Home

FULL CASTING ANNOUNCED FOR RSC’S CYRANO DE BERGERAC WITH ADRIAN LESTER IN TITLE ROLE

CYRANO DE BERGERAC  

by Edmond Rostand in a new version by Simon Evans and Debris Stevenson 

Directed by Simon Evans

Swan Theatre, Stratford-upon-Avon  

Saturday 27 September – Saturday 15 November 2025

Full casting is announced for the RSC’s forthcoming production of Cyrano de Bergerac, Edmond Rostand’s thrilling, lyrical tale of love and lies, longing and disguise, in a new version by Simon Evans and Debris Stevenson, directed by Simon Evans. The production runs in the Swan Theatre, Stratford-upon-Avon between Saturday 27 September and Saturday 15 November.

As previously announced Olivier Award-winning actor Adrian Lester makes his RSC debut to play Cyrano.  Adrian’s theatre credits includes: Henry V, Othello (National Theatre; Evening Standard Theatre Award for Best Actor), Company (Donmar Warehouse/West End; Olivier Award for Best Actor), As You Like It (Cheek By Jowl), Red Velvet (London and New York; Critics’ Circle Best Actor Award), Cat on a Hot Tin Roof and The Lehman Trilogy (Broadway; TONY Award nomination for Best Actor). Television credits include: Sandman, Hustle, Undeclared War, Undercover, Life, Trauma, Trigger Point and London Spy.  Film credits include: Primary Colors, The Day After Tomorrow, As You Like It, Dust and Mary, Queen of Scots.

Susannah Fielding returns to the RSC to play Roxane. Previous RSC credits include The Merchant of Venice (as Portia opposite Patrick Stewart’s Shylock).  Other theatre credits include: A Midsummer Night’s Dream (Bridge Theatre), The Country Wife, (Chichester Festival Theatre),The Crossing Plays (Royal Court), Bull (Young Vic), An Enemy of the People (Sheffield Crucible), The Merchant of Venice, American Psycho – The Musical (Almeida), The Beaux Stratagem, Much Ado About Nothing, The Hour We Knew Nothing of Each Other, Philistines and The Rose Tattoo (National Theatre). Television credits include: Here We Go, The Cleaner, Who is Erin Carter?, This Time with Alan Partridge, Life, Black Mirror and The Cockfields. Susannah won the Ian Charleson Award in 2014 for her portrayal of Portia in The Merchant of Venice (Almeida).

Levi Brown makes his RSC debut as Christian. Other theatre credits include appearing alongside Ralph Fiennes in Macbeth (UK/global tour). TV credits include This Town (BBC One), for which he was nominated for an RTS and Edinburgh TV award, Babydoll (Paramount), Payback (ITV), Invasion (Apple) and I Hate You (Channel 4).

The full company comprises: Levi Brown (Christian de Neuvillette), Joseph Christain (Edmond (Young Reserve)), Sunny Chung (Sister Claire/Madame Jodolet), Philip Cumbus (Le Bret), Greer Dale-Foulkes (Abigail), Rachel Dawson (Band Member/Ensemble), Susannah Fielding (Roxane), Oliver Grant (Band Leader/Ensemble), Scott Handy (Comte de Guiche), Adrian Lester (Cyrano de Bergerac), Caolan McCarthy (Arnauld), David Mildon (Jodolet/ Carbon (Reserve)), Matt Mordak (Valvert/Pierre (Reserve)), Chris Nayak (Monfleury/Priest/Bernard (Reserve)), Daniel Norford (Louis (Reserve)) and Christian Patterson (Ragueneau).

Talking about the play, Simon Evans, director, said:

“Cyrano de Bergerac is one of the great plays: swashbuckling, swaggering, aching with the unspoken; and what excites me most is the chance to approach it without irony. I’m a little tired of the trend for winking, knowing productions that seem afraid to feel too much or mean what they say.

“This is a play about feeling and how we communicate it. How language seduces, protects, wounds, and heals, and it’s a thrill to work on it with Debris Stevenson: finding an approach to the text that celebrates the original and finds new ways of unlocking it. Adrian Lester is remarkable, and brings a fierce intelligence and vulnerability to Cyrano: quick witted and stirring; while Susannah Fielding’s Roxane will be funny, sharp, emotionally fearless. Together (and alongside the remarkable cast we’ve put together) they’ll light the whole story from the inside and make it feel fresh, wild and exciting.

“This version is big-hearted, quick-witted, sharp tongued, and unapologetically sincere: period enough to lose yourself in, modern enough to feel like it’s speaking directly to us about love, longing, and how we show ourselves to the world.”

Director Simon Evans’ directing credits include: Inside No. 9: Stage/Fright (Wyndham’s Theatre/tour), A Day in the Death of Joe Egg, Killer Joe (Trafalgar Studios), The Dazzle, Bug (Found111), and St Nicholas and The Resistible Rise of Arturo Ui (Donmar Warehouse). Simon also wrote, directed, co-created and starred in Staged (BBC1).  Debris Stevenson is a writer, actor, poet and multi-disciplinary artist. Works as a playwright include: Poet in Da Corner (Royal Court) and My Brother’s a Genius (Theatre Centre).

Joining Simon Evans and Debris Stevenson on the creative team are: Set and Costume Designer, Grace Smart; Lighting Designer, Joshie Harriette; Composer, Alex Baranowski; Sound Designer, Donato Wharton;Movement Director, Sarita Piotrowski; Fight and Intimacy Director, Bethan Clark; and Casting Director, Matthew Dewsbury CDG.

FULL CAST ANNOUNCED

FOR THE UK TOUR OF

THE TALENTED MR RIPLEY

FROM 4 SEPTEMBER

The producers are delighted to announce the full cast for the first ever UK tour of THE TALENTED MR RIPLEY, opening at the Everyman Theatre, Cheltenham, on 4 September.

Joining previously announced Ed McVey (The Crown, Netflix) as Tom Ripley and Maisie Smith (Eastenders, BBC) as Marge Sherwood will be Bruce Herbelin-Earle (Free Reign, Netflix; The Boys in the Boat, Warner Bros) as Dickie Greenleaf, Christopher Bianchi (Othello, Tobacco Factory; Aesop’s Fables, Bristol Old Vic) as Herbert Greenleaf/Roverini, Cary Crankson (Death of England, National Theatre & Soho Place Theatre; A View From The Bridge, West End) as Freddie Miles/Alvin McCarron, Leda (Antigone, UK Tour) as Cleo/Dottie and Jason Eddy (Othello, Royal Shakespeare Theatre; The Rat Trap, Off-Broadway) as Peter/Fausto. The cast is completed by Lachlan McCall (A Christmas Carol and The Merry Wives of Windsor, OVO Theatre), Hollie Sullivan (The Mousetrap, UK Tour; Private Lives, Vienna’s English Theatre)and Aldous Ciokajlo-Squire (Doctor Who, BBC/Disney+; Everything Now, Netflix).

2025 marks the 70^th anniversary of Patricia Highsmith’s iconic, gripping novel, the source material for the 2000 Oscar nominated film starring Matt Damon, Jude Law and Gwyneth Paltrow, the 2024 Netflix adaptation starring Andrew Scott and the stage adaptation.

THE TALENTED MR RIPLEY is a The Faction production (Macbeth, Stephen Joseph Theatre; My Last Duchess, film commissioned by The Lowry) adapted and directed by Mark Leipacher (Mary Stuart, New Diorama, UK tour and international; A Midsummer Night’s Dream, Wilton’s Music Hall/Theatre Royal Bath Ustinov/UK tour).

“I never wanted to murder anyone.  It was necessary.”

Step into a world of deception, desire, and deadly ambition.

Tom Ripley is a nobody – until he’s offered an unexpected opportunity: travel to Italy and bring home the wealthy and carefree Dickie Greenleaf. But as Tom is drawn into Dickie’s glittering world of privilege, his obsession takes a dark turn. What begins as an innocent invitation spirals into a web of lies, identity theft, and murder.

Set against the sun-drenched backdrop of 1950s Italy, this gripping stage adaptation of The Talented Mr. Ripley brings Patricia Highsmith’s iconic novel to life in a thrilling new production. With razor-sharp dialogue, psychological intensity, and a chillingly charismatic antihero, this is Ripley as you’ve never seen him before.

How far would you go to be someone else?

THE TALENTED MR RIPLEY is adapted and directed by Mark Leipacher, with set and costume design by Holly Pigott (Fleabag, Wyndham’s Theatre), associate set and costume design by Ellen Farrell, lighting design by Zeynep Kepekli (The Little Mermaid, Bristol Old Vic), sound design by Max Pappenheim (The Night of the Iguana, Noel Coward Theatre) and casting by Marc Frankum CDG (The Woman in Black, Fortune Theatre).

THE TALENTED MR RIPLEY is produced by Jack Maple and Thomas Hopkins and created by The Faction (Macbeth, Stephen Joseph Theatre; My Last Duchess, film commissioned by The Lowry).

Website: TheTalentedMrRipleyPlay.com

Instagram & Facebook: @RipleyOnStage

2025 TOUR LISTINGS

4 – 13 September                               Everyman Theatre, Cheltenham                  

                                                            www.everymantheatre.org.uk

15 – 20 September                             Festival Theatre, Edinburgh                        

                                                            www.capitaltheatres.com/festival-theatre     

22 – 27 September                             Birmingham Rep                                          

                                                            www.birmingham-rep.co.uk

6 – 11 October                                    New Victoria Theatre, Woking

                                                            www.atgtickets.com/new-victoria-theatre     

13 – 18 October                                  Oxford Playhouse                                         

                                                            www.oxfordplayhouse.com                           

27 October – 1 November                  Theatre Royal Brighton                                

                                                            www.atgtickets.com/brighton                        

3 – 8 November                                  Bristol Old Vic                                               

                                                            bristololdvic.org.uk                                         

10 – 15 November                              Richmond Theatre

                                                            www.atgtickets.com/richmond                        

17– 22 November                               Salford Lowry

thelowry.com

2026 touring dates to be announced

NEW CASTING ANNOUNCED

GRAMMY AWARD WINNER

REEVE CARNEY AS EMCEE

DOUBLE TONY AWARD NOMINEE AND GRAMMY AWARD WINNER

EVA NOBLEZADA AS SALLY BOWLES

IAN CHARLESON AWARD NOMINEE

BAKER MUKASA AS CLIFF BRADSHAW

OLIVIER AWARD WINNER

RUTHIE HENSHALL AS FRAULEIN SCHNEIDER

OLIVIER AWARD NOMINEE

ROBERT HANDS AS HERR SCHULTZ

IN

THE MULTI AWARD-WINNING, CRITICALLY ACCLAIMED

WEST END PRODUCTION OF

CABARET

AT THE KIT KAT CLUB

FROM 22 SEPTEMBER 2025

The producers of the multi award-winning, critically acclaimed West End production of CABARET at the KIT KAT CLUB are delighted to announce new casting.

From 22 September 2025, Grammy Award winner Reeve Carney will play Emcee and double Tony Award nominee and Grammy Award winner Eva Noblezada will play Sally Bowles. They star alongside Ian Charleson Award nominee Baker Mukasa as Clifford Bradshaw, Olivier Award winner Ruthie Henshall as Fraulein Schneider, Olivier Award nominee Robert Hands as Herr Schultz and Lucas Koch as Ernst Ludwig. Also joining the cast from 22 September are Joe Atkinson, Xavion Campbell-Brown, Olivia-Rose Deer, Anya Ferdinand, Danny Fogarty, Manu Sarswat, Tom Scanlon and Eva-Rose Tanaka.

Continuing in the company are Jessica Kirton as Fraulein Kost/Fritzie, alongside Adrian Grove,  Ela Lisondra, Hícaro Nicolai, Andy Rees, Alexandra Regan, Marina Tavolieri and Lucy Young.

Reeve Carney and Eva Noblezada’s final performance will be Saturday 24 January 2026.

Reeve Carney returns to the West End following his run earlier this year as Orpheus in  Hadestown at the Lyric Theatre, a role he created at the National Theatre and in the original Broadway production of the show. On screen he was seen as Tom Ford in Ridley Scott’s feature film Gucci. He is also known for his portrayal of Dorian Gray in the Showtime series Penny Dreadful and for originating the role of Peter Parker/Spider-Man in the Broadway production Spider-Man: Turn Off The Dark, a role that he was handpicked for by Julie Taymor and U2’s Bono.

Eva Noblezada returns to the part of Sally Bowles having played the role to critical acclaim in this production of Cabaret on Broadway. She previously originated the lead role of Daisy in the Broadway production of The Great Gatsby and reprised the role of Eurydice in Hadestown in the West End, a role she created at the National Theatre and on Broadway, for which she won a Grammy Award and was nominated for a Tony Award. This was Eva’s second Tony Award nomination for Best Actress in a Leading Role in a Musical, following her earlier nod in 2017 for the role of Kim in Miss Saigon. She was featured in the Amblin film Easter Sunday, was the lead in the AppleTV+ animated film, Luck, and starred for director Diane Paragas in the acclaimed Sony Pictures film, Yellow Rose. She also starred in the West End revivals of Miss Saigon and Les Misérables.

Baker Mukasa was nominated for the Ian Charleson Award for his performance as Angelo in the Royal Shakespeare Company’s production of The Comedy of Errors. His other credits for the Royal Shakespeare Company include The Winter’s Tale, Troy Story, Swingin’ the Dream and Festive Tales. Baker’s West End credits include Tina – The Tina Turner Musical at the Aldwych Theatre, A Christmas Carol at the Old Vic and Standing at the Sky’s Edge at the Gillian Lynne, as well as at the National Theatre and Sheffield Crucible. His other theatre credits include Brief Encounter at the Royal Exchange, Henry VIII and I, Joan at Shakespeare’s Globe and The Last King of Scotland at Sheffield Crucible. His TV Credits include Grace and Doctors.

Ruthie Henshall is a five-time Olivier Award nominee for Best Actress in a Musical, winning for  her portrayal of Amalia Balash in She Loves Me. Her extensive theatre credits include Grizabella in Cats, Fantine in Les Misérables, Nancy in Oliver!, Roxie Hart, Velma Kelly and Mama Morton in Chicago, Marian Halcombe in The Woman in White and Mrs Wilkinson in Billy Elliot. Throughout her career she has also appeared in the original London productions of Miss Saigon, Children of Eden, Crazy for You, Peggy Sue Got Married and Marguerite. Ruthie also tours across the UK, USA and Australia as a concert performer, and previously appeared in ITV’s I’m A Celebrity Get Me Out of Here! In 2020.

Robert Hands was in the original West End company of Come From Away at the Phoenix Theatre and was nominated for the Olivier Award for Best Supporting Actor in a Musical. His other West End credits include Committee at the Donmar Warehouse, Mamma Mia! at the Prince of Wales Theatre,  Mrs Henderson Presents at the Noël Coward Theatre, Mouthful at Trafalgar Studios, Scenes from an Execution and Invisible Friends at the National Theatre, Spamalot at the Palace Theatre, Chicago at the Adelphi Theatre, A Midsummer Night’s Dream at the Comedy Theatre, The Woman in Black at the Fortune Theatre, Rose Rage at the Haymarket Theatre, The Importance of Being Earnest at the Old Vic and Witness For the Prosecution at County Hall. His other theatre credits include A Midsummer Night’s Dream and Troilus and Cressida at Regent’s Park Open Air Theatre and Arcadia and The Three Sisters and Valentine’s Day at Chichester Festival Theatre. His many film credits include The Lesson, Black Forest, Asylum, Anna and the King, Charlotte Gray, Foreign Affairs and Shine. His TV credits include Joan, Grace, Masters of the Air, Noughts & Crosses, Manhunt, Breeders, Endeavour, EastEnders, Jonathan Strange and Mr Norrell, Love and Marriage, Casualty and Doctor Who.

Lucas Koch is currently appearing in Evita at the London Palladium. His other West End credits include Crazy For You at the Gillian Lynne Theatre, Choir of Man at the Arts Theatre and Kiss Me, Kate at the Barbican.

Jessica Kirton’s West End credits include Cinderella and School of Rock, both at the Gillian Lynne Theatre, Love Never Dies at the Adelphi Theatre and 42^nd Street in Concert at the London Palladium. She has also appeared in Chicago at Leicester Curve, in the North American tour of Batman Live! and in Shout! at the Arts Theatre.

Both Reeve Carney and Eva Noblezada are not scheduled to appear from Wednesday 22 October – Wednesday 5 November 2025.At these performances Joe Atkinson will play Emcee and Marina Tavolieri will play Sally Bowles.

The prologue company are Rachel Benson, Ami Benton, Joseph Hardy, James Hastings, Andrew Linnie, Dak Mashava, Nethra Menon, Oluwatosin Omotosho, Jack William Parry, Jazmyn Raikes and Kristin Wei Wong.

CABARET is currently booking until Saturday 23 May 2026. The production recently celebrated its 1,500^th performance, making it the longest running production of Cabaret in West End history. kitkat.club

This unique production of CABARET opened in December 2021 to critical and audience acclaim, widely praised as the ultimate theatrical experience. In April 2022 it won a record-breaking seven Olivier Awards. The production has also won three prestigious Critics Circle Awards as well as the Evening Standard Theatre Award for Best Design for designer Tom Scutt.

The Tony award winning Broadway production of CABARET opened in April last year at the KIT KAT CLUB at the August Wilson Theatre where it continues to play and currently stars Billy Porter and Marisha Wallace.

Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a ‘club entry time’ to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

CABARET is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision is by Jennifer Whyte and musical direction is by Ben van Tienen with lighting design by Isabella Byrd, sound design by Nick Lidster, Wigs and Hair design by Sam Cox and Make-Up design by Guy Common. The casting director is Stuart Burt and the original associate director and prologue director is Jordan Fein. The prologue composer and musical director is Angus MacRae.

CABARET at the KIT KAT CLUB is produced by ATG Productions and Underbelly.

RALPH FIENNES and MIRANDA RAISON
will star in a limited West End season of
GRACE PERVADES
By DAVID HARE
Directed by JEREMY HERRIN

THEATRE ROYAL HAYMARKET

FROM APRIL 2026

Tickets on sale from mid-September 2025.
Signup at gracepervadestheplay.com 

Theatre Royal Bath Productions, Len Blavatnik and Danny Cohen for Access Entertainment and Second Half Productions are delighted to announce that Ralph Fiennes and Miranda Raison are to star in a limited West End season of David Hare’s GRACE PERVADES at Theatre Royal Haymarket from April 2026.

Tickets will go on sale in mid-September 2025. For information on dates and priority ticket alerts, please sign up at gracepervadestheplay.com  

The play, directed by Jeremy Herrin, tells the extraordinary story of Henry Irving and Ellen Terry, the greatest stars of the Victorian stage, and Ellen’s troubled and brilliant children –  Edith Craig and Edward Gordon Craig – who made their own profound contribution to the development of British theatre.

Alongside Director Jeremy Herrin, the creative team includes Set Designer Bob Crowley, Costume Designer Fotini Dimou, Lighting Designer Peter Mumford, Sound Designer Elizabeth Purnell, Composer Paul Englishby, Casting Director Jessica Ronane CDG, Associate Director Joe Lichtenstein, and Movement Director Lucy Cullingford.

Further casting for the London production still to be announced.

GRACE PERVADES was originally produced as part of the Ralph Fiennes Season at Theatre Royal Bath which also includes upcoming productions of As You Like It (Directed by Ralph Fiennes and starring Gloria Obianyo, Harriet Walter, Dylan Moran and Patrick Robinson) and Rebecca Lenkiewicz’s Small Hotel (Directed by Holly Race Roughan and starring Ralph Fiennes and Francesca Annis). More information on the Ralph Fiennes Season at Theatre Royal Bath theatreroyal.org.uk

LISTINGS

GRACE PERVADES by David Hare
From April 2026
Theatre Royal Haymarket, Haymarket, London SW1Y 4HT
Tickets on sale from mid-September. signup at gracepervadestheplay.com  

FULL CAST JOINS HIRAN ABEYSEKERA IN REHEARSALS FOR HAMLET

ROBERT HASTIE’S FIRST SHOW AS DEPUTY ARTISTIC DIRECTOR OF THE NATIONAL THEATRE

Full casting for National Theatre Deputy Artistic Director Robert Hastie’s (Standing at the Sky’s Edge) sharp, stylish and darkly funny reimagining of Hamlet is unveiled today as rehearsals begin on the South Bank. As previously announced, Olivier Award-winner Hiran Abeysekera (Life of Pi) will make his highly anticipated return to the National Theatre to play the famed eponymous role in this fearless, contemporary take on Shakespeare’s famous tragedy. Hamlet will run in the Lyttelton theatre from 25 September to 22 November 2025. It will also be broadcast to cinemas through National Theatre Live from 22 January 2026.

Joining Abeysekera in the cast will be Joe Bolland (Guildenstern), Phil Cheadle (Marcellus), Ayesha Dharker (Gertrude), Ryan Ellsworth (Ghost), Tom Glenister (Laertes), Mary Higgins (Osric), Liz Jadav (Nurse),  Kiren Kebaili-Dwyer (Fortinbras), Hari Mackinnon (Rosencrantz), Francesca Mills (Ophelia), Sophia Papadopolous (Cornelius), Alistair Petrie (Claudius), Siobhán Redmond (First Player), Seb Slade (Francisco), Geoffrey Streatfeild (Polonius), Noel White (Bernardo) and Tessa Wong (Horatio).

Director Rob Hastie is joined in the creative team by set and costume designer Ben Stones, lighting designer Jessica Hung Han Yun, sound designer Alexandra Faye Braithwaite, composer Richard Taylor, movement director Ira Mandela Siobhan, fight director Kate Waters, casting directors Alastair Coomer CDG and Martin Poile CDG and associate director Georgie Staight. 

The play’s the thing.

Something is rotten in the state of Denmark. Are you watching closely?

Trapped between duty and doubt, surrounded by power and privilege, young Prince Hamlet dares to ask the ultimate question – you know the one.

Hamlet will play in the Lyttelton theatre from 25 September to 22 November, with a press night on Thursday 2 October. Audiences can find their nearest cinema screening at hamlet.ntlive.com

Old Joint Stock Theatre, Birmingham – until 31st August 2025

Reviewed by Emma Millward

5*****

The cult musical Be More Chill arrived at Birmingham’s Old Joint Stock Theatre this week with a burst of colour, chaos and computer game nostalgia, the show proves that even in the most intimate venues, big stories can be told with explosive impact. Playing throughout August, this high-octane production makes clever use of its compact setting and draws the audience into a fast-paced story of unrequited love, the desire to fit in and some undeniably catchy tunes! Based on the novel by Ned Vizzini, and with music and lyrics by Joe Iconis and Joe Tracz. With a cast of 10 outstanding performers, Be More Chill is the largest production that The Old Joint Stock has ever produced. It also marks a major milestone for the venue, as it is their first production under the Equity House Agreement, which champions fair pay and professional standards in fringe theatre.

Set in an American high school, Be More Chill follows painfully awkward Jeremy Heere (Tom Dickerson) who is desperately in love with Christine (Shannon Bourne), who is more interested in Jake (Harry Chamberlain). Jeremy discovers a pill-sized supercomputer, or The SQUIP, that implants in the user’s brain and promises to make them more cool and confident.  The SQUIP (Tommy Fouweather) appears as a Matrix-inspired guide that only Jeremy can see, telling him what to say and do. Jeremy soon makes a good impression with the popular kids at school, especially Brooke (Ailsa Erskine) and Chloe (Maya Jade Frank), but ends up pushing away his best friend Michael (Jack Carr). Jeremy soon realises the influence of The SQUIP is not always a positive one.

The ensemble cast works well together and the chemistry between them is already evident only a few shows into the run. The cast each gets their own time to shine throughout the show. Tom Dickerson gives an outstanding and relatable performance as Jeremy. Shannon Bourne gives just the right level of quirkiness to Christine without it turning into a parody of teen comedy love interests. Jack Carr as Michael undoubtedly has the best song in the show, the beautifully sad ‘Michael In The Bathroom’, which deserved the prolonged applause it received. Tommy Fouweather gives an electric performance as the increasingly ominous SQUIP. Jessica Lin showcases her vocal talents as the gossiping Jenna. Steven Rostance’s multiple roles drew many laughs, especially as the scary stockboy who sells The SQUIP to Jeremy. John OG gives a frenetic performance as Rich, who is the first to realise the dangerous impacts of the new technology.

The Old Joint Stock’s small space is used imaginatively. Liam Alexandru and Theatre SSL’s clever use of lighting and video projections on twelve strategically placed screens bring the SQUIP to life, acting as a digital narrator throughout. They flash up information on each character and what is happening in each scene, with lots of sneaky jokes for the eagle-eyed, and even a sneak peek at future productions at the theatre. Choreographer William Spencer manages the restrictions of a smaller stage area extremely well. The close proximity of the action added an almost immersive aspect to the show, especially during scenes where the characters seemed to be directly addressing the audience. The songs under Callum Thompson’s musical direction are irresistibly catchy and some are firmly stuck in my head as I write this review!! Director James Edge has achieved his ambitious, if slightly risky vision of bringing a large-scale production to a small theatre space.

For fans of offbeat musicals, or anybody curious about what it means to be yourself in a hyper-connected world, Be More Chill at the Old Joint Stock is a must-see. It is a bold, weird and captivating show.

The Barbican, London – until Sunday 21 September 2025

Reviewed by Amy V Gathercole

5*****

“See it for Sean Hayes and his Tony Award-winning performance – a true memorable triumph.”

One of the most talked-about shows of the year, Good Night, Oscar first opened in Chicago in 2022, transferred to Broadway with haste in 2023, and—after leading man Sean Hayes took some much-deserved time off—it has now arrived in London for a limited run at The Barbican.

Set in 1958, over the course of one evening, the play brings together a cast of vivid characters around a historic moment: The Tonight Show is set to be broadcast live from the opposite coast for the first time. I didn’t know much about Oscar Levant before seeing the play—only that he appeared in the film An American in Paris—and I’m glad I didn’t Google him ahead of time, as the discovery was part of the magic.

Host Jack Paar (Ben Rappaport, perfectly cast and reprising his role from the original production) is as charismatic as he is calculating. It’s a deadly and delightful dynamic to watch unfold as he manipulates studio execs, Oscar’s wife, and eventually Oscar himself to deliver the kind of controversial, unforgettable interview he craves—one that will ruffle feathers both at the studio and in American homes. Playing it safe is not in Paar’s vocabulary.

Sean Hayes as Oscar Levant is extraordinary. He doesn’t just play Levant; he inhabits him. Provocative, messy, and razor-sharp, Hayes captures the physical and emotional chaos of a man riddled with drugs, substance issues, and, frankly, a large amount of existential dread. His constant twitching, nervous tics, and erratic energy are deeply convincing. It’s clear why he won the Tony Award—this is a performance of rare intensity and precision.

Doug Wright’s script is a triumph. From the opening scene, it’s sharp, polished, and packed with wit and one-liners that the cast deliver with skill. The audience laughed loudly and often, but beneath the humour lies a profound exploration of genius, mental illness, and the cost of being truly seen.

As the production dives deeply into the complexities of Oscar Levant’s genius and torment, it never loses its grip on the audience’s attention. It painfully peels back the layers of his trauma, exposing what he faces day to day just to give the people what they want, as he continues to sacrifice his sanity for popularity.

Rosalie Craig as June Levant is a delight. She’s no passive 1950s housewife—she’s strong, smart, and deeply compassionate. June manages Oscar’s moods and eccentricities with poise and care, whilst also quietly voicing her own struggles. Craig brings a quiet power to the role.

Her love for Oscar is true but understandably complicated. She’s given some of the play’s best lines, delivered with a savage grace that’s thrilling to watch. It’s also affirming to see such a strong female character amidst a play dominated by men, as she brings balance and grace to the proceedings.

Other characters include a medical orderly, Alvin (Daniel Adeosun), who’s attempting to hold the chaotic and questionable antics together whilst caring for Oscar. Alongside him is a very fresh and inexperienced producer, Max (Eric Sirakian), who’s more interested in the biggest stars on the show and their lives and stories, than actually being good at his job. Both performances add some relief, and Alvin was a particular favourite of mine.

The staging by Rachel Hauck is equally impressive—slick, seamless, and visually striking without ever overshadowing the performances. The set becomes a silent character, shifting between dressing rooms and the talk show stage with elegance and purpose.

Sean Hayes, now 55, is best known for his Emmy-winning role as Jack, the bitchy sidekick in Will & Grace, and as one-third of the globally popular SmartLess podcast.

Good Night, Oscar reveals another side of his talent, as many people won’t know that he’s a classically trained pianist who began lessons at age five. In a virtuoso final scene, Hayes performs a fast-fingered seven minute rendition of Gershwin’s ‘Rhapsody in Blue’—a stunning moment that will linger long after the final bow.

If you can get a ticket, do. This is a rare performance—the kind that doesn’t come around often—and it will be talked about and praised for years to come. Good Night, Oscar is smart, stylish, and deeply moving: a theatrical experience not to be missed.

New Wimbledon Theatre – until Saturday 16th August 2025 

Reviewed by Carly B

5***** 

New Wimbledon brings you War Horse– a production, directed by Tom Morris with revival director Katie Henry, that has already met such success and popularity and for good reason too. The play is based on the wonderful book by Michael Morpurgo, where ultimately the magic of the show started. The story itself is incredibly emotional and moving, set during World War One while following the journey of young Albert (Tom Sturgess) and Joey (Rianna Ash, Chris Milford and Samuel Parker)- Albert’s cherished horse. However, when Joey is sold to the army, Albert is left completely heartbroken yet vows to unite with Joey once again. The tale that unfurls is both haunting and heartwarming, a testament of love, resilience and loyalty in the most brutal of circumstances. 

The thing that sets War Horse apart from all other productions is certainly the puppetry. The life-sized horse puppets made and created by the excellent Handspring Puppet Company are truly awe-striking, remarkable and simply extraordinary. Despite the puppeteers being visible throughout the show, there’s no doubt that they are brought to life, as if they are truly horses, in the flesh and blood. This not only elevates the production but also creates a greater depth to the performance, allowing the audience to fully delve deep into the story and take on all the emotions laid out to us on stage. 

Even with the play’s sentimentality, the show doesn’t try to cover up the horrors of war, while there is still sensitivity to the subject it doesn’t shy away from the brutality of conflict, simultaneously handled in a way that feels respectful. It’s not too graphic however it does not sugar-coat the topic either- a phenomenal balance that is not easily perfected.  

Juxtaposing some of the more sensitive topics are the tender moments of the play- many of them being between the two horses, Joey and Topthorn (Tom Quinn, Michael Jean-Marian and Michael Larcombe). The way in which the two horses’ bond is both soul-stirring and sentimental, once again all puppeteers bring the horses to life along with the connection they have. The play is proof of the capability and potentiality of puppetry within theatre! it’s a true wonder how a group of people and a few pieces of material put together can create the illusion of a magnificent creature. 

I can confidently say that War Horse is a compelling piece of fantastic theatre that left not only me but everyone else in utter awe and left many teary eyed as well. Without a doubt a must-see, whether you regularly go to the theatre or not. It’s a production that emits the power of theatre and how it is able to transport us, move us and leave us with our minds wandering long after the final curtain closes.

“Paint the world with colours…”

Music Theatre International Acquires Licensing Rights to

The Little Big Things

London, UK – 7^th August 2025 –Theatrical licensor Music Theatre International announces the acquisition of the Olivier Award-nominated musical, The Little Big Things.

Written by Nick Butcher, Tom Ling and Joe White, and based on the Sunday Times best-selling memoir of the same name by Henry Fraser,  The Little Big Things is an uplifting and colourful British musical that acts as a life-affirming reminder about the transformative power of family, and how sometimes it really is the little things which matter the most.

In this true story, Henry Fraser, an avid sportsman and academy player with a premiership Rugby club, has his life changed in an instant when a diving accident leaves him paralysed from the shoulders down. The show explores Henry’s journey of emotional and physical recovery, as he grapples with the loss of his former life and learns to navigate the world in a new way. Told through the innovative use of two actors portraying Henry before and after the accident, the story highlights the contrast between his past ambitions and present realities. With the unwavering support of his close-knit family and a growing passion for art, Henry begins to rediscover himself and redefine what it means to live a fulfilling life. 

Originally commissioned and produced by Michael Harrison, the show had its world premiere at @sohoplace in London’s West End in September 2023, where it ran until March 2024. Critics praised the show, and the production garnered a host of four and five star reviews. The Sunday Express proclaimed it was “The show with the biggest heart in town” while WhatsOnStage commented on the “thunderous score” claiming “Nick Butcher and Tom Ling’s tune-filled, exhilarating work occupies that sweet spot where pop, rock and folk compounds with theatrical bombast.” 

A live capture of the West End production is currently available to stream with National Theatre at home.

Authors Nick Butcher, Tom Ling and Joe White remarked: “We’re delighted to share The Little Big Things and the story of Henry Fraser and his family beyond London’s West End. This is a joyous musical about human resilience and the power of accessibility, made to break down barriers, and this partnership continues that promise. The UK fell in love with this life-affirming new musical, and now we can’t wait for the rest of the world to experience it.”

Michael Harrison commented: “I’m delighted that The Little Big Things is now part of the MTI catalogue. This is a musical very close to my heart. It was an honour to help bring Henry Fraser’s extraordinary story to the stage, and I am so excited that more audiences will now have the opportunity to experience its heart and its humour. Most of all, I’m proud that future productions will continue to champion accessibility and representation, opening doors for performers and audiences alike.”

“It’s a real privilege to announce MTI’s representation of The Little Big Things, one of the most exciting, unique musicals to appear on the London stage in recent years.  Who could fail to be inspired by the remarkable Henry Fraser, the artist whose memoir tells of his and his family’s struggle to adapt to and cope with a life-changing accident? We are proud to bring to the world a new musical that gives two wheelchair-using actors the opportunity to play leading roles on the musical stage” said Sean Gray, Managing Director of MTI’s London office.

Additional licensing announcements from MTI about The Little Big Things will be forthcoming
 

About Music Theatre International
Music Theatre International (MTI) was founded in 1952 by legendary Broadway songwriter Frank Loesser and orchestrator Don Walker, today with offices in London, New York, and Melbourne. MTI’s London office, overseeing a vast European market, typically licenses over 7,000 productions a year, from schools and amateur societies to professionals, reaching audiences of more than 8.5 million annually.   

Across its catalogue of more than 400 titles, MTI represents an array of musicals including Broadway classics (Guys and Dolls, West Side Story, My Fair Lady); contemporary hits (& Juliet, Titanique, Mrs. Doubtfire); the ground-breaking works of Stephen Sondheim (Into the Woods, Sweeney Todd); global titles (Mamma Mia!, Billy Elliot, Matilda The Musical); Cameron Mackintosh (Les Misérables, Miss Saigon); Disney (Beauty and the Beast, Frozen); and the Mackintosh and Disney Mary Poppins.   

MTI is especially dedicated to the education sector and has created special collections to meet the needs of various types of young performers. MTI’s Broadway Junior series are 30- and 60-minute musicals for performance by primary and middle school-aged performers, while MTI’s School Editions are musicals tailored to the needs of secondary school pupils.  MTI’s London office produces an annual Junior Theatre Festival, Europe’s biggest celebration of musical theatre for young performers, at the ICC in Birmingham. MTI is also proud of its user-friendly production resources, providing support to our customers across all aspects of musical theatre production.  

MTI’s Plays division, incorporating the longstanding Josef Weinberger collection, includes UK and/or European representation of such works as Ingmar Bergman’s Scenes from a Marriage, Arthur Miller’s Death of Salesman and The Crucible, John Steinbeck’s Of Mice and Men, comedy classics Arsenic and Old Lace and Harvey, with new acquisitions including the West End and global phenomenon 2:22 A Ghost Story, and Academy Award-winning The King’s Speech. 

www.mtishows.co.uk

ARCOLA THEATRE – UNTIL 9th AUGUST 2025

REVIEWED BY JACKIE THORNTON

4****

Charlotte Brontë’s iconic 19th Century tale of one woman’s quest for equality and freedom transcends its roots as an intimate first-person narrative erupting onto the stage as a fully fledged opera. Bringing to life heroine Jane Eyre’s emotional dilemmas through music, John Joubert’s composition and Kenneth Birkin’s libretto are now staged in their entirety for the first time.

Award-winning director Eleanor Burke’s bold interpretation keeps the presence of Bertha, the mad woman in the attic, alive for the audience as Steffi Fashokun’s balletic moves weave around the main action. She refuses to be forgotten. Taking the titular role is Egyptian soprano Laura Mekhail, expertly embodying Jane’s turmoil, self-sacrifice and desires. Her duets with British baritone Hector Bloggs, who plays brooding Rochester, are magnificent. The accompanying cast adds real gravitas and solemnity to the performance. Tenor Lawrence Thackeray deserves a mention for his humorous portrayal of the Reverend in act two as does soprano Anna Sideris’s subtle yet affecting range of facial expressions, helping to drive the narrative along.

Conductor and musical director Kenneth Woods draws wonderfully on a talented orchestra to capture Joubert’s “energising harmonies”, which make profound use of clashes and bi-tonality, and deliver an unsettling and dark tone throughout. Emeline Beroud’s set and costume design reinforces the bleak, overbearing setting of Thornfield, making strong use of red threads to contrast with the dull, conservative, buttoned-up dress of the Victorian era. Staying true to Green Opera’s sustainability credentials, there are minimal props and costume changes and everything has an air of reuse to it.

Jane Eyre is part of the line up for the seventeenth edition of the Grimeborn Opera Festival which features radical and innovative productions from across the globe. The Arcola Theatre aims to be the world’s first carbon neutral theatre while its co-producer for this festival, Green Opera, is committed to uniting art and environmental consciousness. The festival runs until mid September with a range of unique offerings so why not indulge in some Tosca, dive into Tristan und Isolde or get a hit of Sense and Sensibility? This is opera like you’ve never seen before and at an affordable price tag.