Home

Festival Theatre, Malvern – until 30th August 2025

Reviewed by Courie Amado Juneau

4****

Charles Dickens wrote many ghost stories, of which tonight’s production at Malvern Theatres of The Signalman is undoubtedly not one of his better known ones.

The tale concerns a traveller coming across an isolated signal box, manned by the titular signalman. The chat between these two main characters turns from their shared (amateur and professional) interest in all things rail related to talk of spirits and a ghostly spectre who is haunting the signalman during his long, lonely nights at his post…

The curtain opens on a rather impressive set courtesy of Designer Michael Lunney; consisting of the cutting where the signal box nestles next to the mouth of a tunnel, both of which feature heavily in the ensuing action. The lighting designer (Bob Hodges) did a fantastic job, helped by some deliciously atmospheric smoke, in properly setting the spooky scene. Absolute classic Hammer Horror territory.

The cast is compact and bijou, with most of the action involving just the Signalman (Chris Walker) and Traveller (John Burton). Both gave powerhouse performances which really propelled the story forward. There was an authenticity produced on stage which did both actors and the production credit – so kudos should also go to Director Michael Lunney (yes, the same multi-talented Mr Lunney that Designed tonight’s spectacle).

The other cast members also did a sterling job of fleshing out the story in some pivotal scenes. They included Innkeeper (Bruce Chattan) and, towards the end of the play, Inspector (James Morley) and Tom (Adam Mort). Though their time on stage may have been small, their impact was large.

The darkness of the set – with the tunnel in particular, but also all the darkened recesses holding the promise of jumps aplenty – acted very much as cast members in their own right. And there are indeed plenty of jumpy moments along the way – causing some nervous laughter from the audience. Although a ghost story, there are some genuinely humorous lines to lighten the atmosphere – which is most welcome.

Last, but by no means least, was the sound-world created with dramatic effect. The way the sound of the wind segued into echoes of voices, screams and moans was spectacularly wrought. And another key feature was the music – which began the piece and was weaved throughout. The magnificent score by Lynette Webster reminded me of the haunting themes (also on piano) from Halloween and The Exorcist.

Francis Evelyn adapted the original book for the stage and since I now want to read Dickens’s original work I reckon he must have done a pretty good job. It’s often hard to review these sort of works when attempting not to give away the inevitable twist in the tale – but suffice to say the author duly obliged with a fabulous final flourish.

So, a thoroughly enjoyable work which although not Dickens best (we all know which one that is, and very much deserved too) is still worth discovering. This stage adaptation is a superb way to do just that and I heartily recommend this play if you fancy an early Halloween present to yourself.

Theatre Royal, Windsor – until 30 August 2025

Reviewed by Marcia Spiers

3***

Grease is one of the most iconic musicals and one that I have seen many times. I am also a huge fan of the film, being a teenager in the seventies and I know all the songs. Therefore, it is tricky for any theatre production to eclipse my vision of John Travolta and Olivia Newton-John.

That said, this wonderful Community Production on their first night was fairly good, if not a little hampered by understandable nerves and an odd production pause. I am sure the show will go from strength to strength during the week.

Written by Jim Jacobs and Warren Cassey, we all know the story. It is set in 1959 at Rydell High School focusing on a bunch of rebellious teenagers desperately trying to be grown up despite being still very vulnerable, focusing on their need to fit in with the tribe and all their romantic liaisons.

The musical numbers were in the main, well executed, although a few of them are exceedingly difficult to sing as I have found out over the years. Mention must go to Isabelle Waters (Betty Rizzo) and Ella Murphy (Marty) as their solo numbers were exceptional. To Ben Aston, whose performance as (Teen Angel) was both brilliantly camp and comical. To Daniel Willings (Doody) who for me was the star performer on the night both with his solo/guitar performance, his duet with Roger and his dancing and shear enthusiasm on stage. Evan Gerard (Danny) and Bella Barron-Peat (Sandy) gave good lead performances but appeared a little tense (first night nerves) I guess. I am sure they will relax a little over the week. Autaum Letton (Frenchy) gave a very accomplished performance, growing every minute into her character as did Lilly Jessop (Jan). Everyone else in the show (too many to mention) gave it their all. The dancing was fantastic, and Dave Edwards (Vince Fontaine) and Blake McPhillips (Johnny Casino) did a decent job of managing the high school dance scene.

A mention must also go to the backstage crew – the set designer for an economically designed set that was easily transitioned, the excellent costumes and the excellent band.

Well done to Director Carole Todd and all the team for a great production. There are many talented people in this show with enormous potential. I hope to see some of these youngsters in future productions across the land.

★★★★★

‘Breathtaking Theatre’

The Guardian

STRANGER THINGS: THE FIRST SHADOW ANNOUNCES

NEW LEAD CAST

THE CRITICALLY ACCLAIMED OLIVIER AWARD-WINNING PLAY CELEBRATES SECOND ANNIVERSARY IN THE WEST END, EXTENDING UNTIL 5 APRIL 2026

★★★★★

“It’s not only a ravishingly entertaining and deceptively daring piece of theatre,

it’s also an important one.”

Sunday Times

★★★★★

“Netflix gives the West End its event of the year… The jaw-dropping coups range from the infernal, supernatural engulfing of a hulking US battle-ship to acts of levitation”

Daily Telegraph

★★★★★

“As a piece of total theatre, this is streets ahead of anything else”

Evening Standard

Netflix and Sonia Friedman Productions today announce a new lead cast will join the critically acclaimed, Olivier Award-winning, world première production of Stranger Things: The First Shadow. As the show approaches its second anniversary in the West End, it will also extend into its third year at the Phoenix Theatre, now running until 5 April 2026. With tickets priced at £19.59 released today, for 72 hours only, across weekday performances from 18 November – 12 December 2025 to celebrate second anniversary at the Phoenix Theatre.

Jack Christou will take over the role of Henry Creel with Stewart Clarke as Dr Brenner, Avril Maponga as Patty Newby, Max Potter as Bob Newby, Adam Wadsworth as James Hopper Jr. and Edie Wright as Joyce Maldonado. The new company begins performances on 12 November 2025, just ahead of the release of the highly anticipated fifth season of the hit Netflix series.

★★★★★

‘So insanely visceral it left my jaw on the floor’
Mail on Sunday

Also announced today is a partnership with Go Live Theatre, a charity that uses the power of live theatre to create joyful and inspiring experiences for children and young people from disadvantaged and vulnerable backgrounds. Go Live will host an Education Matinee on Friday 21 November providing students from state schools around London with a high percentile of Pupil Premium the opportunity to see Stranger Things: The First Shadow for £10 a ticket.

The multi award-winning hit production is now running on both sides of the Atlantic, having opened on Broadway earlier this year. Its numerous accolades in London include the Olivier Awards for Best Entertainment and Best Set Design, the Critics’ Circle Awards for Best Set Design and Most Promising Newcomer, and the WhatsOnStage Award for Best New Play. On Broadway the play became the most nominated of the 2025 season, winning 4 Tony Awards including a special Tony Award for Illusions and Technical Effects. The Broadway production is currently booking tickets through March 2026 at The Marquis Theater.

Earlier this year, Netflix released the official documentary, Behind the Curtain: Stranger Things: The First Shadow, which offers an electrifying look backstage during the making of the critically acclaimed, award-winning play in the lead up to its world premiere at London’s Phoenix Theatre in December 2023. It is available to watch now exclusively on Netflix.

★★★★★

‘Sinister and thrilling trip balances horror and humour to great effect. This is exhilarating live theatre…’

Financial Times

Netflix and Sonia Friedman Productions present 

STRANGER THINGS: THE FIRST SHADOW 

By Kate Trefry 

Original story by the Duffer Brothers, Jack Thorne & Kate Trefry 

Based on the Netflix Series, Stranger Things,created by the Duffer Brothers 

The Duffer Brothers act as creative producers, with 21 Laps Entertainment as associate producer. 

Directed by Stephen Daldry, with co-direction by Justin Martin, leading the world class award-winning creative team, the cast includes Jack Christou (Henry Creel), Stewart Clarke (Dr Brenner), Avril Maponga (Patty Newby), Max Potter (Bob Newby), Adam Wadsworth (James Hopper Jr.) and Edie Wright (Joyce Maldonado).

ABOUT STRANGER THINGS: THE FIRST SHADOW

Are monsters born… or made?

In 1959 Hawkins, Indiana, the Creel family seeks a fresh start, especially their teenage son Henry, who is eager to escape his troubled past. Initially, things go well — he finds friendship and joins the school play. But when a wave of shocking crimes strikes the town, Henry is forced to confront a terrifying truth: is there something inside him that connects him to the horrors unfolding around him?

As this thrilling mystery races forward, shadows of the past are unleashed, relationships are tested, and the town of Hawkins faces the ultimate question: can the power of friendship outshine the darkness within?

With a cast of 32, this gripping stand-alone adventure will pull you deep into the world of STRANGER THINGS. Experience the heart-pounding excitement of STRANGER THINGS: THE FIRST SHADOW—where suspense and spectacle lurk at every turn.

STRANGER THINGS: THE FIRST SHADOW is written by Kate Trefry, directed by Stephen Daldry with co-director Justin Martin, set design by Miriam Buether, costume design by Brigitte Reiffenstuel, lighting design by Jon Clark, sound design by Paul Arditti, original music composition, orchestration, arrangements and supervision by D.J. Walde, illusions design and visual effects by Jamie Harrison & Chris Fisher, video design and visual effects by 59 Studio, choreography by Coral Messam, movement direction by Lynne Page, wigs, hair and make-up design by Campbell Young Associates, technical director is Gary Beestone for Gary Beestone Associates, props supervision by Mary Halliday, dialect by William Conacher, casting by Jessica Ronane Casting CDG and international casting consultancy by Jim Carnahan.

Jack Christou plays Henry Creel. His theatre credits include Matilda the Musical (RSC The Other Place). His television credits include Chloe, Pandemonium and Penny on M.A.R.S; and for film, Last Train to Christmas. 

Stewart Clarke plays Dr Brenner. His theatre credits include Les Misérables (Sondheim Theatre), Mandela (Young Vic), Cabaret (Kit Kat Club at the Playhouse Theatre), Be More Chill (Shaftesbury Theatre, The Other Palace), Fiddler on the Roof (Menier Chocolate Factory, Playhouse Theatre), The Rink (Southwark Playhouse), Assassins (Menier Chocolate Factory), A Streetcar Named Desire (Curve, Leicester), Cool Rider Live, Godspell in Concert (Lyric Theatre), The Return of The Soldier (Hope Mill Theatre) and Ghost The Musical (UK tour). His television credits include Moonstone; and for film, Easy Virtue. 

Avril Maponga plays Patty Newby. She is a recent graduate of Rose Bruford College, her theatre credits include Witness for the Prosecution (London County Hall). For film, her credits include Sightline.

Max Potter plays Bob Newby. His theatre credits include A Monster Calls (Barn Theatre), I Love to Fly (Little Angel Theatre), The Lodger (Lion and Unicorn Theatre) and Scissors (Greenwich Theatre).

Adam Wadsworth plays James Hopper Jr. His theatre credits include The Merry Wives of Windsor, All’s Well That Ends Well, Much Ado About Nothing (Shakespeare’s Globe), Harry Potter and the Cursed Child (Palace Theatre) and Patterns (Curve, Leicester). His television credits include Lewis, Marple and My Phone Genie.

Edie Wright plays Joyce Maldonado. She is a recent graduate of Guildford School of Acting and made her professional stage debut in Stranger Things: The First Shadow as Karen Childress in the 2024/25 cast.

STRANGER THINGS: THE FIRST SHADOW

LISTINGS

Phoenix Theatre

Charing Cross Rd, London WC2H 0JP

For further ticket information, performance schedule, full creative team and cast biographies,

please visit strangerthingsonstage.com and the official social channels:

Instagram.com/STOnStage

Tiktok.com/STOnStage

Facebook.com/STOnStage

Twitter.com/STOnStage

FULL CAST ANNOUNCED FOR TANIKA GUPTA’S

HEDDA

AT ORANGE TREE THEATRE

Pearl Chanda will be joined by Joe Bannister, Bebe Cave, Rina Fatania,

Caroline Harker, Jake Mann and Milo Twomey

With Chiara Atik’s Poor Clare having come to a close and Strindberg’s Creditors preparing to take to the stage, Orange Tree Theatre today announces the full cast for Tanika Gupta’s Hedda. Joining the previously announced Pearl Chanda are Joe Bannister, Bebe Cave, Rina Fatania, Caroline Harker, Jake Mann and Milo Twomey.

Directed by Hettie Macdonald, Hedda opens at Orange Tree Theatre on 27 October, with previews from 18 October and runs until 22 November.

Hettie Macdonald said today, “I’m thrilled to be working with such an exceptional cast on Hedda. Each of these actors will bring immense depth and insight to Tanika’s bold reimagining, and I’m excited to begin the journey with them as we bring this story to the Orange Tree stage.”

Tickets are on sale now: https://orangetreetheatre.co.uk/whats-on/hedda/

HEDDA

By Tanika Gupta

Inspired by Henrik Ibsen’s Hedda Gabler

Cast: Pearl Chanda, Joe Bannister, Bebe Cave, Rina Fatania, Caroline Harker, Jake Mann, and Milo Twomey

Directed by Hettie Macdonald; Set Designer: Simon Kenny; Costume Designer: Sheena Napier; Lighting Designer: Ben Ormerod; Sound Designer and Composer: Pouya Ehsaei; Assistant Director: Tara Jamora Oppen; Production Manager: Sean Laing

18 October – 22 November

It was our love of India which drew us closer together. And of course, films…

London, 1948. The war is over, India is newly independent, and Hedda Gabler has retired: early, elegantly, and with secrets. Once a Hollywood star, now the wife of rising British film director George Tesman, Hedda lives in Chelsea, hiding behind drawn curtains. But the past is beginning to stir.

Her husband is asking questions. An old colleague has written a screenplay that cuts too close to the truth. And there’s a powerful producer in town: and he never takes no for an answer.

Inspired by the story of Anglo-Indian screen legend Merle Oberon, Hedda is a bold new version of Henrik Ibsen’s classic drama about blackmail, secrecy and power.

Henrik Ibsen (1828-1906) was a Norwegian playwright. His principal works include Brand, Peer Gynt, Emperor and Galilean, A Doll’s House, Ghosts, The Wild Duck, Rosmersholm, The Lady from the Sea, Hedda Gabler, The Master Builder, John Gabriel Borkman, and When We Dead Awaken.

Tanika Gupta is a British playwright and screenwriter. Her credits include A Tupperware of Ashes, Sanctuary, The Good Woman of Setzuan, The Waiting Room (National Theatre), The Empress (RSC, Lyric Hammersmith Theatre), Great Expectations (Watford Palace Theatre, Royal Exchange Theatre, ETT), Lions and Tigers, A Midsummer Night’s Dream (Shakespeare’s Globe), The Overseas Student, A Doll’s House (Lyric Hammersmith Theatre), Mirror on the Moor, Catch, Sugar Mummies (Royal Court Theatre), Red Dust Road (Edinburgh International Festival), A Short History of Tractors in Ukrainian (Hull Truck), Anita and Me, Love ‘N Stuff, Broad (Stratford East), Mindwalking (UK tour), Dreaming by Day (Unicorn Theatre), 2 Young 2 Luv (Birmingham Rep), Meet the Mukherjees (Bolton Octagon), Gladiator Games (Sheffield Theatres, Stratford East), Hobson’s Choice (Young Vic, Royal Exchange Theatre) and Fragile Land (Hampstead Theatre). Her television credits include The Bill, Crossroads, All About Me, Eastenders, Grange Hill, London Bridge and Flight; and for film Bideshi, The Fiancée and Non-Resident. Her play The Empress and her adaptation of Ibsen’s A Doll’s House are also both included on the GCSE curriculum.

Pearl Chanda plays Hedda. Her theatre credits include Cat on a Hot Tin Roof, Three Sisters, INK (Almeida Theatre), The Harmony Test, Sea Creatures, Godchild (Hampstead Theatre), The House of Bernarda Alba (National Theatre), The White Factory (Marylebone Theatre), The Taxidermist’s Daughter (Chichester Festival Theatre), One For Sorrow (Royal Court Theatre), Julie (Northern Stage), The Glass Menagerie (Nuffield Theatre), The Angry Brigade (Bush Theatre), Crave, 4.48 Psychosis (Sheffield Theatres), Two Gentlemen of Verona (RSC) and The Seagull (Headlong Theatre). Her television credits include Mary & George, War of the Worlds, I May Destroy You, McDonald and Dodds, Motherland, Endeavour, and Arthur and George; and for film, See How They Run, Marionette, The Final Haunting, Mr Turner, Monster Heart, Only the Lonely, and The Big Return of Ray Lamere.

Joe Bannister plays George Tesman. His stage credits include The Da Vinci Code (Mercury Theatre, Colchester), The Confessions, Trouble in Mind, As You Like It (National Theatre), The Contingency Plan (Sheffield Theatres), The Watsons (Menier Chocolate Factory, Chichester Festival Theatre), Ramona Tells Jim (Bush Theatre), Wild Honey (Hampstead Theatre), Hobson’s Choice (Vaudeville Theatre), King John (Rose Theatre), A Mad World My Masters, The Witch of Edmonton, The Arden of Faversham, The Roaring Girl, Titus Andronicus (RSC), Chariots of Fire (Hampstead Theatre, Gielgud Theatre), The Lion in Winter (Theatre Royal Haymarket), and Much Ado About Nothing (Cambridge Arts Theatre). His television credits include Lockerbie: A Search for Truth, This Sceptred Isle, Screw, Finding Alice, The Singapore Grip, Curfew, Howards End, and Endeavour; and for film, The Isle.

Bebe Cave plays Alice Smith. Her stage credits include The Screen Test, Cave Women (Soho Theatre), Holes, Bebe Cave: Christbride (Edinburgh Festival Fringe), and The Killing Moon (Theatre503). Her television credits include Dinosaur, This Time with Alan Partridge, Industry, Hang Ups, The Truth of Murder, Victoria, We Are Family, Harmony, Cider with Rosie, Frankie, Trying Again, Mrs Biggs, and May Contain Nuts; and for film, The Running Man, On Chesil Beach, The Tale of Tales, and Great Expectations.

Rina Fatania plays Shona. Her theatre credits include A Thousand Splendid Suns, Sheila’s Island, Anita and Me (UK Tour), The Buddha of Suburbia (RSC, The Barbican), Crazy For You (Gillian Lynne Theatre), The Killing of Sister George (New Vic Theatre), The Art of Illusion (Hampstead Theatre), Favour (Bush Theatre), Waking/Walking (Kiln Theatre), The Language of Kindness (Shoreditch Town Hall), The Man in the White Suit (Wyndham’s Theatre), Dead Dog in a Suitcase (Kneehigh Theatre), The Tin Drum (Kneehigh Theatre, UK tour), Approaching Empty (Live Theatre), The Village, Love N Stuff (Theatre Royal Stratford East), Oliver Twist (Regent’s Park Open Air Theatre), Roller Diner (Soho Theatre), The Empress (RSC), The House of Bilquis Bibi (Hampstead Theatre), Britain’s Got Bhangra (Rifco Theatre), and Wuthering Heights (Lyric Hammersmith Theatre). Her television credits include Man Like Mobeen, Nolly, Too Close, People Just Do Nothing, Wanderlust, and MummyJi Presents.

Caroline Harker plays Aunt Julia. Her theatre credits include The Croft, Steel Magnolias, Things We Do For Love, Hidden Laughter (UK tours), The Children (Nottingham Playhouse), Breaking the Code, Relatively Speaking, Handbagged, The Sweet Science of Bruising (Salisbury Playhouse), The Chalk Garden (Chichester Festival Theatre), The Railway Children (King’s Cross Theatre, York Theatre Royal), Blithe Spirit (York Theatre Royal), Brideshead Revisited (English Touring Theatre), Pride and Prejudice (Regent’s Park Theatre), The Village Bike (Sheffield Crucible), Tusk Tusk (Royal Court Theatre), All Mouth (Menier Chocolate Factory), Entertaining Angels (Chichester Festival Theatre), Present Laughter (Bath Theatre Royal), Battle Royal (National Theatre), Falling (Hampstead Theatre), The Strip, The Editing Process (Royal Court Theatre), and The Mongrel’s Heart (Royal Lyceum Theatre). Her television credits include The Stolen Girl, Say Nothing, Joan, The Chemistry of Death, Slow Horses, New Tricks, The Commander, The Man Who Lost His Head, Margaret, Auf Wiedersehen Pet, Foyle’s War, I Saw You, Armadillo, Kavanagh QC, Keeping Mum, A Dance to the Music of Time, Harry Enfield and Chums, Holding On, Moll Flanders, Honey for Tea, A Touch of Frost, Middlemarch, Riders, Chancer, Covington Cross, and Growing Rich; and for film, Tom’s Christmas Tree, Mothering Sunday, Lady Godiva: Back in the Saddle, Hans Christian Anderson, and The Madness of King George.

Jake Mann plays Leonard. His theatre credits include Operation Epsilon (Southwark Playhouse), Cymbeline, Richard II (RSC), Evolution (Soho Theatre), King Lear (Duke of York’s Theatre, Chichester Festival Theatre), A Midsummer Night’s Dream (RSC, Garsington Opera), Criminal Behaviour (White Bear Theatre), Titus Andronicus (Shakespeare’s Globe Theatre), and The Duke in Darkness (Chiswick Playhouse). His television credits include Smothered, The Gold, Britannia, Ripper Street, A Young Doctor’s Notebook and Other Stories, and Quick Cuts; and for film, American Assassin, Hunter Killer, and Benjamin Britten: Peace and Conflict.

Milo Twomey returns to the Orange Tree to play John Brack – he previously appeared in Winter Solstice. His theatre credits include Mary Poppins, Three Sisters (UK tours), Brief Encounter (UK and US tour) The Surprise of Love, The Phoenix of Madrid, The History Boys (Bath Theatre Royal), The Harmony Test, Possession (Arcola Theatre), Twelfth Night (Sheffield Theatres), Much Ado About Nothing (Royal Exchange), Dancing at Lughnasa (Royal and Derngate), Richard III (Nottingham Playhouse), Lady Windermere’s Fan, Harvey, The Children’s Hour, An Ideal Husband, She Stoops to Conquer, Blithe Spirit (Royal Exchange Theatre), The Canterbury Tales (RSC, Gielgud Theatre), and The Tempest (Southwark Playhouse). His television credits include Geek Girl, Marble Hall Murders; The Thief, His Wife and the Canoe; Four Lives, A Discovery of Witches, Avenue 5, MotherFatherSon, The Feed, Free Rein, Safe, Marcella, Kiri, War and Peace, No Offence, Informer, X Company, Tyrant, Band of Brothers, Silent Witness, My Spy Family, and P.O.W.; and for film, Damsel, Franklyn, The Jolly Boys’ Last Stand, Cool Water, Thespian X, and Benjamin Britten: Peace and Conflict.

Hettie Macdonald is an award-winning theatre and television director. Her credits as a director include The Northern Fox (Ambassadors Theatre), Hey Persephone! (Aldeburgh Festival/Almeida Theatre), The Storm (Almeida Theatre), Top Girls (Citizens Theatre), M.A.D (Bush Theatre), and On Insomnia (Royal Court Theatre). In television, her credits include White Girl (BAFTA Award for Best Single Drama), Doctor Who (Hugo Award for Best Dramatic Presentation), Beautiful Thing (Grand Prix Award), The Unlikely Pilgrimage Of Harold Fry, Normal People, Howard’s End, Fortitude, The Tunnel, Hit And Miss, Law And Order: UK, Wallander, Lewis, The Fixer, Agatha Christie’s Marple, Banglatown Banquet, Agatha Christie’s Poirot, William and Mary, Servants, Hearts And Bones, In A Land Of Plenty, and Where The Heart Is.

Listing Information

HEDDA

Orange Tree Theatre

1 Clarence Street, Richmond, TW9 2SA

Box Office: 020 8940 3633

box.office@orangetreetheatre.co.uk 

Performance Dates and Times:

Mon – Sat 7.30pm
Thu & Sat 2.30pm

Audio Described Performance

Wed 19 Nov, 7.30pm

Captioned Performance

Tue 18 Nov, 7.30pm

Relaxed and Distanced Performance:

Tue 11 Nov, 7.30pm

OT Under 30 Night

Fri 7 Nov, 7.30pm

Age Guidance: 12+

18 October – 22 November

Tickets from £15

THE RIVALS

29 November – 24 January

OT UNDER 30 NIGHT: Friday 12 December at 7:30pm

Audio Described Performance: Wednesday 21 January at 7:30pm

Captioned Performance: Tuesday 20 January at 7:30pm

Relaxed and Distanced Performance: Tuesday 13 January at 7:30pm

ALICE’S ADVENTURES IN WONDERLAND

18 December – 22 December

DANCE OF DEATH

31 January – 7 March

OT UNDER 30 NIGHT: Friday 20 February at 7:30pm

Audio Described Performance: Wednesday 4 March at 7:30pm

Captioned Performance: Tuesday 3 March at 7.30pm

Relaxed and Distanced Performance: Tuesday 24 February at 7:30pm

OT On Screen: Tuesday 10 – Friday 13 March

VINCENT IN BRIXTON

14 March – 18 April

OT UNDER 30 NIGHT: Friday 3 April at 7:30pm

Audio Described Performance: Wednesday 15 April at 7:30pm

Captioned Performance: Tuesday 14 April at 7:30pm

Relaxed and Distanced Performance: Tuesday 7 April at 7:30pm

OT On Screen: Tuesday 21 – Friday 24 April

SHAKESPEARE UP CLOSE – MACBETH AND ROMEO AND JULIET

Schools Tour: Wednesday 26 November to Friday 5 December

Schools Performances at the OT: Tuesday 9 December to Friday 12 December

Public Performances at the OT: Sunday 14 December

THE DEVIL WEARS PRADA: A NEW MUSICAL

LONDON’S RECORD BREAKING MUSICAL AT THE DOMINION THEATRE

WITH MUSIC BY ELTON JOHN

PERFORMED BY THE DEVIL WEARS PRADA ORIGINAL WEST END CAST

RELEASES THE CAST RECORDING ON 19 SEPTEMBER

ON CD, DIGITAL & LP

INCLUDING TWO UNHEARD ELTON JOHN ORIGINAL DEMOS

TO PRE-ORDER – CLICK HERE

NEW SINGLE ‘MIRANDA GIRL’

OUT NOW

The original cast recording from The Devil Wears Prada: A New Musical is set to be released on CD, Digital & LP formats on 19th September via Island EMI. To pre-order the album please click here.

Today also sees the release of new single ‘Miranda Girl’, sung by Georgie Buckland who plays Andy in the hit musical – to listen to the exclusive first released track and watch the music video, please click here.

The Devil Wears Prada: A New Musical, has consistently smashed sales records since opening at the Dominion Theatre last year, becoming the fastest selling show in the theatre’s history and continues to be a Box Office hit in the West End.

Composed by musical icon Elton John,with lyrics from Shaina Taub and Mark Sonnenblick, these songs are a reminder that dreams – like fashion – never go out of style. The CD and Digital release contains all 18 songs from the musical recorded by the celebrated Original West End Cast, which includes Vanessa Williams (Miranda), Matt Henry, MBE (Nigel), Georgie Buckland (Andy), Amy Di Bartolomeo (Emily), Rhys Whitfield (Nate) and James Darch (Christian), as well as two previously unheard Elton John Original Demos, while the LP will include a selection of 12 tracks. The Devil Wears Prada: A New Musical is produced in the West End by Kevin McCollum, David Furnish, and Jamie Wilson. The cast recording is produced and mixed by Giles Martin, with the Elton John Original demos produced by Matt Still and Kim Bullard.

The Elton John Original Demos formed the architectural drawings the musical was built from. The new album marks the first time fans can gain an insight into this incredible creative process with Elton’s recordings of ‘I Mean Business’ and ‘The Devil Wears Prada’ included in the CD and Digital release.

Elton John says: “The subject matter of The Devil Wears Prada absolutely screams out for music. It’s been one of my favourite films of the last 20 years, so when the conversation came up about me writing the music for the stage version, it was an absolute no-brainer. I’m always looking forward, never backwards, so it absolutely had to be a modern, contemporary score. The best musicals leave people with a joyous feeling, and that’s completely how I felt writing this. ‘It has been wonderful to see the response & success of the stage show and hearing the fantastic reactions to the songs.”

The Devil Wears Prada: A New Musical, features an all-star, award-winning creative team led by Elton John (Tammy Faye, Billy Elliot: The Musical, The Lion King), direction & choreography by Jerry Mitchell (Kinky Boots, Legally Blonde, Pretty Woman, Hairspray), lyrics by singer-songwriter Shaina Taub (Suffs) and Mark Sonnenblick (KPop Demon Hunters, Theatre Camp), book by Kate Wetherhead (Ever After, Submissions Only), set design by Tim Hatley (Life of Pi, Back to the Future), costume design by Gregg Barnes (Some Like It Hot, Legally Blonde), lighting design by Bruno Poet (The Tina Turner Musical, Frankenstein), sound design by Gareth Owen (Come From Away, & Juliet) and casting by Jill Green CDG.

Hilariously fun and fabulously stylish, The Devil Wears Prada tells an inspiring story about discovering what kind of person you truly want to e. Choose your outfit carefully and get ready for a new musical that’s hautter than hell! The musical is based on Lauren Weisberger’s best-selling 2003 novel and the 2006 blockbuster film from Twentieth Century Studios which went on to gross $326 million worldwide and received two Academy Award nominations.

CD + DIGITAL TRACKLISTING:

01 I Mean Business (Including Prologue)

02 House Of Miranda

03 I Only Love You For Your Body

04 How To Survive At Runway

05 Girl For The Job

06 In Or Out (Part 1)

07 Dress Your Way Up

08 In Or Out (Part 2)

09 The Devil Wears Prada

10 Miranda Girl

11 Bon Voyage

12 The Old You

13 Paris City Of Dreams

14 Who’s She

15 Seen

16 Your Twenties

17 Stay On Top

18 What’s Right For Me

19. I Mean Business (Elton John Original Demo)

20. The Devil Wears Prada (Elton John Original Demo)

LP TRACKLISTING:

Side A

01 I Mean Business

02 House Of Miranda

03 How To Survive At Runway

04 Dress Your Way Up

05 The Devil Wears Prada

06 Miranda Girl

Side B

01 Bon Voyage

02 The Old You

03 Who’s She

04 Seen

05 Stay On Top

06 What’s Right For Me

JERRY MITCHELL TO DIRECT NEW WORKSHOP PRESENTATION OF MUSICAL IN LONDON THIS AUTUMN 

BRITISH INVASION

Tony & Olivier Award winning producers Hal Luftig (Legally Blonde, Kinky Boots), Craig Haffner and Sherry Wright (Plaza Suite, The Wiz) and producer Kevin Connor (Here Lies Love)are delighted to announce a forthcoming workshop presentation of British Invasion, a musical directed and choreographed by three-time Tony Award winner Jerry Mitchell (Kinky Boots, La Cage Aux Folles, Pretty Woman, On Your Feet!), with a book by Rick Elice (Jersey Boys, Peter and the Star Catcher), with musical supervision by Tom Deering (Standing at the Sky’s Edge, Tammy Faye, The Color Purple).

Set during the wild rise of the 1960s, British Invasion is a fresh, feel-good fable of young love and rock ’n’ roll, featuring more than two dozen chart-topping hits from some of the greatest British artists of the era, including The Beatles, The Rolling Stones, The Kinks, Cilla Black and Dusty Springfield. Originally conceived by legendary Herman’s Hermits frontman Peter Noone, the show captures the energy, optimism and cultural revolution that defined a generation.

The company bringing this story to life include Jonny Amies (The Little Big Things) as ‘Peter Noone’, Jenna Bonner (The Lion King) as ‘Suki’, Daniel Bravo (Cabaret at the Kit Kat Club) as ‘Andrew’, Stevie Doc (winner of Mamma Mia! I Have a Dream, Moulin Rouge! The Musical) as ‘Marianne’, Jordan Luke Gage (Bonnie & Clyde, Heathers) as ‘Mick’, Melissa Jacques (Everybody’s Talking About Jamie, Wicked) as ‘Peter’s Mum’, George Maguire (Olivier Award winner for Sunny Afternoon) as ‘Paul McCartney’, Kyle Taylor Parker (Kinky Boots, Charlie and the Chocolate Factory) as ‘Geno’, and Ashley Samuels (Motown The Musical, The Book of Mormon) as ‘the Dealer’.

The ensemble features Taila Halford (Mamma Mia!) as ‘Mary Quaint’, Ying Ue Li (The King and I), Tom Oliver (Jersey Boys), and Rachel Rawlinson (Bat Out of Hell), with further casting still to be announced.

The workshop presentation will take place in London on 18 and 19 September.

Casting is by Jill Green CDG, with Tom Shiels as Casting Associate, with General Management by Thomas Hopkins Productions.

Jerry Mitchell said, “Before they were big. Before Ed Sullivan introduced the Beatles. Before British bands took over the world — they were making music for each other at The Bag O’ Nails. I love these songs, and I love that moment when no one yet knew the impact they would have. With British Invasion, we get to re-live that explosion of possibility — the sound, the style, the spirit of a generation discovering itself through music. Developing this show in London, the birthplace of so much of that energy, feels exactly right. This city was the epicentre of a cultural revolution, and it’s thrilling to explore that legacy in the rehearsal room with this extraordinary company. The Bag of Nails, Carnaby and Kingly Street is the heart of this story and much of that energy feels exactly right.”

Nottingham Theatre Royal – until Saturday 30 August 2025

Reviewed by Louise Ford

4****

Art for art’s sake, money for God’s sake.

The theatre company Tab Productions and the Colin McIntyre thriller series have a long association with Nottingham and the Theatre Royal. The first show was back in 1988.

The Business of Murder by Richard Harris, is the final offering in the  2025 season. This adaptation is by Peter Gordon and is directed by Karen Henson.

Set in the 1980s, the story takes place in a first-floor flat in a London suburb.

David Giltbrook is Stone, John Goodrum is Halley, and Sarah Wynne Kordas is Dee.

The whole production is pretty wordy (and the whole cast delivers their lines impeccably), special mention to David Giltbrook, who captures perfectly the “grey” man that no one really notices, until it is too late. The play is nicely balanced as regards action. The first half is particularly engrossing as the audience (or maybe just me) tried to piece together what was going on and second-guess where the story was going. Having said that, there are plenty of clues throughout the story, but the final twist does come as a surprise. As Halley says at one point, in his game, there are three crucial questions “Where? When? Why?”

The story opens with Halley (all Columbo-esque) in a mac and a trilby pacing around the flat, he’s been called there by Stone. Stone has dangled the possibility of an easy collar to get Halley, the weary, seasoned detective, who’s not afraid to resort to a little physical persuasion to get the right result, to the flat. The set is designed by Conan Walsh and contains all of the usual beige suspects, an armchair, a sofa and, of course, a mysterious locked box in the corner.

When Dee enters the scene, in the second half, we are initially unsure what her link is with the other members of the cast. She knocks back the vodka tonics whilst trying to work out why she is there, and just why is Stone’s wife taking so long to get ready?

The best thing about the whole production is the relationship between the cast and the audience. The cast clearly enjoys the production, and the audience are devoted fans of the Summer Thriller Series. A winning combination!

Six the Musical – From Conference Room to Global Phenomenon – My Journey with the Show

Today we had a trip to the cinema to see Six the Musical. Supposedly to celebrate Mr Fairyowered’s birthday, but an emergency at work made him miss the show. But watching the big screen made me think about my journey with the show.

Some shows announce themselves the moment you see them. For me, Six the Musical was one of those rare, unmistakable sparks. I first encountered it in 2017 at the Edinburgh Fringe, when Toby Marlow himself handed me a leaflet on the Mile. Curiosity led us to a conference room in the Apex Hotel, hardly a glamorous setting for a future West End smash – but from the opening beat, I knew this was going to be something special.

Written by Toby Marlow and Lucy Moss, whilst studying at Cambridge University, it was performed by members of the university musical society – including Toby’s sister Annabel.

The energy, wit, and originality radiating from that tiny makeshift stage left no doubt in my mind. Six wasn’t just another fringe musical; it was a bold new voice. And sure enough, within a year it had found its way to London’s Arts Theatre, where we reviewed it at the beginning of 2018. The excitement of seeing it step onto a West End stage, polished yet still buzzing with that same raw power, was electric. After a short tour, it returned to the Arts Theatre, where it stayed until Covid hit in March 2020

By 2019, the show had already grown into a phenomenon. I was there when the Queens took the stage at the Olivier Awards, their infectious performance announcing to the industry – and the world – that this was no fringe curiosity but a cultural movement in the making. The roar of the crowd that night confirmed it: Six had arrived.

Since then, it has only continued to expand – across the UK, Broadway, touring productions, and a devoted global fandom. What Toby Marlow and Lucy Moss created is nothing short of extraordinary: a piece that reframes history with humour and heart, gives voice to women whose stories were long overshadowed, and does it all with irresistible pop flair. And I was lucky enough to see Six the Musical at Chicago’s Shakespeare Theatre in June 2019.

Now reigning live at the Vaudville Theatre and still showing in some cinemas, Six shows no sign of stopping. Marlow and Moss were the first winners for the fairypowered Aurora Award for rising stars and their star continues shine brightly

From a conference room at the Fringe to international stages, the journey of Six the Musical is one of those theatre stories that reminds us why we go to the theatre in the first place – to be surprised, delighted, and to witness the birth of something truly new. Marlow and Moss are not just writers; they are trailblazers, and Six is a crown jewel in modern musical theatre.

Hippodrome Theatre, Darlington – until 23 August 2025

Reviewed by Andrew Bramfitt

3***

From the moment the stage lights dim and ominous sounds—horses’ hooves, motor engines, water splashes—rush in, you are thrust into an uncanny 1953 world. The sparse, minimalist set evokes a haunting sense of place: a few scattered chairs, a gramophone, a lamp, and little else, intentionally leaving much to the audience’s own imagination.

This clever lack of physical detail invites every spectator to envision their own Blaine Manor. By not showing the manor’s more detailed features, the audience supplies its own images, drawing each person deeper into the story. It’s an inspired design choice—the emptiness becomes filled by suggestion, making the inevitable reveal more chilling.

Lighting and immersive sound play a crucial role in sealing the atmosphere. The lighting shifts subtly but drastically as tension builds, transforming mundane gestures into spectral foreboding, while the bespoke soundscape—crafted in a Sheffield sound studio by the director and cast—adds layers of sonic unease that practically chill you to the bone. The eerie creaks, ambient storm, and sudden audio jolts are all carefully calibrated to sustain dread, especially during the first act’s methodical buildup.

Act I leans deliberately into character and backstory without compromising suspense. We meet Dr Roy Earle (Peter Slater), a sceptical American parapsychologist; Cairo, the eccentric clairvoyant (Andrew Yates); medium Adolphus Scarabus (Jimmy Allen); journalist Vivian Rutledge (Jo Haydock); the custodian Vincent de Lambré (Ed Barry); and Grady—the loyal butler—portrayed by Joe O’Byrne himself. This ensemble is gradually introduced over a measured pace, with clues subtly woven into their dialogue, hinting at deeper mysteries while withholding the pay-off.

The director-writer Joe O’Byrne’s deliberate pacing is both a strength and occasional weakness: the first act may feel slow, yet worth persevering with, because the payoff at the end is entirely worth it. The final twenty minutes are simply excellent. Clues are cleverly dropped in along the way, ensuring the audience is always leaning forward, anticipating where the story may turn. It’s a classic ghost-story unfolding—measured, atmospheric, and careful not to spill its haunting twist too early.

Performances across the board elevate the script. Peter Slater’s earnest inquisitor, Andrew Yates’s otherworldly Cairo, Jo Haydock’s Morticia-esque journalist, Jimmy Allen’s eccentrically haunted medium, Ed Barry’s world-weary custodian, and O’Byrne’s unsettling butler all deliver nuanced portrayals that cohere into a compelling ensemble.

By the final act, the house itself feels alive—lighting flickers, sound intensifies, and the minimalist set pulses with unseen menace. The final twist, carefully foreshadowed, lands satisfyingly without spoiling the horror.

Joe O’Byrne’s The Haunting of Blaine Manor thrives on atmosphere over spectacle. Sparse set design, evocative lighting, and immersive sound combine with thoughtful pacing and a talented cast to deliver a ghost story that is as cerebral as it is unnerving. The first act lays the groundwork with deliberate patience, making the twisted ending all the more rewarding. A chilling evening of theatre that whispers into your imagination—and won’t let go

Starring Deborah Findlay and the voice of Prunella Scales

Queen 

will play a special performance at King’s Place on 28 September 2025

dedicated to the actor Timothy West

Queen – a play written entirely in Queen Victoria’s own words, taken from her letters and journals and bringing her innermost thoughts back to life – will be performed at King’s Place in London on Sunday 28 September at 2pm.

Starring Olivier Award-winner Deborah Findlay as Queen Victoria, virtuosic pianist Michael Dussek and the voice of legendary stage and screen star Prunella Scales, Queen is a revival of Katrina Hendrey’s acclaimed one-woman show An Evening With Queen Victoria which Prunella performed for 28 years, starting at The Old Vic in 1980. The play was a world-wide success, on radio and on film. Now adapted and re-titled Queen by writer Julian Machin, this production, directed by Denise Silvey, incorporates a specially recorded 2023 voiceover of Prunella Scales as the elderly monarch whose recorded words are interlaced into the action. 

The concert pianist Michael Dussek, who played the final dates of the US and UK tours and who recorded the music in the shortened version of this revival in 2024 for the Edinburgh Festival Fringe and for London’s Tabard Studio Theatre, will provide live piano accompaniment, performing music (chosen by the fortepianist Richard Burnett, 1932-2022) which Queen Victoria would have known and loved. 

Covering her 60-year reign, Queen reveals Victoria’s private grief and dealings with wily politicians whilst displaying a wonderful sense of humour.  It reveals what it’s like to be in a position so totally unlike anyone else’s and exposes her true nature, as having wide human sympathies and a fervent capacity to love. 

This performance is dedicated to Timothy West, Prunella Scales’s late husband, who died last year and without whose caring enthusiasm and encouragement this adaptation involving Prunella would not exist. “I’m very happy, it really is rather extraordinary,” he said when he heard the recording, finally. Timothy’s Memorial at St James’s Church, Piccadilly, will take place 2 days prior to the Kings Place performance.

Julian Machin said: “The odd thing was that it didn’t occur to me, in spite of her well known vascular dementia, that Pru couldn’t do this recording, even aged 92. I just never expected that she’d do it quite so well and so movingly.”

To book tickets, visit: www.kingsplace.co.uk/whats-on/classical/queen 

Queen is presented by Chronicles of Ikaro in Association with Cahoots Theatre Company.

Listings Information

Event title: Queen

Venue: King’s Place (Hall One), 90 York Way, London, N1 9AG

Ticketing info: www.kingsplace.co.uk/whats-on/classical/queen (£15-£48)

Event type: Theatre (Historical, Spoken word)

Company name: Chronicles of Ikaro in Association with Cahoots Theatre Company Ltd

Duration: 90 minutes (no interval)

Age Rating: 8+

Content Warnings: None

Access information: www.kingsplace.co.uk/your-visit/access-information