Nottingham Royal Concert Hall – until Saturday 23 August 2025
Reviewed by Louise Ford
4****
I must say, coming to see this production, I was a little unsure about the story. Aside from current world events, I only had a faint recollection of the 1971 film with Topol in the role of Tevye. With a bit of background reading and a perusal of the program, I felt better informed going to see the production. Through the mists of time, I could hear the various lyrics from the well-known songs (Matchmaker, matchmaker make me a match; If I were a rich man, diddle diddle diddel dum; Tradition), in my ear. Good news, the earworm is still there this morning, as I type my review!
Fiddler on the Roof is based on a set of short stories written by Sholem Rabinowitz (better known as Sholem Aleichem). The stories collectively known as Tevye’s Daughters were written between 1895 to 1915. Sholem grew up in the shtetl of Voronkov, which is the inspiration for the shtetl of Anatevka, the home of the Fiddler on the Roof, in modern-day Ukraine. As an aside, Sholem’s life story is worthy of a film or play in its own right.
The 1958 musical was written by Joseph Stein (librettist), Jerry Bock ( composer) and Sheldon Harnick (lyricist). The musical was an immediate hit and became Broadway’s longest-running show at the time, and on transferring to London, it clocked up over 2,000 performances.
Over the intervening years, there have been many productions and adaptations. The current production, under the direction of Jordan Fein, weaves a fine line between comedy and threat. The show originally opened at the Regent’s Park Open Air Theatre last year and is now on a nationwide tour.
When we walk into the auditorium, we are greeted by the vast grain fields of the Ukrainian countryside. The fields lift (accompanied by the sound of the fiddler) to become the roof and reveal the village. The set is underlit throughout (lighting by Aideen Malone), which enhances the dark humour, claustrophobia and struggles for the villagers and Teyve in particular. The ominous presence of those pesky Russians adds to the threat and drama, a portent of things to come.
The role of Teyve is played by Matthew Woodyatt, who outwardly is the stern patriarch trying to make a living and manage his five headstrong daughters whilst placating his hardworking wife. His rendition of “If I were a rich man” is superb and shows his softer inner dreamer. We are on Teyve’s side from the get-go as he talks to us and God about his troubles and dilemmas.
The role of Golde is played by Jodie Jacobs, she steers away from the stereotypical shrill fish wife and plays the role with a certain resigned exasperation and plenty of eye rolling!
The clown of the show is Yente (Beverley Klein), a darkly clad bundle of energy, plotting and scheming, trying to bring together the most unlikely matches. She does this with humour and quips.
Whilst we only see three of the daughters in detail, their stories drive the narrative and show the changes and moves away from tradition in Anatevka.
For me, the energy and drama of the production came from the dancers. They managed to combine traditional dances (high kicking Cossack) with almost balletic pieces. The choreography is by Julia Cheng.
The star of the show is, of course, the titular fiddler (Raphael Papo), who starts on the roof and is integral to the story, weaving and playing his way through the stage. A brilliant idea which helps to not only set the tone but also helps to make sense of the title and the importance of music to the Jewish community and the villagers. The production also has a live orchestra secretly in the corn fields at the back of the stage.
My only criticism of the show is that it seemed a little unbalanced. The first half, which contains all of the bangers, is an hour and a half long and sets the scene and signposts the changes taking place. The second half seems to be over far too quickly. Whilst the energy and tone absolutely follow the story, it seems to lack a little something before the dramatic quiet ending.
The Belgrade Theatre, Coventry, and Bush Theatre, London, are delighted to announce the cast for After Sunday, their co-production which will open at Belgrade Theatre on Friday 10 October and runs until Saturday 25 October before moving to the Bush Theatre from Friday 10 November until Monday 20 December.
“Maybe that’s what cooking is, you know. Home in a pocket.”
Ty, Leroy and Daniel have signed up to a new Caribbean cooking group led by their Occupational Therapist, Naomi. Believing in the healing power of food, Naomi hopes to evoke memories of Sunday dinners at home with family, and to encourage the men to talk, share, and create something special together.
But when you’re locked in a secure hospital, too much food for thought can be a bad thing.
Over the weeks, all four embark on a challenging journey of self-discovery, where it’s not just the pans that threaten to boil over. As the hospital is transformed with the comforting smells and tastes of home, they must all face uncomfortable truths about the reality of who they are, and the things they’ve done that have led them to become trapped in the system.
Corey Weekes (Grimeboy at Birmingham Rep, Miss Julie at Cast Doncaster and Co-Founder of Belgrade 2024 Springboard member That’s A Rap) will play ‘Ty’; Playing ‘Leroy’ will be David Webber (The High Table atBush Theatre, A Midsummer Night’s Dream at The Bridge Theatre, Small Island, Barbershop Chronicles, Death and the King’s Horseman and Leave Taking at the National Theatre); in the role of ‘Naomi’ will beAimee Powell (The Lonely Londoners at Kiln Theatre, Family Tree with the Actors Touring Company, Nothello at Belgrade Theatre); Darrel Bailey (Storehouse at Deptford Storehouse, Yippee Ki Yay on the UK/USA tour, Small Island at the National Theatre) will be ‘Daniel’.
After Sunday has been written by Sophia Griffin, who is making her debut as playwright,and directed by Belgrade Artistic Director Corey Campbell with additions to the creative team to be announced soon
Belgrade Theatre Artistic Director Corey Campbell said, “At the Belgrade, we are committed to creating new work that reflects the world around us and resonates with our communities. Our co-production with the Bush Theatre on After Sunday embodies that spirit of collaboration, bringing together powerful storytelling and a shared dedication to platforming new voices. We are thrilled with this and we can’t wait to share it with everyone.”
Bush Theatre Artistic Director Taio Lawson said, “The Bush team is so excited to be working alongside The Belgrade to produce Sophia Griffin’s extraordinary play. The chance for two great theatres to combine their talents and introduce this fine piece of new writing to audiences in two great cities was too good an opportunity to miss, and a creativity we plan to continue building on as we move into a new era for the Bush. We can’t wait to welcome Corey’s production to London after its opening in Coventry.”
History was made yesterday at the Edinburgh Fringe Festival when theatre-makers Linus Karp and Joseph Martin (Awkward Productions) legally tied the knot in front of a sold-out audience at The Pleasance Grand (750 seat venue).
On Saturday 16 August, the couple – best known for cult hits Gwyneth Goes Skiing and Diana: The Untold and Untrue Story (and currently starring in a new production, more on that below) – became the first pair to marry on stage with a ticketed audience in the Fringe’s 78-year history, and the first LGBTQ+ couple to wed as part of the official programme.
The ceremony was nothing short of spectacular. Styled by Edinburgh designer Cosimo Damiano Angiulli (SIMO THE LABEL), the couple kicked off the show with themed entrances; Joseph channelled brat with Von Dutch by Charli XCX, while Linus was carried onto the stage by three helpers to the tune of “Jellicle Cats.” Conducted by Edinburgh City Council’s Jackie Blackburn, the ceremony blended camp chaos with heartfelt sincerity – from Sooz Kempner serenading the couple with 2 Become 1, to a best man’s dramatic reading of Party in the USA. Rings were delivered via a spoof Lord of the Rings routine by fellow Fringe troupe Recent Cutbacks, before the crowd erupted for a momentous standing ovation as Jackie pronounced the couple “husband and husband”, a glorious reminder as to why everyone had gathered in The Grand.
After the “I do’s”, the newlyweds invited everyone to join them for celebratory drinks before later that afternoon performing their latest Fringe hit The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)) – a camp and chaotic fairytale romcom set in the fictional kingdom of Swedonia that has been drawing rave reviews: “Another camp masterpiece” (Broadway Baby ★★★★), “Their best show yet” (The Recs ★★★★★), “Outrageously funny, unapologetically queer, and utterly unforgettable” (Theatre Weekly ★★★★), and “Extremely funny, extremely silly” (The National ★★★★)
Following a sold-out run, the Chichester Festival Theatre production of the 5 Star “pitch-perfect musical” (The Times) The Unlikely Pilgrimage of Harold Frytransfers to the West End. It will begin performances at the Theatre Royal Haymarket, London on 29 January and run until 18 April 2026.
Priority tickets will be releasedon 9 September 2025 followed by general public on-sale from 10 September 2025. To sign up for priority ticket access, visitHaroldFryMusical.com
Funny, profound, deeply moving and uplifting, The Unlikely Pilgrimage of Harold Fryis a joyous new musical adapted by Rachel Joyce from her multi-million selling novel, with “a ravishing score” (The Times) by the chart-topping indie musician, Passenger (Let Her Go) and directed by Katy Rudd(Ballet Shoes, The Ocean at the End of the Lane NT/West End)). Recreating their roles are Mark Addy (The Full Monty, The Rig and Game of Thrones) as Harold and Jenna Russell (Sunday in the Park with George, Hello, Dolly) as Maureen. Further casting is yet to be announced.
Rachel Joyce said: ‘ I couldn’t be more thrilled that this joyful show has found a home in the West End. I never imagined, when I first wrote the book, that it would become a musical one day, and never in my wildest dreams did I think it might find a home in one of my favourite theatres – the Theatre Royal, Haymarket, which I have known and loved since I was a child. Passenger’s music and lyrics are perfect for this story of hope, as is Katy Rudd’s magical direction.’
Passenger added: ‘I’m delighted that our journey with Harold Fry continues, and our musical is now heading to the West End. I love Rachel’s beautiful story and resonate deeply with the characters and the journeys they go on. When I was asked to write the music and lyrics for the musical, I instantly knew that it was something that I had to be a part of. It’s been a real labour of love – not just for me, but all of the amazing people involved in the production.’
Harold Fry was never meant to be a hero. An ordinary man in an ordinary life until a letter from a long-lost friend sends him out the front door… and he keeps on walking.
From Devon’s quiet lanes to the windswept streets of Berwick-upon-Tweed, his journey becomes a pilgrimage of love, redemption, and second chances. Strangers turn into companions, kindness appears in unexpected places, and the road reveals more than Harold ever imagined. Back home, his wife Maureen begins her own journey, one that might bring them together again.
The Unlikely Pilgrimage of Harold Fry is a moving celebration of the human spirit and a reminder it’s never too late to start again.
The designer is Samuel Wyer, the choreographer is Tom Jackson Greaves, arrangement orchestration and additional music is by Jeremy Holland-Smith, musical supervision and additional music is by Phil Bateman, the lighting designer is Paule Constable, the sound designers are Ian Dickinson and Gareth Tucker for Autograph, the video designer is Ash J Woodward, thecasting director is Anna Cooper CDG, the musical director is Chris Poon, the adaptation is co-created by Rachel Joyce, Peter Darling and Katy Rudd, the dramaturg is Nick Sidi andthe associate director is Jamie Manton.
Passenger recently released the first single and music video (featuring Jack Wolfe) from his new concept album based on The Unlikely Pilgrimage of Harold Fry. The single, Song For The Countryside, can be viewed here.
Chris Harper Productions and Nick Sidi with Len Blavatnik & Danny Cohen for Access Entertainment present the Chichester Festival Theatre production of The Unlikely Pilgrimage of Harold Fry.
GLYNIS BARBER & BOB BARRETT TO JOIN MARK HADFIELD IN
The UK & IRELAND TOUR OF
AGATHA CHRISTIES’S
DEATH ON THE NILE ADAPTED BY KEN LUDWIG
FROM 26 SEPTEMBER 2025
Joining the previously announced Mark Hadfield as Agatha Christie’s famous Belgian detective, Hercule Poirot, in the UK & Ireland Tour of DEATH ON THE NILE,will be Glynis Barber as Salome Otterbourne and Bob Barrett as Poirot’s trusted friend, Colonel Race. Fiery Angel will bring this Agatha Christie classic to the stage, following sell-out tours of And Then There Were None and Murder on the Orient Express.
Death on the Nile reunites writer Ken Ludwig, director Lucy Bailey(Witness for the Prosecution)and producers Fiery Angel for the European premiere of a new adaptation of the globally celebrated Agatha Christie story on a nationwide tour. The UK & Ireland Tour will open on 26 September at the Lowry in Salford, with a national press night on Thursday 9 October at Richmond Theatre and finishing on 23 May 2026 at Plymouth Theatre Royal.
Glynis Barber became a household name when she starred opposite Michael Brandon in the TV series Dempsey and Makepeace. More recent TV credits include series regulars Norma Crow in Hollyoaks, Gertrusha in NBC’s The Outpost and Glenda Mitchell in EastEnders, as well as Jean McAteer in The Royal, DCI Grace Barraclough in Emmerdale, Fiona Brake in Night & Day and Soolin in Blake’s 7. Her previous brushes with Agatha Christie were when she starred as Cora van Stuyvesant in Agatha Christie’s Marple: Endless Night and as Lola Brewster in Agatha Christie’s Miss Marple: The Mirror Crack’d from Side to Side. Her most recent theatre credits include The Best Man (West End), Stalking the Bogeyman (Southwark Playhouse), Beautiful: The Carole King Musical (West End) and The Graduate (UK Tour).
Glynis Barber said, “I couldn’t be more excited to be returning to the stage and working with the brilliant team at Fiery Angel and director Lucy Bailey. This iconic play from Agatha Christie’s phenomenal body of work keeps audiences on the edge of their seat and I can’t wait to be part of a cast that will bring this gripping drama to theatres all over the UK and Ireland.”
Bob Barrett is best known as Sacha Levy in the long-running Holby City, a role he played from 2010 to 2022. On film, he played George Bryan in John Madden’s Shakespeare in Love. On stage, he most recently appeared in the UK & Ireland Tour of Agatha Christie’s Murder on the Orient Express and the UK Tour of Agatha Christie’s And Then There Were None, both directed by Lucy Bailey.
Bob Barrett said, “To have the chance of being in one Agatha Christie tour, getting to work with the incomparable team of Lucy Bailey and Fiery Angel, was special. To get to be in three is a great privilege I shall never forget.”
On board a luxurious cruise under the heat of the Egyptian sun, a couple’s idyllic honeymoon is cut short by a brutal murder. As secrets that have been buried in the sands of time finally resurface, can the world-famous detective, Hercule Poirot, untangle the web of lies and solve another crime?
Further casting is to be announced.
DEATH ON THE NILE will be directed by Lucy Bailey and designed by Mike Britton, with lighting design by Oliver Fenwick, sound design by Mic Pool and movement direction by Liam Steele. Lucy Waterhouse will be associate director and Helena Palmer casting director.
TheUK & Ireland Tour is presented by Fiery Angel in association with Agatha Christie Limited.
Agatha Christie Limited (ACL) has been managing the literary and media rights to Agatha Christie’s works around the world since 1955. Collaborating with the very best talents in film, television, publishing, stage and on digital platforms, ACL ensures that Christie’s work continues to reach new audiences in innovative ways and to the highest standard.
The company is managed by Christie’s great grandson James Prichard.
Current ACL theatre productions include Witness for the Prosecution at London County Hall and a hugely successful UK tour of Murder on the Orient Express in collaboration with Fiery Angel.
Fiery Angel
Headed by Edward Snape and Marilyn Eardley, Fiery Angel is an award-winning international production company based in London’s West End.
Recent productions include: Till the Stars Come Down (West End), War Horse (UK Tour), The Duchess (West End), King Lear (West End and The Shed, New York), Murder on the Orient Express (UK and Ireland Tour), Kathy and Stella Solve A Murder! (West End and UK Tour), The 39 Steps (West End, UK Tour), And Then There Were None (UK, Ireland and China Tour), The Good Life (UK Tour), Hairspray (West End), Touching the Void (West End), The Son (West End), The Night of the Iguana (West End), Fleabag (West End), Home, I’m Darling (West End and UK Tour), Long Day’s Journey into Night (West End, New York and Los Angeles), Mary Stuart (West End and UK Tour), Mel Brooks’s Young Frankenstein (West End), Love From A Stranger (UK Tour), Kenneth Branagh Theatre Company (The Winter’s Tale, All On Her Own/Harlequinade, Red Velvet, The Painkiller, Romeo and Juliet, The Entertainer in the West End), Ben Hur (Tricycle Theatre), The 39 Steps (9 years in the West End, 3 UK Tours, 3 years on Broadway and presented in over 40 territories worldwide including Olivier, Tony and Moliere Award wins), To Kill a Mockingbird (Barbican Theatre and UK Tour), The Scottsboro Boys (West End), The Ladykillers (West End and UK Tour), Ghost Stories (West End), Dial M for Murder (UK Tour). Fiery Angel has acted as a co-producer alongside The National Theatre on its West End productions of Nine Night, The Curious Incident of the Dog in the Night-Time and The Lehman Trilogy.
As part of Fiery Angel Entertainment: Rob Brydon (Lyceum Theatre, UK Tour), Jon Culshaw (UK Tour), Amy & Carlos: Reborn (UK Tour), Everybody Dance with Claire Richards (London Palladium, UK Tour), Legends: The Divas (UK Tour), Dolly Parton’s Smoky Mountain Christmas Carol (Queen Elizabeth Hall), Tubular Bells (Royal Festival Hall), Circus 1903 (Royal Festival Hall, Eventim Apollo), Guys and Dolls (Royal Albert Hall), Barry Humphries’ Weimar Cabaret (Barbican Theatre) and Our Finest Hour (UK Tour).
As part of The Children’s Theatre Partnership: Pig Heart Boy (UK Tour), The Boy at the Back of the Class (UK Tour), Unexpected Twist (UK Tour), Animal Farm (UK Tour), Holes (UK Tour), The Jungle Book (UK Tour), Running Wild (UK Tour), The Boy in the Striped Pyjamas (UK Tour), Goodnight Mister Tom (West End and 3 UK Tours, Olivier Award-winner) and Swallows and Amazons (West End and UK Tour).
As part of Fierylight Productions: Smartest Giant in Town (UK Tour and West End), Peppa Pig Live! (West End, UK Tour, US Tour and Australian Tour), Ben & Holly’s Little Kingdom (UK Tour) and Octonauts & The Deep Sea Volcano Adventure (UK Tour and US Tour).
Leicester Square Theatre – until 21 September, followed by a UK tour
Reviewed by Julia Spargo
4****
I am less familiar with Hamlet, being a Macbeth or comedies girls myself, and after two hours in the company of Sh!tfaced Shakespeare, I am not convinced I am any more familiar with Shakespeare’s longest play. I did, however, have a lot of fun.
The premise of Sh!tfaced Shakespeare is that the main cast member of the production is spectacularly drunk, propped up by a small but sober cast, who must be prepared to go off-piste, ad-lib, rein in the madness and keep to time. Some might question the morals of supporting irresponsible drinking but the programme is keen to highlight that as the cast is rotated, the main actor is never required to drink (for the purpose of the show) more than four times in a month; “this makes us the most sober cast of actors you are likely to find in the West End!” Fair enough.
The show started with the compere, a very witty and sardonic Charlie Keable, explaining the basis of the production, and showing the empties consumed by that night’s Hamlet, Jamie Sandersfield, in preparation for the performance. This made me feel a little uncomfortable. Audience members were engaged in holding musical instruments to be used during the show and a reluctant man seated in the front row was tasked with holding a bucket which may be needed for bodily secretions during the course of the performance. I braced myself. The compere explained he would carry an airhorn, which he would use to bring the inebriated actor back on track if he went too rogue.
And rogue, he did. The airhorn was deployed multiple times throughout the two hours, with warnings about keeping to time, the subject matter, and at one point, a question, ‘Hands up if you are supposed to be in this scene’. Claudius and Gertrude raised their hands confidently. A sheepish looking Hamlet skulked backwards, exit stage right.
Assuming that every night on stage, this production will look very different, I was impressed by the small cast, simple set changes, lack of props (a joke about which started a discussion about how much actors get paid, yes, in the middle of the performance), and use of modern pop songs performed in a medieval style. Muse by lute, anyone?
A set choreographed piece featuring Michael Jackson’s Thriller, The Cranberries’ Zombie and the theme tune from Ghostbusters had me in hysterics, along with the on-stage participation of an unsuspecting audience member, who was so good, they brought him back for more.
Sh!tfaced Shakespeare is complete mayhem. It’s like watching a chaotic amateur dramatics company in early rehearsals after they’ve spent all day in the pub. The beauty is that the audience is in on the joke, and invited to revel in the madness. That we did. A great, fun couple of hours. Knowing that the anarchy of last night can’t be replicated, I might even go again.
Writers Rachel Wagstaff and Duncan Abel put their well honed talent to work on this P.D. James book with admirable results. The satirical edge that is woven into the literary works of Jane Austen and P.D. James is well suited to this novel, written as a postscript to Pride and Prejudice. Although a murder mystery, James embodies all the feminist fire that Austen is so well known for.
James Bye is instantly recognisable as Mr Fitzwilliam Darcy, in his manner and tone. We see the starchy upper class upbringing, crumbling under the weight of honesty and integrity. Bye (Darcy) brings a natural gravitas and compassion to his character.
Jamie-Rose Duke (Elizabeth Darcy) has strength in her voice that can only be born of belief in the role she played as the heroine of the piece and unofficial detective of the murder! She has all the passion and drive of an Austen woman searching for the truth.
Sam Woodhams is the swarthy George Wickham, bringing a morose, passion to the part. Woodhams (Wickham) finally delivers his testimony as an accused murderer, releasing the pent up emotion in a striking performance.
It would not be an Austen-esc play without a love interest. You know from the start that Henry Alveston (David Osmond) and Georgiana Darcy ( Celia Cruwys-Finnigan) play this part, injecting a well balanced youthful exuberance. Osmond wrote the piano score and plays it beautifully alongside Cruwys-Finnigan.
Of course there has to be a dower dowager, Lady Catherine De Bourgh played by Sarah Berger in true Maggie Smith style. Berger injects humour into her character that brings a ripple of laughter in the audience.
Mogali Masuku has the task of playing the overwrought characters, Lydia Wickham and Louisa Bidwell, synonymous with period dramas. Masuku maintains the intensity admirably.
Credit has to be given to the creatives who have produced elegant staging of the period that easily transitions into the deep dark wood setting of the murder. All together a great evening’s entertainment.
Theatre Royal Nottingham – until Saturday 16th August 2025
Reviewed by Chris Jarvis
3***
The Classic Thriller Season has been a regular fixture during the summer at the Theatre Royal in Nottingham since 1986 attracting a loyal and welcoming audience. Originally founded by legendary producer Colin McIntyre and since his death in 2011 the season has been renamed in his honour.
Death by Fatal Murder, the first of only three plays this year, is a spoof of Agatha Christie whodunnit mysteries with deliberate exaggeration for greater comedy. It is the third play in a trilogy written by Peter Gordon featuring the inept, bungling and aptly named Inspector George Algernon Pratt, played tonight by Mark Pearce who managed to both “look and sound the part”!
As the curtain rose, we saw the body of a police officer on the floor – recognisable by him still wearing his police helmet – in the guest’s sitting room of a country manor, Bagshot House. Set in 1940 during WWII, I loved the old-fashioned set with velvet sofa and cushions, armchairs, fireplace and many old paintings hanging on the walls. Sets these days are more likely to be an interpretation than a perfect replica.
A short introduction to the play features the ‘homeowner’ Nancy Allwright (Sarah Wynne Kordas) arriving home to find the body on the floor. She screams in terror when she sees ‘who knows who’ behind the door to the next room! At this point the curtain comes down, taking me back to the time when the audience was shielded from set changes. These days actors seem to make scene changes before our eyes, but this felt right for the era of the play.
The curtain soon rises with no sign of the body, and we gradually meet the 8 characters in the play including the ‘over the top’ seemingly ‘upper crust’ Ginny Farquhar (Juliette Strobel) with an incredible ‘haw, haw’ laugh! Ginny is a land girl sent by her family to support the war effort looking after her “sprites, brussel sprites!”
Constable Thomkins (Pavan Maru) has arrived searching for his missing colleague Constable Atkins – presumably the body!! He is waiting for his senior officer Inspector Pratt (Mark Pearce) to arrive with great trepidation as he has worked with him in the past and it didn’t sound to be a great experience – though apparently memorable for the wrong reasons.
We soon learn that the many of the occupants of Bagshot House – past and present – have a poor opinion of Inspector Pratt’s record of crime detection. Presumably those in the audience who saw the previous parts in the trilogy will know this! It seems that as soon as he arrives chaos reigns supreme.
During his investigations, Pratt is soon embroiled in more mystery and another murder! He is aided and abetted by house guests Enzo Garibaldi (Jeremy Lloyd Thomas) an Italian gigolo who can’t keep his hands off Ginny, and Blodwyn Morgan (Susan Earnshaw) an interfering, Welsh clairvoyant and busybody. Miss Maple (Karen Henson), who appears from the village vicarage having heard rumours, is an amateur sleuth who has been part of the Inspector Pratt trilogy. Her intelligence and confidence in contradicting him has been integral to solving previous cases. Would this be the case tonight, as she has good reason for the killer not to be found?
Secretly invited by Blodwyn to a séance at midnight, Miss Maple and Inspector Pratt witness two brilliant possessions by Blodwyn as she switches from her Welsh accent to the clearly Scots Dougal McDougal and into the well-spoken Colonel Craddock who’s spirit apparently witnessed some, but not all of Constable Atkins demise. All just adding to the confusion and blowing Pratts mind!
Everything is thrown into even greater chaos with the arrival of RAF Squadron Leader (Stiffy) Allwright (Andrew Ryan) – Nancy’s husband who was presumed dead having been shot down in aerial combat. Is Nancy pleased to see him? The plot thickens.
Despite a few clues being drip fed, we learn the identity of the murder/s and the reasons why at the very end of Act 2 by which time my brain had switched off leaving me understanding the outcome, but unsure of the full story behind it.
The acting was excellent in every case with much slapstick and hilarious one liners and spoonerisms, but maybe not fast enough for a complicated farce, though still an enjoyable night.
It is announced today that international music artist Nicola Roberts from the BRIT Award-winning group Girls Aloud, will join the West End production of multi award-winning Hadestownin the role of Persephone from 16 September 2025 until 18 January 2026.
Nicola Roberts said: “I am beyond thrilled to be joining the cast of Hadestown in London. This show is a true masterpiece, and I am honoured to be a part of such a talented and inspiring team. The role of Persephone has such depth and complexity, she feels light and sorrow, joy and darkness. Her songs are rich with emotion and an absolute joy to sing, and I’m excited to explore every facet of her character on stage. I am grateful for this incredible opportunity, and I can’t wait to share this journey with audiences in London. Let’s take a trip to the underworld together!”
Roberts joins Desmonda Cathabel as Eurydice; Chris Jarman as Hades; Cedric Neal as Hermes; and Dylan Wood as Orpheus.
Melanie Bright, Allie Daniel and Lauran Rae play the Fates; Femi Akinfolarin, Michelle Andrews, Ollie Bingham, Laura Delany and Sebastian Lim-Seet play the Workers, with Lucinda Buckley, Juan Jackson, Oisín Nolan-Power, Lindo Shinda and Jasmine Triadi as Swings.
Nicola Roberts first rose to prominence in 2002 as a member of the BRIT Award-winning group Girls Aloud, formed on ITV’s Popstars: The Rivals. The group went on to achieve a record-breaking run of 20 consecutive UK Top 10 singles, including four number ones, and released five hit studio albums—securing their status as one of the most defining British pop acts of the 2000s. Following the group’s hiatus in 2013, Nicola released her critically acclaimed debut solo album, Cinderella’s Eyes, before going on to enjoy success as a songwriter for other artists.
In 2020, Nicola won the inaugural season of ITV’s The Masked Singer UK as ‘Queen Bee’, earning praise for her powerful and distinctive vocal performances. Later that year, she made her West End debut in Josie Rourke’s Olivier Award–winning revival of City of Angels at the Garrick Theatre, playing the dual roles of Avril and Mallory.
In 2024, Nicola reunited with bandmates Cheryl, Kimberley and Nadine for The Girls Aloud Show—a sold-out 30-date UK and Ireland arena tour that celebrated the group’s music, legacy, and their late bandmate Sarah Harding. The tour played to over 300,000 fans and received widespread critical acclaim.
Off stage, Nicola is a passionate advocate for social issues. She has campaigned for fair representation in the beauty industry through her make-up line Dainty Doll, helped secure legislation banning underage use of tanning beds, and continues her charitable work with organisations including Barnardo’s and The Christie NHS Foundation Trust, through the Sarah Harding Breast Cancer Appeal.
Blending American songwriting traditions, from indie folk, to pop, blues, and New Orleans-inspired jazz, Hadestownhas music, lyrics, and book by acclaimed Tony® and Grammy®-winning singer-songwriter and BBC Radio 2 Folk Award-winner Anaïs Mitchell whooriginated Hadestownas anindie theatre project and acclaimed album, before transforming the show into a genre-defying new musical alongside artistic collaborator and Tony® Award-winning director Rachel Chavkin.
Hadestowntakes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone. A deeply resonant and defiantly hopeful theatrical experience, Hadestowninvites you to imagine how the world could be.
The Hadestown creative team includes David Neumann (Choreography), Rachel Hauck (Scenic Design), Michael Krass (Costume Design), Bradley King (Lighting Design), Nevin Steinberg and Jessica Paz (Sound Design), Liam Robinson (Music Supervision and Vocal Arrangements), Michael Chorney and Todd Sickafoose (Arrangements and Orchestrations), Ken Cerniglia (Dramaturgy), Maria Crocker (UK Associate Director), and Tarek Merchant (Musical Director & Associate Music Supervisor). Casting by Jacob Sparrow. Additional casting by Rob Kelly.
Hadestownis produced in London by Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy and the National Theatre in association with JAS Theatricals.
Information on Hadestown and how to buy tickets, can be found at uk.hadestown.com
Hit musical Songs for Slutty Girls releases tracks on Apple Music and Spotify
Songs for Slutty Girls, the hit musical by New York-based composer and lyricist Kailey Marshall, is releasing five tracks on Apple Music and Spotify.
The show received its UK premiere at The Other Palacein June 2024, starring Charlotte Jaconelli (Hips), Dominique Roberts (Head), Emily Ooi (Heart), and Xenoa Campbell-Ledgister (Gut).
Songs for Slutty Girls explores the ecstasy, pain, and hilarity of sex through a year in the life of one woman, represented by four aspects of her personality: Heart, Gut, Head and Hips. At the start of a New Year, she hopes to make some big changes. Will she succeed or fall back into faking orgasms and flirting with f*** boys? The show’s pop/rock score gives voice to the sexual moments in our lives that define us, for better or worse.
Noise, which is available to stream now, is performed by the company and is about disappointing encounters in sex and love. Fine, performed by Charlotte Jaconelli, will be released on Friday 15 August. The song follows the proudly, perpetually single girl as she falls in love for the first time.
Other tracks from the show will be released on Friday 12 September. Imperfections, performed by Xenoa Campbell-Ledgister, sees the protagonist panic about her perceived imperfections while waiting to hear back from last night’s date; Sex is Scary, performed by the company, follows every girl’s downward spiral after a night of unprotected sex, while Bad Men, also performed by the company, examines consent, power, and ownership of the narrative within sexual encounters.
Kailey Marshall creates queer, femme forward, pop-infused musical theatre. Marshall’s work has featured at 54 Below, Joe’s Pub, Don’t Tell Mama’s, the Highline Ballroom, and Lincoln Center.
She said: “Working with the London cast was one of the greatest moments of my career thus far, so I’m SO HAPPY that we got to immortalize their incredible work within this EP. I’m hopeful that having these songs out in the world will bring Slutty Girls to new listeners and help them feel seen within their sexual escapades, or just give them something to bop to on the bus or the car or even as they pregame before a date.”
Songs for Slutty Girls is produced by Dominique Roberts and Marlo Kane.
“a hilariously clever portrayal of the complexities of sex and relationships for young women in their twenties.” **** A Youngish Perspective
“Raunchy, relatable humour coupled with its upbeat, danceable tunes” **** Theatre & Tonic
