RESTAURANT PARTNERSHIP TO CONTINUE WHETTING THE APPETITE OF THEATRE GOERS
Following a successful 18-month collaboration, the Grand Opera House York and Ate O’Clock and Social8 Lounge Restaurant have extended their partnership, offering more mouthwatering savings and experiences for York theatre goers.
Ate O’Clock will continue as the Grand Opera House York’s official restaurant partner, where over the last 12 months, customers have been able to save 10% off their bill when dining. For a bit of fun, customers were treated to themed cocktails to mark the arrival of iconic shows such as the Rocky Horror with the ‘Let’s do the time warp’ cocktail, not forgetting the delicious Ate O Clock, Only Fools and Horses pie and mash special. During panto season some lucky families were given kids eat free vouchers. More fun, drinks, dishes and money saving offers will be served up over the next 12 months.
Laura McMillan, Grand Opera House York Theatre Director says, “I look forward to another year of collaborating with Ate O Clock, providing more memorable experiences for York’s theatre goers, combining delicious food and cocktails with the best live entertainment”.
Emily Crampton, Ate O’Clock and Social8 Lounge Restaurant Manager says, “We have absolutely loved partnering with the Grand Opera House York, so it was the easiest yes when Laura asked us if we wanted to continue. Hospitality is all about giving guests an experience they won’t forget and being able to offer discounted pre-show meals & after-show drinks means we get to be part of providing the ultimate evening out”.
Grand Opera House York ticket holders can continue to enjoy pre-show dining, saving 10% on their final bill when booking a table at the Ate O’Clock Restaurant between the hours of 1.30pm and 5.30pm.
Now is the time to start planning your big night out – with a packed programme of shows, from the whip-crackin’ musical classic Calamity Jane to the Olivier, Tony and Grammy award winning Dear Evan Hansen and the side-splitting comedy Friends! the Musical Parody, there’s something for everyone.
Sign up online to receive the latest Grand Opera House York updates by visiting [www.atgtickets.com/york]www.atgtickets.com/york. You can also sign up to receive the latest updates from Ate O’Clock by visiting [www.ateoclock.co.uk]www.ateoclock.co.uk
23 April 2025 –Following a hugely successful UK tour, Bluey, Bingo, Mum and Dad are back by popular demand in the Olivier Award nominated live stage show Bluey’s Big Play.
The tour opens on 25 October and will continue to visit 32 venues across the UK and Ireland until August 2026. It will also play the Southbank Centre’s Royal Festival Hall for the festive season from 18 December – 11 January.
Featuring brilliantly created puppets, this theatrical adaptation of the Emmy® award-winning children’s television series is packed with music, laughter, and fun for the whole family. The critically acclaimed stage show has captivated audiences of all ages, with the much-loved Heeler family delighting fans with an unforgettable live theatrical experience.
“’Expect full chair dancing and shrieks of joy’” Broadway World ★★★★★
“Puppy puppets’ sweet show sets tails wagging” The Guardian
Since premiering in Australia, Bluey’s Big Play has toured globally across the UK, Ireland, Canada, the US, Europe Singapore and the UAE and has been seen by millions of fans worldwide.
Natasha Spence, Events Director, Live Entertainment at BBC Studios, said “The play’s last tour was met with overwhelming enthusiasm from audiences across the UK and Ireland. We can’t wait for more fans and families to experience the joy of seeing Bluey’s Big Play live on stage in a few months.”
Ben Hatton, Senior Vice President, Arts & Entertainment at Cuffe and Taylor added “We were thrilled with the incredible reception Bluey’s Big Play received in our previous tour, the response from our audiences was nothing short of magical. So we couldn’t be more excited to bring Bluey back to the UK again later this year”
Bluey’s Big Play features original voices from the TV sensation, including the instantly recognisable voices of Dave McCormack and Melanie Zanetti as Dad and Mum. While the larger-than-life puppets are commanded by a talented cast to be announced. It is produced by Andrew Kay and Cuffe & Taylor with Windmill Theatre Co for BBC Studios.
When Dad feels like a little bit of afternoon time out, Bluey and Bingo have other plans! Join them as they pull out all of the games and cleverness at their disposal to get Dad off that bean bag. With an original story by Bluey creator Joe Brumm, and new music by Bluey composer, Joff Bush. This is Bluey, For Real Life.
Pre-sale tickets will go on sale on Tuesday 13 May for Bluey Fan Club members with general on sale across the tour on Friday 16 May. For full information visit blueylive.com
· EXECUTIVE PRODUCERS MICHAEL MCFADDEN AND KATY LIPSON HEAD NEW FULL-SERVICE THEATRICAL PRODUCTION COMPANY, TRW PRODUCTION.
· A DIVERSE SLATE OF PROJECTS ARE IN DEVELOPMENT INCLUDING ADAPTATIONS OF THE ROM-COMMUSIC AND LYRICS AND THE 2012 FILM JOYFUL NOISE.
· ALL PROJECTS DEVELOPED BY TRW PRODUCTION WILL BE REPRESENTED BY THEATRICAL RIGHTS WORLDWIDE, FACILITATING A LONG AND LUCRATIVE LIFE FOR THESE NEW TITLES IN FIRST CLASS, INTERNATIONAL, REGIONAL AND EDUCATIONAL MARKETS.
· A NEW MENTORSHIP PROGRAM CALLED THE COLLECTIVE WILL DEVELOP NEW, ORIGINAL MUSICALS BY UP-AND-COMING COMPOSERS AND LYRICISTS.
TRW Production, a new development, investment, and producing entity headed by Executive Producers Michael McFadden and Katy Lipson, has been announced today.
With a wealth of business acumen and theatrical production experience spanning four decades, Executive Producers Michael McFadden and Katy Lipson head the company’s New York and London offices. Brought together by their unique vision and fierce ambition, both have achieved international success through their individual producing organizations, Phoenix Entertainment and Aria Entertainment. With robust knowledge of US and UK markets, the duo eagerly looks forward to this new chapter of creation and collaboration. In tandem with Steve Spiegel, owner and CEO of licensing house Theatrical Rights Worldwide, TRW Production will develop a wide range of theatrical properties that will have immense appeal to the first-class international, regional, and educational markets.
Empowering the talent of established A-listers and emerging artists alike, TRW Production will embrace storytelling as the most powerful catalyst to generate new ideas by bringing musicals, plays, and theatrical experiences from page to stage.. Among TRW Production’s stage adaptations of films currently in development is Music & Lyrics, the tuneful 2007 rom-com originally starring Hugh Grant and Drew Barrymore, which will be adapted by original writer and director Marc Lawrence. Also in development isthe beloved 2012 Dolly Parton and Queen Latifah filmJoyful Noise.This stage adaptation by screenwriter Todd Graff will feature an original, gospel-inspired score, alongside hits by pop heavyweights Michael Jackson, Stevie Wonder, and Usher. The original songs written for the film by Dolly Parton will also be featured. In addition to films, the company will partner with innovative dramatists to explore the music catalogues of iconic recording artists, beginning with the rock and roll legend, Chuck Berry. His story and sweeping catalogue of songs will be brought to the stage by prolific playwright Will Power.
Driven by its commitment to up-and-coming writers, TRW Production launched The Collective, a mentorship program for the development of new musicals. Each month, a select group of emerging composers and lyricists meet to present material. In this collaborative environment, writers receive invaluable feedback from their peers along with support, advice, and resources from the team at TRW as they develop their original ideas and pave a path towards production.
ONE OF SHAKESPEARE’S MOST POPULAR TRAGEDIES, HAMLET
RUNNING AT LEICESTER SQUARE THEATRE FROM 7 AUGUST – 21 SEPTEMBER 2025
FOLLOWED BY A UK TOUR
Sh!t-faced Shakespeare®are excited to once again drunkenly stomp all over the greatest dramatic work ever committed to page in the English language: the story of a privileged whiny lad who goes a bit bonkers and does some stabbings.
Sh!t-faced Shakespeare® have toured the world, broken America, established themselves on London’s West End, won numerous awards, and survived a zero-star review in The Times. Now, they will be celebrating 15 years on the wagon with one of the Bard’s most popular tragedies: Hamlet, which will run at Leicester Square Theatre from 7 August to 21 September 2025.
Featuring a cast of professional Shakespearean actors, this unique production takes an unpredictable twist each night as one performer is chosen to be deliberately intoxicated for up to four hours before showtime. The rest of the cast must then navigate the play, improvising their way through the unpredictable chaos that springs from their inebriated colleague’s booze-fuelled antics.
Stacey Norris, director said, “Fifteen years of drunken debauchery, Shakespearean chaos, and somehow—against all odds—we’re still here. How? No idea. How are we still alive? Even bigger mystery. But here we are, raising a glass (or several) to 15 years of beautifully boozy Bard, and what better way to celebrate than with the greatest tragedy of all—our own survival. See you at Leicester Square Theatre, if we make it that far.”
This Sh!t-faced Shakespeare® production of Hamlet will be directed by Stacey Norris, produced by James Murfitt and Johanna Rigg for Leicester Square Theatre, dance choreography from Beth-Louise Priestley and fight choreography from Robbie Capaldi, lighting design by Tom Williams, set design by Nicola Jones, costume design by Lorna Jean Costumes, marketed by Tom McGregor, with PR from ANRPR.
Casting will be announced in due course.
Following the production’s run in London, the show will tour the UK, visiting Albert Halls, Bolton (1 October), Lawrence Batley Theatre, Huddersfield (2 October), Princes Hall, Aldershot (3 October), The Exchange, Twickenham (4 October), Lichfield Garrick (7 October), The Albany Theatre, Coventry (8 October), Taunton Brewhouse (9 October), Exmouth Pavilion (10 October), The Berry Theatre, Hedge End (11 October), Chelmsford Theatre (16 October), The Haymarket, Basingstoke (17 October), Exeter Corn Exchange (18 October), Westlands Entertainment Venue, Yeovil (19 October), Palace Theatre, Southend (21 October), Corn Exchange, Ipswich (22 October), The Cresset, Peterborough (23 October), The Capitol Horsham (25 October), The Old Market, Brighton (26 October), Komedia Bath (28 October), Kenton Theatre, Henley (29 October), Farnham Maltings (30 October), Shanklin Theatre, Isle Of Wight (31 October), New Theatre Royal Portsmouth (1 November), Tivoli, Wimborne (2 November), Royal & Derngate, Northampton (4 – 5 November), Tyne Theatre & Opera House, Newcastle (6 November), Scarborough Spa (7 November), Middleborough Town Hall (8 November), Epic Studios, Norwich (12 November), Norwich Theatre (13 November), Lincoln Arts Centre (14 November), Old Woollen, Leeds (15 November).
BRENDAN COLE TO LEAD THE CAST OF GOLDILOCKS AND THE THREE BEARS WITH THE RETURN OF JOSH BENSON AND JAMIE JONES
Darlington Hippodrome has today, Thursday 24 April, announced that Darlington panto favourites Josh Benson and Jamie Jones will return for a third season, this year joining the circus as Joey the Clown and Dame Betty Barnum.
The much-loved pair will join previously announced Brendan Cole, who headlines the show as The Evil Ringmaster, Baron Von Bolshoi. Brendan appeared on every season of Strictly Come Dancing since it began in 2004 up until 2017. In 2022, Brendan starred in ITV’s Saturday night entertainment programme Dancing on Ice, making it through to the final.
Josh Benson is known and loved in Darlington as one of the most energetic panto comics to take the Hippodrome stage. As a cabaret entertainer, Josh has performed at the Leeds City Varieties Music Hall, London’s Charing Cross Theatre, and the Phoenix Arts Club. He is also a regular at the incomparable Brick Lane Music Hall. Josh has previously appeared as the panto comic at Chesterfield’s Pomegranate Theatre, York Theatre Royal, Brick Lane Music Hall, and Halifax’s Victoria Theatre.
On returning for a third season, Josh said:
“I can’t wait to be back with my ‘panto gang’ at the Hippodrome for a hattrick season! Darlington audiences are so much fun to perform for… and I’m so excited to be bringing them some more daft antics this Christmas.”
Jamie Jones trained as an actor and graduated from Staffordshire University with a First-Class Honours degree in Musical Theatre. Alongside performing on stage, he is also a keen writer and director for various production companies across the UK. His scripts have been performed to great acclaim, with new titles being regularly added to his growing repertoire. Throughout the year, Jamie designs and creates all his own costumes for the upcoming pantomime season, adding fabulous new pieces to his ever-expanding and glamorous wardrobe.
On coming back to Darlington for panto, Jamie said:
“I’m absolutely thrilled to be returning to the beautiful Darlington Hippodrome this Christmas as Dame Betty Barnum in Goldilocks and the Three Bears! Expect fabulous costumes, sumptuous scenery and laugh out loud comedy. This year’s show promises to be one of Darlington’s biggest yet, so come and join us in the Big Top for some festive panto magic!”
For four weeks only Darlington Hippodrome will be transformed into a sensational circus, where everything is possible, and anything could (and will) happen. This festive extravaganza is packed with riotous comedy, extraordinary special effects, hair-raising stunts and international circus acts!
So… roll up, roll up to see panto join the circus, and be swept away by a pantomime spectacular that’s just right. Goldilocks and the Three Bears will run at Darlington Hippodrome from Fri 5 – Wed 31 Dec 2025. For full details or to book call the Box Office on 01325 405405 or visit darlingtonhippodrome.co.uk
Leeds Grand Theatre – until Saturday 26th April 2025
Reviewed by Michelle Richardson
5*****
The award-winning, hit musical, Bat Out of Hell, has returned once again to Leeds Grand Theatre. A rock musical with music, lyrics and book by Jim Steinman. Created mostly out of the iconic Bat Out of Hell albums by Meat Loaf, the show is packed full of explosive rock anthems written by Steinman.
This was my first time of seeing Bat Out of Hell, and apart from knowing it centred around the music of the late, great Meat Loaf, I knew nothing else. I was pretty sure this show would be right up my street. You could tell as soon as you arrived at the theatre that it has a large fan base. There was a buzz in the air, Bat Out of Hell t-shirts everywhere, talk of how many times people had been to see the show, the highest I heard was 29, since its debut in 2017. The icing on the cake was the thunderous motorcade driving around the theatre. Riders from Aire Valley and St Leger HOG put on a fabulous show, revving their magnificent machines whilst we had the chance to take photos and videos. What a truly electrifying start, and that was before we had even entered the theatre.
Roughly based around the story of Peter Pan and the Lost Boys, it follows the story of a dystopian world. Set in Obsidian, where the tyrannical Falco (Rob Fowler) runs the city with an iron fist. He lives in his ivory tower with his jaded, unhappy wife Sloane (Harriet Richardson-Cockerline), and bored, sheltered daughter Raven (Katie Tonkinson). Strat (Luke Street) is the 18-year-old leader of The Lost, a ragtag band of youthful misfits, who will never grow old. They live in the tunnels that wind under the city, outcasts, vilified by Falco. Their lives will never be the same again once Raven meets Strat, and they find romance and heartbreak.
The set worked very well, with the stage having three different distinct areas. One for the supremely talented musicians, elevated to the left at the back of the stage, another top right for the Falco family home, and the lower stage depicting the tunnels where The Lost hang out. As part of the show, a cameraman is frequently filming, especially in the Falco’s area, which is then relayed onto screens on the stage. This is something I have never seen before, and though I did find this distracting at first, I got used to it and it added another dimension to the story telling. Though the stage is dark, the props, which included a motorbike and car, and the 80’s inspired outfits and hair certainly aren’t.
All the cast are pretty amazing with their high energy dancing and incredible singing capabilities. Standouts are Luke Street as alternate Strat. He was charismatic to watch, encapsulating the essence of his eccentric complex character. His vocals just smashed it, he has such an amazing ability. His rendition of Bat Out of Hell was sublime. I was so glad I got to see his performance. Understudy Harriet Richardson-Cockerline, as Sloane, has such a powerful voice, you cannot help but be wowed by her. Her, and the equally impressive Rob Fowler, share great chemistry, their raunchy performance during Paradise by the Dashboard Light was just hilarious. Check out the pink undies.
Bat Out of Hell is an exhilarating production, stacked full of great Meat Loaf/Steinman tunes that we all know and love. Yes, it may be a bit wacky, loud and ridiculous, but it is up my street and thoroughly deserved the standing ovation at the end of the night. A rock music extravaganza from start to finish.
I can understand why this show has such a following and I would definitely go and watch it again and again.
Royal Shakespeare Theatre Stratford-Upon-Avon – until 24th May 2025
Reviewed by Amarjeet Singh
3***
Swap a victorious battle for a triumphant football match, soldiers for footballers and you have director Michael Longhurst celebrity spin on a Shakespearean romantic romp. Top players Claudio and Benedick play for FC Messina, the latter a confirmed bachelor, the prior falls in love with Hero, an aspiring popstar and the daughter of Leonato, a club owner. A huge WaG wedding is planned, but Claudio is deceived by a malicious deep fake plot and denounces Hero as unchaste before they marry. She faints at the alter and is believed dead, but all is not what it seems. Hero’s cousin Beatrice, a feisty football commentator, and confirmed singleton, is caught up in a plot with Benedick, both are duped into believing the other is in love with them. Denying their true feelings, he attempts to win Beatrice over by defending Hero’s honour and challenging his friend Claudio for trashing Hero’s reputation.
I can’t help but feel that Longhurst drops the ball a bit with this rendition. There are some very clever ideas and elements with the use of multimedia and its ability to amplify and distort gossip in this modern world. Unfortunately, it’s all a bit much. Screens, cameras, jacuzzies, statues, fountains, karaoke, projected messages, fellatio, threesomes and then some, all distract from the actual theatrical performances. The football setting genuinely works, but by the second half of the play, the motif is mostly redundant.
A beautiful working jacuzzi/pool/fountain sits centre stage upon a marble effect floor. There are banner screens around the top of the stage and a large screen angled at the top front facing and the back. These work brilliantly in the beginning. Entering the theatre we are treated to a match like feel, the sound of a roaring crowd, seeing the banner score scroll across the screen lets us know the winning score. The players come running onto the stage, into a dressing room to cool off in the pool. Designed by Jon Bausor and lit by Jack Knowles, it’s stunning, but elements are distracting. Characters running on wet floors set my heart racing whilst knocked chairs left on stage during the wedding threatened to trip characters up. Tal Rosner’s social media notifications and messages repeatedly popping up on screen were sorely overused as were video footage and cameras.
There is a heavy leaning into the dark misogynistic shaming of a woman over rumours of her having an illicit tryst. How quickly she goes from Hero to zero. The trolling, the unexpected rejection from her doting daddy, double standards and quite sinister imagery. The American Horror Story bulls head and naked torso before a threesome were particularly disturbing. These didn’t quite marry up with the immediate candyfloss happy ending, when suddenly everything was happily ever after.
There were some great comedic moments, Benedick overhearing the news that Beatrice is in love with him whilst trying to hide behind a masseuse table and his wonderful escape into the pool was perfection. However, some of the jarring Watch scenes could have happily been edited out. This production is wonderfully and diversely cast. Freema Agyeman and Nick Blood sizzle as Beatrice and Benedick, delighting us with their dance of denial, chemistry oozing from them with every curse and kiss. Daniel Adeosun plays the cocky Claudio confidently, alongside Eleanor Worthington-Cox’s poised performance as Hero, they make a couple worthy of the cover of any WaG’s mag. Tanya Franks is a potent Antonio, challenging chauvinism. Antonio Magros and Nick Cavalieres have brilliant comic timing as the Watch even if the scenes were occasionally out of place in this production. Oliver Huband is wonderfully smooth, suave and sophisticated as Don Pedro, perfectly balancing out Peter Forbes’ smarmy Leonato.
This version of Much Ado About Nothing feels forced and full on. Longhurst, overwhelms and overstimulates audiences by throwing everything into it, so we lose the authenticity and simplicity of Shakespeare’s tale and are left waiting for a streaker on the pitch.
With some trepidation producers Kenny Wax and Stage Presence nervously announce the 11th full cast change of The Play That Goes Wrong at London’s Duchess Theatre. Mischief’s Olivier and Tony Award-winning smash hit is unbelievably still in the West End for its 11th year.
Joining the mayhem from Tuesday 3 June 2025 are new cast members: Izzy Edmunds-Clarke as Annie, Jack Hardwick as Chris, Robert Jackson as Robert, Jonty Peach as Jonathan, Charlotte Scott as Sandra, Mitesh Soni as Dennis, Tom Wainwright as Max and Ronnie Yorke as Trevor. Winston the dog returns to play Winston the dog. (If Winston is found). The understudies are: Alex Blackie, Jake Burgum, Kitty Devlin, Louise Hoare and Ed Shamwana.
‘Break a leg Team!’
The Cornley Drama Society have announced that they intend to keep performing the show until they get it 100% right. In light of this, the producers have extended booking until ‘at least’ August 2026, with some confidence. Cornley have yet to notice.
The Play That Goes Wrong opened at London’s Duchess Theatre in September 2014 and the production shows no signs of slowing down since its first performance at The Old Red Lion Theatre playing to only four paying customers. The show’s success is a testament to the hard work and determination of a group of drama school graduates who became friends, set up a company under the name ‘Mischief’ and created an extraordinary body of work over the past decade.
There will be a media night to celebrate the new cast on Tuesday 1 July 2025.
PRIORITY BOOKING OPENS ON 13 MAY, WITH PUBLIC BOOKING ON 15 MAY
Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK today announce that PADDINGTON The Musical will receive its world premiere this Autumn – opening at the Savoy Theatre on 1 November.
Adapted from the much-loved books written by Michael Bond, and the award-winning films by STUDIOCANAL, with music and lyrics by Tom Fletcher, book by Jessica Swale and direction by Luke Sheppard, priority booking will open on the 13 May, with public on sale on 15 May. Full cast, creative team and performance schedule will be announced shortly.
Tom Fletcher“It’s an honour to be entrusted to bring the story of Paddington to life on stage with the very best of creative collaborators in Jessica, Luke, and our producers Sonia and Eliza. This unique and special bear is at the very heart of our nation, and I’m aware of the awesome responsibility we all have in taking on his story. It’s beyond exciting, and an absolute dream come true – we look forward to welcoming you to join us at the Savoy this Autumn.”
Jessica Swale: “It’s such a privilege to be telling the story of this beloved cultural icon. Paddington is so much more than a fictional character; this special bear has come to represent hope, kindness and acceptance, so it’s never felt like a more apt time to bring this story to the stage. And with such a dream team! Tom’s songs are extraordinary, earworms on a first listen, Luke is the most masterful director, and our producers are so incredibly passionate and dedicated, it really is a great honour to be on this adventure with them all. I can’t wait to share this beautiful, funny and heartwarming story.”
Director Luke Sheppard: “Discovering how to bring Paddington’s story to the stage continues to be an enormous privilege – with Jessica Swale and Tom Fletcher, it’s been thrilling to see this show grow into something very special, packing an incredible new score and a heart wrenching script into a marmalade filled suitcase. This is Paddington as you’ve never seen him before, bought to life by a team celebrating all of the magic and wonder of live theatre. Alongside our producers Sonia Friedman and Eliza Lumley, who look after this bear with the greatest care, we’ve been dreaming up big things for Paddington and can’t wait to welcome him to this iconic venue later this year.”
Producers Sonia Friedman and Eliza Lumley: “It’s a true honour to be giving Paddington a new home at the Savoy Theatre with this glorious and deliciously funny new musical from Tom Fletcher and Jessica Swale. We’re thrilled to be embarking on this special journey with our incredible team, led by Luke Sheppard, to bring the world of this much-loved bear, the Brown family, and many more of Michael Bond’s beloved characters to life. Paddington holds a unique and lasting place in so many hearts. He represents so much that is good in the world, including kindness, warmth and decency—and it’s an immense privilege to look after this bear as we bring him to the West End stage.”
Anna Marsh CEO of STUDIOCANAL, Deputy CEO of CANAL+ & Chief Content Officer of CANAL+: “We are delighted that this brilliant team will be bringing Paddington to the West End stage with us. Their collective gift in bringing Paddington The Musical to life with such heart, humour, wonder and vivid imagination has been a privilege to witness and we simply cannot wait for audiences to discover the magic of this production. We are constantly thinking of innovative ways to continue Paddington’s journey while honouring Michael Bond’s legacy and his invitation to ‘please look after this bear’.”
Audiences are invited to sign up for more information and priority booking for PADDINGTON The Musical atwww.paddingtonthemusical.com.
Michael Bond’s A Bear Called Paddington was published in 1958 by Collins, later Harper Collins – the first of 29 Paddington books he was to write, with the final one Paddington at St. Paul’s, published posthumously in 2018. The books have sold over 35 million copies worldwide.
Paddington has been adapted for television several times – first by the BBC in 1976, voiced by Michael Hordern; and most recently adapted by STUDIOCANAL. Paddington has enjoyed three successful big-screen outings, all by STUDIOCANALandHeyday Films – Paddington released in 2014, Paddington 2 in 2017, and Paddington in Peru in 2024, enjoying critical and commercial acclaim.
Instagram, Facebook and TikTok: paddingtonthemusical
Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK present
PADDINGTON THE MUSICAL
MUSIC AND LYRICS BY TOM FLETCHER BOOK BY JESSICA SWALE
Director: Luke Sheppard
Based on
A Bear Called Paddington written by Michael Bond and by special arrangement with STUDIOCANAL
A rather wonderful adventure is about to begin.
The world premiere of PADDINGTON The Musical lands in London’s West End this autumn.
Bringing one of Britain’s best-loved characters to life on stage, this unmissable major new production at the Savoy Theatre is jam-packed with irresistible songs, dazzling choreography – and of course, marmalade sandwiches.
It’s Paddington as you’ve never seen him before.
When a lost, small bear from Peru arrives in London in search of a new home, a chance encounter with the Brown Family leads him to the wonderful world of Windsor Gardens.
But London isn’t all cream teas and friendly faces – and even the happiest families have their cracks beneath the surface. So when Paddington’s life is suddenly in peril, the Browns must decide just how far they’re willing to go — and what they’re willing to risk — to give this special bear a home.
Based on the iconic characters from Michael Bond’s books and the award-winning films, PADDINGTON The Musical is directed by Luke Sheppard, with original music and lyrics by Tom Fletcher and book by Olivier Award winner Jessica Swale.
Please look after this bear. Thank you.
Tom Fletcher is the founding member of Brit Award-winning band McFLY, and a number-one, bestselling children’s author.
Writing music has always been Tom’s first passion, he has penned ten #1 singles and his band McFLY, who were founded in 2003, remain one of the most successful and cherished bands in the UK. McFLY are the youngest band to chart a debut album at #1 – taking the record from The Beatles – have recorded 7 studio albums and sold over 10 million albums. Tom is also a coach on The Voice UK, alongside band mate Danny Jones.
In 2016 Tom published his first novel The Christmasaurus which was the biggest debut middle-grade novel that year and was shortlisted for a British Book Award. He has written over 30 children’s books, which have been translated into 45 languages and have sold over 10 million copies. Three of these chart- topping novels, The Christmasaurus, The Creakers and Space Band are published alongside accompanying soundtrack albums, written and performed by Tom, which are available to stream throughout the story, taking the reader on a magical musical journey.
For younger readers, Tom writes the number one, best-selling picture book series Who’s in Your Book? and he is one half of the author duo behind The Dinosaur that Pooped series with bandmate Dougie Poynter. Both book series have been adapted into popular stage productions that are currently touring the UK, featuring music written by Tom. The Creakers theatre production also completed a sold-out run in the West End in 2024 and will be touring in the near future.
While continuing to work on multiple exciting projects, Tom will also be embarking on the sold-out, 35 date arena tour BUSTED vs McFLY across the UK at the end of 2025.
Jessica Swale is an Olivier Award-winning filmmaker, writer and director. As a playwright, her first play Blue Stockings, won her an Evening Standard Most Promising Playwright nomination and is now on the GCSE drama syllabus. Her second, Nell Gwynn, won the Olivier Award for Best Comedy after transferring from the Globe to the West End, starring Gemma Arterton. She is currently penning the screenplay for Working Title. Her much-performed theatre adaptations include Sense and Sensibility, Far from the Madding Crowd, The Jungle Book and The Secret Garden.
In film, her romantic comedy Merv, starring Zooey Deschanel and Charlie Cox, will be released later this year with MGM/ Lightworks and Amazon. Prior to that, her first short, the comedy Leading Lady Parts (starring Felicity Jones, Florence Pugh, Emilia Clarke, Tom Hiddleston and Gemma Chan) became a viral hit with over 25 million views and her debut feature film, Summerland (starring Gemma Arterton and Gugu Mbatha-Raw) was released in 2020 by Lionsgate, Embankment & BFI. She also wrote the screenplay for the Horrible Histories Movie starring Emilia Jones.
She has since directed episodes of Ten Percent for BRON/Headline starring Dominic West, Himesh Patel and Emma Corrin. Her latest projects include a new adaptation for Netflix and Lookout Point and a re-working of The Taming of the Shrew for Working Title.
Luke Sheppard’s theatre credits include & Juliet (West End, Broadway, Toronto, Hamburg, Australia), Starlight Express (Troubadour), Just For One Day (West End, The Old Vic, Toronto), The Little Big Things (West End), In Dreams (Leeds Playhouse/Toronto), My Son’s A Queer(But What Can You Do?) (West End, Turbine Theatre and Edinburgh Fringe), What’s New Pussycat? (Birmingham Rep), Rent, Spring Awakening (Hope Mill Theatre), The Secret Diary Of Adrian Mole Aged 13 ¾: The Musical (West End, Menier Chocolate Factory and Leicester Curve), In The Heights (King’s Cross Theatre and Southwark Playhouse), Billionaire Boy (Nuffield Theatre, Southampton), Peter and the Starcatcher (Royal & Derngate), Night Must Fall (Salisbury Playhouse & UK Tour), Oliver! (Watermill Theatre), and Working, Casa Valentina, and Next Fall (Southwark Playhouse).
The Nottingham Playhouse production of Dear Evan Hansen is based on the book by Steven Levenson with music and lyrics by Benj Pasek and Justin Paul. And it’s an ATG Productions and Gavin Kalin Productions.
I didn’t really know what Dear Evan Hansen was about before I went last night to Hull New Theatre. I was given a rough outline of the plot while we waited for it to start and I wasn’t sure if I was going to enjoy it as the storyline seemed a bit dark and gloomy. But I really enjoyed it, it was brilliantly performed by a very talented cast. Yes, the storyline is dark, as it is about suicide, but it is very uplifting, funny and the music is fabulous.
I think everyone probably knows an Evan Hansen, or maybe you’re him yourself, the person at school who doesn’t quite fit in with everyone else, they’re quirky, nervous, speak too quickly and a loner.
Evan Hansen (Ryan Kopel) lives with his mum Heidi (Lara Beth-Sas). His Mum is really busy, working and attending college so Evan is left a lot of the time by himself. His mum has sent him to therapy and tells him that his therapist wants him to write a letter to himself, saying what kind of day he’s had. He doesn’t have any friends, apart from Jared Kleinman (Will Forgrave) who only talks to him so he gets his car insurance paid and anyway he’s just a “family friend”. On the first day back at school we see Evan with a plaster cast on his arm, he tells people he broke it falling out of a tree and wants people to sign it but struggles asking people to do it. In the computer suite, at the end of the day, he has typed up his letter to take to his therapist when school misfit Connor Murphy (Killian Thomas Lefevre) takes it from the printer, grabs his arm and writes his name on the cast. Connor, is violent, another person who has no friends, earlier that day he had pushed Evan into the school lockers which was witnessed by Connors sister Zoe (Lauren Conroy). Evan asks Connor for his letter back but he refuses.
The next day Evan is called into the principal’s office and in there are Connors parents Cynthia (Helen Anker) and Larry (Richard Hurst) they are very upset and tell Evan that Connor had taken his own life and that in his pocket was the letter. Connors parents think that he had written it to Evan. They just presume that they were friends. Evan, not wanting to upset them even more, says that yes, they were friends. The stories that Evan tells the Murphy family get bigger and bigger over the following weeks and months, giving solace to the family. Alana Beck (Vivian Panka), another student from the school, gets involved, trying to keep Connors memory alive. When the lies start to unravel, as lies tend to do, Evan has to decide what he should do, should he tell the truth?
The set (designed by Morgan Large who was also costume and Co-video designer) was very effective and really added to the story. The band under Musical Director Michael Bradley were outstanding.
Thes cast are all fabulous all of them triple threats, their singing was sublime. Ryan Kopel plays Evan with such heartfelt feeling, what a brilliant actor, the absolute stand out performance for me.
I think everyone should try and watch Dear Evan Hansen; it shows the power of social media and how it works for good and also for bad. A must-see production.
