Beetlejuice sets Final Performance in London for

Saturday, 2 January 2027

     www.beetlejuicemusical.co.uk

London, UK – (Thursday, 3 September 2026) Crossroads Live and Warner Bros. Theatre Ventures. today announce that the London production of Beetlejuice The Musical will bring forward its scheduled end date, with a final performance set for Saturday, 2 January 2027.

Beetlejuice The Musical is currently playing at the Prince Edward Theatre. Tickets are available at www.beetlejuicemusical.co.uk.

Following three smash hit Broadway hauntings, Beetlejuice crossed the pond this year, making its West End debut at London’s Prince Edward Theatre, a Delfont Mackintosh Theatre, where it opened on Thursday 28 May 2026.

The performing company includes David Fynn (School of Rock (Gillian Lynne Theatre), BBC’s Am I Being Unreasonable, Daddy Issues) as the West End’s new best fiend, Beetlejuice, with Tom Xander (Olivier Award-nominee Mean Girls (Savoy Theatre), The Book of Mormon (Prince of Wales Theatre), as alternate ‘guide to the other side.’

They are currently giving a hell of a time to everyone’s favourite dark darling of the dearly departed, Hannah Nordberg as Lydia Deetz. Hannah’s television credits include Emma in Euphoria (HBO), Betty Parris in The Devil You Know (HBO), Olivia Parr in Longmire (Netflix). Daisy Harrison performs as alternate Lydia.

David Hunter (Time Traveller’s Wife, Apollo Theatre; Waitress, Adelphi Theatre and UK Tour; Kinky Boots, Adelphi Theatre) and Chelsea Halfpenny, best-known for her on-screen roles in Emmerdale and Casualty and stage credits include 9 to 5: The Musical and Waitress, star as newly-dead homemakers and amateur after-lifers, Adam and Barbara Maitland.

Summer Strallen (West End roles include Top Hat, Love Never Dies, Young Frankenstein, The Sound of Music, The Drowsy Chaperone and CATS) stars as the endlessly optimistic, crystal-obsessed life coach, Delia Deetz until 2 November, after whichoriginal SIX: The Musical West End cast member Aimie Atkinson performs in the role until 2 January. Lydia’s bereaved father, Charles Deetz, is played by Alasdair Harvey (The Little Big Things, Soho Place; Come From Away, Phoenix Theatre).

Chasity Crisp is Maxine Dean / Juno, and is currently making her West End debut in the production. Previous stage roles include Hamilton (UK & Ireland Tour) for Cameron Mackintosh Limited and performances in shows throughout Germany and Austria, including Disney’s Hercules, The Bodyguard, Ghost: The Musical and Tina: The Musical. Otho is played by Richard Frame, whose credits include Frozen the Musical, Theatre Royal Drury Lane; The Lion King, Lyceum Theatre).

Irvine Iqbal is Maxine’s investor husband, Maxie Dean. Theatre credits include the West End production of Disney’s Aladdin – The Musical (Prince Edward Theatre), Bend It Like Beckham (Phoenix Theatre), and East Is East (National Theatre). Rachel Macdougall (The King and I, Dominion Theatre and UK Tour) is Girl Scout, and Vanessa Aurora Sierra is Miss Argentina, having previously appeared in the role on Broadway.

The company is completed byJemma Alexander, Samuel Bangs, Natasha Cayabyab, Chris Draper, Harley Emmitt, Catherine McCormick, Kieran Mellish, Elliott Parry, Jacob Smith, Adam Taylor, Tyler Timmins, Tommy Wade Smith and Issie Wilman.

IT’S SHOWTIME! Have the time of your afterlife with the ‘supernaturally fun, fun, fun’ (Radio Times) musical sensation BEETLEJUICE. Hailed as ‘hilarious’ (Independent) and an ‘absolute scream’ (The Standard), don’t miss the ‘drop-dead gorgeous’ (Guardian) Broadway spectacular at London’s Prince Edward Theatre – for a limited season only.

Olivier nominee David Fynn (School of Rock) unleashes mayhem in a ‘sensational…unparalleled performance’ (Daily Express) as the iconic Beetlejuice in this ‘mercilessly entertaining celebration’ (Daily Mail) of Tim Burton’s beloved movie. Starring alongside him in an acclaimed cast is Hannah Nordberg (HBO’s Euphoria), giving a ‘dazzling West End debut’ (The Standard) as Lydia.

Meet Lydia Deetz, a strange and unusual teenager sharing her home with a pair of newly-deads and the demonic ghost with the most, Beetlejuice. He’s dead trouble, but if you really want to feel alive, just say his name three times…

Hailed as a ‘hallucinogenic spectacle’ (The Telegraph) bursting with ‘sets to die for’ (Daily Express) and ‘songs that are a blast’ (Sunday Express), BEETLEJUICE is the outrageous, life-affirming hit with a big (cold) heart. See it and you’ll want to make the most of every Day-O!

But act dead quick – BEETLEJUICE only appears in the West End for a limited run only.

The London production brings together Beetlejuice The Musical’s celebrated Broadway team: Book by Tony Award nominee Scott Brown (Castle Rock) & Tony and Emmy Award-nominee Anthony King (Broad City), an original score (Music and Lyrics) by Tony Award-nominee Eddie Perfect (King Kong), Tony Award-winning Director, Alex Timbers (Moulin Rouge! The Musical), Choreography by Connor Gallagher (The Robber Bridegroom), Music Supervision, Orchestrations, and Incidental Music by Kris Kukul (Joan of Arc: Into the Fire) with Additional Arrangements by Kris Kukul and Eddie Perfect.

Beetlejuice The Musical features Scenic Design by five-time Tony Award nominee David Korins (Hamilton), Costume Design by six time Tony Award winner William Ivey Long (The Producers), Lighting Design by Tony Award winner Kenneth Posner (Kinky  Boots), Sound Design by Tony Award winner Peter Hylenski (Moulin Rouge!), Projection Design by five-time Tony Award-nominee Peter Nigrini(Dear Evan Hansen), Puppet Design by two-time Drama Desk Award winner Michael Curry (The Lion King), Special Effects Design by Jeremy Chernick (Harry Potter and the Cursed Child), Illusions by Michael Weber (Forrest Gump), Hair & Wig Design by three-time Drama Desk Award winner Charles G. LaPointe, Make-Up Design by Joe Dulude II, Dance Arrangements by David Dabbon, Tony Award-winning Music Producer, Matt Stine, Casting by Harry Blumenau CDG CSA, UK General Management, Crossroads Live UK and US General Management by Bespoke Theatricals.

Beetlejuice The Musical is based on the 1988 Academy Award-winning cult Geffen Company motion picture presented by Warner Bros., Beetlejuice, with Story by Michael McDowell and Larry Wilson. The hit comedy was directed by Tim Burton and starred Michael Keaton, Alec Baldwin, Geena Davis, Jeffrey Jones, Catherine O’Hara, and Winona Ryder.

Beetlejuice The Musical opened on Broadway at the Winter Garden Theatre in 2019 and again at the Marquis Theatre in 2022 – following the COVID-19 shutdown – returning to Broadway’s Palace Theatre in 2025 for a third engagement playing 808 combined performances on Broadway. The first national US tour played an 88-city tour, and Beetlejuice: The Musical has played internationally in Tokyo, Seoul, Melbourne, and Abu Dhabi.

Beetlejuice The Musicalis produced in the UK by Crossroads Live and Warner Bros. Theatre Ventures.

MISCHIEF HOSTS VISIT FROM

PUPPIES WITH THEIR

VOLUNTEER PUPPY RAISERS

FROM GUIDE DOGS UK

AT THE PLAY THAT GOES WRONG

SEVEN PUPPIES ON A WEST END STAGE!

WHAT COULD POSSIBLY GO WRONG?

Thursday 3 September 2026  –  The West End production of MISCHIEF’S Olivier and Tony award-winning comedy – The Play That Goes Wrong at London’s Duchess Theatre is supporting Guide Dogs UK, inviting seven puppies in training and their volunteer puppy raisers to meet the cast on stage and watch extracts from their award-winning show.

The puppies, who came on a special visit to London’s Duchess Theatre yesterday (2.9.26.) as part of their training to become guide dogs, range between 10 months old, and 1 year and 5 months old.  They are Brett, a black Golden Retriever x Labrador with Catherine, Eddie, a yellow Labrador x Golden Retriever with Josh and Joe, Unice, a Golden Retriever with Carol and Steve, Val a black Golden Retriever x Labrador with Carol and Mark, Kenedie, a yellow Labrador with Bridget, Seth, a yellow Labrador with Peter and Zadie, a yellow Labrador x Golden Retriever with Jeanette.

Clare Dilkes, Puppy Development Advisor at Guide Dogs UK , said: ‘Introducing our puppies to lots of different sights, sounds and smells early on is incredibly important. The aim of this visit is to familiarise the pups with surroundings they might find themselves in with future guide dog owners – including theatres! – and help them navigate any new situations calmly and confidently. Trips like this give them​ a chance to practice in a safe environment with the support of volunteer puppy raisers, so we’re grateful to The Play That Goes Wrong for inviting us.

“Our puppy raisers play a vital role in the journeys of future guide dogs, like Brett, Eddie, Unice, Val,  Kenedie, Seth and Zodie. Without the loving homes and foundation these volunteers provide, we simply wouldn’t be able to train the hundreds of life-changing guide dogs we do each year to support people with sight loss. But we need more puppy raisers across the UK to help. I’d urge anyone with space in their heart and home for a guide dog puppy to visit Guide Dogs’ website to check what opportunities are available in their area and sign up.”   

The Play That Goes Wrong will also be raising money for Guide Dogs from Tuesday 8 – Sunday 13 September with collections at the theatre.

The cast of The Play That Goes Wrong, which famously includes a search for Winston the dog, are: Ruby Ablett as Annie, Matthew Spencer as Chris, Raphael Bushay as Robert, Luke Wilson as Jonathan, Lucinda Turner as Sandra, Alex Bird as Dennis, Joshua Lendon as Max and Kieron Michael as Trevor. The understudies are: Paige Round, Harry Al-Adwani, Tom Quinn, Will Bishop and Phoenix Edwards.

Whilst not a formal audition for the role of Winston the Guard Dog in the play, the Cornley cast reportedly kept their eyes peeled for ‘good boys and clever girls

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. 

Music Theatre International announces the release of MAMMA MIA! to schools and university groups in the UK and Ireland
 

London, 3 September 2026 — Effective immediately, Music Theatre International will release the performance rights for MAMMA MIA! to schools and university groups throughout the UK and Ireland, marking the first such opportunity since the musical’s record-breaking West End premiere over 27 years ago.

This landmark release marks a major milestone for one of the world’s most successful musicals, opening the door for thousands of young performers to bring Catherine Johnson’s original and irresistible story of love, family and friendship to their own stages.

The sunny, funny tale of a mother, a daughter and three possible dads on a Greek island idyll, all unfolding to the magic of ABBA’s timeless pop masterpieces, has been seen by over 70 million people worldwide in over 50 productions in 16 different languages, and turned into two record-breaking movies – MAMMA MIA! The Movie and MAMMA MIA! Here We Go Again. Both films starred Meryl Streep, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Amanda Seyfried and Dominic Cooper, with Lily James, Andy Garcia and Cher joining them in the second film. 

Now, for the very first time, schools and university groups in the UK and Ireland will have the opportunity to produce this celebrated musical themselves, giving students the chance to perform one of the most recognisable and uplifting shows ever written.

Since opening in London’s West End in 1999, MAMMA MIA! has become a cultural institution, inspiring generations of theatre-makers and audiences alike. The release of school performance rights reflects the show’s enduring popularity and its ability to bring communities together through music, storytelling and live performance.

Judy Craymer, Creator and Producer of MAMMA MIA!, said“I’m thrilled that MAMMA MIA! is now available to be staged by schools and universities across the UK and Ireland. Theatre brings young people together, builds confidence and unlocks creativity, with every production offering opportunity to discover talent both on stage and behind the scenes. I hope this inspires more young people to dream big, embrace the joy of live performance and see a future for themselves in the creative industries. I can’t wait to see the imagination, energy, and passion they bring to MAMMA MIA!”

“For many years we’ve received almost daily requests from schools hoping to stage MAMMA MIA!” said Ryan Macaulay, MTI London’s Director of Operations, Education and Development. “We’re thrilled that the time has finally come to make that possible. The school musical plays such an important role in inspiring the next generation of performers, musicians and theatre lovers, and we can’t wait to see how students across the UK and Ireland make this extraordinary show their own.”

Further information can be found here: www.mtishows.co.uk/mamma-mia

About Music Theatre International

Music Theatre International (MTI) was founded in 1952 by legendary Broadway songwriter Frank Loesser and orchestrator Don Walker. MTI’s London office, overseeing a European market from Iceland to Israel, typically licenses over 7,500 productions a year, from schools and amateur societies to professionals, reaching audiences of more than 8.5 million annually. Across its catalogue of more than 600 titles, MTI represents an array of musicals including Broadway classics (Guys and Dolls, West Side Story, My Fair Lady); contemporary hits (Titanique, Mean Girls, The Great Gatsby); the ground-breaking works of Stephen Sondheim (Into the Woods, Sweeney Todd); global titles (Mamma Mia!, Matilda the Musical); Cameron Mackintosh-produced hits (Les Misérables, Miss Saigon); Disney (Beauty and the Beast, Frozen); and the Mackintosh and Disney-produced Mary Poppins.

MTI is especially dedicated to the education sector and has created the Broadway Junior series; 30 and 60-minute musicals designed for performance by primary and middle school-aged performers, while MTI’s School Editions are musicals tailored to the needs of secondary school pupils. MTI’s London office produces an annual Junior Theatre Festival for more than 2500 young people each year at the ICC in Birmingham.

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

www.mtishows.co.uk

VICTORIA WOOD AND TOM MACRAE’S FOURTEEN AGAIN

TO HAVE ITS LONDON PREMIERE

AT THE MENIER CHOCOLATE FACTORY THIS WINTER

The Menier Chocolate Factory today announces the London premiere of the critically acclaimed production of Fourteen Again which ran at The Victoria Wood Theatre in Bowness-on-Windermere this spring. Reuniting Ria Jones and Sally Ann Triplett, reprising their roles of Lou and Peggy, Jonathan O’Boyle’s production opens at the Menier on Wednesday 2 December, with previews from Saturday 21 November, and runs until Saturday 27 February 2027. Both actors have worked alongside Victoria Wood – Triplett created the role of Miss Berta in the original West End production of the musical Acorn Antiques: The Musical!; and Jones played Mrs Overall in the first national tour of Acorn Antiques which Wood directed. Full casting will be announced shortly.

The Victoria Wood Theatre, previously The Old Laundry Theatre, was renamed this year – the 10^th anniversary of Wood’s death, by her close friends and collaborators, the husband-and-wife team, producer Charlotte Scott and designer Roger Glossop. To celebrate Wood’s life and work they commissioned Tom MacRae (Everybody’s Talking About Jamie) to work with her songbook to create a brand-new musical, the inaugural production in the newly renamed venue.

Wood originally opened the venue, was a Trustee, and performed there many times. She also directed her own show Talent – which was co-produced with the Menier; and in 2013, her television film Housewife 49 was adapted for the stage especially for the venue.

Fourteen Again begins at the local Slimming Club, where Peggy is reunited with Lou, her best friend from school who she hasn’t seen since they were teenagers. As kids, no two friends were ever funnier or more fun, but here, now, today they are shadows of their younger selves – and a story unfolds of looking back to the future, full of comedy, love and pain, with Victoria Wood’s amazing songs moving the musical fast forward.

Priority booking for supporters of the Menier Chocolate Factory opens on 3 September, with public booking opening on 9 September.

www.menierchocolatefactory.com

Instagram: @menchocfactory

FOURTEEN AGAIN

Music and Lyrics by Victoria Wood Book and Additional Lyrics by Tom MacRae

Cast includes: Ria Jones, Sally Ann Triplett

Director: Jonathan O’Boyle; Musical Supervisor, Arranger & Co-Orchestrator: Nigel Lilley;

Choreographer: Sammy Murray; Set Designer: Roger Glossop; Costume Designer: Caroline Hughes;  Lighting Designer: Jason Taylor; Sound Designer: Sam Glossop; Musical Director & Co-Orchestrator: Archie McMorran; Associate Designer: Caroline Dalton

21 November 2026 – 27 February 2027

Ria Jones returns to the Menier to play Lou – she previously appeared at the Menier in Habeas Corpus. Her other theatre credits include Sunset Boulevard (London Coliseum/Leicester Curve/ European tour), Gypsy (Royal Exchange Theatre), Guys and Dolls (Marigny Theatre, Paris), 42nd Street (Curve/Théâtre du Châtelet, Paris), Les Misérables (Palace Theatre/UK tour), Chess (Prince Edward Theatre), Cats (New London Theatre), Evita (Opera House, Manchester), Nine (Donmar), High Society (Shaftesbury Theatre/UK tour), Joseph and the Amazing Technicolor Dreamcoat (UK tour/Hammersmith Apollo), Anything Goes, The Witches of Eastwick, Acorn Antiques (UK tours), Into The Woods (Esplanade Theatre, Singapore), Romance Romance; Victor Victoria (Bridewell Theatre), Personals (New End Theatre), A Twist of Fate (Jubilee Theatre, Singapore), Honk! (Victoria Theatre, Singapore), Jerry’s Girls (St James’s Theatre/ Jermyn Street Theatre), Closer Than Ever (Landor Theatre) and A Little Night Music (Haymarket Theatre, Leicester). Her television credits include Eric and Ernie, Torchwood, The Angina Monologues and Life and Debt.

Sally Ann Triplett returns to the Menier to play Peggy – she previously appeared at the Menier in Take Flight. Her other theatre credits include Top Hat (Chichester Festival Theatre/Royal Festival Hall), Cabaret (KitKat Club), The Witches (National Theatre), Oklahoma! (Wyndham’s Theatre), Cabaret (Lido 2, Paris), Billy Elliot (Leicester Curve), Taboo (London Palladium), Gypsy (Alexandra Palace), Piaf (Nottingham Playhouse/Leeds Playhouse), Anything Goes (National Theatre/Theatre Royal Drury Lane; WhatsOnStage Award), Guys and Dolls (Piccadilly Theatre), Chicago (Adelphi Theatre), Acorn Antiques (Theatre Royal Haymarket), Mamma Mia! (Prince of Wales Theatre), Cats (New London Theatre), Grease (Dominion Theatre), Jolson (Victoria Palace Theatre/Toronto),  Follies (Shaftesbury Theatre), Chess (Prince Edward Theatre), A Damsel in Distress (Chichester Festival Theatre), My Judy Garland Life (Nottingham Playhouse; UK Theatre Award nomination), Next to Normal (Drama Centre, Singapore), Carrie (RSC/Broadway), Much Ado About Nothing (Liverpool Playhouse), Absent Friends (Watford Palace), Becoming Nancy (Alliance, Atlanta), The Last Ship (Broadway/ Chicago), Finding Neverland (Broadway), Sweeney Todd (Barrow Street, Off-Broadway), Cradle Will Rock (Classic Stage Company, Off-Broadway), and Must (Theatre at St. Clement’s, Off-Broadway). Her television credits include Whitstable Pearl, and Down to Earth.

Victoria Wood won more Television BAFTAs than anyone in BAFTA history. She won awards for her stand-up, her drama and her light entertainment programmes. As a stand-up she toured for more than twenty years, and held the record at the Royal Albert Hall for fifteen consecutive sold out shows. In 2005 she wrote Acorn Antiques: The Musical! which had a sell-out run at the Theatre Royal Haymarket starring Julie Walters and Celia Imrie. The subsequent tour in 2006 was directed by Wood. In the same year she wrote the television drama Housewife 49 based on the Mass Observation Diary of Nella Last, which won two BAFTAs and an International Emmy nomination for Wood as Best Actress. Her three-part documentary Victoria’s Empire was shown the following year. In 2011 she wrote and directed the musical That Day We Sang for the Manchester International festival, which was about the famous 1929 recording of Nymphs and Shepherds by the Manchester Children’s Choir. She played the part of Eric Morcambe’s mother in Eric and Ernie, a BBC2 film about the early days of the double act, written by Peter Bowker from an idea by Wood. She also wrote and directed a short film, The Giddy Kipper, for the Little Crackers season on Sky One. Also in 2011, she was honoured with the Women in Film and Television Lifetime Achievement Award, won the Outstanding Contribution to Comedy at the Chortle Awards, was the first woman to receive the top prize from the Writers’ Guild Awards. Also that year at the Comedy Awards, she received the Best Female Television Comic Award for her performance in The Angina Monologues. Her other acting credits include The Borrowers and Case History. In 2012 her drama Loving Miss Hatto was broadcast on BBC1 over Christmas, and she also filmed a two-part documentary about the British love of tea for the channel. In 2014, she adapted and directed That Day We Sang starring Michael Ball and Imelda Staunton for the BBC. She was awarded a CBE in 2008.

Tom MacRae’s theatre credits include Everybody’s Talking About Jamie (Book and Lyrics: Sheffield Theatres/Apollo Theatre/UK tour/Los Angeles – three wins at 2018 WhatsOnStage Awards including Best New Musical, winner of Jack Tinker Award for Most Promising Newcomer at 2017 Critics’ Circle Theatre Awards, winner of Best Musical Theatre Bookwriting at Writers’ Guild Awards 2019, five nominations at 2018 Laurence Olivier Awards including Best New Musical) and Crash of the Elysium (Punchdrunk at the MIF). His television work includes The New Librarians, The Librarians, Fungus the Bogeyman, Threesome, Doctor Who, Bonekickers, Lewis, Marple – At Bertram’s Hotel, Mayo, No Angels, Money Can Buy You Love, School’s Out, As If, U Get Me and Mile High; and for film, Everybody’s Talking About Jamie (BAFTA, BIFA, London Critics Circle nominations).

Jonathan O’Boyle directs. His theatre credits include Million Dollar Quartet (Barn Theatre/Arts Theatre Marble Arch), Barnum (Watermill Theatre/UK tour), Picture You Dead, Calendar Girls: The Musical, Hair, Rain Man, This House (UK tours), Lucie Jones: Live in Concert (London Palladium), Death Comes to Pemberley (Mill at Sonning/UK tour), The Hunchback of Notre Dame (Prince Edward Theatre), Fame (NYMT), Austenland, The Singing Revolution (Savoy Theatre), White Christmas, Top Hat (Mill at Sonning), Pippin (Theatre Royal Drury Lane), Cruel Intentions: The 90s Musical (The Other Palace/UK tour), The Last Five Years (Southwark Playhouse/Garrick Theatre/China tour – Off West End Awards for Best Director of a Musical and Best Musical Production and WhatsOnStage Award nomination for Best Off-West End Production), Proud (Turbine Theatre), The Astonishing Times of Timothy Cratchit (Hope Mill Theatre), Aspects of Love, Pippin (Hope Mill Theatre/Southwark Playhouse), The View Upstairs (Soho Theatre), Peter Pan (Park Theatre), Rasheeda Speaking, bash (Trafalgar Studios), Dear Brutus (Southwark Playhouse), An American in Paris (Dominion Theatre), Fourplay (Theatre503), The Verb ‘To Love’, Made in Britain (Old Red Lion), The Surplus, All The Ways to Say Goodbye (Young Vic), The Monster Bride (Tristan Bates Theatre) and Last Online Today and Guinea Pigs (Sheffield Crucible New Writing Project). His opera work includes Manon (ROH).

LISTINGS INFORMATION  

MENIER CHOCOLATE FACTORY

MIDNIGHT AT THE NEVER GET

Until 12 September

TRU

19 September – 14 November

FOURTEEN AGAIN

21 November – 27 February 2027

MENIER ELSEWHERE

THE PRODUCERS

Garrick Theatre

Until 19 September

SABRAGE

Lafayette London

Until 6 September

Box Office: 020 7378 1713 (£2.50 transaction fee per booking)

Website: www.menierchocolatefactory.com (£1.50 transaction fee per booking)

www.menierchocolatefactory.com

Instagram: @menchocfactory

RUPAUL’S DRAG RACE UK FAVOURITES
VICTORIA SCONE AND RIVER MEDWAY
TO STAR IN KING’S HEAD THEATRE’S
DICK WHITTINGTON AND HIS CAT

RIVER MEDWAY MAKES HER KING’S HEAD THEATRE DEBUT AS QUEEN RAT, WITH VICTORIA SCONE RETURNING TO THE THEATRE AS DRAGPUS
ANDREW POLLARD, WINNER OF BEST WRITER AT THE 2026 UK PANTOMIME AWARDS, RETURNS TO WRITE AND DIRECT FOR A THIRD YEAR
GOLDEN BELLS PAY IT FORWARD SCHEME RETURNS TO HELP MORE LOCAL CHILDREN EXPERIENCE PANTO FOR FREE, FOLLOWING MORE THAN 2,250 FREE SCHOOL VISITS OVER THE PAST TWO YEARS

DICK WHITTINGTON AND HIS CAT RUNS FROM
22 NOVEMBER 2026 – 3 JANUARY 2027
WITH DICK WHITTINGTON: ADULTS ONLY
FROM 26 NOVEMBER 2026 – 2 JANUARY 2027

TICKETS ON SALE NOW

[Thursday 3 September 2026, Islington] Interim Executive Director and CEO Amber Massie-Blomfield, Interim Executive Producer James Quaife, Producer and Programmer Zoe Weldon, and the whole team at King’s Head Theatre are delighted to announce the first casting and creative team for this year’s pantomime, Dick Whittington and His Cat, running from 21 November 2026 – 3 January 2027, with a press performance on Sunday 29 November at 1pm; alongside its strictly grown-up counterpart, Dick Whittington: Adults Only, from 26 November 2026 – 2 January 2027, with a press performance on Friday 27 November at 7pm.

RuPaul’s Drag Race UK favourites Victoria Scone and River Medway will star in both productions, with Victoria returning to the theatre as ‘Dragpus’, following her appearance as ‘Dame Trott’ in last year’s Jack and the Beanstalk, and River making her King’s Head Theatre debut as ‘Queen Rat’.

The production will once again be written and directed by Andrew Pollard, who returns to King’s Head Theatre for a third year following Cinderella and Jack and the Beanstalk, and was the winner of ‘Best Writer’ at the 2026 UK Pantomime Awards

Victoria Scone made history as the first contestant assigned female at birth to compete on RuPaul’s Drag Race UK, appearing in the third series before going on to represent the UK in Canada’s Drag Race: Canada vs The World, where they reached the final four. Victoria returns to King’s Head Theatre following last year’s Jack and the Beanstalk, having previously appeared on stage in productions including The Frogs at Southwark Playhouse. Last year’s King’s Head announcement similarly foregrounded Victoria’s Drag Race history and stage work.

In 2026, Victoria led the cast of Acid’s Reign as ‘Alex Acid’ at Pleasance Theatre London and at the Edinburgh Festival Fringe.

Victoria Scone said: “She’s… back! I’m delighted to return to the King’s Head Theatre stage again this year – mainly because I left my LaDucas backstage! I simply can’t believe how lucky I am to be spending a season with Dick… Whittington! And River Medway will be there! (I think I’m contractually obligated to say that.”

“See you on stage and let’s all hope I don’t mistake a school performance for an ‘Adults Only’ show again – those poor kids.”

River Medway will make her King’s Head Theatre debut as ‘Queen Rat’. She most recently played ‘Jem’ in the UK and Ireland tour of Here & Now: The Steps Musical, having originated the role in the musical’s world premiere at the Alexandra Theatre, Birmingham.

Following her appearance on the third series of RuPaul’s Drag Race UK, River has performed extensively across the UK, including the Pick’n’Mix UK Tour, The Main Event UK Tour and the official Drag Race UK Season 3 Tour.

River Medway said: “I made my panto debut at ten years old in my hometown in Kent and have been in love ever since, continuing until I was 18. My first time ‘in drag’ was playing an Ugly Stepsister in Cinderella – completely miscast. I’ve been a villager, a prince – rude! – and a dame, but never a villain.

“I adore the tradition and the camp that is innate to panto, so I’m super excited to be part of this year’s panto at the iconic King’s Head Theatre in London – just a shame I have to work with Victoria Scone again. She’s obsessed with me!”

Writer and director Andrew Pollard returns to King’s Head Theatre following the success of the theatre’s previous two pantomimes. Last year’s Jack and the Beanstalk followed his 2024 production of Cinderella, which received several five-star reviews and sold out a number of performances.

Andrew Pollard said: “I am delighted to be returning for the third year to write and direct the King’s Head panto. Panto at the King’s Head is a very special thing – perfect as a child’s first introduction to panto, as the venue is intimate and the children can really get up close to the action and the characters. I’m looking forward to working once again with a fantastic production and creative team to produce our little jewel of a panto.

“Dick Whittington is the perfect London panto, with action set in the heart of the city. It’s also one of the very special pantos in that it is based on historical fact – a really unique pantomime experience.

“It will, of course, be filled with funny and endearing characters, lots of comedy and music, and plenty of audience participation! Oh yes, it will!”

Joining Pollard on the creative team are Nicky Bunch as Set and Costume Designer, George W. Parris as Musical Supervisor and Musical Director, Alex Lewer as Lighting Designer and Anna Smart as Sound Designer.General Management is provided by James Quaife for Luminous Entertainment Group.

Alongside the family production, King’s Head Theatre will once again present a separate adults-only version of the show. Building on the popularity of previous late-night pantomime performances, Dick Whittington: Adults Only will offer a naughtier take on the traditional story from 26 November 2026 – 2 January 2027. Last year, the theatre expanded its Adults Only performances in response to audience demand.

Amber Massie-Blomfield and James Quaife said, “We’re absolutely delighted to be bringing pantomime back to the King’s Head Theatre for a third magical year with Dick Whittington and His Cat. Panto is one of the most joyful traditions in British theatre, bringing together laughter, music, magic, and a real sense of community. With the sensational Victoria Scone and River Medway leading the cast, audiences can expect a festive adventure packed with heart, humour, and spectacular entertainment. We can’t wait to welcome families, friends, and the local community through our doors this Christmas to share in the magic together.”

King’s Head Theatre will also continue its commitment to making pantomime accessible to children and families across its local community through its Golden Bells Pay It Forward scheme, raising funds to provide free tickets to those who might otherwise be unable to attend.

The theatre continues its partnership with the Mayor of Islington’s 11 by 11 scheme, which aims to ensure every child experiences at least eleven free cultural activities by the age of eleven. Over the past two years, more than 2,250 schoolchildren have attended King’s Head Theatre for free.

For Cinderella, the theatre raised £4,820 towards free theatre tickets for schools, enabling 855 schoolchildren to attend. In total, 1,405 tickets were distributed through schools and charity and community partners including Tickets for Good, Timpson, Forum+, Switchboard and Black Children’s Initiative.

As part of its wider commitment to keeping tickets accessible, both productions will have a Pay What You Can performance, with £15 tickets available throughout the runs. Further accessible ticket offers are available through the KHT Artists Club, open to those working in the cultural industries, the Under 35s Membership, and the theatre’s N1 Membership for local residents and workers.

Tickets are on sale now, starting at £15.

The theatre is offering Pay What You Can on Wednesday 25 November at 6pm. Family tickets (2x adults and 2x children) are also available for £120 for all performances on all Band A to C seats. For the adults only show, bookers can save 15% when booking 6+tickets in Bands A – C.  Both offers are available for bookings made before 30 September.

Further casting will be announced.

Dick Whittington and his Cat – family show tickets here.
Dick Whittington: Adults Only – tickets here.
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Cambridge Arts Theatre – until Sat 5th September 2026

Reviewed by Steph Lott

5*****

Graham Greene’s classic spy novel “Our Man in Havana” is a satire of Cold War espionage — and this theatrical adaptation at the Cambridge Arts Theatre proves it translates brilliantly to the stage. Clive Francis’s adaptation works really well, capturing the novel’s wit and worldliness for a live audience. What unfolds is a fast-paced, very funny romp that celebrates the sheer fun of theatrical storytelling.

Director Philip Wilson deserves particular credit for the production’s slick energy. His direction maintains a zippy pace throughout, but it’s the lovely little touches of physical humour that truly shine. The four-person cast — Jack Ashton, Bob Barrett, Leon Ockenden and Jodie Steele — don’t merely walk across the stage; they swirl, pirouette and sashay with infectious theatrical flair. This physical comedy adds an extra layer of entertainment to an already engaging production.

There are a lot of theatrical sleights of hand. The small cast performs an impressive feat, playing multiple characters with rapid costume changes and nimble rearrangements of scenery, keeping the audience perpetually on their toes. Julie Godfrey’s set and costume design deserves praise for its effectiveness — she transports us to 1950s Havana, creating atmosphere through clever use of minimal elements that complement rather than compete with the actors’ performances.

The production’s opening moments were a bit tricky. The actors initially speak at such breakneck speed that you struggle to follow who’s who, what’s happening, and what’s being said. It’s disorienting rather than exhilarating, and you worry the entire evening will leave you bewildered. Thankfully, they quickly settle into a more measured rhythm, finding a pace that maintains the zippiness without sacrificing clarity. By the time Wormold’s predicament becomes clear, you’re entirely invested.

The heart of the play — and its funniest moments — belongs to Jim Wormold’s increasingly elaborate fabrications. Desperate for money and cornered by his intelligence handlers, he simply invents the spies and operations they’re demanding from him. Watching him construct these fictional agents, complete with absurd details and wildly implausible scenarios, is comedy gold. The cast milks these scenes for every laugh, and the audience responds enthusiastically. There’s something deeply satisfying about watching a bumbling vacuum cleaner salesman outwit the entire British intelligence apparatus through pure invention and bluffing.

I also appreciated though how the cast navigated the point at which the story takes a dark turn. There are some serious issues at play which were well handled.

What emerges is a thoroughly entertaining evening of theatre. The cast’s obvious enjoyment is contagious, and their dextrous juggling of multiple roles demonstrates real theatrical craftsmanship.

If you enjoy a satirical romp that doesn’t take itself too seriously, this is well worth your time. It’s a slick, satisfying evening that proves Greene’s satirical masterpiece remains as amusing as ever.

BACK ON THE BLOCK!

WEST END ALUMNI CAST RETURN TO CELEBRATE

20 YEARS OF

AVENUE Q

FOR A SPECIAL FINALE REUNION
THURSDAY 17 SEPTEMBER

THE MULTI-AWARD WINNING MUSICAL
MUST END 3 JANUARY 2027
AT THE SHAFTESBURY THEATRE

In celebration of the 20th anniversary of AVENUE Q, West End alumni cast members Julie Atherton, Ann Harada, Siôn Lloyd, Jon Robyns and Giles Terera, will join the current West End company for a special finale performance on Thursday 17 September at the Shaftesbury Theatre. The performance will be dedicated to the memory of Avenue Q’s set designer Anna Louizos. 

There are just 17 weeks left to see the critically acclaimed West End return of AVENUE Q at the Shaftesbury Theatre, where it will play its final performance on Sunday 3 January 2027. The multi-award-winning production returned to London, bringing the original Broadway puppets back to the stage for a limited season to celebrate the 20^th anniversary, and was extended into the new year due to popular demand. 

Producers Kevin McCollum and Jamie Wilson said, “We have been thrilled by the response to AVENUE Q’s return to the West End, and it has been an absolute joy to see a new generation of audiences connect with these outrageously loveable and inappropriate puppets. The show has always celebrated the chaos of growing up, finding your place, and trying to work out what you’re doing with your life, which remains relevant after all these years. We’re enormously proud of this production and hugely grateful to the brilliant company, creatives, crew and audiences who have made this West End run so special. Don’t miss your last chance to take a trip down Avenue Q!”

AVENUE Q stars Emily Benjamin as Kate Monster and Lucy The Slut, Noah Harrison as Princeton and Rod, Meg Hateley as Mrs T and Bad Idea Bear, Oliver Jacobson as Brian, Charlie McCullagh as Nicky, Trekkie Monster and Bad Idea Bear, Amelia Kinu Muus as Christmas Eve and Dionne Ward-Anderson as Gary.

The company is completed by Jasmine Beel, Jonathan Carlton, Angelis Hunt, Lesley Lemon, Jessica Niles Kadi and Joshua Williams-Ward.

The anniversary production is directed by the original award-winning Broadway director Jason Moore, has music & lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty, music orchestrations and arrangements by Stephen Oremus, original Broadway puppets, conceived and designed by Rick Lyon and set design by Anna Louizos. Alongside choreography by Ebony Molina, costume design by Jean Chan, lighting design by Tim Lutkin, sound design by Paul Groothuis, video design by Nina Dunn for PixelLux, musical direction by Benjamin Holder, puppetry coaching by Iestyn Evans and Andy Heath forTalk to the Hand Puppets, hair & makeup design by Jackie Saundercock, casting by Pearson Casting CDG and original West End company member, Julie Atherton,  as Associate Director.

Fresh out of college and searching for his purpose, Princeton ends up in a shabby apartment on New York’s rundown Avenue Q. He quickly meets his new and colourful neighbours where together they navigate the life struggles of work, love and paying the bills in their own hilarious way. 

Irreverent and irresistible, AVENUE Q is the mischievous and charming musical full of infectious songs and loveable characters that will leave you smiling for days.  

AVENUE Q first opened in the West End in 2006 at the Noël Coward Theatre, before transferring to the Gielgud Theatre, followed by the Wyndham’s Theatre, where it played its final performance on 30 October 2010. A special concert production was performed at the Sondheim Theatre in 2024 to celebrate the show’s 18^th anniversary.

AVENUE Q is produced by Kevin McCollum and Jamie Wilson Productions.

Fresh from its acclaimed run at London’s Old Vic and following its triumph as Best New Musical at the Black British Theatre Awards, Sylvia: A Musical Revolution arrives at Leicester’s Curve Theatre carrying all the urgency, energy and innovation that has made it one of the most talked-about musicals of recent years. At the center of this radical retelling of the women’s suffrage movement stands Beverley Knight MBE, reprising her Olivier Award-winning performance as Emmeline Pankhurst. Catching up with her between rehearsals, Knight radiates warmth, greeting me with bright eyes, a luminous smile and a palpable zest for both the role and the story she is helping bring to life for audiences across the UK.

A Revolutionary Spirit

For Knight, the spirit of militancy championed by Emmeline Pankhurst is not about confrontation for its own sake. Instead, she reflected on a lifetime of refusing to accept limitations and expectations imposed by others. Her own form of everyday activism, she explained, lies in showing up, excelling and challenging efforts to typecast her by continually breaking barriers and always staying, in her words, “10 toes down”.

Throughout her career, she has consistently pushed back against attempts to define what she can or cannot do because she is Black and because she is a woman. Unapologetically committed to opposing suppression, rejection or underestimation, that determination is central to her journey, whether carving out a groundbreaking singing career or stepping onto the West End stage. Reflecting on Sylvia, she recalls being questioned about her casting and ‘why a Black woman was portraying a historical white figure?’. Yet, as she observed, this is a production that reimagines history through contemporary forms of music and dance, blending hip-hop, soul and modern movement with historical storytelling. The show itself embraces rebellion, and its casting embodies that same essence.

Rooted in Identity, Powered by Empathy

Knight’s British Jamaican heritage and Wolverhampton upbringing continue to shape every role she inhabits. She spoke with pride about her identity as a Black British woman and about the musical influences that surrounded her from childhood. Growing up in multicultural Wolverhampton also instilled something equally important: an understanding of shared humanity. While cultures, faiths and backgrounds may differ, she emphasised that ‘People are often united by common struggles, aspirations and emotions’. For Knight, theatre at its best broadens perspectives rather than narrowing them. She is propelled by a desire to tell stories through multiple lenses and ensuring that ‘women’s experiences are seen, heard and preserved’. It is one of the reasons Sylvia resonates so strongly with her. Far from viewing the suffragettes as distant historical figures, she believes their fight is alarmingly relevant. The struggle for equality, she suggested, is not a completed chapter but an ongoing conversation, making the themes of the musical as urgent today as they were over a century ago.

The Women Who Lit the Way

When discussing the women who inspired her own journey, her thoughts immediately turned to home.

Her mother, grandmother and older sister are her greatest role models, and she spoke about them with immense warmth and respect. She recalls her family’s courage, their remarkable journey from Jamaica to Britain and the adversity they encountered upon arrival. Despite facing hardship and prejudice, her grandmother and mother persevered with extraordinary resilience.

Her mother went on to build a career in nursing while simultaneously caring for the home, embodying both compassion and determination. Knight reflected that whenever she is faced with obstacles in her own life, she measures them against the difficulties faced by her elders. In comparison, many of her challenges seem far less daunting.

Family, she noted, also sits at the heart of Sylvia. The musical explores the complex relationship between Emmeline and Sylvia Pankhurst, where personal, political and ideological differences threaten to fracture domestic bonds. She finds those tensions profoundly relatable, observing that families everywhere can struggle when outside pressures and internal disagreements collide. Yet she believes balance, understanding and perspective are essential.

Perhaps most touching was the affection with which she describes her sister. While sibling rivalries often dominate popular narratives, she emphasised that their relationship is built on admiration, encouragement and love.

Together, these powerful women gifted her a childhood filled with support and empowerment, laying the foundation for Knight’s pathway to success.

Representation Beyond the Spotlight

Despite her status as one of Britain’s most celebrated performers, Knight is still strikingly humble. When asked about her influence on aspiring performers of colour, she repeatedly shifted attention away from herself and toward the talented women surrounding her within Sylvia.

She highlighted the contributions of director, choreographer and co-writer Kate Prince, co-writer Priya Parmar, and fellow cast members including Naomi Katiyo, Kelly Agbowu, Ellena Vincent and Kirstie Skivington. Their collective achievements, she argued, demonstrates the importance of women occupying positions of creative leadership throughout the industry.

Representation, for Knight, cannot begin and end with casting. She stressed the importance of diversity across every stage of a production’s life, from writing and directing to design and development. True inclusion means ensuring women and people of colour are present and influential throughout the creative process rather than appearing solely in front of an audience.

Supporting others, championing talent and opening doors are simply extensions of what she loves doing. Empathy, encouragement and empowerment come naturally to her.

Dream Roles

Among her dream roles, Maria in West Side Story remains high on the list because of her enduring love for the musical. She also expressed a hankering for the role of Mrs Johnstone in Blood Brothers, drawn to its emotional depth and heartbreaking complexity. Another aspiration is to tackle the role played by Viola Davis in Doubt, a character whose impact far outweighs her screen time.

An Unstoppable Force

Behind the awards and acclaim is someone whose warmth is entirely genuine. As rehearsals intensify and opening night approaches, her down-to-earth nature shows up in the simple moments. When she talks about how the cast’s most pressing concern is deciding where everyone is going to eat, Knight’s infectious, melodic laughter rings out effortlessly. For all the accolades and achievements, it is this humanity and kindness that lingers most after spending time with her.

Looking ahead, Knight shows no sign of slowing down. With exciting film work and a host of creative projects on the horizon, she continues to embrace the future with an astonishing, energetic curiosity. For anyone interested in stories of courage and change, this production promises to be an electrifying night at Curve. Knight brings both passion and purpose to her performance, ensuring Emmeline Pankhurst emerges not as a distant historical figure but as a living reminder of the power of collective action.

And if her boundless enthusiasm is any indication, this revolution is one audiences will not want to miss.

Sylvia: A Musical Revolution opens at Curve Theatre on 24 September 2026.

Curve Theatre Leicester – until 5th September 2026

Reviewed by Amarjeet Singh

3***

Forty-five years after its Broadway debut, Barnum The Circus Musical is still a curious piece of musical theatre. Part biographical portrait, part circus event, it follows the rise of nineteenth-century showman P.T. Barnum, charting his journey from ambitious entrepreneur to global impresario. This touring production, directed by Jonathan O’Boyle with choreography by Oti Mabuse and Matt Nicholson, leans heavily into the latter, presenting a visually rich evening where spectacle often takes centre stage.

What strikes you most is the sheer scale of what is being attempted. Visually, the production is rich and detailed. Lee Newby’s set and costume designs evoke the world of a nineteenth-century circus through deep colours, ornate detailing and a sense of handcrafted showmanship. Jai Morjaria’s lighting complements the action, while Tom Marshall’s sound design ensures that music, vocals and effects remain clear despite the constant activity on stage.

The company are not simply actors performing musical numbers. They sing, dance, play instruments, juggle, balance, climb and execute aerial routines, often within the same sequence. Mabuse’s choreography injects kinetic energy throughout, making the ensemble the undeniable highlight of the evening. The circus elements are undeniably impressive. Aerial work, hoop routines, balancing acts, juggling, physical comedy and a memorable puppet elephant all contribute to an evening filled with visual invention. It is impossible not to admire the concentration and stamina required to sustain performances of this caliber.

Yet once the acrobats stop spinning and the musicians stop playing, the production reveals a hollow interior, trapped inside a muddled script that actively sabotages its own characters. Mark Bramble’s book forces the titular showman to explain the plot directly to the audience rather than allowing events to unfold naturally, transforming a supposed biography into a series of shallow, disjointed snapshots. The timeline in the second half collapses into a rushed jumble. Decades of personal, romantic and political milestones fly by without context, reducing monumental life choices to minor historical footnotes.

This structural weakness leaves the central characters feeling like cardboard cutouts. Matt Rawle works tirelessly in the lead role, singing with conviction and tackling the exhausting demands with charm. However, the writing frames the legendary showman not as a dreamer but as a self-centered, money-focused egotist who shows little real regard for the performers he recruits or the people in his life. Narrative progression is rushed, emotional moments arrive and depart quickly, and several supporting characters are introduced before disappearing almost as rapidly. We barely glimpse the human beings behind his exhibits, with figures such as Tom Thumb and Joice Heth reduced to fleeting appearances, never to be seen again. The treatment of the female leads is particularly frustrating. Monique Young brings grounded vocal strength to Charity, but the character is trapped in a one-note loop of marital disapproval and sudden changes of heart when charmed by Barnum. Charity spends most of the play begging for stability but acquiesces to her husband’s whims in the blink of an eye. Her instantaneous decision to overlook Barnum’s behaviour without apology, atonement, or explanation is ridiculous. Her development is handled with utter callousness. Cy Coleman’s rousing score stays pleasant. Songs including Come Follow the Band, Join the Circus, The Colours of My Life and Love Makes Such Fools of Us, provide welcome momentum, and the multi-talented company works overtime to elevate the material. They deliver moments of genuine wonder that deserve high praise.

However, impressive circus routines alone do not create a convincing piece of musical theatre. Sadly, Barnum The Circus Musical leaves you feeling exactly like one of the showman’s nineteenth-century patrons: dazzled by the razzmatazz but entirely humbugged by the lack of story.

Royal Concert Hall, Nottingham – until 6 September 2026

Reviewed by Lauren Fordham

5*****

‘Annie’ is a story from 1924 about an endearing red-headed orphan in New York whose cruel, impoverished life is transformed when she becomes the beneficiary of the billionaire businessman ‘Daddy’ Warbucks. Warming to her when she is invited to spend the Christmas period at his house, Warbucks vows to help her find her birth parents, who left a locket and a letter saying that they always intended to come back for her. Unfortunately, Annie (played by June Young) almost falls victim to a scam by her former foster mother Miss Hannigan (Claire Sweeney) and her brother Rooster (Elliot David Parkes) and his girlfriend Lily (Amber Kennedy) where the latter pretend to be her parents for a substantial cash reward. The story was made into a musical in 1977. This production is directed by Nikolai Foster.

Colin Richmond’s set design is simple but simultaneously rich in metaphor – lots of jigsaw puzzle pieces are hanging on the stage, perhaps symbolising Annie’s search for the missing piece of her life’s puzzle, her parents. The pieces also look a bit like snowflakes when they are lit in the song ‘A New Deal for Christmas.’

The stage is also made up of a map of New York which Annie and Daddy Warbucks are whisked around through the power of cinema. This lack of unwieldy distracting set pieces encourages the audience to focus on and admire Nick Winston’s choreography, Richmond’s costumes, and the ensemble’s slick moves as yellow-clad cabbies and sailors dance Rockette-style in the number ‘NYC.’

Ben Cracknell adeptly crafts his lighting design to be symbolic and meaningful, from the dreary lighting in the shanty echoing the sardonic song of the homeless people ‘We’d Like to Thank You Herbert Hoover’ to the bright,welcoming lights of NYC and Daddy Warbucks’ home.

Alex Bourne deftly demonstrates Warbucks’ transition from grumpy, narrow-minded, misogynistic loner, believing ‘orphans are boys’ to warm, compassionate father figure, a far cry from the last time I saw him in the West End in 2011, as as ‘We Will Rock You’s dastardly Captain Khashoggi.

Bourne has a great rapport with June Young, who plays Annie, particularly as they dance prior to her adoption, singing ‘Something Was Missing.’ Thematically and lyrically this recalls ‘The King and I’s’ ‘Shall We Dance?’ and the Siamese king is definitely a role that would suit Bourne, should he desire it in the future.

I also want to pay tribute to Tanisha-Mae Brown who plays Grace Farrell, as her operatic vocals evoked Audra McDonald. She could also make easy work of the vocals required of Tuptim in The King and I.

Claire Sweeney makes an endearing villain of  Miss Hannigan, and she showed great movement and rapport with Christian Cooper and Amber Kennedy, particularly in the high-kicking ‘Easy Street.’

Last and certainly not least, June Young is a captivating Annie and clearly has a very sunny future on the stage, as do all the child actors.

As a deaf reviewer, I would have appreciated the cast’s diction being clearer and volume louder to reach the back of the stalls where the wheelchair spaces are but  hopefully that will improve since last night’s preview. Furthermore, I would like to see more real life wheelchair using-actors in wheelchair-user roles like President Franklin Delano Roosevelt. I was also a little disappointed that the gorgeous Amber, who played Annie’s dog Sandy at this performance, didn’t get a curtain call alongside her.

On the whole, this was a fantastic production which definitely cleared away the autumn cobwebs from my brain. Don’t hang on till tomorrow, take the easy street to grab yourself a ticket now,  and you will be smiling from ear to ear, and humming with happiness from head to toe!