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Leeds Playhouse – until 1 March 2025

Reviewed by Gretel Price

5*****

The House Party spins Strindberg’s classic play Miss Julie into an intense but enthusiastic portrayal of young adult life for today’s generation. Beautifully written by the wonderful Laura Loman and directed by the fantastic Holly Race Roughan, it stars three incredible performers: Synnove Karlsen (as Julie), Sesley Hope (as Christine) and Tom Lewis (as Jon) in which all actors played their characters immaculately as believable teenagers. The House Party managed to capture a realistic portrayal of modern life, despite originally being an older play from 1888, showcasing not only the perks of pop culture but delving into deeper themes such as the psychological trauma, class, sexuality and social expectations of young adult life.

The cast thrived in capturing the chaotic energy of youth, with the central trio delivering compelling and believable performances. Synnove Karlsen presented an outstanding portrayal of the complicated but charming protagonist ‘Julie’, who was both pitied and disliked through the play. From her typically teenage style of ‘tights and t-shirts’ (designed by Maybelle Laye) to her youthful demeanour, Synnove was an obvious pick for the role, capturing the essence of a troubled teenage girl. Likewise, both Sesley Hope (Christine) and Tom Lewis (Jon) accurately exhibited a lovable teenage romance, which unfortunately unfolds before our eyes into a toxic betrayal. Sesley, successfully builds up Christine’s loyal nature and obvious compassion for others (especially Julie), allowing her to be easily sympathised in moments of distress. All while Lewis does the opposite and reveals Jon’s true character – an internally conflicted adolescent– demonstrated visibly in his body language towards either Christine or Julie and ultimately ruining his relationship with both characters from his ignorance and duplicity. Although as an audience, we can understand their actions as young adults trying to survive in a modern world.

Frantic Assembly’s direction to create visually impressive movement sequences brought the idea of a vibrant and chaotic party to life. The sudden innovative movements of the ensemble (from the works of movement director Scott Graham) forced the audience to feel both overwhelmed and excited with the thrilling dynamism and life brought to the stage. We were also forced to feel confined within the house – like the characters on stage – trapped with their individual struggles. Within these scenes, the audience were captivated throughout, in awe of the motion before our eyes, accompanied by energetic and upbeat music and the vibrant lights – courtesy of the excellent sound designer Giles Thomas and exceptional lighting designer Joseph Hornsby.

However, the true standout of the evening was the way these same techniques were used to create the harrowing imagery of Julie’s attempted suicide alongside young Christine’s final dance during the song ‘when the party’s over’ by Billie Eilish, creating a solemn and poignant conclusion to a series of ill-fated events. The use of staging by remarkable set designer Loren Elstein successfully conveyed intense emotion when we saw the dreams played out on screen, almost as if we could see inside the character’s heads.

Despite being aimed towards teenagers the play also makes itself accessible to a wider audience by incorporating different and darker themes into the narrative such as Christine and Julie’s strained relationship with their mothers. As a young adult myself, I found the play to be relatable depiction of teenage relationships, representing prevalent themes within modern life on an exaggerated scale. I would highly recommend The House Party as it was an enjoyable, unique and modernised execution of Miss Julie, which I believe to be more engaging and fitting for today.

Theatre Royal, Nottingham – until 1st March 2025

Reviewed by Chris Jarvis

4****

This play is a hilarious insight into the relationship between the 3 main actors in the Blockbuster cinematic phenomenon – Jaws!

It was the brainchild of Ian Shaw – son of the late Robert Shaw one of the leading actors in Jaws the movie released in the summer of 1975 directed by the young inexperienced Steven Spielberg. While most people remember the terror created by this film, most have little knowledge of what went on behind the scenes.

It was filmed out in the Atlantic Ocean where weather conditions couldn’t be controlled and other ships frequently passed in the background, both resulting in delays in shooting as modern methods of ‘airbrushing’ weren’t available in the 70’s. The 25ft mechanical sharks designed in a freshwater tank, performed less well in salt water and kept breaking down resulting in further delays.

Jaws immortalised its actors and creator, but almost ended Steven Spielberg’s career before it had really begun! It was months over schedule and the cost spiralled from 4 to 14 million dollars.

The Shark is Broken as well as being the title of this play, became a daily reason for filming to be delayed while the 3 leading actors waited on a small fishing boat out in the Atlantic for filming to start. The brilliant set designed by Duncan Henderson of the boat in cross section, allows the audience to experience the interplay between these 3 very different characters on stage, as though we were there.

Robert Shaw played the shark hunter Captain Quint, hired by the town to restore tourist confidence in their beach following the rogue shark attacks. He is played by his son Ian and the likeness between him and his father is uncanny, even down to his voice.

Roy Scheider who played Chief Brody, the local Chief of Police on Amity Island under pressure from the mayor and residents to get rid of the shark. He is played by Dan Fredenburgh.

Richard Dreyfuss who played Matt Hooper, the marine biologist. He is played by Ashley Margolis.

The Shark is Broken shares with the audience the relationship between the actual actors and not the characters they were playing in Jaws – though it’s sometimes difficult to separate the actor from their character. The experienced British actor Robert Shaw who was a heavy drinker and often drunk, gave the less experienced and, in Shaw’s mind, arrogant Richard Dreyfuss a really hard time. He continually goaded him to “mind his mannerisms” when filming, impacting his confidence. The more philosophical ‘live and let live’, Roy Scheider acted as go-between trying to keep the peace, even standing between them to break up fights.

Their differences in opinion were amplified by hour after hour on the boat with nothing to occupy them other than daily newspapers to keep up with current world events – many of which served to highlight their differences leading to further arguments with much humour for the audience and very clever links to current events.

While reading the newspaper coverage of US President Nixon and the Watergate Affair Roy Scheider commented that “there will never be a more immoral president than Nixon” – the audience of 2025 erupted in laughter!

They played every card game imaginable creating further competition between them. A simple game of Shove Ha’penny suggested by Robert Shaw and unheard of by the 2 Americans, amplified the tension and disdain when Richard Dreyfuss won on the last shove.

Ian Shaw, Dan Fredenburgh and Ashley Margolis were all brilliant in their roles and all bore resemblance to the original actors in Jaws, making them more believable. Many of the incidents in this play are based on real accounts of events and relationships at the time of production of Jaws and are portrayed in an enjoyable and often ‘laugh out loud’ comedy that kept the audience entertained.

A laugh out loud moment for the audience towards the end when they were discussing what the movie was actually about came with Robert Shaw‘s epic derogatory response “Do you really think they’re going to be talking about this in 50 years?” Sadly, Robert Shaw didn’t live to see the longevity of the film, but it stands as testament to the pain endured in the making of it and the foundation now of a must see play in reminiscence, which is at times both painful and laugh out loud.

Stephanie Okoye joins cast of The Psychiatrist world premiere

Stephanie Okoye joins the cast of The Psychiatrist, a play by psychiatrist and physician Julian Bird based on his experience in practice. The play receives its world premiere at The White Bear Theatre in Kennington from Tuesday 8 – Saturday 26 April 2025.

After working as a psychiatrist and physician for 40 years, Julian Bird started acting in his sixties. The Psychiatrist is based on real events and portrays a psychiatrist’s struggle with poor resources, whilst trying to achieve a better life for his patients. Troubling events and losses in the psychiatrist’s personal life lead him to seek help from a psychotherapist while he continues his work. In alternating scenes, he is shown as a patient and as a therapist. 

In The Psychiatrist, Bird plays Dr Andrew Faulkner – an ageing consultant psychiatrist who provides general psychiatry for his district. Stephaine Okoye plays both other roles – Alex Dickens, a distressed and disturbed woman in her twenties, and Dr Zarah Templeton, a middle-aged consultant psychiatrist who specialises in psycho-dynamic therapy.

Following his career in psychiatry, Julian Bird trained as an actor at The Royal Central School of Speech and Drama. His TV credits include East Enders and The Tudors for the BBC. He received critical acclaim for his role as Sigmund Freud in Freud’s Last Session at the King’s Head in 2022.

After training and working as a lawyer, Stephanie Okoye made the decision to pursue acting, drawn to the power of storytelling and human connection. Now making her stage debut, she hopes to bring depth and authenticity to the complex female characters she portrays. She said: “I am incredibly grateful to have the opportunity to be a part of this production which tackles such an important and relevant issue in today’s society. Julian is an extremely generous actor and I’m honoured to be a part of bringing his experiences to life.”

Julian Bird said: “Stephanie is hugely talented: she can switch roles in an instant and make both roles real and meaningful: it is a great pleasure to work with her.”

The Psychiatrist is directed by Kenneth Michaels, returning to the White Bear after directing The Dedication in October 2024, and produced by Alistair Brown. 

Noel Coward Theatre, St Martin’s Lane – until 22 March 2025

Reviewed by Phil Brown

5*****

The Last Laugh is described succinctly on the theatre’s web-site as straight from a sell-out run at Edinburgh Fringe Festival, a brand new laugh-a-minute play which reimagines the lives of three of Britain’s all-time greatest comedians – Tommy Cooper, Eric Morecambe and Bob Monkhouse.  “Guaranteed to be London’s best comedy night out…”  For once, the marketing department actually manages to undersell a dazzling show which, in a just world, should be a monster sell out hit. 

Beautifully written and directed by the award-winning Paul Hendy, it stars three extravagantly gifted performers – Damian Williams (as Cooper), Bob Golding (as Morecambe), and Simon Cartwright (as Monkhouse) – revelling in an affectionate homage to their comedy heroes, and capturing their respective characters to perfection.  The likenesses, particularly vocally, are simply uncanny, testament not only to the performers’ skill but to the whole production team (manager – Dan Kay).

Whilst, Cooper, Morecambe and Monkhouse were comedy gods and household names in their last century prime, this so much more than an action replay of their best gags.  It is inevitably nostalgia, but with depth and nuance, as well as triumph and tragedy in a brilliant, incisive and poignant reflection on their careers, quirks,  and heroes as well as the very tense and competitive business of comedy.  Without a topical reference in sight, it also proves that good comedy doesn’t age.  This show marries peak inspiration and peak execution with incredible teamwork to produce 80 minutes (no interval) of sheer magic. 

In contrast to a smart stage set at showtime, the action is set pre-show and takes place in a shabby dressing room presumably haunted, as signalled by flickering lights (set designer – Lee Newby), and curtain up reveals a large Tommy Cooper in his vest and pants wearing massive chicken feet.  That’s enough to kick start the fun which rarely lets up except for the occasional moments of personal sadness.  We are treated to a few minutes of Tommy solo before he is joined by Monkhouse for banter à deux.  When Morecambe arrives, (“oh sorry, I thought this was the comedian’s dressing room”), the sparks really fly.  

Whilst the gags are without exception hilarious, it is the razor-sharp and cleverly crafted script that weaves them together so smoothly along with the brilliantly timed interaction between the three, that make the play flow so naturally yet with real snap.  It truly is like eavesdropping on three “top dogs” shooting the breeze before required to do their thing on stage. 

The reflection on their own comedy influences and what makes them want to be comedians is instructive.  It provides an opportunity to reprise some such material (Tommy – “I didn’t realise you two couldn’t do impersonations”), reflect on what makes great comedy and discuss how tense being a comedian can be. 

Their divergent styles are highlighted.  Cooper comes across as more of a deadpan improviser who incorporates what works from show to show.  He constantly ribs Monkhouse about his over-analytical approach.  Monkhouse thinks true comedy gold is about the writing and authorship of jokes (and he has the joke books to prove it), but as Morecambe quoting W C Fields noted “the funniest joke has many fathers”.  Morecambe himself is more of a comic actor and relies on Eddie Braben’s writing. They seem to agree that you have to be ambitious, driven, egotistical, self-obsessed, and narcissistic to overcome the stress and fear of getting up on stage.

And, unlike many current comedians, these three greats were never about making a political or social point for audience approval.  They focused entirely on the serious business of getting a laugh.  The longer and louder the better.  

And in several decades of theatre going, I can’t remember laughing longer and louder and enjoying a show as much as The Last Laugh.  Rarely, have I seen an entertainment so perfectly conceived and beautifully realised on stage as this wonderful three hander at the charming grade 2 listed Noel Coward Theatre.  There is no question that writer and director Paul Hendy observes Max Miller’s three rules of successful comedy as pronounced by Monkhouse during the play  – energy (tick), clear & simple (tick), and “let the audience in” (tick).   

If laughter is indeed the best medicine, this show needs to be in everyone’s get-well plan.

THE GLOBAL STAGE PREMIERE OF

THE HUNGER GAMES: ON STAGE

Based on Suzanne Collins’ Acclaimed Book & Lionsgate’s

Blockbuster Film

TO OPEN AT THE BRAND NEW

TROUBADOUR CANARY WHARF THEATRE

IN OCTOBER 2025

Adapted by Olivier Award-winning playwright CONOR McPHERSON

Directed by MATTHEW DUNSTER

SIGN-UP FOR PRIORITY ACCESS TO TICKETS AT

www.thehungergamesonstage.com

GENERAL ON SALE THURSDAY 27 MARCH

The highly anticipated first-ever live stage adaptation of Suzanne Collins’ internationally acclaimed book ‘The Hunger Games’ and Lionsgate’s motion picture will begin performances on Monday 20 October 2025 at the Troubadour Canary Wharf Theatre, a brand new 1,200 seat venue situated right in the heart of London’s vibrant Canary Wharf. 

Heralded by the New York Times as the best playwright of his generation, the multi award-winning Conor McPherson has adapted the first book from Suzanne Collins’ epic series and the first film from Lionsgate’s iconic film franchise for this live theatrical production. The production will be helmed by renowned director Matthew Dunster (2:22 – A Ghost Story, Hangmen, The Pillowman), with a world-class creative team who will bring the show to breathtaking life.

The Hunger Games franchise encompasses four critically-acclaimed novels that have sold over 100 million copies worldwide and been translated into 52 languages as well as a blockbuster film franchise that has grossed more than $3.4 billion at the worldwide box office. Suzanne Collins’ latest Hunger Games novel, the eagerly-anticipated Sunrise on the Reaping, will be launched by Scholastic on March 18, 2025 and will be adapted into a major motion picture event to be released by Lionsgate on November 20, 2026.

Hunger Games creator and author Suzanne Collins said, “I’m thrilled that The Hunger Games is in the hands of gifted playwright Conor McPherson and accomplished director Matthew Dunster. Connor has done a fantastic adaptation, which is quite unique from the screenplay. And Matthew’s immersive, dynamic staging gives the audience a brand-new way to experience the story.”

Matthew Dunster said:“Conor McPherson lifts the detail and power from the book and film and has provided us with the kind of taut and dangerous play he is renowned for. He honours the young voice of Katniss Everdeen and puts her front and centre. We’ve been workshopping the play for over a year with our world class creative team; carefully honing our theatrical vocabulary because we want to bring audiences something as impactful and edgy as Suzanne Collins’ novel and as passionate and exciting as the movie. But we are going to do it in our own way – in the theatre. We want our Hunger Games to be uniquely, thrillingly theatrical.” 

Tickets for The Hunger Games: On Stage will go on-sale at 1pm GMT on Thursday, 27 March 2025. Sign-up for priority access to tickets at www.thehungergamesonstage.com and be among the first to receive announcements and updates.

Conor McPherson said: “As a dad to a teenager myself, it’s especially gratifying working on a story whose values of resilience and moral courage speak to young people in these uncertain times. Our singular focus is to honour Suzanne Collins’ achievement with a faithful adaptation that’s as thrilling on stage as it is on the page. It’s been a great pleasure to watch the theatrical language of this show evolving through explosive workshops under Matthew Dunster’s inspired partnership with choreographer Charlotte Broom and their tireless team of young performers.”

Jenefer Brown, EVP and Head of Global Products and Experiences at Lionsgate, said: “The Hunger Games is one of the best book to movie adaptations of all time, inspiring audiences to think deeply about the world around them and the strength of the human spirit. We are honored to bring its powerful story, characters and world to the stage in this latest exciting chapter.”

The state-of-the-art Troubadour Canary Wharf Theatre is purpose built to host the world premiere of the stage adaptation of The Hunger Games where spectators will feel like a part of the action in a dynamic in the round venue, developed with groundbreaking entertainment in mind.

Tristan Baker & Oliver Royds, joint CEOs and founders of Troubadour Theatres said: “Bringing The Hunger Games to the stage is an extraordinary moment, and we knew it demanded an equally extraordinary team and venue. This specially designed theatre is the perfect home for Panem, allowing our world class team to create a transportive, electrifying experience that fully captures the scale, intensity, and spectacle of Suzanne Collins’ world. Every element—from the staging to the technology—has been tailored to transport audiences right into the heart of the Games like never before.”

Introducing the Creative Team

Conor McPherson is amongst the world’s most revered playwrights. His plays include Girl from the North Country with Bob Dylan, (Old Vic, West End & Broadway), The Weir (Royal Court, West End & Broadway), The Seafarer (National Theatre & Broadway), Shining City (Royal Court & Broadway), The Night Alive (Donmar & Off Broadway), Port Authority (West End & Off Broadway), St Nicholas (Bush theatre & Off Broadway), and This Lime Tree Bower (Bush Theatre & Off Broadway). His West End adaptation of Anton Chekhov’s Uncle Vanya for Sonia Friedman Productions was filmed for the BBC and broadcast by PBS in the United States. Awards and nominations for McPherson’s work include the Laurence Olivier Award, Evening Standard Award, London Critics’ Circle Award, New York Drama Critics’ Circle Award, New York Outer Critics Circle Award, George Devine Award, five Tony Award® nominations, four Irish Film and Television Academy Best Screenplay Awards and the South Bank Show Sky Arts Theatre Award.

Matthew Dunster is a theatre and film director and writer. He has directed or written over sixty shows, often with major national companies (including RSC, NT, Royal Court, Young Vic, Royal Exchange, Shakespeare’s Globe, The Bridge), as well as directing in the West End, on Broadway and internationally.  He has been the Associate Director of The Young Vic and Shakespeare’s Globe. Dunster has been nominated for three Olivier Awards, and his Broadway production of Hangmen was nominated for five Tony Awards®. His recent work includes Martin McDonagh’s The Pillowman in the West End and the phenomenally successful 2:22 – A Ghost Story, also in the West End and now on a major tour of the UK.

Joining McPherson and Dunster on the creative team are Miriam Buether (set designer), Moi Tran (costume designer), Charlotte Broom (choreographer), Lucy Carter (lighting designer), Ian Dickinson for Autograph (sound designer), Tal Rosner (video designer), Chris Fisher (illusions), Kev McCurdy (fight director), Suspended Illusions (performer flying), James Maloney (arranger, musical director & additional compositions), Amy Ball CDG (casting director), James Robert Moore (associate director), Robyn Grant (creative assistant director), Luke Smith, (associate set designer) and Lloyd Thomas (production manager).

In a dystopian future, The Hunger Games ignite a thrilling battle for survival, where 24 young tributes are pitted against each other in an arena. Katniss Everdeen, a fearless and resourceful heroine, emerges as a symbol of rebellion as she fights not only for her life but for the hope of a nation oppressed by a ruthless Capitol. In a brand-new epic stage production, The Hunger Games: On Stage is a gripping tale of courage, defiance, and the unbreakable human spirit.

The Hunger Games: On Stage is produced by Oliver Royds, Tristan Baker & Charlie Parsons for Runaway Entertainment, Isobel David and Umeda Arts Theater, by arrangement with Lionsgate.

Divina de Campo announced as host for theOffies plus performances from Mischief Theatre,Frances Ruffelle and London Gay Men’s Chorus;Royal Variety Charity to be Charity Partner

Drag-artist superstar Divina De Campo will host the 15th anniversary Offies on Monday 17th March at Westminster Hall. A night celebrating everything the Off-West End offers, performances will include the legendary London Gay Men’s Chorus, the award-winning Mischief Theatre, Tony Award-winning Frances Ruffelle and Divina De Campo themself. The evening will be accompanied by a live band with musical direction and original music from past Offies finalist, Ben Goddard (Million Dollar Quartet, West End; Tim Burton’s Sweeney Todd: The Demon Barber of Fleet Street, Warner Bros, with more surprises on the evening.

Mischief Theatre will perform at the ceremony with the iconic sideways stylings that the company is known for internationally. Their inaugural hit The Play That Goes Wrong started at the Old Red Lion Theatre, before transferring to the West End, Broadway and then being made into a television series – the company was well and truly created in the Off West End

Alongside them the legendary team at the London Gay Men’s Chorus, widely known as LGBTQ+ icons, will be bringing their renowned talents to the night. Tony-Award winning musical theatre icon Frances Ruffelle, nominated herself for an Offies this year ,will also perform. Best known for originating the role of Éponine in the Les Misérables in both the West End and on Broadway.She also represented the UK in Eurovision.

Fresh from hosting The Stage Debut Awards for the past two years, host Divina De Campo will bring their glitz and glamour to the awards. Having competed in the first season of Ru Paul’s Drag Race UK their ample experience across the UK theatre scene promises magnificent performances and witty hosting

There will also be alive red carpet show produced in association with The Theatre Channel and a socials area will be presented by ITV Mamma Mia I Have A Dream and White Rose Rising Star Tobias Turley who will be on hand to interview finalists and attendees.

This year’s sponsors for the Areas of Exceptional Contribution include Mischief Theatre, The Theatre Channel and White Light. Further support comes from John Good, Tarento Productions and Central Hall Westminster, with further organisations to be announced

The Offies are delighted to announce that the Charity Partner will be The Royal Variety Charity – Founded in 1908, the charity assists those who’ve worked professionally in the entertainment industry and are in need of help. The charity strives to support all those, both young and old, who’ve worked on the stage, in the wings, in front of a camera,or behind it, as well as all those who have spent their lives working in the numerous support industries dedicated to entertainment.

This year’s Offies will be produced by Julian Bird OBE, through his production company Green Room Ents Ltd – this marks the start of a three-year partnership with the Offies.

The full list of finalists who have set the standard for exceptional theatre have previously been announced

The night marks the incredible and innovative thinking in the industry. Past winners include Baby Reindeer, Fleabag, and Operation Mincemeat showing how the Off-West End is a crucial launch pad for new talent, the affordable (and sustainable) alternative to the West End where you can see exceptional talent live and flourish.

The scale of the new awards ceremony marks the Offies as the at the forefront of spotlighting groundbreaking theatre before it reaches mainstream acclaim. This event unequivocally reflects the importance of celebrating this work and taking a moment to look back at the year of Off West End.

Further information on tickets can be found here, https://www.gigantic.com/offies-tickets/london-central-hall-westminster/2025-03-17-18-00

NEW PRODUCTION PHOTOGRAPHY RELEASED FOR THE WEST END PRODUCTION OF

LES MISÉRABLES

WHICH EXTENDS BOOKING AT THE SONDHEIM THEATRE UNTIL MARCH 2026

Cameron Mackintosh is delighted to announce that Boublil and Schönberg’s LES MISÉRABLES has extended booking at the Sondheim Theatre in London until March 2026, with new production photography released today.

The current cast includes Ian McIntosh as ‘Jean Valjean’, Stewart Clarke as ‘Javert’, Jacob Dachtler as ‘Marius’, Amena El-Kindy as ‘Éponine’, Annabelle Aquino as ‘Cosette’, Katie Hall as ‘Fantine’, Luke Kempner as ‘Thénardier’, Claire Machin as ‘Madame Thénardier’, and Robson Broad as ‘Enjolras’.

The company is completed by Matt Bateman, Michael Baxter, Emily Olive Boyd, Daniel J Brian, Ella May Carter, Adam Colbeck-Dunn, Matthew Dale, Irfan Damani, Sophie-May Feek, Matt Hayden, Christopher Jacobsen, Jessica Johns-Parsons, Sam Kipling, Anouk van Laake, Mia Lamb, Sarah Lark, Matthew McConnell, Aaron-Jade Morgan, Ben Oatley, Adam Pearce, Jordan Simon Pollard, Danielle Rose, Jonathan Stevens, Georgia Tapp, Noah Thallon, and Imaan Victoria.

LES MISÉRABLES entered its 40^th record-breaking year in London last October. To kick off the celebrations, the show launched its first World Tour with the highly anticipatedLES MISÉRABLES THE ARENA SPECTACULAR, which opened in Belfast before playing limited dates in Glasgow, Sheffield, Aberdeen, Manchester, Newcastle, Luxembourg, Geneva, Trieste, Milan, Copenhagen, Oslo, Zurich,  Gothenburg, Stockholm, Malmö and Amsterdam. The production opens in Abu Dhabi in April before moving to Australia, Taiwan, Japan, and  South Korea, with more worldwide destinations to be announced. Simultaneously, and for the first time ever, 11 leading amateur companies in the UK will present their own staging of the full show across the country this year.

The staged production continues to triumph around the globe with local language productions currently on or in preparation, and it continues to break box office records on tour in North America. Earlier this year, the remastered and remixed Oscar-winning movie was released again in several countries around the world.

Boublil and Schönberg’s magnificent iconic score of LES MISÉRABLES includes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom. Seen by over 130 million people worldwide in 53 countries and in 22 languages, LES MISÉRABLES is undisputedly one of the world’s most popular musicals.

LES MISÉRABLES

Sondheim Theatre, Shaftesbury Avenue, London W1D 6BA

Now booking until 28 March 2026

Prices: Tickets from £25 – No booking fee applies

Box Office: 0344 482 5151

Website: www.lesmis.com

Social Media:
www.facebook.com/lesmisofficial/
www.twitter.com/lesmisofficial
www.instagram.com/lesmizofficial
www.tiktok.com/@lesmisofficial
#LesMiz

Race Furniture and Theatres Trust partner for
‘Seating’s Second Act’ to Refurbish Community
Theatre Seating

As part of its 80th-anniversary celebrations, Race Furniture, a leader in high-quality seating solutions, is partnering with Theatres Trust for ‘Seating’s Second Act’—an initiative to refurbish the seating in a selected community theatre. This project is a gesture of gratitude to the theatre industry, which has played a vital role in Race Furniture’s success over the decades. The collaboration aims to provide one deserving UK theatre, which will be selected by Theatres Trust, with a full auditorium seating refurbishment, enhancing the audience experience while supporting the cultural and creative heart of its local community.

Race Furniture has long been synonymous with quality, innovation, and craftsmanship, providing seating solutions for some of the UK’s most iconic performance venues, including the Royal Opera House, Cadogan Hall, and the New Vic Theatre in Newcastle. Partnering with Theatres Trust, the only organisation that supports all the UK’s theatres, was a natural fit. With their extensive sector expertise, Theatres Trust will ensure that the award goes to a theatre where it will have the greatest impact, reinforcing Race Furniture’s commitment to keeping theatres vibrant, comfortable, and accessible for future generations.

Eligible theatres are invited to apply for this refurbishment opportunity, designed to prioritise sustainability by upgrading existing seating rather than replacing it entirely. This approach aligns with Race Furniture and Theatres Trust’s shared commitment to reducing waste and promoting environmentally responsible practices within the theatre industry, ensuring that cherished venues can continue to serve their communities with minimal environmental impact. Representatives from Theatres Trust and Race Furniture will assess applications and select a winner, who will be announced in June 2025. The refurbishment work is scheduled to commence in autumn 2025, in alignment with the selected theatre’s availability.

To qualify, theatres must be located in England, Scotland, Wales, or Northern Ireland, have an auditorium seating capacity of 200 or fewer and host at least 30 live performances annually. The award is not limited to not-for-profit theatres. Any eligible theatre that can demonstrate how it supports its local community and what a difference refurbished seating would make, is welcome to apply.

This partnership with Theatres Trust is our way of giving back to an industry that has been integral to Race Furniture’s success, says John Schofield, Managing Director of Race Furniture. We are excited to collaborate with Theatres Trust, leveraging their expertise and network to support a theatre that truly needs it. This initiative ensures that local theatres continue to inspire audiences with both comfort and style.

Joshua McTaggart, CEO of Theatres Trust, adds, We are thrilled to be collaborating on Seating’s Second Act with Race Furniture, a company that shares Theatres Trust’s belief in the vital importance of theatres to their communities. An uncomfortable seat can ruin good night out at the theatre, yet faced with tight budgets, many theatres are unable to invest in seating upgrades. This award will ensure that audiences in one deserving theatre will enjoy the benefits of refreshed seating.

Applications for the refurbishment project are now open. Full details on eligibility and submission can be found on Theatres Trust’s website at https://www.theatrestrust.org.uk/ssa.

NEW ADVENTURES ANNOUNCES

FULL CASTING

FOR THE 2025 NATIONAL TOUR OF THE AWARD-WINNING

Intoxicated tales from darkest Soho

OPENING AT THE EVERYMAN THEATRE, CHELTENHAM
ON THURSDAY 15 MAY

BEFORE VISITING 15 VENUES ACROSS THE COUNTRY

New Adventures is delighted to announce the full cast for the 2025 tour of Matthew Bourne’s award-winning THE MIDNIGHT BELL, opening at the Everyman Theatre, Cheltenham on Thursday 15 May.  The production will then embark on a 17-week countrywide tour including many venues for the first time with this production. Full tour schedule below.

The cast features fourteen of New Adventures’ finest leading actor/dancers.  They are Cordelia Braithwaite, Reece Causton, Glenn Graham, Daisy May Kemp, Hannah Kremer, Michela Meazza, Andy Monaghan, Liam Mower, Dominic North, Bryony Pennington, Edwin Ray, Danny Reubens, Ashley Shaw and Alan Vincent.

For nearly 30 years these dancers have between them performed leading roles to critical acclaim in every production in Matthew Bourne’s repertoire, in the UK and internationally.

Matthew Bourne said today:

“This is, without doubt, the finest company of quintessential New Adventures actor/dancers ever assembled for a single production! Together they represent nearly 30 years of critically acclaimed performances and created roles in my work. In fact, it would be hard to imagine a cast more perfectly suited to the challenging world of Patrick Hamilton and his exploration of the darker reaches of the human heart. I’m thrilled to welcome back many of the superb original cast, Reece Causton, Glenn Graham, Daisy May Kemp, Andrew Monaghan, Liam Mower, Bryony Pennington and Michela Meazza, who won a National Dance Award for her role in this production. Making their debuts in The Midnight Bell are some of New Adventures most beloved stars of the last 25 years, Cordelia Braithwaite, Dominic North, Edwin Ray, Danny Reubens, Ashley Shaw and Alan Vincent. They are also joined by rising star Hannah Kremer, most recently seen as Juliet in my Romeo and Juliet. I urge you not to miss this never to be repeated opportunity to join us for an evening at The Midnight Bell and raise a glass to the very best that New Adventures has to offer.”

In 1930s London ordinary people emerge from cheap boarding houses nightly to pour out their passions, hopes and dreams in the pubsand fog-boundstreets of Soho and Fitzrovia. Step inside The Midnight Bell, a tavern where one particular lonely-hearts club gather to play out their lovelorn affairs of the heart; bitter comedies of longing, frustration, betrayal and redemption.

Matthew Bourne’s THE MIDNIGHT BELL isinspired by the work of thegreat English novelist Patrick Hamilton (Twenty Thousand Streets Under The Sky, Hangover Square) who created some of the most authentic fiction of his era; stories borne out of years of social interactions with the working man and woman at his favourite location – the London Pub.

THE MIDNIGHT BELL premiered to great acclaim in 2021 and received five nominations at the 2022 National Dance Awards, with Matthew Bourne winning the award for Best Modern Choreography and Michela Meazza for Outstanding Female Modern Performance.

Matthew Bourne once again joins forces with the Olivier and Tony award-winning team of Terry Davies (music), Lez Brotherston (set and costume design), Paule Constable (lighting design) and Paul Groothuis (sound design).

For more information please visit: www.new-adventures.net

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DYLAN MARCAURELE’S POP OFF, MICHELANGELO! STAGES A HIGHLY ANTICIPATED STRICTLY LIMITED RUN AT UNDERBELLY BOULEVARD SOHO

Dylan MarcAurele’s Pop Off, Michelangelo! today announces its transfer to Underbelly Boulevard Soho for a limited 5 week run, following its highly successful season at the Edinburgh Festival Fringe 2024 and concert performances at The Other Palace. 

Returning to London in a revitalised production, Dylan MarcAurele’s Pop Off, Michelangelo!, directed by Joe McNeice, opens on 23 May, with previews from 17 May, and runs until 22 June. Full cast and creative team to be announced shortly.

A smash hit at the Edinburgh Festival Fringe where it received a Popcorn Award Special Mention, MarcAurele and McNeice reunite to take you on a wild ride through Renaissance Italy. Pop off, Michelangelo! is a high-camp musical comedy telling the (somewhat edited)history of two of Italy’s greatest artists, Michelangelo and Leonardo da Vinci, as they both race to create the most legendary religious masterpieces.

Dylan MarcAurele said today, “I am so excited to be bringing Pop Off, Michelangelo! to London audiences, especially in such a vibrant and dynamic venue that is Underbelly Boulevard Soho. 

With the vision of director Joe McNeice and the brilliant Blair Russell at the helm, this camp artistic rivalry promises over-the-top drama and uplifting singable anthems. It’s a love letter to artistic ambition, queer identity, and a wildly inaccurate version of history. Expect electropop bangers, and a whole lot of divine intervention (or lack thereof). It’s ridiculous and heartfelt, and most importantly, a whole lot of fun.”

Director Joe McNeice said today, “I’m delighted to be directing Dylan MarcAurele’s fabulous and hilarious Pop Off, Michelangelo! and to bring this absolute celebration of a show to the heart of Soho, right where it belongs!”

Pop Off, Michelangelo! is on sale now at https://underbellyboulevard.com/tickets/pop-off-michelangelo/

www.popoffmichelangelo.com

Instagram, TikTok: @popoffmichelangelo

POP OFF, MICHELANGELO! 

By Dylan MarcAurele

Writer: Dylan MarcAurele; 

Director: Joe McNeice;

Choreographer: Sundeep Saini;

Musical supervisor & orchestrations: Aron Sood

Costume Designer: Emily Bestow;

Lighting Designer: Adam King;

Casting Director: Sarah-Jane Price;

Producer: Blair RussellProductions

Production Manager: James Anderton

General management: Paul Virides Productions

17 May to 22 June 

at Underbelly Boulevard Soho 

The high-camp musical comedy that stole the Fringe makes its limited West End debut season. 

POP OFF, MICHELANGELO! tells the story of best-pals-turned-bitter-rivals Michelangelo and Leonardo da Vinci. A bloodthirsty friar is on the hunt for homosexuals in Renaissance Italy at the exact moment when childhood friends Mike and Leo realise they both like boys. Terrified, they devise a foolproof plan to gain God’s forgiveness: they simply need to become the greatest religious artists of all time. Can Michelangelo gaslight, gatekeep, and girlboss his way to the Vatican? Will Leonardo ever shut up about his helicopter? Featuring an original electropop score as infectious as the bubonic plague, POP OFF, MICHELANGELO! is an unhinged adventure that you won’t want to miss.

Dylan MarcAurele is a New York-based writer and recent winner of the Jonathan Larson Grant and the Richard Rodgers Award. His other credits for Book, Music, and Lyrics include MEG4N (2024 US Tour starring Rosé of RuPaul’s Drag Race), and The Real Housewives of NYC: The Musical (featured on Bravo’s Watch What Happens Live). As a composer, his work includes Lewis Loves Clark (2024 NAMT Festival; 2020-21 Dramatists Guild Foundation Fellowship), Tea with G (reading directed by Scott Schwartz), and The Land of Forgotten Toys (Broadway Licensing). In playwriting, his piece God Gives Ryan a Very Important Job premiered at the 2023 Samuel French OOB Festival. MarcAurele has also written music and lyrics for Miley Chase: The Science Ace (Broadway Licensing) and the song “Say Bravo!” (sung by Andy Cohen with the cast of Vanderpump Rules at the Paris Theater, Las Vegas). 

Joe McNeice directs. He is the founding Artistic Director of the Lavender Theatre and the founder of Lavender Productions Ltd. In 2023, he launched the 250-seat open-air Lavender Theatre in Epsom, opening the venue with a revival of Irving Berlin’s Annie Get Your Gun, starring Eurovision’s SuRie. His other directing credits include DIVA: Live From Hell! at the Turbine Theatre, which was nominated for Best Off-West End Show at the 23rd Annual WhatsOnStage Awards. In 2024, he directed a revival of DIVA at London’s King’s Head Theatre and Underbelly Cowgate in Edinburgh. As a producer and writer, he co-wrote and produced the 2020 charity Christmas single Christmas Again: The Show Must Go On! for the Theatre Support Fund+, and worked on Magic Mike Live (US Tour). He is also the creator of On Hope, A Digital Song Cycle, and co-wrote the full-length musical Twilight Robbery with composer Matthew Spalding. Writing credits include Songs in the Key of Springfield (2016), Des Ludo’s Good Clean Fun (2018), and Sugar and Smoke (2018), all performed at the University of York.

Listings Information

POP OFF, MICHELANGELO! 

Underbelly Boulevard Soho

6 Walker’s Court, Soho, London W1F 0BT 

www.popoffmichelangelo.com

Instagram, TikTok: @popoffmichelangelo

www.underbellyboulevard.com

Box Office: 0207 432 3860

TICKETS 

£15-65, previews £10-35.

Running time: 75 minutes approx.

Content warnings: themes of homophobia, strong language

17 May to 22 June 

Performances Tuesday to Friday at 7pm

Performances on Saturday at 3pm and 7pm

Performances on Sunday, 2pm and 6pm