PERFORMANCES NOW RUN THROUGH 29^TH MAY 2027

“It’s not just the best musical I’ve ever seen; it’s the most rewarding theatrical experience I’ve ever had”
Taffy Brodesser-Akner, The New York Times

“A little show with a very big future”
 David Benedict, Variety

“One of British theatre’s great success stories and is packing out theatres in the West End and on Broadway… both spiffingly funny, in a Monty Python-esque fashion, and really quite moving”
Hugh Montgomery, Metro

“The West End hit is still the perfect mix of ingenious, silly and moving…With a new cast, the Olivier Award-winning musical about the wartime operation is as terrific as ever” ★★★★★
Marianka Swain, The Telegraph

“A miraculous musical that tells the entire story in a kind of accelerated farce that is part Mel Brooks, part SIX, part Hamilton with a side order of One Man, Two Guvnors.” ★★★★★
Neil Norman, The Daily Mirror

“The Brits have made the year’s funniest musical…Against the odds, the “Operation Mincemeat” gang has found its way to the big time.”
Peter Marks, The Washington Post

181 ★★★★★ reviews and counting

7^th September – It was announced today, that the Tony® and double Olivier Award®-winning musical Operation Mincemeat has extended for the 19^th time at the West End’s Fortune Theatre, with performances now running until 29^th May 2027, taking the production into its fifth year in the West End.

West End Extension tickets are available on General sale on Friday 25^th September at 10am from the Official Box Office here and tickets via the ballot are available on Thursday 24^th September

Alongside its West End run, Operation Mincemeat is now playing simultaneously on its world tour, with the UK leg underway and the North American leg about to launch, while on Broadway the production has confirmed its ninth extension at the John Golden Theatre with performances now booking through 14^th February 2027 marking two years since its first preview. Earlier this year on 27th February, the show sold its 1 millionth ticket. To celebrate the occasion, 5 Golden Tickets were given out to lucky winners on both sides of the Atlantic, awarding them free, unlimited access to Operation Mincemeat, anytime, anywhere in the world, for life.

Operation Mincemeat began as a tiny (and tiny-budgeted) production at the London Fringe New Diorama Theatre in 2019. The show quickly gained a devoted following, spurring sold-out runs at venues including Southwark Playhouse and Riverside Studios. It finally premiered in the West End on 9th May 2023 at the Fortune Theatre, where it won the Olivier and WhatsOnstage Awards® for ‘Best New Musical’, alongside garnering 181 five-star reviews and counting, and has become the ‘Best reviewed show in West End history.’

The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse. Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won the Allies World War II. The question is, how did a well dressed corpse wrong-foot Hitler?

The production is directed by Deputy Artistic Director at the National Theatre Olivier Award nominated Rob Hastie (Standing at the Sky’s Edge, National Theatre – 2023 Best New Musical Olivier Award winner), following providing directorial support for the Riverside Studios run, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. Also from Standing at the Sky’s Edge at the National Theatre on the creative team are: 2023 Olivier Award nominated Ben Stones (Sylvia, The Old Vic) as Set and Costume Designer, Tony Award, six-time Olivier Award and Bafta Award winning Mark Henderson (Girl From the North Country, Broadway & Noël Coward Theatre) as Lighting Designer and Olivier Award winning Mike Walker (Jerry Springer: The Opera, National Theatre) as Sound Designer.  Grammy Award winning and Tony, Emmy & 2024 ‘Outstanding Musical Contribution’ Olivier Award nominated Steve Sidwell (Beautiful: The Musical, Broadway & Aldwych Theatre) is Orchestrator and Vocal Arranger, while 2024 ‘Outstanding Musical Contribution’ Olivier Award nominated Joe Bunker is Musical Supervisor and Ben Cox is Musical Director. Amy Milburn is Associate Director and Paul Isaiah Isles is Associate Choreographer. Casting is by Pearson Casting. The extraordinary debut is written and composed by SpitLip – David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts.

Since premiering at the 77-seater New Diorama Theatre in London in 2019, Operation Mincemeat has been nominated for 68 awards and won 24, including four for Best Musical from the Olivier Awards®, WhatsOnStage Awards, BroadwayWorld Theater Fans’ Choice Awards, and off-West End Awards. The Broadway production was nominated for four Tony Awards®, including Best Musical, and won Best Featured Actor in a Musical.

Operation Mincemeat is produced in the West End, on tour, and on Broadway by Avalon (in association with SpitLip). The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.

New Cast Announced

for

THE HUNGER GAMES:

ON STAGE

Based on Suzanne Collins’s Acclaimed Book

& Lionsgate’s Blockbuster Film

NEW CAST BEGIN FRIDAY 23 OCTOBER 2026, 2.30PM

www.thehungergamesonstage.com

Producers of the first-ever stage adaptation of Suzanne Collins’internationally acclaimed book “The Hunger Games” and Lionsgate’s hit motion picture of the same name are delighted to announce a new cast as the show enters its second year at Troubadour Canary Wharf Theatre.

From Friday 23 October 2026, 2.30pm, The Hunger Games: On Stage will be led by Elizabeth Anderson as Katniss Everdeen with Vinnie Copeland as Peeta Mellark, Nathan Stokes as Gale Hawthorne, Daisy Statham as Prim, Alix Dunmore as Mrs. Everdeen, Isabel Della-Porta as Effie Trinket and Theo Ogundipe as Cinna.

British television and stage actors Neil McDermott (EastEnders) and Daniel Brocklebank (Coronation Street) will play Haymitch Abernathy and Caesar Flickerman respectively. Hollywood legend John Malkovich continues in his role as President Snow on screen.

The company is completed by returning cast members Aiya Agustin (Rue), Geo Bailey (Tippet), Alexandra Barredo (Fossa), Jessica Daugirda (Offstage Swing), Luca Moscardini (Offstage Swing) and new cast members Jason Battersby (Cato), Jesse Chidera (Offstage Swing), Elliot Copeland (Offstage Swing), Myla Carmen (Clove),  Archie Durrant (Stele), Xanthe Gibson (Offstage Swing & Alternate Katniss), Maria Goodman (Offstage Swing), Joseph Lukehurst (Onstage Swing), Montel Morrison (Thresh), Jhanaica van Mook (Glimmer), Lewis Renninson (Drove), Florence Russell (Offstage Swing), Jake Scott Newton (Marvel), Emma Shannon (Onstage Swing), Hamish Skeoch (Fila) and Rhodri Watkins (Offstage Swing).

The final performance for the current cast will be Monday 18 October 2026.

Troubadour Canary Wharf Theatre, the 1,200-seat purpose-built, dynamic theatre-in-the-round venue designed specifically to host this production, is situated right in the heart of London’s vibrant Canary Wharf.

Conor McPherson (The Weir, Girl from the North Country, The Seafarer) has adapted the first book from Suzanne Collins’ epic series and the first film from Lionsgate’s iconic film franchise for this live theatrical production. The production is helmed by renowned director Matthew Dunster (2:22 – A Ghost Story, Hangmen, The Pillowman, Hedda and John Niven’s The Battle), with a world-class creative team who bring the show to breathtaking life.

The creative team also includes: Miriam Buether (Set Designer), Charlotte Broom (Choreographer), Lucy Carter (Lighting Designer), Ian Dickinson for Autograph (Sound Designer), Tal Rosner (Video Designer), Chris Fisher (Illusions), Kev McCurdy (Fight Director), John Maddox (Performer Flying and Special Effects), James Maloney (Arranger, Musical Director and Additional Compositions), Amy Ball CDG (Casting Director), James Robert Moore (Associate Director), Robyn Grant (Creative Assistant Director), Mary Halliday (Props Supervisor), JJ Wigs (Wigs, Hair and Make-up), Tom Silverwood (Costume Designer), Runaway Entertainment (General Management), Jenefer Brown (Creative Consultant), Lloyd Thomas (Technical Director), Josh Collins (Production Manager), Liz Flint (Voice Coach) and Aundrea Fudge (Dialect Coach).

Spring 2026 saw the official opening of Songbird Restaurant & Bar, situated within the theatre, as a standalone dining destination. It has launched a dedicated à la carte offering for lunch and dinner service for non-theatregoers joining the already popular pre-theatre menu. The 125-cover restaurant brings together seasonal British cooking, creative cocktails, design-led interiors and waterfront views and caters to corporate and social occasions with two private rooms and a semi-private area for group gatherings.

The Hunger Games encompasses five critically acclaimed novels that have sold over 100 million copies worldwide and been translated into 52 languages as well as a blockbuster film franchise that has grossed more than $3.4 billion at the global box office. Lionsgate and Fathom Entertainment also re-released all five existing films in The Hunger Games franchise to cinemas across North America in early September. Each screening revealed exclusive first-look footage from the eagerly anticipated The Hunger Games: Sunrise on the Reaping, which

arrives in cinemas this November.

In a dystopian future, The Hunger Games ignite a thrilling battle for survival, where 24 young tributes are pitted against each other in an arena to fight to the death. Katniss Everdeen, a fearless and resourceful heroine, emerges as a symbol of rebellion as she fights not only for her life but for the hope of a nation oppressed by a ruthless Capitol.

The Hunger Games: On Stage is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Oliver Royds for BOS Productions, Isobel David, Timothy Laczynski and Umeda Arts Theater.

Social Media:

Instagram @TheHungerGamesOnStage

YouTube    The Hunger Games On Stage

TikTok        @TheHungerGamesOnStage

X                 @THGOnStage

Threads     @TheHungerGamesOnStage

Tumblr       @TheHungerGamesOnStage

Reddit         @hungergamesonstage

LISTINGS

Troubadour Canary Wharf Theatre

11 Water St,

Canary Wharf Estate,

London E14 5GX

Booking until 14 February 2027

www.thehungergamesonstage.com

Performances: Tuesday – Thursday 7:30pm, Friday – Saturday 2:30pm & 7.30pm, Sunday 2:30pm.*

*From November onwards, Sunday performances will be at 3pm.

Christmas 2026/27 Performance Schedule

Tuesday 22 December                                2:30pm & 7.30pm

Wednesday 23 December                          2:30pm & 7.30pm

Thursday 24 December                               NO PERFORMANCE

Friday 25 December                                    NO PERFORMANCE

Saturday 26 December                               NO PERFORMANCE

Sunday 27 December                                  2:30pm & 7.30pm

Monday 28 December                                2:30pm & 7.30pm

Tuesday 29 December                                2:30pm

Wednesday 30 December                          2:30pm & 7.30pm

Thursday 31 December                               2.30pm

Friday 1 January 2027                                 NO PERFORMANCE

Saturday 2 January                                      2:30pm & 7.30pm

Sunday 3 January                                         3pm 

FULL CASTING ANNOUNCED

FOR THE UK AND IRELAND TOUR AND LIMITED WEST END SEASON

OF THE ORIGINAL AWARD-WINNING PRODUCTION OF

ANNETTE McLAUGHLIN TO PLAY ‘MRS WILKINSON’,

DEKA WALMSLEY ‘DAD’, JACK BANDEIRA ‘TONY’

AND LESLEY JOSEPH ‘GRANDMA’

FURTHER VENUES ALSO ANNOUNCED FOR TOUR

WALES MILLENNIUM CENTRE, CARDIFF

BORD GAIS ENERGY THEATRE, DUBLIN,

BRISTOL HIPPODROME AND ALHAMBRA, BRADFORD

Universal Theatrical Group and Working Title Filmsare delighted to announce full casting for the UK and Ireland tour and limited West End season of the original award-winning production of BILLY ELLIOT THE MUSICAL. Annette McLaughlin will play ‘Mrs Wilkinson’, Deka Walmsley ‘Dad’, Jack Bandeira ‘Tony’ and Lesley Joseph ‘Grandma’.

Annette McLaughlin is no stranger to the role of Mrs Wilkinson having played the part in the last UK and Ireland tour of Billy Elliot. Her many West End theatre credits include Marya Dmitriyevna in Natasha, Pierre & The Great Comet of 1812, Warwick in Player Kings, Mrs Wormwood in Matilda The Musical, Dolores Umbridge in Harry Potter and the Cursed Child, Olivia in Twelfth Night, Velma Kelly in Chicago and Erma in Anything Goes. 

Deka Walmsley returns to the role of Dad having played the part to great acclaim in both the West End production and on screen in Billy Elliot the Musical Live. His other theatre credits include Porter in Macbeth and George Brown in The Pitmen Painters. Further on screen credits include Steve in Netflix’s The Bastard Son & The Devil Himself, and Tony Hutchinson in The Thief, His Wife and the Canoe and Gary Mincham in Vera, both for ITV.

 Jack Bandeira’s numerous screen credits include Amazon’s Blade Runner 2099, BBC3’s Smoggie Queens, Disney+’s Andor, Netflix’s Black Mirror, Lockwood & Co, The Witcher, and BBC’s Happy Valley. 

Lesley Joseph is best known for playing Dorien Green in the hugely successful sitcom Birds of a Feather, alongside Pauline Quirke and Linda Robson. Her many theatre credits include Grandma in The Addams Family, Miss Hannigan in Annie and her Olivier Award nominated performance as Frau Blucher in Young Frankenstein. Her other theatre credits include Sister Act The Musical and Calendar Girls. She has been seen on screen in BBC One’s Strictly Come Dancing and Celebrity Masterchef, Channel 4’s Celebrity Coach Trip and ITV’s Night and Day.

The company also includes Tanesha Aba, Marc Akinfolarin, Natasha J Barnes, Robbie Boyle, Lydia Bradd, Jack Bromage, Jennifer Caldwell, Alex Christian, Adam Crossley, Natalie Durkin, Nathan Elwick, Ian Gareth-Jones, Shirley Jameson, Jenny Legg, Jay Luca Allan, Charlie R Miller, Lewis Mortier, Perry O’Dea, Matt Overfield, Mark Pearce, Aidan Stuart and Lucy Warway.

Alternating the role of Billy’s best friend ‘Michael’ will be Harper Etienne (10 years old from Derbyshire), Dalton Jones (9 years old from South Yorkshire), Theo Kamande (12 years old from London) and Oisin-Luca Pegg (13 years old from Birmingham). Joining them will be Lola Cant (10 years old from Durham), Paige Cook (10 years old from Durham) and Scarlett Gardener (9 years old from Sunderland) who all alternate the role of ‘Debbie’.

Playing the Ballet Girls will be Vivien Abreu, Ivy-Rae Battams, Chloe Boyle, Mikeila Buljan-Bakotic, Rose Butler, Ella Collins, Willow Crabtree, Amari Dumbuya, Ava Evans, Daisy-Mae Ford, Kyla Fowles, Lux Hardy, Marian Nguema Ndjondjo, Zizha Nguema Ndjondjo, Jessica Pipe, Eva Ramtohul, Mia Raggio and Anabelle Tran.

They join the previously announced Noah Mannion (13 years old from Stockport), Rafferty Smale (12 years old from Leigh-on-Sea), Spencer Collins (13 years old from California) and William Gurney (13 years old from Berkshire) who share the role of ‘Billy’ and Liam Mower who will play ‘Older Billy.’

BILLY ELLIOT THE MUSICAL will open at Sunderland Empire on 4 November 2026 where it will run until 28 November 2026. It will then visit Palace Theatre Manchester (2 December 2026 – 9 January 2027) and Edinburgh Playhouse (19 January – 6 February 2027) ahead of its first return to the West End in over 10 years, playing a limited West End season at the Adelphi Theatre from 12 February – 31 July 2027. New venues announced today are Wales Millennium Centre, Cardiff (10 – 28 August 2027), Bord Gais Energy Theatre, Dublin (14 September – 9 October 2027) Alhambra, Bradford (19 October – 6 November 2027) and Bristol Hippodrome (1 – 26 February 2028). On sale details below with further touring dates to be announced soon. billyelliotthemusical.com

Based on the highly successful multi BAFTA award-winning and Academy Award nominated film, the show is set in a northern mining town against the background of the 1984/’85 miners’ strike and follows Billy’s journey from the boxing ring to the ballet class where he discovers a passion for dance that inspires his family and whole community and changes his life forever.

Acclaimed by audiences and critics alike, BILLY ELLIOT THE MUSICAL has been seen by just over 12 million people across five continents and is the recipient of over 85 awards internationally, including ten Tony Awards and five Olivier Awards. In 2006, Liam Mower, James Lomas and George Maguire, the first three boys to play the title role, became the youngest performers ever to have won the Olivier Award for Best Actor with the show also picking up the Best Musical prize. In total, over 125 boys have now played the iconic title role on stage worldwide.

BILLY ELLIOT THE MUSICAL is brought to life by the multiple award-winning creative team behind the film including writer Lee Hall (book and lyrics), director Stephen Daldry and choreographer, Peter Darling, joined by Elton John who composed the show’s score. The production features scenic design by Ian MacNeil, costume design is by Nicky Gillibrand, lighting design by Rick Fisher, sound design by Paul Arditti and hair, wig and make up design by Campbell Young. Musical supervision and orchestrations are by Martin Koch. The tour director is Simon Pollard and the associate choreographer is Jeroen Luiten. Adult casting is by Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting and children’s casting is by Nick Hockaday CDG for Jessica Ronane Casting.

BILLY ELLIOT THE MUSICAL is presented by Universal Theatrical Group and Working Title Films and is based on the Universal Pictures/Studio Canal film. The show is produced by Tim Bevan, Eric Fellner, Jon Finn and Sally Greene. Executive producers are David Furnish, Angela Morrison and Rebecca Quigley for Working Title Films.

LISTINGS INFORMATION

BILLY ELLIOT THE MUSICAL

billyelliotthemusical.com

Instagram – billyelliotuk

TikTok – billyelliotuk

Facebook – Billy Elliot the Musical

YouTube – BillyElliotMusicalUK

4 – 28 NOVEMBER 2026

SUNDERLAND EMPIRE

atgtickets.com/sunderland

2 DECEMBER 2026 – 9 JANUARY 2027

PALACE THEATRE MANCHESTER

atgtickets.com/manchester

19 JANUARY – 6 FEBRUARY 2027

EDINBURGH PLAYHOUSE

atgtickets.com/edinburgh

12 FEBRUARY – 31 JULY 2027

ADELPHI THEATRE, LONDON
lwtickets.co.uk

10 – 28 AUGUST 2027
WALES MILLENNIUM CENTRE, CARDIFF
wmc.org.uk
ON SALE 9 OCTOBER 2026

14 SEPTEMBER – 9 OCTOBER 2027

BORD GAIS ENERGY THEATRE, DUBLIN
bordgaisenergytheatre.ie
ON SALE 11 SEPTEMBER 2026

19 OCTOBER – 6 NOVEMBER 2027
ALHAMBRA, BRADFORD
bradford-theatres.co.uk
ON SALE 14 SEPTEMBER 20

1 – 26 FEBRUARY 2028
BRISTOL HIPPODROME
atgtickets.com/bristol   
ON SALE 22 SEPTEMBER 2026

Jack Studio Theatre / Bridge House Theatre 4 – 5 September

Reviewed by Claire Roderick

4****

Roger’s mother is getting married and she wants him and his uncle to give the speech. A simple and loving request, but Roger is determined to use the speech to publicly ambush and expose her new husband.

Beginning with Roger (Joseph Ryan-Hughes) imagining and acting out his speech, he seems to be a boy seething with jealousy of his mum’s new relationship, but the family dynamics and past hurts that are gradually revealed draw a much more nuanced character. David (Paul T. Willcocks), the divorced gay uncle is written in much broader strokes, but again writer Tristan Simpson expertly reveals the pain behind the bravado.

With secret missions from his sister to bond with and check up on Roger, and his own outside of the box methods for creating the perfect speech, David inadvertently opens up past wounds in Roger’s and his own life creating a few major bumps on the metaphorical road to the wedding. Roger’s imagined speeches become more vindictive but all the mishaps allow Roger to build a clearer picture of his mother and see beyond his ideas of the breakdown of her first marriage. Joseph Ryan-Hughes is wonderful as Roger – capturing the infuriating and bloody-minded certainty of youth and a sensitive glimpse at the lonely and vulnerable boy beneath. Paul T. Willcocks chews the scenery brilliantly in David’s more flamboyant displays but also excels in the quiet moments as David grieves for his own marriage.

As the generation gap and lifestyle clashes rage, Simpson’s writing repeatedly teases family reconciliation before one of the pair throws a spanner in the works and they have to start again, but the bond grows until they finally have the finished speech. However, with emotions and alcohol intake run high, will they stick to the script?

This could have been as cheesy as the worst wedding speeches, but Tristan Simpson’s writing explores the complicated emotions, grudges and hopes of the pair with a light touch, never negating the depth of feeling, but throwing in inappropriate jokes to change the mood – just as real families do. The audience is taken on a fantastic ride as there is no way to predict what these characters will do next, and the actors’ chemistry and energy are so dynamic that mothers and sisters in the audience may want to slap one or both of them at certain points.

Thoughtfully and cleverly written and performed with passion and skill, this funny and heartwarming exploration of family fracture and healing is a delight.

Sheffield Lyceum – until Saturday 19th September 2026

Reviewed by Claire Moore

4****

I’ll start with a confession: Shakespeare isn’t my specialist subject, and I haven’t read King Lear since my GCSEs. So, after a quiet August away from the theatre, this Sheffield Theatres production certainly threw me straight back in at the deep end.

For anyone else whose Shakespeare knowledge might be a little rusty, King Lear begins with the ageing king deciding to divide his kingdom between his three daughters. There’s just one catch: they must first tell him how much they love him first.

Olivier and Tony Award-winning actor Ian McDiarmid takes on the title role. While his two eldest daughters are happy to give their father the grand declarations he wants to hear, his youngest, Cordelia (Bebe Sanders), refuses to play along and is banished. It’s a decision Lear soon comes to regret. With his kingdom handed over and his authority gone, those declarations of love quickly disappear, setting in motion a story of betrayal, power and a man’s descent into madness.

The staging is dark, bleak and stripped back. The floor of the Crucible is covered in dirt, with little more than an indented circle at its centre, the simplicity works particularly well in the round. Props are kept to a minimum just a set of stocks and the occasional weapon, leaving the cast and Shakespeare’s words to do the work.

It’s no surprise that McDiarmid delivers an excellent performance as Lear. He begins as an egotistical king who expects obedience and adoration from everyone around him but gradually becomes almost unrecognisable. As his power, dignity and sanity are stripped away, the imposing king becomes an increasingly frail, vulnerable and at times almost childlike old man. It’s quite a transformation to watch.

The costumes are perhaps one of the biggest surprises. Corseted gowns sit alongside Adidas trainers, while more traditional pieces are mixed with leather coats and modern clothing. On paper it sounds like it shouldn’t really work but I actually liked the mix.

The strength of the cast goes far beyond McDiarmid. Katie Wimpenny as Goneril and Justina Kehinde as Regan are both commanding, with Kehinde particularly chilling as Regan. There’s something quite unsettling about the enjoyment she seems to take from her growing power and the cruelty that comes with it.

A special mention has to go to Max Revell as the Fool, who brings a very modern twist to the role through street dance. I know — but trust me, it really works. His relationship with Lear feels incredibly believable and, as Lear begins to unravel, moving.

Revell uses movement to express as much as he does words, at times seeming almost weightless as he moves around the stage. This is particularly effective during the storm, when Lear and the Fool battle against the elements and Revell appears to be physically blown around the space. It’s a brilliant piece of physical performance.

With so little scenery and so few props, the lighting and sound have an even bigger job to do. Emma Laxton’s sound effects and Ryan Day’s lighting design helps transform the otherwise bare space, particularly during the battle scene, where the combination of light and sound creates a real sense of chaos and danger.

At two hours and 55 minutes, including an interval, King Lear isn’t a quick night at the theatre — so get comfy. The performance received a standing ovation from a clearly impressed audience. But you don’t need to be a Shakespeare expert to appreciate great theatre — and this production proves that.

Theatre Royal Windsor – until September 12th 2026

Reviewed by Mike Linane

4****

Twelve Angry Men by Reginald Rose began life in 1954 as a television play following Rose’s own experience as a juror in a New York County courtroom. The play triggered the interest of film star Henry Fonda and it was turned into a United Artists film but it didn’t fair well at the box office. Rose realised it would fair better as a stage play and it is this that is being revived at the Theatre Royal Windsor this week ahead of a national tour.

The story begins after closing arguments have been presented in the capital murder case against a troubled teenager, who stands accused of killing his father with premeditation. The judge, heard but unseen, announces the instructions to an all-male jury. As in most American criminal cases, the twelve men must unanimously decide on a verdict of “guilty” or “not guilty”. (In the justice systems of nearly all American states, as in the case of New York State where the case is implied to be tried, failure to reach a unanimous verdict, a so-called “hung jury”, results in a mistrial.) The jury is further instructed that a guilty verdict will be accompanied by a mandatory death sentence; the jury is then locked into a room until a verdict is reached. Adding to the tension, the weather is exceptionally hot and the lone fan in the room is broken.

As the jurors begin, they take a preliminary vote to assess the room. All the jurors vote guilty except one, Juror 8, who is leaning toward guilty but, acting on a hunch and a desire not to rush to judgement, votes not guilty. He asks the question, “Has the prosecution proved beyond reasonable doubt that the young man committed the murder?”

Over the course of the next two hours we follow each juror, we never find out their names but only know them by their jury number, as they weigh up the evidence that was put before them and question how secure it actually was. This play is as much as whodunnit as it is about a jury trying to reach a unanimous decision.

Gray O’Brien as Juror 8 gives a finely controlled performance – the man who wants to ensure that each of his fellow jurors is absolutely sure in their hearts that the case against the accused has been proven beyond any form of reasonable doubt. This is not an easily part to play as he quietly stands up to some quite vocal and physically violent threats from the men locked in the jury room with him. O’Brien manages to pull this off with aplomb.

Tristen Gemmill is a revelation playing against type as a belligerent, working-class man who arrives in the deliberation room with his own pre-held prejudices and Bill Ward is menacing as Juror 3 who is determined to find the accused guilty but is his determination more to do with something that has happened in his own life previously than anything he has heard in the courtroom?

Ben Nealon as Juror 12 gives a nicely nuanced performance as a man who is easily persuaded by different arguments as they are presented before him and Ricky Norwood as Juror 7 shows just how much his acting ability has matured since his days on tv’s EastEnders.

They are all ably supported by an ensemble cast most of whom get their moment in the spotlight to shine as they discuss the case before them and how they have arrived at the verdict they personally have.

The confined set in which the entire play takes place is oppressive and run down and suits the action well and, on a side note and not wishing to spoil anything, just keep your eyes on the table that the twelve good men and true sit round.

This is a very well written play that is as relevant today as it was when it was first written. It asks the question of how reliable is the jury system in our courts and if we are too quick to judge others based purely on the testimony of others that may, or may not, be totally accurate. Do some witnesses have other motives for wanting their moment in court, is the evidence they give the truth, the whole truth and nothing but the truth? You will find yourself leaving the theatre with your head buzzing with questions just like these and many more.

This is a good, solid piece of theatre which you will enjoy whether you like courtrooms dramas, whodunnits or a good old play which captures your imagination from the very beginning and keeps you in its grasp until the closing moments.

THE ACCLAIMED PRODUCTION

TRANSFERS TO LONDON

GEORGE R. R. MARTIN’S

GAME OF

THRONES:

THE MAD KING

THE SPECTACULAR,

WORLD PREMIERE PRODUCTION TO

BEGIN PERFORMANCES IN LONDON IN

2027

Sign-up for information at

www.gameofthronesonstage.com

(London, Friday 4 September 2026) – Following its critically acclaimed World Premiere at the Royal Shakespeare Theatre, the spectacular Royal Shakespeare Company production of George R. R. Martin’s Game of Thrones: The Mad King – the new play based on novels by George R. R. Martin, adapted by Duncan Macmillan and directed by Dominic Cooke – will open in London in 2027.

Venue and Dates will be announced in due course. To be the first to hear information, sign-up at www.gameofthronesonstage.com

George R. R. Martin’s GAME of Thrones: The Mad Kingreceived its World Premiere at the Royal Shakespeare Theatre in Stratford-upon-Avon on Saturday 8 August. The final performance is tomorrow, Saturday 5 September, following a completely sold-out season.

Creator and Executive Producer George R. R. Martin said: 

“I had an absolutely splendid time in Stratford upon Avon for the premier and am thrilled the production will be moving to London to share the experience with a wider audience. It promises to be an exhilarating journey.”

George R. R. Martin’s Game of Thrones: The Mad King is a sweeping new stage epic from the world of George R. R. Martin. Spanning the final years before the events of the novels, this powerful drama reveals a legendary chapter of Westerosi history.

‘Wars aren’t won by those with most cause, but whose story’s best told.’

The Royal Shakespeare Company production creative team are as follows: Adaptor Duncan Macmillan; Director Dominic Cooke; Puppetry and Movement Nick Barnes and Finn Caldwell (Lume); Set Designer Chloe Lamford; Costume Designer Georgia McGuinness; Lighting Designer Jon Clark; Composer Will Stuart; Sound Designer Tom Gibbons; Casting Director Amy Ball CDG; Fight Director Bethan Clark; Intimacy Director Ingrid Mackinnon; Voice & Text Jeannette Nelson; Dialect Hazel Holder; Associate Director Emily Raymond; Associate Puppetry and Movement Scarlet Wilderink; Period Dance Consultant Francesca Roche; Creative Consultant Ti Mikkel; Director’s Consultant Lenore Gallegos; Associate Puppetry Designer Oli Simonon; Associate Set Designer Machiko Weston; Associate Costume Designer Alex Berry; Associate Lighting Designer Lucía Sánchez Roldan; Associate Sound Designer Alex Twiselton and Assistant Director Bellaray Bertrand-Webb.

The cast for the London production is yet to be announced.

The Royal Shakespeare Company’s production of George R. R. Martin’s Game of Thrones: The Mad King is produced by Simon Painter, Tim Lawson, Mark Manuel, Sir Leonard Blavatnik and Danny Cohen for Access Entertainment, and Warner Bros. Theatre Ventures obo HBO.

Sign up at www.gameofthronesonstage.com

Varna International Ballet announces 2027 tour and new production Snow White

Varna International Ballet and Orchestra returns to the UK in 2027, presenting Swan Lake, The Nutcracker and a new production of Snow White, from Saturday 2 January to Wednesday 3 March 2027.  

Renowned for its award-winning soloists and magnificent corps de ballet, Varna International Ballet has been delighting audiences at home in Bulgaria and abroad since 1947, with performances of the highest quality. The company presents much-loved classics to charm those new to ballet and balletomanes alike, accompanied by Varna International Ballet Orchestra led by Music Director and Chief Conductor Filippo Dessi. 

The 2027 tour begins in Manchester on Saturday 2 January, and visits Buxton, Blackpool, Edinburgh, Aylesbury, Brighton, Hull, Nottingham, Southend, Darlington, Wolverhampton, Norwich, Bournemouth, Torquay, Cardiff, Northampton, Wimbledon, Warwick, Glasgow and Leicester. Full details are below. 

New for 2027, Snow White is a dazzling family ballet based on the famous fairytale by Brother Grimm; a story of hope, courage, and happily ever after. When the Evil Queen’s magic mirror names Snow White the fairest of all, envy turns deadly. Forced to flee, Snow White finds refuge with the lovable Seven Dwarfs and the creatures of an enchanted forest. But danger follows, and a poisoned apple casts her into a deep sleep. Only true love can break the spell. Snow White features stunning choreography by Sergei Bobrov and Natalia Bobrova, vibrant characters, and the music of Tchaikovsky, Rachmaninovand Pugni. 

One of the greatest romantic ballets of all time, beloved classic Swan Lake is brought to life by Tchaikovsky’s haunting and unforgettable score, with choreography by Marius Petipa, Lev Ivanov, Sergei Bobrov and Natalia Matus-Marchuk. From the impressive splendour of the Palace ballroom to the moon-lit lake where swans glide in perfect formation, this compelling tale of tragic romance has it all. 

The Nutcracker begins as night falls on Christmas Eve. When midnight strikes, we are swept away to a fairy-tale world where nothing is quite as it seems: toy dolls spring to life, the Mouse King and his army battle with the Nutcracker Prince and we travel through the Land of Snow to an enchanted place where the magic really begins. The spellbinding ballet features Tchaikovsky’s timeless score, and stunning choreography by Vasily Vainonen, revised by Sergei Bobrov. 

“We are thrilled to be bringing our highly talented company of dancers and musicians back to the UK. We can’t wait to perform for British audiences again and to bring these magical ballets to life on stage.” Daniela Dimova, Director of the Theatre and Music Production Centre, Varna.

Full tour details:

MANCHESTER Bridgewater Hall 
bridgewater-hall.co.uk 
2 Jan Snow White 2pm  
2 Jan Nutcracker 5.30pm 
3 Jan Snow White 2pm 
3 Jan Swan Lake 5.30pm 

BUXTON Opera House 
buxtonoperahouse.org.uk 
4 Jan Nutcracker 7pm 
5 Jan Swan Lake 7pm 
6 Jan Snow White 2pm 
6 Jan Swan Lake 7pm 

BLACKPOOL Opera House 
blackpoolgrand.co.uk 
7 Jan Nutcracker 7.30pm 
8 Jan Swan Lake 7.30pm 
9 Jan Show White 2.30pm 
9 Jan Swan Lake 7.30pm 

EDINBURGH Playhouse 
atgtickets.com/edinburgh 
14 Jan Nutcracker 7.30pm 
15 Jan Swan Lake 7.30pm 
16 Jan Snow White 2.30pm 
16 Jan Swan Lake 7.30pm  

AYLESBURY Waterside Theatre 
atgtickets.com/aylesbury 
18 Jan Nutcracker 7.30pm 
19 Jan Swan Lake 7.30pm 
20 Jan Snow White 2.30pm 
20 Jan Swan Lake 7.30pm 

BRIGHTON Theatre Royal 
atgtickets.com/brighton 
21 Jan Nutcracker 7.30pm 
22 Jan Swan Lake 7.30pm 
23 Jan Snow White 2.30pm 
23 Jan Swan Lake 7.30pm 

HULL New Theatre 
hulltheatres.co.uk 
25 Jan Swan Lake 7.30pm 
26 Jan Snow White 7.30pm 

NOTTINGHAM Royal Concert Hall 
trch.co.uk 
28 Jan Swan Lake 7.30pm 
29 Jan Swan Lake 7.30pm 
30 Jan Nutcracker 1pm & 5.30pm 

SOUTHEND Cliffs Pavilion 
thecliffspavilion.co.uk 
31 Jan Nutcracker 2pm & 5.30pm 
22 Feb Swan Lake 7.30pm 

DARLINGTON Hippodrome 
darlingtonhippodrome.co.uk 
1 Feb Nutcracker 7.30pm 
2 Feb Swan Lake 7.30pm 
3 Feb Snow White 2pm 
3 Feb Swan Lake 7.30pm 

WOLVERHAMPTON Grand Theatre 
grandtheatre.co.uk 
4 Feb Nutcracker 7.30pm 
5 Feb Swan Lake 7.30pm 
6 Feb Snow White 2.30pm 
6 Feb Swan Lake 7.30pm 

NORWICH Theatre Royal 
norwichtheatre.org 
8 Feb Nutcracker 7.30pm 
9 Feb Swan Lake 2.30pm & 7.30pm 
10 Feb Snow White 7.30pm 

BOURNEMOUTH Pavilion 
bournemouthpavilion.co.uk 
11 Feb Snow White 3.30pm 

TORQUAY Princess Theatre 
atgtickets.com/torquay 
13 Feb Nutcracker 7.30pm 
14 Feb Snow White 2pm 
14 Feb Swan Lake 5.30pm 

CARDIFF New Theatre 
trafalgartickets.com/cardiff 
15 Feb Swan Lake 7.30pm 

NORTHAMPTON Derngate 
royalandderngate.co.uk 
16 Feb Swan Lake 7.30pm 
17 Feb Snow White 2.30pm 
17 Feb Swan Lake 7.30pm 

WIMBLEDON New Theatre 
atgtickets.com/wimbledon 
19 Feb Swan Lake 7.30pm 
20 Feb Nutcracker 2.30pm 
20 Feb Swan Lake 7.30pm 
21 Feb Snow White 2.30pm 
21 Feb Swan Lake 7.30pm 

WARWICK Butterworth Hall 
warwickartscentre.co.uk 
23 Feb Swan Lake 7.30pm 
24 Feb Swan Lake 7.30pm 

GLASGOW SEC – Armadillo 
sec.co.uk 
26 Feb Swan Lake 7.30pm 
27 Feb Nutcracker 2.30pm 
27 Feb Swan Lake 7.30pm 
28 Feb Snow White 2pm & 5.30pm 

LEICESTER De Montfort Hall 
demontforthall.co.uk 
2 Mar Snow White 7.30pm 
3 Mar Swan Lake 7.30pm 

Tickets available from individual theatres and rg.live

New Wimbledon Theatre- Thursday 3^rd September 2026  

Reviewed by Brooke

5***** 

If you’ve ever tuned into Ambridge and felt like you know the residents better than your own neighbours, then this show was made for you. Thursday night at Wimbledon Theatre felt less like a stage performance and more like a warm, joyful family reunion – and the family, in this case, is the millions of loyal listeners who have kept The Archers thriving for 75 years. 

The format was simple and all the better for it: four cast members (Timothy Bentinck, Charlotte Martin, Ben Norris and Annabelle Dowler) took to the stage, not in character, but as themselves, sharing the stories, mishaps, and quiet magic of bringing a radio institution to life. There’s something genuinely special about hearing the voices you’ve known for years speak in their own accents, laughing at their own memories. The anecdotes flew fast – from early recording bloopers to the strange experience of voicing a dramatic storyline while standing in a quiet studio with a script and a microphone. It was funny, heartfelt, and refreshingly unpolished in the best way. 

A particular highlight was the appearance of the show’s sound engineer, who demonstrated exactly how she builds the world of Ambridge from scratch. Watching her create the crunch of a farmyard gate, the clatter of a pint glass in The Bull, or the unmistakable squelch of a wellies-in-the-mud moment was utterly fascinating. It gave a whole new appreciation for the craft behind every episode – and a reminder that radio, at its best, is the most cinematic medium of all, because the pictures really are better in your head. 

The evening also featured a pub quiz with proper audience participation, and it was clear the host (Angela Barnes) was one of us – a true fan who knew the difference between a Jaxx and a Grundy, and who revelled in testing the room’s knowledge. The energy was buoyant, the laughter genuine, and the sense of community palpable.  
 
If there was a single thread running through the whole evening, it was gratitude. Gratitude from the cast for the listeners who have kept the show alive for three-quarters of a century. Gratitude from the audience for the stories that have accompanied them through good times and bad. And gratitude, from many, for an evening that understood exactly what its audience wanted and delivered it with warmth, humour, and genuine love. 

This wasn’t a glossy, overproduced stage show. It was a lovely, unpretentious evening celebrating a programme that has quietly become part of the fabric of British life. For anyone who has ever smiled at the opening bars of “Barwick Green”, this was unmissable. 

Friargate Theatre, York – Until Saturday 5th September 2026

Reviewed by Aimee Forsyth

5*****

What a wonderful way to spend the afternoon! Jon Boustead’s (Writer) take on Oscar Wilde’s tale of ‘The Selfish Giant’ brings a two-hundred-year-old story to life for a modern-day audience, proving that good story telling is timeless!

Everything about this production is simple but effective. The set evolves subtly before your eyes and costume changes happen right in front of you. With the clever use of music and sound imagined by Patrick Burbridge (Musician/Composer) and Anna Gooch’s (Designer) beautiful recreation of the giant’s garden, the audience is transported to a world of whimsical wonder and childlike curiosity. Somehow your belief in reality is suspended and you find yourself right at the heart of the story itself. This production really brings alive all of the senses. With bright colours, cheerful music and plenty of opportunity for audience participation, it would be hard not to be swept up in the joy of it all.

Although a children’s story, there are laughs for the adults too. There are lots of cheesy jokes and a special mention has to go to the cast: Jared More and Matthew Rutherford for their brilliant switching of accents to make their adoption of different roles all the more believable. I’ve got to admit that the Scouse daffodils had to be my personal favourite.

Something so special about this performance is the level of communication between the actors and the audience. As previously mentioned, there are numerous occasions where children are invited onto the stage to help move the story along and so right from the outset the audience is given confidence to join in and shout out. On this note, More and Rutherford show excellent ability to improvise which lends itself to the unpredictability of children and brings another level of comedy to the show.

If you’re not sure whether to book your tickets, I urge you to bite the bullet and go for it! I got so much more out of this experience than I could have imagined and I guarantee that your little ones will not be the only ones leaving the theatre with a big smile on their face. In a time when our daily lives are so full of fast paced, over stimulating screen time, Riding Lights Theatre Company’s perfect example of the age-old act of immersive storytelling and real and raw talent is the perfect antidote.