Home

“MAMMA MIA!” ANNOUNCES NEW WEST END CAST

FROM MONDAY 6 OCTOBER 2025

AT LONDON’S NOVELLO THEATRE

NEW BOOKING PERIOD TO SATURDAY 26 SEPTEMBER 2026

Creator and producer Judy Craymer is delighted to announce the new cast of the global smash hit musical MAMMA MIA! from Monday 6 October 2025 and the extension of its booking period to Saturday 26 September 2026 at London’s Novello Theatre (a Delfont Mackintosh Theatre), with tickets now on sale.

The new members of the London cast will be Sara Poyzer as Donna, Nicky Swift as Rosie, Richard Standing as Sam, Daniel Crowder as Harry, Tamlyn Henderson as Bill, Ellie Kingdon as Sophie, George Maddison as Sky, Chloe Gentles as Ali, Foxy Valentine as Lisa, Joshua de La-Garde as Eddie and Benjamin Dawson as Pepper.  They will be joining Kate Graham, who remains with the company as Tanya, and Emma Odell, who moves from Ensemble to playing Donna at certain performances.

Also continuing in the cast are Franky Attard, Matthew Barrow, Jack Bromage, Maddy Cameron, Dennis Cousins, Andrew Gallo, Lawrence Guntert, Genevieve Jameson, Tom Parsons and Maisie Waller.  They will be joined by Ella Beaumont, Joseph Craig, Josh Crowther, George Hinson, Laura Jayne-Hardie, Deena Kapadia, Matthew Mori, Meghan Peploe-Williams, Emily Squibb and Ria Turner.

Sara Poyzer previously played Donna Sheridan in MAMMA MIA! for over 12 years, across the UK, internationally and in the West End; she last played Donna at the Novello Theatre from 2017 to 2019.  Other theatre includes the UK Tour of Come From Away as Captain Beverley Bass, Assassins (Watermill Theatre), Rutherford & Son (The Other Palace), Othello (Trafalgar Studios) and Billy Elliot the Musical (Victoria Palace).  Earlier this year, Sara played Fiona Morley in Coronation Street and other TV credits include Casualty, EastEnders, Doctors, Heartbeat, Dangerfield, Playing the Field and Peak Practice.  On radio, she played Leonie Snell in BBC Radio 4’s The Archers.

Nicky Swift previously played Rosie in the UK & International Tours of MAMMA MIA!.  Other recent theatre credits include the title role in the UK Tour of Shirley Valentine, the UK Tour of Footloose and Les Misérables in the West End.

Richard Standing, the real-life husband of Sara Poyzer, has starred as Sam opposite Sara in the UK & International Tours of MAMMA MIA!.  Richard’s TV credits include Danny Hargreaves in Coronation Street, The Grand, The Bill, Casualty, Doctors, Silent Witness and Holby City.  Other recent theatre credits include the title role in Macbeth and Snug in A Midsummer Night’s Dream at Shakespeare’s Rose Theatre.

Daniel Crowder’s recent TV credits include Garth in The Cockfields, Coronation Street and Casualty.  His recent theatre credits include the UK Tour of Come From Away, Gypsy at the Mill at Sonning and The Graduate at West Yorkshire Playhouse.  He has previously played Harry in the UK & International Tours of MAMMA MIA!.

Tamlyn Henderson’s screen roles include the film The Salt Path and the television series The Tatooist of Auschwitz.  Originally from Australia, he’s appeared in the Australian productions of Les Misérables and The Sound of Music and the International Tour of Les Misérables, as well as Sam in the UK & International Tour of MAMMA MIA!.  He also starred as Earl in the West End and UK & Ireland Tour of Waitress.

Ellie Kingdon previously played Sophie in the UK & International Tour of MAMMA MIA!.  She also starred as Marty in Grease at London’s Dominion Theatre, as well as Sandy in the UK Tour of Grease. 

George Maddison previously played Sky in the UK & International Tour of MAMMA MIA!.  Other theatre includes Carousel at Kilworth House Theatre and Heathers the Musical at London’s The Other Palace.

MAMMA MIA! celebrated its 26^th birthday on 6 April 2025 and is the third longest running West End musical of all time.

Since premiering in London’s West End in 1999, the exhilarating smash-hit has become a global phenomenon, with over 70 million people having seen it worldwide. The musical returned to Broadway, at the musical’s original home, the Winter Garden Theatre, on 2 August for a limited six-month run until 1 February 2026.  Originally opening in 2001, the production played for a record-breaking 14 years at the Winter Garden and then at the Broadhurst Theatre, making it Broadway’s ninth longest-running show of all time.

The sunny, funny tale of a mother, a daughter and three possible dads on a Greek island idyll, all unfolding to the magic of ABBA’s timeless pop masterpieces, has been seen in over 50 productions in 16 different languages, grossing more than £4.5 billion at the box office, and turned into two record-breaking movies – MAMMA MIA! The Movie and MAMMA MIA! Here We Go Again.

MAMMA MIA! originally opened in London at the Prince Edward Theatre on 6 April 1999, before transferring to the Prince of Wales Theatre in 2004, and then to the Novello Theatre in 2012.  The London production of MAMMA MIA! has been seen by over 11 million people, played over 10,000 performances and has broken box office records in all three of its London homes.  In February 2024, it set a new record for the highest ever weekly gross in the musical’s London history and, on 28 December 2024, achieved the production’s highest ever grossing performance.  As part of MAMMA MIA!’s 25^th year celebrations, Judy Craymer was Executive Producer of ITV’s MAMMA MIA! I Have a Dream, which searched for new young talent to join the stage musical.  One of the finalists, Maisie Waller, joined the London company in 2024 and has now been promoted to first cover for Sophie.

A new UK Tour will begin on 24 October 2025 at Southampton’s Mayflower Theatre.

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

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

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

LISTINGS INFORMATION

Novello Theatre

Aldwych

London WC2B 4LD

Ticket Prices: from £17.50*

*All prices include a £2.50 per ticket booking fee and £1.90 restoration levy

Early Bird Pricing – anyone booking 16 weeks or more in advance of the performance they are attending (Monday to Thursday performances only) will save £20 on Band B, Band A and Premium tickets, but only through Delfont Mackintosh Theatres, either online or by calling the Novello Theatre Box Office.

Family Ticket Rate – £199 for a group of four on Band B or Band A tickets (up to a saving of £151), OR £99 for a group of four on Band D and Band C tickets (up to a saving of £111), for Monday to Thursday performances, excluding peak performances, but only through Delfont Mackintosh Theatres, either online or by calling the Novello Theatre Box Office.

Seniors Ticket Rate – people aged 60 and above can purchase tickets up to £98.50 each reduced to £37.50 (including booking fee) for valid Thursday matinees.  Exclusions: 27 October – 2 November 2025, 22 December 2025 – 4 January 2026, 16-22 February 2026, 30 March – 11 April 2026, 25-30 May 2026 and 20 July – 31 August 2026.

Group Rate for groups of 10+: Band A £80, Band A £95, Band B £65, Band B £75, Band C £50, Band C £60 (Stalls, Dress Circle and Gand Circle) all priced at £35 each, valid on Monday to Friday performances until 22 May 2026, to be booked and paid by 23 January 2026.

Performance Times:

Monday – Saturday 7.30pm

Matinees – Thursdays & Saturdays 3.00pm*

*Extra 3.00pm matinee on Tuesday 28 October 2025 and Tuesday 17 February 2026.

Captioned performance: Saturday 17 January 2026 at 3.00pm

Audio described performance: Saturday 31 January 2026 at 3.00pm

Christmas 2025/26 Performance Schedule

Monday 22 December                         3.00pm and 7.30pm

Tuesday 23 December                        3.00pm and 7.30pm

Wednesday 24 December                   NO PERFORMANCE

Thursday 25 December                       NO PERFORMANCE

Friday 26 December                            7.30pm

Saturday 27 December                        3.00pm and 7.30pm

Sunday 28 December                          2.30pm

Monday 29 December                         3.00pm and 7.30pm

Tuesday 30 December                        3.00pm and 7.30pm

Wednesday 31 December                   NO PERFORMANCE

Thursday 1 January 2026                     7.30pm

Friday 2 January                                 3.00pm and 7.30pm

Saturday 3 January                             3.00pm and 7.30pm

Sunday 4 January                               NO PERFORMANCE

Booking to 26 September 2026

The performance lasts 2 hours and 35 minutes (including a 15-minute interval)

Box Office: 0344 482 5151

http://www.mamma-mia.com/

Facebook: 

https://www.facebook.com/MammaMiaMusical

@MammaMiaMusical 

X:

Tweets by MammaMiaMusical

@MammaMiaMusical 

TikTok: 

https://www.tiktok.com/@mammamiaworldwide

@mammamiaworldwide

Instagram:

https://www.instagram.com/mammamiamusical

@MammaMiaMusical 

#MammaMiaMusical

#MammaMiaLondon 

NEW CAST
JOIN THE SPECTACULAR, SPECTACULAR!
LONDON PRODUCTION OF

MOULIN ROUGE!

THE MUSICAL

Baz Luhrmann’s revolutionary film comes to life

Karis Anderson will play Satine and Alistair Brammer will play Christian in the London production of Moulin Rouge! The Musical from 13 October 2025.
Photography taken at Broadwick Soho by Matt Crockett.

THE HIT SHOW EXTENDS INTO ITS FIFTH YEAR AT THE PICCADILLY THEATRE

Global Creatures, Producers of Moulin Rouge! The Musical, are delighted to reveal new West End cast members as the hit show extends into its fifth year at the Piccadilly Theatre in London.

From 13 October 2025, Karis Anderson (TINA: The Tina Turner Musical) will play Satine and Alistair Brammer (Miss Saigon) will play Christian, joining Craig Ryder (Priscilla Queen of the Desert) as Harold Zidler. Richard Lloyd King (The Book of Mormon) joins the cast as Toulouse-Lautrec, alongside Ben Richards (Emmerdale) as The Duke, Ivan De Freitas (& Juliet) as Santiago, Lindsey Tierney (Hamilton) as Nini, Hannah Jay-Allan (Beautiful – The Carole King Musical) and Helen K Wint (Oklahoma!) who alternate the role of Arabia, Matteo Johnson (Bat Out of Hell) as Baby Doll, Athena Collins (SIX The Musical) as La Chocolat, and Angela Marie Hurst (Motown: The Musical) as Alternate Satine.

The full cast is completed by Gabriela Acosta, Erin Bell, Emily Bolland, Taylor Bradshaw, Lucy Campbell, James Davies-Williams, Katie Deacon, Joe Donovan, Myles Hart, Maiya Hikasa, Kalila Khan, Annabelle Laing, Melvin LeBlanc, Holly Liburd, Marios Nicolaides, Chileshé, Dean Read, Ben Rutter, Gavin Ryan, Hassun Sharif, Elly Shaw, Jamie Shields, Grace Swaby-Moore, Catrin Thomas, Alex Tranter, Matt Trevorrow, Kevin Tristan and Ben Whitnall.

On 22 September 2025, new tickets will go on sale for Moulin Rouge! The Musical at the Piccadilly Theatre in London, extending bookings for performances through to 23 May 2026.

Set in Paris, 1899, a world of indulgent beauty and unparalleled extravagance, of bohemians and aristocrats, of boulevardiers and reprobates, Moulin Rouge! The Musical is the story of a lovesick American writer, Christian, and Satine, the dazzling star of the Moulin Rouge nightclub. 

When their lives collide at the Moulin Rouge, they fall hopelessly in love, only to be thwarted by the nightclub’s host and impresario, Harold Zidler, and The Duke of Monroth, the wealthy and entitled patron of the club who thinks he can buy anything he wants, including Satine. Together with his Bohemian friends – the brilliant and starving artist Toulouse-Lautrec, and the greatest tango dancer in all of Paris, Santiago – Christian stages a musical spectacular in an attempt to save the Moulin Rouge and win the heart of Satine.

Baz Luhrmann’s iconic film comes to life onstage, remixed for today in a new musical mash-up extravaganza. Moulin Rouge! The Musical invites you to enter a world of passionate romance and eye-popping splendour… a place where Bohemians and aristocrats revel together in electrifying enchantment… a place where all your wildest dreams come true! 

LISTINGS

For further information and tickets, please visit www.moulinrougemusical.com

Piccadilly Theatre
16 Denman Street
London
W1D 7DY

SEPTEMBER 1^ST 2025, DEAR DIARY…
IT’S TIME FOR SOME BIG (FUN) NEWS

BY KEVIN MURPHY & LAURENCE O’KEEFE

DIRECTED BY ANDY FICKMAN

WINNER OF

BEST NEW MUSICAL

WHATSONSTAGE AWARDS

“AN OUTRAGEOUS, IRREPRESSIBLE MUSICAL”
New York Times

****

Time Out New York, Daily Telegraph, The Independent, Metro, Daily Express, Daily Mail,

The Stage, Attitude, Sunday Express, The Arts Desk, Culture Sauce NY, Broadway World,

*****

The New European, City AM

Today, it was officially announced that Heathers the Musical will be hitting the road again when it returns to the UK from Summer 2026, and that replica productions are set to play Australia, New Zealand, and tour across the United States.

Based on the iconic 1989 cult film starring Winona Ryder and Christian Slater, Heathers first premiered in Los Angeles in 2013 to sold-out audiences before transferring to New York’s New World Stages in 2014. The show was reimagined for its 2018 London debut, featuring new songs and updated script elements that are now being showcased in the current New York production.

With three smash-hit West End runs and three record-breaking UK and Ireland tours under its belt, Heathers has become a fan-favourite musical. It won the 2019 WhatsOnStage Award for Best New Musical and was filmed for streaming on The Roku Channel in 2022.

UK fans—affectionately known as Corn-Nuts—can look forward to the musical’s return from Summer 2026, with full tour dates to be announced soon. Meanwhile, the show will also make its way to Australia and New Zealand starting April 2026, with stops in Melbourne, Sydney, Adelaide, Gold Coast, Canberra, Perth, Auckland, Wellington, and Christchurch.

The current New York production at New World Stages opened in June 2025 to the largest advance in the venue’s history. Originally slated to run until 28 September 2025, the show has been extended through 25 January 2026 due to overwhelming demand. Tonight, at New World Stages it’s Big Fun Day – a one-off special sing-a-long performance to celebrate and thank the show’s fans who have been fundamental in the production’s international success.

Looking ahead, Heathers the Musical will embark on a year-long tour across the United States beginning Spring 2027. Full details and dates will be announced in the coming months.

“What a year it’s been for Heathers the Musical.” saysdirector Andy Fickman. “We brought our award-winning production back to New World Stages in New York and today we announced that the production will be going to Australia and New Zealand next year. I’m even more excited that we’ll be bringing the show back home to the UK for audiences new and old to experience this twistedly heartfelt story again. So, get out your scrunchies and break out the Corn Nuts and join us at Westerberg High for Big Fun next year!”

Greetings and salutations! Welcome to Westerberg High, where popularity is a matter of life and death, and Veronica Sawyer is just another of the nobodies dreaming of a better day.

But when she’s unexpectedly taken under the wings of the three beautiful and impossibly cruel Heathers, her dreams of popularity finally start to come true.

That is until JD, the mysterious teen rebel, turns up and teaches her that it might kill to be a nobody, but its murder being a somebody.

This high octane, black comedy, rock musical is directed by acclaimed American screen and stage director Andy Fickman, with choreography by Gary Lloyd, design by David Shields, lighting by Ben Cracknell, sound by Dan Samson musical supervision by Jeremy Wootton and Will Joy and is produced by Bill Kenwright Ltd and Paul Taylor-Mills.

LISTINGS

BILL KENWRIGHT LTD & PAUL TAYLOR-MILLS PRESENT

HEATHERS THE MUSICAL

Book, Music and Lyrics Kevin Murphy & Laurence O’Keefe

Based on the film by Daniel Waters

Directed by Andy Fickman

Choreography and AssociateDirector Gary Lloyd

Set and Costume design by David Shields

Lighting by Ben Cracknell

Sound by Dan Samson

Music Supervisors Jeremy Wootton and Will Joy

www.heathersthemusical.com

NEW YORK
Now booking to 25 January 2026 
Venue: New World Stages, 340 West 50th Street

www.heathersthemusical.com/new-york/

Age Recommendation: 14 years+

 Socials:

HeathersMusical (Instagram and Twitter)

HeathersTheMusical (Facebook)

HeathersUK (TikTok)

#HowVery

Thomas Hopkins & The Hope Mill Theatre
        Present

LITTLE SHOP OF HORRORS
    Music by                          Book and Lyrics by
ALAN MENKEN                  HOWARD ASHMAN

TONY AND OLIVIER AWARD NOMINATED
CARRIE-ANNE INGROUILLE
TO DIRECT AND CHOREOGRAPH MAJOR NEW PRODUCTION AT MANCHESTER’S HOPE MILL THEATRE NEXT YEAR

FRIDAY 25 SEPTEMBER – SUNDAY 29 NOVEMBER 2026

TICKETS ARE ON SALE NOW
http://littleshopthemusical.com

[Monday 1 September, London] Tony and Olivier award nominated director Carrie-Anne Ingrouille will direct and choreograph a new revival of the classic musical masterpiece LITTLE SHOP OF HORRORS, premiering at Manchester’s Hope Mill Theatre from 25 September – 29 November 2026, with a national press night on 30 September. This ten-week run in Manchester will be the longest sit-down production to play in the UK since the 2007 West End production.

Tickets are on sale now to Hope Mill Theatre friends, with tickets on general sale from Wednesday 3 September 2025 at 10am.

This production will see the continuation of the successful producing partnership of Thomas Hopkins Productions and the Hope Mill Theatre following their success of Rose starring Maureen Lipman, that opened at the venue prior to its sold-out West End run in 2023, and their most recent partnership of Peter Quilter’s award-winning comedy Glorious’ due to embark on a full UK tour in 2026.

Thomas Hopkins and The Hope Mill have come together to mount this new production, with a commitment to create a truly authentic representation that honours the original spirit of the show.

Carrie-Anne Ingrouille is currently represented in the West End and on Broadway with her critically acclaimed choreography for SIX The Musical playing at the Vaudeville Theatre, London and the Lena Horne Theatre, New York. For her work on the show, Carrie-Anne has received Tony, Drama Desk, Olivier, WhatsOnStage, Offie and The Elizabeth Sterling Haynes Award nominations for Best Choreography.

Her other credits include: Miss Saigon (UK Tour), The Parent Agency (Chester Storyhouse), The Importance of Being Earnest (National Theatre & Noel Coward Theatre), Dear Evan Hansen (Nottingham Playhouse/UK Tour), The Merry Widow (Glyndebourne Opera), Sisters of Mersey & The Legend of Rooney’s Ring (Liverpool’s Royal Court), A Funny Thing Happened on the Way to the Forum (Lido2, Paris), Rock Follies (Chichester Festival Theatre), Village Idiot (Theatre Royal Stratford East, Nottingham Playhouse & Ramps on the Moon), The Good Person of Szechwan (Sheffield Crucible, Lyric Hammersmith & ETT), Monsoon Wedding-The Musical (St. Ann’s Warehouse, New York), Antigone (Regents Park Open Air Theatre), Our Generation (National Theatre & Chichester Festival Theatre), Wonderful Town (Opera Holland Park), This is My Family (Chichester Festival Theatre), The Catherine Tate Show Live (UK Tour), Jeeves & Wooster in Perfect Nonsense (Duke of York’s Theatre), The Suicide (National Theatre), The Mad Hatter’s Tea Party (Royal Opera House, The Roundhouse).

Carrie-Anne Ingrouille said, “it’s an absolute joy to be directing and choreographing Little Shop of Horrors. Funny, full of dark twists, and pulsing with a raw, playful energy, it remains utterly iconic. I’m excited to bring a fresh perspective while honouring its timeless appeal, and I can’t wait to bring it to life for new audiences while celebrating everything fans already love.”

Thomas Hopkins said “I have long admired Carrie-Anne’s work and her extraordinary eye for creating work. I cannot be more excited to have Carrie-Anne leading this mayor revival of one of the world’s most beloved musicals.”

Joseph Houston, Artistic Director of The Hope Mill Theatre said, “At Hope Mill theatre we are thrilled to say that Little Shop of Horrors is finally on sale. Over the past decade we have produced many exciting musical premieres and revivals, and Little Shop has long been on our bucket list of musicals to bring to life in our space, and the time has never felt more right. Once again working alongside our producing partner Thomas Hopkins, this is sure to be a special collaboration on an equally special musical production.”

Little Shop of Horrors has music by Alan Menken, book and lyrics by Howard Ashman.

Presented by arrangement with Music Theatre International mtishows.co.uk

UK Theatre Awards 2025: Carlos Acosta to receive Outstanding Contribution to British Theatre Award 

Dancer, choreographer and artistic director Carlos Acosta CBE, Director of the Birmingham Royal Ballet, will receive the Outstanding Contribution to British Theatre Award at the UK Theatre Awards 2025, taking place on Sunday 12 October at 8 Northumberland Avenue. The UK Theatre Awards, sponsored by Encore, have celebrated the very best of theatre across England, Scotland, Wales and Northern Ireland for over 30 years. 

Born in Havana in 1973, Carlos trained at the National Ballet School of Cuba, winning the prestigious Gold Medal at the Prix De Lausanne in 1990. He has since become one of the most renowned and influential figures in ballet worldwide, having performed globally with companies including National Ballet of Cuba, American Ballet Theatre, Paris Opera Ballet, Bolshoi Ballet, English National Ballet and, most notably, the Royal Ballet, where his 17-year career with the company spanned nearly every major ballet in its repertoire, and where he choreographed his first full length work, Don Quixote. 

In 2003, Carlos’ semi-autobiographical show Tocororo premiered in Havana, before breaking box office records at Sadler’s Wells and receiving an Olivier Award nomination. Continuing to develop his own highly popular productions, including both classical and contemporary repertoire, he won the Olivier Award for Outstanding Achievement in Dance in 2007 for Carlos Acosta and Friends of the Royal Ballet. He has established his own Cuban dance companies, Acosta Danza and Acosta Danza Yunior, as well as the Acosta Dance Foundation, a Dance Academy in Havana and a Dance Centre in London, providing platforms and world-class training for talented artists both in Cuba and the UK. 

His career has also spanned literature and film, penning both autobiographical and fictional works, and appearing in principal roles on screen, including in the 2018 film Yuli, inspired by his own life, which received numerous accolades at film festivals around the world. In 2014, Carlos was awarded a CBE in the Queen’s New Year’s Honours List, and has also been recipient of the De Valois Award for Lifetime Achievement at the National Dance Awards, the Queen Elizabeth II Coronation Award from the Royal Academy of Dance, and a Critic’s Circle Award for Outstanding Services to the Arts. 

In January 2020, Carlos became Director of the Birmingham Royal Ballet, a role in which he has demonstrated his dedication to diversifying the ballet audience, both building on the company’s classical traditions and curating new repertoire such as Black Sabbath – The Ballet. He formed their junior company, BRB2, and has been awarded an honorary degree from the University of Birmingham in recognition of his outstanding contribution to ballet and the city of Birmingham. 

Carlos has been selected to receive the Outstanding Contribution to British Theatre Award by the UK Theatre board, in recognition of his extraordinary career both on and off stage, and his commitment to broadening access to dance across the UK and internationally. 

Claire Walker & Hannah Essex, Co-CEOs of Society of London Theatre & UK Theatre, said:   

“We are delighted to honour Carlos Acosta with the Outstanding Contribution to British Theatre Award. Carlos has propelled ballet to new heights, most recently as Director of the Birmingham Royal Ballet, where he has broken new ground with ambitious programming which continues to expand and develop the dance audiences of the future. We are looking forward to celebrating Carlos’ achievements at the UK Theatre Awards ceremony on Sunday 12 October.” 

Carlos Acosta said: 

“I am honoured to be nominated by UK Theatre to receive this most prestigious award. To be recognised by my own industry like this is truly humbling. This tremendous accolade would not have been possible without the fantastic support that I receive from the brilliant Creative Industries producing great theatre in creative hubs in every part of the UK. Communities and venues large and small, with their warm and welcoming audiences and generous supporters – this award is also for them.” 

Full nominations for the UK Theatre Awards 2025 are set to be announced on Thursday 18 September. 

The UK Theatre Awards 2025 are sponsored by Encore, the premier provider of lighting equipment for theatre productions across the UK, including London’s West End, Off-West End, Europe, and Asia, as well as numerous UK and international tours. 

Special thanks to our partners ATG Entertainment, ConcepTonic, Harbottle & Lewis, John Good, Nimbus Disability, Theatre Tokens, Theatrical Rights Worldwide, Trafalgar Theatres, Tysers Live in association with Ecclesiastical, and Unusual Rigging. 

@UK_Theatre               #UKTAwards 

Peacock Theatre – until 31 August 2025

Reviewed by Heather Chalkley

3***

Director Brent Pace and his Assistant Director Ceili Moore have created a fabulous performance full of storytelling and glimpses of Ireland’s history. Breaking out of the traditional Irish dance performance, Eireann is a refreshing new way of presenting amazing talent and sharing Ireland’s journey. 

You cannot deny the award winning talent of the ensemble drawn together from all over the world. Principal Dancer Gavin Shevlin set the stage on fire with his speed and stamina, using every inch of the stage. Principal Dancer Brittany Pymm is a skilled, natural performer, bringing poise and femininity to the performance. Together they lend a story of village life and growing up with the traditions of the past and pressure of the present. 

The ensemble injects humour, the competitive nature of adolescence and full blown drama of adulthood. With solo performances from many of the cast, you get to know the personalities on show. There are times where the lifts and acrobatic moves feel deliberate and careful. However, accentuated by Bird and Stag Leaps, entwined with contemporary fluidity, it is a whole new way of experiencing Irish Dance. 

The use of an onstage camera brings close up the passion of the solo performers and the speed of their feet! The inspired simplicity of the staging belies the complexity of direction to get it just right. 

It would not be a performance about Ireland without the music, given to us by the fiddle, banjo, guitar and vocals. Brian O Broin gives us well known tunes the audience can join in, like Danny Boy and Sweet Molly Malone. The real stars of the show are Megan McGinley on fiddle, Eamonn O’Sullivan on Banjo and Musical Director Aaron O’Grady on guitar. Their energetic music evokes imagery and atmosphere that carries the show.

An evening of emerald isle escapism to lift the spirits.

Mayflower Theatre, Southampton – until 20 September 2025

Reviewed by Jo Gordon

5*****

Hold on to your brollies—Mary Poppins has landed at the Mayflower Theatre, and she’s bringing a whirlwind of magic, music, and mayhem in the most delightful way! Cameron Mackintosh’s spectacular stage version of the Disney classic is bursting with energy, heart, and jaw-dropping theatrical wizardry. If you’re looking for a feel-good night out that will leave you smiling all the way home, this is it.

From the moment Mary Poppins floats down from the sky , the audience is spellbound. This isn’t just a retelling of the beloved 1964 film-it’s bigger, brighter, and packed with even more surprises. 

With a smart, thoughtful script by Julian Fellowes, the original songs you know and love from the Sherman Brothers, and catchy new tunes by George Stiles and Anthony Drewe, the show keeps you entertained from start to finish.

Stefanie Jones is practically perfect in every way as Mary Poppins. She brings just the right mix of no-nonsense nanny and magical mischief-maker. Whether she’s gliding up a staircase, tidying a room with a snap of her fingers, or singing the unforgettable song “Feed the Birds” with the glorious Patti Boulaye (which makes my eyes damp every time!), she commands the stage with grace and sparkle.

Jack Chambers plays Bert with buckets of charm and boundless energy. He taps, twirls, and even walks upside down  in one of the most jaw-dropping moments of the night. His cheeky grin and quick-footed moves during “Step in Time” had the audience cheering.

The Banks family’s journey is also at the heart of this story, and it’s given real emotional weight. The children, Jane and Michael, are wonderfully cast and full of personality, while George and Winifred Banks are given a deeper story that adds a lovely, touching layer to the fun not seen in the original. 

Visually, the show is a treat. Bob Crowley’s sets are magical! Watch as the Banks’ house unfolds like a giant doll’s house, or as a park bursts into full colour during “Jolly Holiday.” 

The choreography by Matthew Bourne and Stephen Mear is packed with pizzazz. “Supercalifragilisticexpialidocious” is a high-energy, tongue-twisting explosion of movement that has the whole ensemble firing on all cylinders. It’s impossible not to grin.

Mary Poppins is everything you could want in a night at the theatre: magical, funny, heartfelt, and full of moments that will make you gasp, laugh, and maybe even shed a tear. I defy anyones inner child not to be totally in awe of the beautiful moment Mary flys up and over the audience, I’ve witnessed this many times yet each is like the first … and I make no apologies for the reactions of my 5 year old self! 

If you’ve got children take them! If you are an adult in need of some magic in current times grab a ticket, even better maybe book that day off to go fly a kite! 

Birmingham Hippodrome – until 30th August 2025

Reviewed by Emma Millward

5*****

Rock & Roll roared back into Birmingham this week  as Buddy – The Buddy Holly Story took over the Hippodrome, bringing 1950s nostalgia, sharp suits, and toe-tapping tunes. The show has been entertaining audiences around the world since making its premiere at the Theatre Royal, Plymouth in August 1989. Written and executive produced by Alan Janes, the show tells the story of Buddy Holly and the stratospheric success he achieved during his short life.

From the beginning, it is clear this is not your average ‘Jukebox Musical’. It is essentially a live gig with a very touching plot telling the fast-paced story of Buddy Holly’s meteoric rise to fame and his tragically short life. The ensemble cast all play their own instruments live, adding an extra exciting depth to their performances. I enjoy productions where you see the band onstage, The show  boasts an outstandingly talented group of musicians. The set design by Adrian Rees and lighting by Jamie King-Cox is cleverly used to transport us from Buddy’s hometown of Lubbock, Texas, to the recording studios of Nashville,  the Apollo Theatre, Harlem and  finally The Surf Ballroom, Ohio.

The small but perfectly formed ensemble of performers offer a masterclass in multitasking. As well as performing the music, they also take on dual roles within the show. Our leading man, AJ Jenks as Buddy Holly dons the famous glasses and perfectly captures just the right level of geeky-cool energy. Jenks nails the charmingly awkward but confident vibe that made Holly such a pioneer.  Alongside him as The Crickets, Niki (Joe Sterling), Jerry (Stephen Alexander-Kerr) and Joe (Melker Nilsson) are absolute dynamos. You would be forgiven for thinking the real band had come back just for the evening. The show charts Buddy’s rise to fame in Lubbock, Texas to becoming a chart-topping star, Along the way Buddy meet Maria Elena (Marta Miranda) and he proposes to her within a few hours of meeting, before the show concludes at the fateful winter concert in Clear Lake. Even with the inevitable tragic ending looming, the production keeps spirits high.

The show is filled to the brim with live musical performances, and both acts conclude with a live ‘concert’ performance. The first act recreates the band’s performance at The Apollo Theatre, Harlem, where they became the first white rock act to play the venue. We were treated to amazing performances of ‘Reet Petite’ and ‘Shout’ by Tyrone Jones (Miguel Angel) and Marlena Madison (Laura-Dene Perryman). This is when the audience realised that a little bit of audience participation was allowed in this show and actively encouraged. The Birmingham crowd were only too happy to oblige! The second act follows the backstage antics of the performers of the ill-fated winter concert in Clear Lake, before large portions of that concert are recreated with Thomas Fabian Parrish getting the crowd ready for the show as the cheeky Clear Lake MC. During this section we meet Richie Valens (Miguel Angel) and The Big Bopper (Joshua Barton), the musicians who died alongside Buddy Holly that fateful night in 1958. Both are absolute balls of energy who had the audience desperate to get up and dance.

The last twenty minutes of the show is basically a rock concert. With a range of songs masterfully recreated by the cast, including a beautiful a Capella version of ‘Why Do Fools Fall In Love’ by Jack Daw (Ewan Ling) and his Snowbirds (Andrew Farrell, Marta Miranda, Laura-Dene Perryman and Joe Sterling) and riotous renditions of ‘That’ll Be The Day’, ‘Chantilly Lace’ and ‘La Bamba’ and more. While the show inevitably ends with a sombre moment that we all know is coming. The production handles it beautifully, with a simple but heartfelt nod to the young lives lost “the day the music died”, followed by one last raucous celebration of the musical legacy they left behind. 

As our leading man declared at the curtain call of the show “Tell your friends to come on down, ‘cus Buddy Holly’s back in town! Buddy at the Hippodrome isn’t just for the die-hard fans, it is for anybody who appreciates great music, good times and lots of twanging guitars!

Crazy Coqs, Zedel, London W1 – Thursday 28 August 2025

Reviewed by Phil Brown

5*****

Clearly still buzzing from a successful debut stint at the Edinburgh Fringe, Texan by way of the Big Apple, Margaret Curry treated the Crazy Coqs late evening crowd to a truly bewitching performance of story and music reflecting and explaining her central convictions.  

The title of the show is The Space In-Between which, she believes, is “where all the good stuff actually comes from”.  In round terms, the space in-between is analogous to those key transition points in life, necessarily involving some risk and a step into the unknown – a development that inevitably leads to personal (and professional) growth.  She’s not wrong – in the hard nosed world of commerce, there is a saying – no risk, no business…

Although Margaret Curry is not well known this side of the pond, she is an award winning performer – gaining the 2024 Backstage Bistro Award for The Space In-Between and a nomination as the 2025 Manhattan Association of Cabaret and Club Awards for Best Female Vocalist.  Her beautifully and intelligently constructed show (director – Lina Koutrakos) amply demonstrates those credentials.  

Integral to this brilliant display of the cabaret oeuvre is her outrageously stellar long time accompanists  – musical director, arranger and pianist Gregory Toroian, Skip Ward (bass guitar) and David Silliman (drums).  Flown in from New York especially for this event, I have to say I was left wondering about the economics of mounting such a show.  They were sensational.

As a seasoned actress, Margaret is supremely relaxed on stage and a naturally engaging and humourous communicator, which along with the confessional nature of her between songs stories, creates a genuinely intimate pleasure dome for the audience to bask in.   Her crystal clear voice means you can hear absolutely every word she sings.  In most cases, this proves revelatory for songs you thought you knew and compelling for any that were new to you.  

The eclectic song selection is largely unfamiliar but inspired, collecting several interesting songwriters not normally associated with the nightclub scene.  Some scintillatingly original and effective arrangements combine with Margaret’s luminous vocals to present what previously might have been aural wallpaper in a completely new light.  It really is a million miles from the usual cabaret fare.  

Each song supports, reflects and amplifies the substance of the preamble giving a natural and coherent flow to proceedings.   Margaret introduces the show with an initially percussion led ‘Day In, Day Out’ (Rube Bloom/Johnny Mercer) before moving onto ‘Something’s Gotta Give’ (Johnny Mercer).  

Then we get the first surprise – a brilliant reading of the Doobie Brothers’ ‘Black Water’ (Pat Simmons).  One of several highlights during the evening that will send me back to investigate back catalogues with renewed interest.  

Next is the funky ‘Ain’t Nobody’ (Hawk Wolinski) as never heard before.  It was previously a hit for funk band Rufus featuring Chaka Khan.  Things revert to more standard material  for the next couple of numbers – ‘Lets Face the Music and Dance’ (Irving Berlin) and ‘Down With Love’ (Harold Arlen/Yip Harburg) featuring tasteful backing vocals from the band,  

From here on, we get a series of mostly unfamiliar songs which add to the originality and quality of the show, elevating it from intriguing to truly memorable.  The unusual song choice can only result from some serious time investment in research and listening. There’s Jimmy Webb’s ‘Elvis and Me’, a wonderful reading of Orbison’s ‘Blue Bayou’, the quite hilarious ‘Lime Jell-O Marshmallow Cottage Cheese Surprise’ (William Bolcom) and the bossa nova beat of ‘Let’s Eat Home’ (David Frishberg).   

Margaret also makes references to female emancipation with ‘The Ballad of Robin and Marian’ (Michel Brourman) and the excellent ‘The Last Words of Bonnie Parker’ (Susan Werner).   Then, as a self confessed follower of Kurt Vonnegut’s philosophy (we are here on earth to fart about!) Margaret, with delightful backing vocals from the band gives us an extremely soulful version of the Isley Brothers’ ‘It’s Your Thing’ (Ronald, O’Kelly & Rudolph Isley) followed by the pure sunshine joy of Hugh Masakela’s ‘Grazin’ in the Grass’ (Philemon Hou/Harry Elston).   

Margaret closes an entrancing and thoroughly polished show with the clearly, very personal ‘Unwritten’ (Natasha Bedingfield)

This has to be one of the most enjoyable visits I’ve ever made to the Crazy Coqs.  Margaret Curry and her band produce an exhilarating evening of original, exciting and fulfilling entertainment with a well conceived show, fabulous song selection, brilliantly creative interpretations, outstanding musicianship and faultless delivery.  I’m a fan !

FULL CASTING ANNOUNCED FOR THE WORLD PREMIERE OF KATHERINE MOAR’S RAGDOLL
AT JERMYN STREET THEATRE

With Cascando opening next week, Jermyn Street Theatre today announces full casting for the world premiere of Katherine Moar’s Ragdoll. Josh Seymour directs Nathaniel Parker (The Inspector Lynley Mysteries, Olivier award-winner and Tony nominee for Wolf Hall), as Robert, Abigail Cruttenden (The Theory of Everything, Not Going Out) as Holly, Ben Lamb as The Lawyer, and Katie Matsell as The Heiress.

The production opens on 14 October 2025, with previews from 9 October, and runs until 15 November at Jermyn Street Theatre.

Ragdoll marks Moar’s return to Jermyn Street Theatre following her critically acclaimed debut play Farm Hall, which embarked on a UK tour and subsequent West End run at Theatre Royal Haymarket.

Katherine Moar today said, “I’m thrilled to be returning to Jermyn Street Theatre after the wonderful experience I had there with my debut play, Farm Hall. There’s something truly special about this space – its intimacy draws the audience into every moment, making each performance deeply personal. I’m especially excited to be working with such a phenomenal cast. I can’t wait to see them bring this play to life in rehearsals and to share that magic with audiences.”

Artistic Director Stella Powell-Jones and Co-Artistic Director and Executive Producer David Doyle also added, “Katherine’s debut play Farm Hall showed her to be one of the most assured and talented writers of her generation, thrilling audiences here, on a national tour and on the West End. We’re delighted to now premiere her second, Ragdoll. Josh Seymour has a rare gift for making theatre that grips you tight. He leads an exceptional cast and creative team, and we can’t wait to share this production with audiences.”

Jermyn Street Theatre present

RAGDOLL

By Katherine Moar

Cast: Nathaniel Parker (Robert); Abigail Cruttenden (Holly);

Ben Lamb (The Lawyer); Katie Matsell (The Heiress)

Director: Josh Seymour; Set Designer: Ceci Calf; Costume Designer: Tom Paris;

Lighting Designer: Jamie Platt; Composer and Sound Designer: Lex Kosanke;

Movement Director: Anjali Mehra; Casting Director: Becky Paris CDG;

Dialect Coach: Andrea Fudge; Voice Coach: Tess Dignan

9 October – 15 November

“You love the attention, you always have.”

1978. Holly, a young heiress, sits in a California prison awaiting trial for her role in a string of armed robberies that have captivated the nation. Her only hope? Her hotshot lawyer, Robert—who might make his name, if he can save hers.

2017. Robert, now one of the most famous attorneys in America, faces a different kind of trial: the court of public opinion. In a last-ditch bid for redemption, he turns to the one former client who could help him plead his case. But will she?

Following Farm Hall’s record-breaking run and West End transfer, Katherine Moar returns to Jermyn Street Theatre with her second play, inspired by the trial of Patty Hearst. Rising star Josh Seymour directs this world premiere, plunging us into the psychedelic swirl of celebrity, violence, and scandal of 1970s America.

Katherine Moar is a playwright. Her debut play Farm Hall premiered at Jermyn Street Theatre, before embarking on a UK tour, then transferring to the Theatre Royal Haymarket. Moar is a PHD student at King’s College London and the Imperial War Museum.

Nathaniel Parker plays Robert. His theatre credits include The Mirror and the Light (Gielgud Theatre), Alma Mater (Almeida Theatre), Rock ‘n’ Roll (Hampstead Theatre), An Ideal Husband (Vaudeville Theatre), This House (Chichester Festival Theatre/Garrick Theatre), The Audience (Gielgud Theatre), Speed the Plow (Duke of York’s Theatre), Wolf Hall (RSC, Aldwych Theatre and Broadway – Olivier Award for Best Actor in a Supporting Role and Tony Award nomination), and Romeo and Juliet (Young Vic). His television credits include The Inspector Lynley Mysteries (as series regular detective Thomas Lynley), Bleak House, Hotel Babylon, Land Girls, Merlin, Nuremberg: Nazis on Trial, The Vineyard, Grantchester, La templanza, Of Kings and Prophets, Me and Mrs Jones, The Proxy, and History of a Pleasure Seeker; and for film, The Last Duel, Swimming with Men, Swords and Sceptres, The Chronicles of Narnia, The Perfect Host, and St. Trinian’s.

Abigail Cruttenden plays Holly. Her theatre credits include A Man for All Seasons (Harold Pinter Theatre), The Importance of Being Earnest (Royal Exchange Theatre, Manchester), Handbagged (Kiln Theatre), Swive (Shakespeare’s Globe), Black Chiffon (Park Theatre), Her Naked Skin (Salisbury Playhouse), An Enemy of the People, A Marvellous Year for Plums, The Rivals (Chichester Festival Theatre), Accolade (The Other Palace), Drawing the Line, 55 Days (Hampstead Theatre), The Seagull (UK tour), Benefactors, The Crucible (Sheffield Theatres), When Did You Last See Mother (Trafalgar Theatre), The Knot of the Heart (Almeida Theatre), Afterlife, Flight (National Theatre), The Wood Demon, Tartuffe (Playhouse Theatre), Twelfth Night (RSC), The Importance of Being Earnest (The Old Vic/Birmingham Rep), Hay Fever, The School for Scandal, The Cherry Orchard (Theatr Clwyd), and Romeo and Juliet (Ludlow Festival Theatre). Her television credits include Not Going Out (as series regular Anna), The Outcast, The Robinsons, Doctors and Nurses, Monarch of the Glen, Love on a Branch line, Benidorm, Teenage Kicks, Foyle’s War, Sharpe, Fresh Meat, and Anna Karenina; and for film, Portraits of Dangerous Women; Munich: The Edge of War, Denial, Charlotte Gray, and Await Further Instructions.

Ben Lamb plays The Lawyer. His theatre credits include How to Survive an Apocalypse (Finborough Theatre), Macbeth (Young Vic), The Merchant of Venice, As You Like It (Shakespeare’s Globe), Mary Shelley (UK tour), and Hamlet (Sheffield Theatres). His television credits include The Gilded Age, Endeavour, Knightfall, Victoria, The Alienist, and The White Queen; and for film, Divergent, Now You See Me 2, A Christmas Prince, and The Warrior Prince of Bhanji.

Katie Matsell plays The Heiress. Her theatre credits include Suddenly Last Summer (English Theatre Frankfurt), Othello (National Theatre), Clybourne Park (Park Theatre – Offie Nomination for Best Supporting Performance in a Play), The Mirror Crack’d (Wales Millennium Centre and Wiltshire Creative), and Museum of Austerity (English Touring Theatre and National Theatre); and for television, Criminal Record and Titans.

Josh Seymour directs. His directing credits include A Streetcar Named Desire (Sheffield Theatres), Spend Spend Spend (Royal Exchange Theatre, Manchester), That Face (Orange Tree Theatre), Suddenly Last Summer (English Theatre Frankfurt), The Narcissist (Chichester Festival Theatre), [TITLE OF SHOW] (London Coliseum), MUSIK (Edinburgh Festival and Arts Theatre), Homos, or Everyone in America, Adding Machine (Finborough Theatre), and One Arm (Southwark Playhouse). Credits as Associate Director include Hello Dolly! (Palladium Theatre), A Christmas Carol (The Old Vic), The Normal Heart, Follies (National Theatre), Red (Wyndham’s Theatre), Beautiful – The Carole King Musical (Aldwych Theatre), and My Night with Reg (Apollo Theatre). As Resident Assistant Director for the Donmar Warehouse, his credits include City of Angels, My Night with Reg, Fathers and Sons, Privacy, Versailles (Donmar Warehouse), and other credits include Candide (Menier Chocolate Factory), Our House (New Wolsey Theatre and UK tour), Good Grief (Theatre Royal Bath and UK tour), Sex with a Stranger (Trafalgar Studios), and Sixty-Six Books (Bush Theatre).

LISTINGS

RAGDOLL
16B Jermyn Street, London, SW1Y 6ST
Box Office: 020 7287 2875
www.jermynstreettheatre.co.uk
CASCANDO
2 – 13 September 2025
Press performance: Tuesday 2 September at 6:30pm and 7:45pm
Tuesday–Friday: 3pm, 6:30pm, 7:45pm

Saturday–Sunday: 1:30pm, 2:45pm, 4:15pm
Tickets from £22
RAGDOLL
9 October – 15 November 2025
Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performances: Thursday 23 October at 7.30pm and Tuesday 4 November at 3pm
Captioned Performance: Wednesday 5 November at 7.30pm
Tickets from £18

DAVID COPPERFIELD
20 November – 20 December
Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performance: Wednesday 10 December at 7:30pm 

Captioned Performance: Wednesday 17 December at 7:30pm

Tickets from £18

NOTES TO EDITORS                                                                                              
JERMYN STREET THEATRE
Jermyn Street Theatre is the West End’s Studio Theatre, a home for extraordinary artists and curious audiences for over thirty years. Together, Artistic Director Stella Powell-Jones, Executive Director Penny Horner, and Co-Artistic Director and Executive Producer David Doyle lead the theatre. The theatre stages superb classics and thrilling new plays, offering audiences unforgettable theatre from stars including Patricia Allison, Siân Phillips, Caroline Quentin, Timberlake Wertenbaker, and Roy Williams alongside those taking their first steps in the industry.

With just 70 seats, audiences are never more than 4 rows from the action. Every flinch is felt. Every whisper is audible. It is a small theatre with big stories to tell. In 1994, Co-Founders Penny Horner and Howard Jameson came down the stairs of 16b Jermyn Street for the first time and saw what could be: a studio theatre right in the centre of town where theatre artists could afford to take risks, and where audiences could afford to see the work. The theatre upholds those commitments today, and in the three decades since has created ambitious work that has won countless awards and reached global audiences through transfers across the UK, Broadway, and beyond. In 2021, Jermyn Street Theatre won the Stage Award for Fringe Theatre of the Year, the first theatre to win the award twice.

Last year, the theatre celebrated its thirtieth anniversary with productions that included the world premieres of Roy Williams’ Offie Award-winning stage adaptation of Sam Selvon’s The Lonely Londoners and Laughing Boy by Stephen Unwin after Justice For Laughing Boy by Sara Ryan, and the West End transfer of Katherine Moar’s debut play Farm Hall. The Lonely Londoners transferred to the Kiln Theatre for a run earlier this year.

https://www.jermynstreettheatre.co.uk/
Instagram: @jermynstreettheatre
X: @JSTheatre