Many will have seen the Daniel Radcliffe film adaptation. This is a radically different story, following closely the original novel by Susan Hill from 1983 and stage adaptation from 1989. I much preferred this to the film.
It’s astounding what can be conjured up with a few draped bits of cloth, a chair or two, a chest, some judicious use of smoke and some lights. And lots of darkness. Indeed, the darkness is such a feature that it’s almost a character in its own right. I confess that I spent a lot of time looking intently into its inky swell. And, yet, the surprises kept coming, thrillingly emerging from the abyss to reward the unwary with an elevated heartbeat and a nervous giggle! What a joyous way to spend an evening.
Although there are only 3 actors in the show, they flesh out the story in commendable fashion. Both male leads take on multiple characters. John Mackay begins as Mr Kipps as we find him desperate to get his story heard but lacking in public presentation skills so he consults an acting coach… Mackay gave a fabulous, full range of troubled souls afflicted by past encounters with the eponymous lady. It was a pleasure seeing such a series of believable portrayals. Combining subtlety with anguish and weariness is no easy task and this was quite the masterclass.
Daniel Burke as The Actor was equally impressive. His stage presence was phenomenal, being equally at home as the coach and the lead in the play within the play. Again, regaling us with the full range of human experience in just a couple of hours takes some doing but Burke pulled it off with aplomb. A delicious performance that had me (dare I say) spellbound from start to finish.
Our ghostly lady is not mentioned by name in the programme but she also deserves a hearty bravo (from a safe distance) as her role demands a perfection of timing which makes the hours of rehearsals that must have taken place evident. To miss-quote Ms Lauper “ghouls just wanna have fun” (apologies) and I imagine playing the ghost is a scream (oops. I did it again).
As I mentioned, sets and lighting play a crucial role, so bravo to Designer Michael Holt and Lighting Designer Kevin Sleep. Another key element was the sound – which was executed with precision to scare the bejeebies out of us. Bravo also, then, to Sound Designer Sebastian Frost and whoever was on the mixing desk!
As any aficionado of ghost stories will know, it’s a lorra-lorra fun being scared witless – so I thoroughly enjoyed this show. There was much crowd bonding between the giggling, so despite what your preconceptions may be, this is a joy filled evening at the theatre. I was just glad the lady sat next to me didn’t have popcorn or it would have been in my lap (did I mention it’s a jumpy show?).
Hauntingly good fun. If you haven’t seen it, you’re missing out so get yourself down to the theatre and remedy this oversight. A very deserved 5 stars from me!
Phoenix Dance Theatre’s Interplay, part of the 2026 Spring Tour, opens at the Leeds Playhouse under the artistic direction of Marcus Jarrell Willis. Interplay is a quadruplet mixed bill showcasing diverse pieces by choreographers round the world. The pieces’ themes centre on the human experience with an emphasis on duality and collaboration from an artistic perspective through contemporary dance and movement. The company is reputed for its modern, inclusive, and diverse interpretation on a wide range of themes and Interplay is an exemplary opportunity for the company to present this mixed bill for those reasons.
The bill begins with Next of Kin, restaged and choreographed by Jarrell Willis, this 7-minute contemporary work, set to classical music, featuring two compatible characters at play who accidently meet on their life journeys. Why Are People Clapping?!, another restaged work, follows and the work is set to Steve Reich’s Clapping Music and the rhythm is the main conduit for living. The dancers intricately interpret the rhythmic notions, human expressions and interactions which are encountered in their everyday lives. The entertaining work is choreographed by Ed Myhill and restaged by Camille Giraudeau.
The third work being presented is Small Talk, choreographed by Pett Clausen-Knight, and set to a variety of classical music that ambiently echoes the two figures’ intimacy and estrangement. The work unravels the two figures’ beautiful and fragile relationship and how they reach a point whether to either hold on or move on.
The final work is Suite Release, a work set to hip-hop and house music with an emphasis to remembering it as a ritual rather than watching it as a piece. Jarrell Willis and Yusha-Marie Sorzano choreograph the work and is complimented with Luke Haywood’s lighting and Janne Beresford’s costumes. The dancers characteristically inherit, rejoice and resist situations which echo the explored themes in this piece.
The company demonstrate brilliantly synchronised and fluid dancing with intricate movements and expressions. They sensitively and emotively respond to the themes and human experiences in the four pieces of work which inclusively and universally unites one all amid in an ever-changing world and relationships.
The themes raised from this remarkable mixed bill resonate today and the audience are responsibly encouraged to think and act on what unites them and what they have in common. Also to fight the uncomfortable notion of divisions that are fuelled by misinterpretations and misinformation from current events and news. A thanks to Phoenix Dance Theatre for putting on another excellent production.
Tanya Reynolds, Siena Kelly and Liv Hill in 1536 at the Almeida Theatre, London. Photo: Helen Murray
To mark its 25th anniversary, the Genesis Foundation will host a limited-ticket showcase and drinks reception at the Royal Court Theatre on Sunday 19th April (booking link). The Genesis Foundation, established by John Studzinski, has supported thousands of artists and creative professionals at pivotal stages of their careers since 2001. The event will be a one-off chance to see the breadth and impact of the Genesis Foundation’s partnerships across the arts, bringing together work from artists and organisations it has supported over the past quarter century.
The programme will feature an exclusive performance from the National Theatre’s The Witches, a Genesis Foundation commission, performed by Katherine Kingsley, alongside a presentation of Voice of Angels by Millicent B James, also commissioned by the Foundation and performed by Harry Christophers and The Sixteen. The evening will also include a re-staged extract from 1536 by Genesis Almeida Playwright Ava Pickett (Olivier Award-nominated and winner of the Evening Standard Theatre Award’s most promising playwright award), presented by the Almeida Theatre Young Company.
The showcase will be complemented by a distinguished lineup of guest speakers, including David Byrne, Stephen Daldry and Rupert Goold, with further speakers to be announced.
The Genesis Foundation previously partnered with the Royal Court Theatre for 20 years, and the Theatre previously hosted the Genesis Foundation’s 10th anniversary, making this showcase a welcome return to celebrate its 25th.
John Studzinski, Founder and Chairman of the Genesis Foundation, says:
“Over the past 25 years, the Genesis Foundation has supported artists and creatives, helping talent take root, grow, and flourish. Our work has always been long-term support – it is an investment into someone’s future, giving artists the freedom to fail, to take risks and make mistakes as well as the tools, time, and confidence to reach their full potential.
As we mark this 25th anniversary, we are thrilled to celebrate the artists, performances, and partnerships that have shaped our journey, and to share this moment of creativity and achievement with everyone who has supported the Foundation along the way.
Looking ahead, we have committed to funding programmes as far ahead as 2031 and we hope to inspire more people to think about what they can do to support the causes they are passionate about.”
Over the past 25 years, the Foundation has committed more than £25 million to arts and cultural initiatives, including training programmes, scholarships, grants, and exhibition sponsorships – enabling artists to sustain their practice and realise their creative ambitions.
The Genesis Foundation works through focused, long-term partnerships with leading organisations such as the National Theatre, Almeida Theatre, Royal Court Theatre, Royal Academy of Arts, Genesis Theatre Design Programme, Jewish Literary Foundation and The Sixteen. Previous partners include the Young Vic Theatre, the London Academy of Dramatic Art, and more. Through these collaborations, it supports artists at key moments in their careers, equipping them for life to work in the industry- from first professional opportunities to mid-career development. Alumni include Rufus Norris, the first Genesis Director at the Young Vic, and Samuel Barnett, a multi–Tony Award nominee for his roles in The History Boys and Twelfth Night. Other artists whom the Foundation has supported through its partnerships include BAFTA-nominee Abubakar Salim, Bruntwood Prize for Playwriting nominee Joanna Nicks, Persuasion (Netflix) director Carrie Cracknell, Artistic Director of the Bristol Old Vic Nancy Medina and many more.
Alongside its partnerships, the Genesis Foundation is one of the UK’s leading commissioners of sacred choral music, including numerous commissions from Sir James MacMillan and Will Todd. Two of MacMillan’s Genesis commissions, Stabat Mater (2018) and Angels Unawares (2026), received performances in the Sistine Chapel.
This anniversary event offers a rare opportunity to glimpse the range and the impact of the Genesis Foundation’s work in one single evening.
In addition to this showcase, the Genesis Foundation has a series of events planned throughout its 25th anniversary year. So far announced:
The world premiere of Sir James MacMillan’s Genesis commission, Angels Unawares took place on 22nd March at the Sistine Chapel in Rome, with its UK premiere set for 2nd June at Cadogan Hall, London.
BIRMINGHAM ROYAL BALLET CELEBRATES SIR PETER WRIGHT’S CENTENARY WITH GALA PERFORMANCE
Sir Peter Wright with BRB Principal Dancers Mathias Dingman and Miki Mizutani in rehearsals for The Nutcracker
Sir Peter Wright Centenary on 18 June will feature highlights from some of the director and choreographer’s most beloved works including Giselle,Swan Lake, The Sleeping Beauty and Coppélia.
For one night only, Carlos Acosta dances the role of Death in one of Sir Peter’s favourite works, The Green Table, last performed by BRB in the early 1990s.
The Gala performance is followed by 20th-Century Masterpieces on 19 & 20 June featuring Sir Frederick Ashton’s Birthday Offering, George Balanchine’s Theme and Variations and The Green Table.
This June, Birmingham Royal Ballet will mark 100 years of Founding Director Laureate and one of ballet’s most influential directors and choreographers, Sir Peter Wright, with a special gala performance at their home, Birmingham Hippodrome, on Thursday 18 June 2026.
The internationally renowned touring ballet company was first established in Birmingham by Sir Peter Wright in 1990, transferring the Company to the city after formerly being known as Sadler’s Wells Royal Ballet. Firmly establishing BRB’s global reputation, Sir Peter is responsible for some of the most beloved productions in the Company’s repertoire including The Nutcracker, Giselle,Swan Lake, The Sleeping Beauty and Coppélia.
The special gala performance on 18 June will begin with a défilé by members of Elmhurst Ballet School. The Birmingham Royal Ballet Company will then present highlights from some of Sir Peter’s most cherished productions including excerpts from The Sleeping Beauty including the Act III Polonaise and Grand Pas de Deux, Coppélia’s Pas de Deux and Franz solo from Act III, Giselle’s Act II Pas de Deux and grand highlights from Swan Lake including the Black Swan Pas de Deux.
At Sir Peter’s special request, the evening will conclude with one of his favourite pieces, Kurt Jooss’s 1932 ballet,The Green Table. Last staged for Birmingham Royal Ballet by Sir Peter in the early 1990s, the themes of the futility of war and the failure of political diplomacy continue their pertinence in the current political climate. Sir Peter credits Jooss with shaping his understanding of choreography, “learning that movement for its own sake has no importance, that one must have something to communicate when performing for an audience, and that choreography is as much about ideas as it is about steps”. For the gala performance only, Birmingham Royal Ballet’s Director, Carlos Acosta will dance the role of Death in The Green Table for the very first time in his career.
Carlos Acosta said: “There are no words to explain the scale of Sir Peter’s contribution to the heritage, history and legacy of not only Birmingham Royal Ballet, but the art form as a whole. We couldn’t let his 100th year pass us by without celebration, and this very special evening will feature a sample of some of his most cherished productions that have been enjoyed by audiences across the globe since BRB’s beginnings back in 1990.
“At Sir Peter’s request, we will also be staging one of his favourite works – The Green Table – to mark the occasion. For the first time in nearly 35 years, it is an honour for BRB to be staging this extraordinarily relevant work. For one night only at the gala performance, I look forward to dancing the role of Death in this brave work.”
On Friday 19 & Saturday 20 June, Birmingham Royal Ballet will present 20th-Century Masterpieces – a triple-bill of some of ballet’s most important works of the last century. BRB’s founder choreographer, Sir Frederick Ashton’s Birthday Offering was made for the then Sadler’s Wells Ballet to celebrate their 25th anniversary in 1956. George Balanchine’s Theme and Variationswas created in 1947 and is a gilded celebration of ballet and dance featuring the beautiful music of Tchaikovsky. The triple-bill is completed with further performances of The Green Table.
For more information and to book tickets visit brb.org.uk.
20th-Century Masterpieces is supported by donors to the Caroline Miller Fund. The Green Table is supported by Stuart Sweeney and Fern & Clive Potter. Birthday Offering is supported by The Frederick Ashton Foundation and The Rick Mather David Scrase Foundation.
DIRECTED BY IAN RICKSON WRITTEN BY ANTON CHEKHOV IN A NEW ADAPTION BY CONOR McPHERSON
PLAYING AT THE HAROLD PINTER THEATRE FROM 03 OCTOBER 2026 – 09 JANUARY 2027
The BAFTA and Olivier Award-winning actor Kristin Scott Thomas (Electra, Slow Horses, Four Weddings and a Funeral) reunites withrenowned director Ian Rickson(Uncle Vanya, Jerusalem, The Weir) for Conor McPherson’s (The Weir, Girl from the North Country, Uncle Vanya) new adaptation of The Cherry Orchard, playing the role of Lyubov Ranevskaya. The production will run at the Harold Pinter Theatre from 3 October 2026 until 9 January 2027, with press night on 13 October. Further casting will be announced in due course.
Ian Rickson and Kristin Scott Thomas reunite to bring another Chekhov classic to the stage, with Scott Thomas having previously played Arkadian in Rickson’s acclaimed production of The Seagull which ran both in London and on Broadway; a role for which Kristin won the Olivier Award for Best Actress.
Kristin has most recently won the inaugural Leading Light Award at the Women’s Prize for Playwriting ceremony, which took place earlier this year. The award recognises the lifetime achievement by a woman in the arts with an “enduring influence, a distinguished body of work and an outstanding contribution to culture”. Other award wins and nominations include: a BAFTA and Evening Standard British Film Award for Best Actress in a Supporting Role for Four Weddings and a Funeral, a BAFTA nomination for Best Actress in a Supporting Role for Darkest Hour, and an Academy Award nomination for Best Actress for The English Patient.
Kristin Scott Thomas said “returning to The Pinter with Chekhov is like coming home to a piece of theatre that is endlessly alive. Conor McPherson’s new adaptation brings a fresh, urgent energy to The Cherry Orchard; and I am excited to be exploring Chekhov’s utterly brilliant and beautiful examination of the human heart with our director Ian Rickson.”
The Cherry Orchard,Chekhov’s final masterpiece, captures a world in delicate and inevitable transition, and remains as timeless and resonant as ever.
“Without the cherry orchard, life has no meaning to me”
When Lyubov Ranevskaya returns to her childhood estate after years abroad, she finds her family home and beloved cherry orchard under threat.
As old loyalties falter and new ambitions rise, a world of privilege begins to crumble. Can Lyubov embrace the future, or will the pull of memory prove impossible to escape?
The creative team for The Cherry Orchard includes: Director: Ian Rickson; Set Designer: Chloe Lamford; Lighting Designer: Bruno Poet; Movement Director: Shelley Maxwell and Casting Director: Amy Ball CDG.
The story of a struggling Northampton shoe factory risking it all to develop a line of the eponymous Kinky Boots for drag queens has been warming the hearts of audiences on film and stage for 20 years, and struts back to London with sparkling style, soul and energy.
Johannes Radebe is a force of nature as Lola, commanding the stage in glorious outfits and delivering cutting lines with panache. Radebe’s Phenomenal dancing is showcased brilliantly – the cheers fill the auditorium every time a dance break is slipped in. Radebe’s star power and charisma carry his larger-than-life character but he also impresses in the quieter, exposing moments when Lola takes a step back and Simon interacts with those around him. As in all productions of the show, the energy dips when Lola is offstage, but I have never seen such ecstatic reactions to Lola than when Radebe makes another spectacular entrance.
The quieter role of Charlie suits Matt Cardle well – letting his pristine vocals soar to portray the character’s emotions. Weaknesses in Harvey Fierstein’s book are exposed by the pairs’ lack of acting experience, but even the most seasoned actors cannot make some lines less stilted, while the jeopardy and unearned resolution injected in the closing scenes still jars. Luckily, these moments are swiftly forgotten, and forgiven, as killer lines are delivered by consummate scene stealers – the hilarious Rachel Izen and Scott Paige – and the spectacular Courtney Bowman as Lauren.
Robert Jones’ set design contrasts the drab factory setting with the wilder world of the drag queens and Nikolai Foster directs with panache, allowing the shifting energy to sit, clearly highlighting the different worlds. Cyndi Lauper’s music and lyrics are uplifting and energetic, served brilliantly by Leah Hill’s exuberant choreography for Lola and her angels. The costumes by Robert Jones and Tom Rogers are wonderfully co-ordinated but still individual enough to highlight each angel’s personality, as are the fabulous wigs and makeup by Mark Marson for Campbell Young Associates. Radebe channelling Shirley Bassey to sing Hold Me In Your Heart was absolutely stunning, artfully lit by Ben Cracknell.
The cast and creative team deliver an unforgettable West End spectacular. Uplifting, hilarious and heartfelt, Kinky Boots is guaranteed to make you smile. This is Johannes Radebe’s show, and he wears these Kinky Boots with a fiercely confident and infectious joy and passion that leaves the audience wanting to jump up and dance with him.
New Wimbledon Theatre- until Saturday 4th April 2026
Reviewed by Brooke Burlinge
5*****
Wimbledon brings you the beloved west end production- Waitress. It is a beautifully realised production that delivers a compelling and emotionally satisfying evening of theatre. From its engaging narrative to its thoughtfully executed staging, the show demonstrates a high level of craftsmanship across all elements of performance and design.
At its core, Waitress is a story rooted in personal growth, resilience, and the complexities of human relationships. This production approaches those themes with sensitivity and care, allowing the emotional weight of the story to unfold naturally without ever feeling overstated. The direction ensures a strong sense of continuity throughout, maintaining a steady pace while giving key moments the space they need to resonate fully with the audience.
The performances across the cast are of an excellent standard, with each actor bringing clarity and sincerity to their role. The ensemble works cohesively to create a believable and immersive world, particularly within the diner setting that serves as the heart of the story. Interactions between characters feel genuine and well-developed, contributing to both the humour and the more poignant aspects of the narrative. The balance between light-hearted moments and deeper emotional beats is handled with precision, ensuring that neither element detracts from the other.
Of course I must mention the wonderful Carrie Hope Fletcher as Jenna, who- without a doubt- was the undeniable centrepiece of the production. She delivered a portrayal that was both nuanced and profoundly moving, capturing the character’s inner conflict, resilience, and quiet determination with great sensitivity. Her interpretation felt authentic and deeply human, allowing the audience to connect with Jenna on an emotional level throughout the performance. Vocally, Fletcher was outstanding. Her voice carried both strength and vulnerability, and her control and expression elevated each musical number. Her rendition of “She Used to Be Mine” was particularly noteworthy, performed with such emotional clarity and restraint that it created a powerful and memorable moment of stillness within the theatre.
Furthermore, the dynamic between Jenna, Becky (Sandra Marvin), and Dawn (Evelyn Hoskins) was especially effective, offering moments of warmth, humour, and genuine camaraderie. Their interactions provided a necessary counterbalance to the more serious themes of the narrative, ensuring that the production maintained a sense of lightness without undermining its emotional core.
Musically, the production remains a standout. The score, written by Sara Bareilles, is both distinctive and accessible, blending contemporary influences with traditional musical theatre storytelling. Each number is thoughtfully integrated into the narrative, enhancing character development and emotional progression. The live band performed incredibly well and were a highlight of the show while supporting the performers with consistency and sensitivity, allowing the music to feel both intimate and dynamic. Vocally, the cast deliver polished and expressive performances, demonstrating strong technique alongside genuine emotional connection.
The staging and design elements further elevate the production. The set is both practical and visually appealing, enabling smooth transitions between scenes while maintaining the warm, familiar atmosphere of the diner. Lighting design is used effectively to underscore emotional shifts and highlight key moments, adding depth without becoming intrusive. The overall aesthetic is cohesive and well-considered, supporting the storytelling in a subtle yet impactful way.
One of the production’s greatest strengths lies in its emotional authenticity. It addresses complex themes with honesty, avoiding simplification while remaining accessible to a wide audience. The narrative encourages reflection while also providing moments of levity and joy, resulting in a well-rounded and satisfying theatrical experience.
Audience engagement throughout the performance is notably strong. There is a clear sense of connection between the performers and those watching, with reactions ranging from laughter to attentive silence during more reflective scenes. This shared experience enhances the overall impact of the production, culminating in an enthusiastic and well-deserved reception at the final curtain.
What a truly beautiful and memorable production this was, something that will certainly touch everyone’s hearts.
Having seen Willy Russell’s Blood Brothers a few times, I am always struck by how it still manages to be such a gritty, heart-wrenching experience. It has been a staple of British theatre for over forty years for a reason, and tonight was absolutely no exception. At its heart, the story follows twins Mickey and Eddie, separated at birth in Liverpool. One grows up in a cycle of extreme poverty while the other is raised in a wealthy, polished household. Despite their mothers desperate attempts to keep them apart, their lives stay tied together as they grow from kids playing in the street into ‘blood brothers,’ completely unaware of the truth until class and fate finally catch up with them.
The production is really anchored by Vivienne Carlyle, who is continuing her fantastic run as Mrs Johnstone. She brings a raw, maternal warmth to the part, and her vocals, especially during ‘Tell Me It’s Not True’ were just as devastating as ever. We also saw Sean Jones and Joe Sleight return as Mickey and Eddie. You might think playing these roles so often would make the performances feel a bit stale, but that was not the case at all. They both showed incredible range, transforming from high-energy, hilarious seven-year-olds into broken adults. Jones is particularly harrowing in the second act as Mickey spirals into despair, providing a sharp, painful contrast to Sleight’s more affluent, sheltered Eddie. Meanwhile, Kristofer Harding’s Narrator is a dark, haunting presence that looms over everything, constantly reminding us of the superstitious ‘deal’ that started the tragedy.
This performance is a perfect example of why the show is so famous for its standing ovations. It is brilliant at being riotously funny in the first half, perfectly capturing those innocent childhood games, before shifting into a heavy, social realist drama that still feels incredibly relevant. The show is a masterclass in building tension. It leaves the audience in a state of stunned silence (or at least it should have, if not for a few people in the crowd who chose to laugh at the wrong moments) before the inevitable standing ovation at the end.
The original creative vision from the late Bill Kenwright and director Bob Tomson is still very much alive here, focusing on the story rather than flashy spectacles. Andy Walmsley’s evocative Liverpool set and Nick Richings’ lighting create a real sense of time and place that only adds to the tragic mood. Ultimately, Blood Brothers is more than just a musical; it is a stark look into the British class system and the whole ‘nature vs nurture’ debate. It is a triumphant reminder of why Willy Russell’s work has such incredible staying power.
Public tickets are now on sale for The Pantomime Awards 2026
at Wycombe Swan on Sunday 19 April
featuring guest performances from panto favourites Michael J Bachelor, Wendi Harriott, Steve Royle and Arts1
Tickets are now on general sale for The Pantomime Awards 2026, which will take place on Sunday 19 April at 5pm at Wycombe Swan in High Wycombe, staged in partnership with Trafalgar Entertainment and ATG Entertainment (ATGE).
In addition to celebrating the winners, The Pantomime Awards 2026 will feature special guest performances from some of pantomime’s biggest stars, alongside other exceptional talent from across the industry. The line-up includes Steve Royle, the stand-up comedian, ITV Britain’s Got Talent finalist and presenter who last year won Best Comic for his performance in Cinderella at Blackpool Grand Theatre, pantomime Dame Michael J Bachelor who previously received a Pantomime Award for his contribution to Pantomime History, Tradition and Heritage and 2024’s Best Villain Award winner Wendi Harriott,as well as performers from the acclaimed Milton Keynes based Arts1 theatre school.
Nominations for The Pantomime Awards 2026 were recently announced including Danny Beard, Ada Campe, Helen George, Sarah Hadland, Nigel Harman, Joe McElderry, Clive Rowe, Allan Stewart, George Webster, Gary Wilmot and Will Young to name but a few. The nominees exemplify the breadth of talent, skill, enthusiasm and hard work from the creative forces, production teams and cast members who work tirelessly year-round to deliver outstanding entertainment to theatres across the country. For the full list of nominees, visit the UK Pantomime Association website: www.pantomimeassociation.co.uk.
Founded in 2021, the UK Pantomime Association is a charity that explores, shares and celebrates pantomime by investigating the genre’s rich past, engaging with contemporary practice and inspiring the future.
Winners of OffWestEnd Awards (Offies) for theatre announced at London ceremony
Left Top Jamie Hale Transpose Pit Party SUBVERSE Barbican Left Bottom Rachael Bellis The Sea Horse by Edward J. Moore Golden Goose Middle Futures Theatre Argos Archives Omnibus Top Right Megan Prescott Really Good Exposure Soho Theatre Bottom Right: Rowan Armitt-Brewster A Brief Case of Crazy Riverside Studios
More than 50 awards across 10 areas were given to people working across more than 30 productions.
The awards celebrate excellence in performance, design, staging, creation, innovation, inclusion and more, primarily in productions at London’s Off-West End theatre venues.
Most areas had several winners, reflecting the Offies’ new awards model which aims to highlight the breadth of work across the vibrant independent, alternative and Fringe sector
Awards were presented this evening in front of an audience of 900 at a ceremony hosted by Divina de Campo at Central Hall Westminster which also included live performances.
Winners included a broad range of new, emerging and rising names in theatre alongside established practitioners Tim Supple, Philip Ridley and Max Pappenheim.
Musicals were recognised as their own area of specialism, in acknowledgement of the unique demands of developing new musical work, enabling OffWestEnd to support and assess productions with shorter runs and more sustainable budgets.
Among venues, Bush Theatre, Arcola Theatre and Southwark Playhouse took home a several awards for productions over the last year.
The evening saw the first-ever live broadcast of the ceremony, in collaboration with The Theatre Channel and ChewBoy Productions
● This year’s awards slogan is ‘Let’s Show Off’, reflecting award organisers OffWestEnd.com’s ongoing work to celebrate London’s Off West End theatre sector.
The OffWestEnd Awards (known as the Offies), established in 2010 to celebrate independent theatre across Off-West End theatre, have announced the winners of this year’s awards at Central Hall, Westminster, in a ceremony hosted by drag sensation Divina de Campo.
Celebrating the breadth, boldness and innovation of independent, alternative and Fringe theatre across London and beyond, this year’s ceremony brought together artists, producers, venues and creatives from across the sector for an evening recognising outstanding achievement in OffWestEnd theatre.
The 2026 Offices also marked a major milestone for the awards, with the ceremony broadcast live online for the first time in the organisation’s history in collaboration with The Theatre Channel and ChewBoy Productions, expanding access to audiences far beyond the room and allowing the work of the sector to be shared more widely than ever before.
The Offies have a long history of recognising exceptional work before it reaches wider mainstream acclaim, with past winners including Baby Reindeer, Fleabag and Operation Mincemeat. This year’s winners continue that tradition, reflecting the extraordinary range of work being created.
Since 2025 The Offies have operated a streamlined awards model that moves away from traditional fixed areas. Instead, work is recognised across a set of broad and flexible Areas of Exceptional Contribution, allowing the awards to respond more accurately to how theatre is made and experienced across the independent sector.
Throughout the year, Offies assessors reviewed thousands of potential nominees across over 500 productions at over 100 venues.
Denholm Spurr, Director of OffWestEnd said: “The Offies exist to champion the extraordinary creativity, ambition and resilience of the independent theatre sector. This year’s winners represent the very best of OffWestEnd, and it was a privilege to celebrate their work in a ceremony that could also be shared with audiences watching online.”
The ceremony featured live performances from host Divina De Campo, Ilan Evans, Martin Kaspar Orkestar, Gerel Falconer, Jordan Luke Gage and Daniel Krikler, as well as nominees from A Brief Case of Crazy, showcasing the eclectic talent and originality that define the sector.
OffFest (EDINBRUGH FRINGE) | ALTAR / Underbelly, George Square, The Wee Coo. / Presented by Extraterrestrial. Produced by Em Tambree. Production Management by Kyra Ryan.
