Instagram, Facebook and TikTok: paddingtonthemusical

Listings 

 Paddington The Musical

SAVOY THEATRE

Savoy Court, Strand, London WC2R 0ET

Box Office: 0844 871 7687 / www.paddingtonthemusical.com

Previews from £15

Post Opening Performance from £25

PREVIEW SCHEDULE:

Saturday            1 Nov                 7pm     

Monday            3 Nov                 7pm     

Tuesday             4 Nov                 7pm     

Thursday           6 Nov                 7pm     

Friday                 7 Nov                 7pm     

Saturday            8 Nov                 7pm     

Monday            10 Nov               7pm     

Tuesday             11 Nov               7pm     

Thursday           13 Nov               7pm     

Friday                 14 Nov               7pm     

Saturday            15 Nov               7pm     

Monday            17 Nov               7pm     

Tuesday             18 Nov               7pm     

Thursday           20 Nov               7pm     

Friday                 21 Nov                             7pm     

Saturday            22 Nov               2pm & 7pm

Monday             24 Nov               7pm

Wednesday      26 Nov               7pm     

Thursday           27 Nov               7pm     

Friday                 28 Nov               7pm     

Saturday            29 Nov               2pm & 7pm     

Sunday              30 Nov               5pm – OPENING PERFORMANCE

REGULAR PERFORMANCE SCHEDULE:

Monday            7pm

Wednesday      7pm

Thursday           2pm & 7pm

Friday                 7pm

Saturday            2pm & 7pm

Sunday              2pm

Please check the website for the Christmas/New Year schedule.

Recommended for ages 6+

CAMERON MACKINTOSH

ANNOUNCES THAT

LES MISÉRABLES

THE PHANTOM OF THE OPERA

HAMILTON

OLIVER!

EXTEND THEIR WEST END BOOKINGS

UNTIL OCTOBER 2026

Cameron Mackintosh is delighted to announce that LES MISÉRABLES, THE PHANTOM OF THE OPERA, HAMILTON & OLIVER! will all extend booking until October 2026.

Cameron Mackintosh said:
“These four great classic musicals have all enjoyed a record-breaking year at the box-office so we are delighted to announce that the public can now make plans to book tickets right through till October 2026 – London is the only place in the UK you will be able to see these unforgettable shows next year.”

Boublil and Schönberg’s LES MISÉRABLES at the Sondheim Theatre will extend its booking from Monday 30 March until Saturday 3 October 2026. The extension will go on sale today, Monday 8 September, from 11:00am.

Andrew Lloyd Webber’s THE PHANTOM OF THE OPERA at His Majesty’s Theatre will extend its booking from Monday 30 March until Saturday 3 October 2026. The extension will go on sale on Monday 22 September from 11:00am.

Lin-Manuel Miranda’s HAMILTON at the Victoria Palace Theatre will extend its booking from Monday 30 March 2026 to Saturday 3 October 2026. The extension will go on sale on Monday 15 September from 11:00am.

Lionel Bart’s OLIVER! at the Gielgud Theatre will extend its booking from Tuesday 31 March to Sunday 4 October 2026. The extension will go on sale on Monday 22 September from 11:00am.

SIX THE MUSICAL

AFTERNOON TEA FIT FOR A QUEEN
AT THE SOHO HOTEL
 IN HONOUR OF SIX THE MUSICAL

The award-winning global smash hit SIX has teamed up with The Soho Hotel to unveil a regal new SIX the Musical Afternoon Tea experience, inspired by the six Queens and the musical that continues to reign over the West End.

Until the end of the year, Refuel at The Soho Hotel will serve a limited-edition Afternoon Tea menu daily, 12pm – 4:45pm. Created in collaboration with the hit West End show celebrating the six wives of Henry VIII, the hotel’s pastry chefs have devised a royal selection fit for a Queen.

The crowning glory of the Afternoon Tea is a line-up of six pastries, each inspired by one of the Queens: Aragon’s Crown of Honour; Boleyn’s Strawberry Biscuit; Seymour’s Heart of Stone Blueberry Choux; Black Forest Cake of Cleves; Howard’s All You Want is Rice Pudding; and Parr’s Tudor Rose and Lemon Curd Macaron.

Bookings for the SIX the Musical Afternoon Tea are available from £45 per person. To view the menu and book, click here.

Alessandro Paoloni, Head Pastry Chef at The Soho Hotel, said, “This Afternoon Tea is our homage to the fabulous Queens of SIX! Watching the Musical, gave me the chance to really understand their stories. I have tried to distil the essence of each Queen into a pastry and I hope that guests enjoy our tribute. 

A spokesperson for SIX said, “Following Afternoon Tea, it’s time for the main event! Still one of the West End’s most popular shows, SIX remixes five hundred years of heartbreak into an electrifying 80-minute pop concert, where the Queens take centre stage and reclaim their crowns.”

The Queens currently reigning over the West End are: Jaz Robinson (SIX – Royal Alexandra Theatre, Toronto) as ‘Catherine of Aragon’, Thao Therese Nguyen (SIX – West End) as ‘Anne Boleyn’, Hana Stewart (SIX – West End and Broadway) as ‘Jane Seymour’, Dionne Ward-Anderson (SIX – West End) as ‘Anna of Cleves’,  Caitlyn De Kuyper (SIX – Norwegian Cruise Line) as ‘Katherine Howard’, and Amelia Kinu Muus (Kiss Me Kate – Barbican) as ‘Catherine Parr’. They are joined by Alternates Leonor Correia (professional debut) as ‘Jane Seymour/Katherine Howard’, Odelia Dizel-Cubuca (Harry Potter and the Cursed Child – West End) as ‘Anne Boleyn/Catherine Parr’, and Honey Joseph (Hamilton – UK Tour) as ‘Catherine of Aragon/Anna of Cleves’, alongside Super Swings Laura Baxter (professional and West End debut), Meg Dixon-Brasil (SIX – West End) and Shakira Simpson (SIX – UK Tour).

From 4 to 9 November 2025, SIX will welcome cast members from its smash-hit Japan production to the West End for a special one-week run. Across eight performances, the show will be performed entirely in Japanese (with English subtitles provided) for the first time in the UK.

The band features Ladies in Waiting Beth Jerem as Musical Director/Keys, Alice Angliss on Drums, Emma Jemima on Guitar, Kelly Morris on Bass, and Sinéad Rodger as Assistant Musical Director. 

SIX is written by Toby Marlow and Lucy Moss, with direction by Lucy Moss and Jamie Armitage. Choreography is by Carrie-Anne Ingrouille, with set design by Emma Bailey, costume design by Gabriella Slade, lighting design by Tim Deiling, sound design by Paul Gatehouse, musical orchestration by Tom Curran, and musical supervision by Joe Beighton, and casting by Pearson Casting.

SIX is produced by Kenny Wax, Wendy & Andy Barnes and George Stiles.

Winner of over 35 international awards, including two 2022 Tony Awards, three WhatsOnStage awards, and nominated for five Oliviers, SIX can also be seen live on stage worldwide: as well as London’s West End, SIX continues to tour the UK (with new 2025 dates just announced), and throughout Europe. An Australian tour launched in August 2024, whilst international dates in Manila and in Singapore have recently been completed. 

SIX is currently playing at Broadway’s Lena Horne Theatre, the tour continues to play cities throughout the US. Earlier this year, the show both achieved 1.5million followers globally – across YouTube, Instagram, X, TikTok and Facebook in the UK, US, Australia, Korea and beyond – and hit another milestone achievement, with SIX the Musical (UK Studio Cast Recording) and the Grammy Award®-nominated SIX: LIVE ON OPENING NIGHT (the first Original Broadway Cast Recording ever recorded live on opening night) songs having been streamed in excess of one billion times.

Tickets to all international productions of SIX are available via sixthemusical.com

TO US, THEY ARE PERFECT…

AND BY THEY WE MEAN THE CAST OF

RUNNING AT THE OTHER PALACE STUDIO
FROM 21 NOVEMBER 2025 – 4 JANUARY 2026

The mistletoe is hung, the cue cards are ready, and the lobster costumes have been dry-cleaned. This festive season, Lovers Actually is on the arrivals board at The Other Palace Studio with a cast so good, it’ll make you dance like Hugh Grant in Downing Street.

Starring four actors, taking on more roles than there are storylines in a certain film with a very similar name(!). Joseph Beach will play Liam Neeson/John/Billy Mack/Others – expect emotional monologues, questionable parenting, and at least one glittery jumpsuit, Ross Clifton as Prime Minister/Harry/Jamie/Others – who will be charming his way through Number 10, cheating on Emma Thompson (how dare he), and learning Portuguese, Martha Pothen as Natalie/Judy/Peter/Others – bringing the digestive biscuits, raunchy film shoots and with inflation, needing to give the carol singers more than a pound to get rid of them and Holly Sumpton as Juliet/Karen/Aurelia/Trump/Others – from awkward wedding videos to heartbreaking Joni Mitchell scenes to flinging herself into a possibly leech filled lake — and yes, she also plays Trump. Don’t ask. Just come!

All I want for Christmas is… filthy fun, fabulous festivities, and enough naughty cheer to make Santa blush! This Christmas, The Other Palace is serving up everything you could actually want – and then some, with this cheeky musical parody of Love Actually!

Will the Prime Minister finally get his Christmas wish? Will Mark steal his best friend’s new wife? Will we give the nation’s most beloved Christmas film a cheeky, festive kick in the mistletoe?! You’re damn right we will!

Get ready for another hilarious and downright dirty Christmas adventure. From Downing Street to The Other Palace, this naughty musical parody will remind you that, deep down, we’re all just Lovers Actually.

Last year’s hit parody Christmas offering, Homo Alone, became The Other Palace Studio’s best-selling show in the venue’s history, and so Jodie Prenger (Coronation Street, I’d Do Anything) is back for a third time along with Neil Hurst (Fat Friends The Musical, Casualty) with a new festive extravaganza, Lovers Actually.

Lovers Actually is written by Jodie Prenger and Neil Hurst, directed by Alex Jackson, and produced by The Other Palace. Choreography by Kim Healey, set and costume design by Louie Whitemore, lighting design by Sherry Coenen, sound design by Hannah Bracegirdle, musical direction by Lauren Hopkinson.

All you need is love at Christmas! Wait! ‘Actually’ all you need is the hit musical parody….’Lovers Actually’.