TIM RICE AND ANDREW LLOYD WEBBER’S

JESUS CHRIST SUPERSTAR

EXTENDS WITH FURTHER PERFORMANCES

ANNOUNCED FOR THEATRE ROYAL DRURY LANE

THEATRE ROYAL DRURY LANE PERFORMANCES

FROM 16 OCTOBER 2026 – 9 JANUARY 2027

FOLLOWING LONDON PALLADIUM ENGAGEMENT

Sam Ryder performing Gethsemane

to be released as single on Saturday 16 may

Tune in THIS SATURDAY EVENING

to see Sam perform GETHSEMANE

LIVE ON ‘Britain’s Got Talent’ | ITV1 FROM 6pm

london.jesuschristsuperstar.com

Michael Harrison for Lloyd Webber Harrison Musicals is today thrilled to announce Jesus Christ Superstar will extend for a limited 12-week engagement at Theatre Royal Drury Lane from Friday 16 October 2026 to Saturday 9 January 2027, following the conclusion of its summer season at The London Palladium (Saturday 20 June to Saturday 5 September 2026).

Tickets for Theatre Royal Drury Lane dates go on sale today via london.jesuschristsuperstar.com.

Producer Michael Harrison said:
“The response to Jesus Christ Superstar has been nothing short of phenomenal, with demand for tickets at the London Palladium already breaking all time box office records. In light of this I am delighted to confirm that the production will follow its limited Palladium engagement with a further 12-week season at London’s other great iconic theatre, the Theatre Royal Drury Lane, ensuring many more people have the opportunity to experience the extraordinary Sam Ryder in this legendary musical. I am also extremely proud that this is the first time a Tim Rice and Andrew Lloyd Webber musical will have played at the Lane”.

Continuing with Sam Ryder as Jesus at Theatre Royal Drury Lane are Desmonda Cathabel as Mary Magdalene; David Thaxton as Pontius Pilate; Bob Harms as Caiaphas; Matty J as Annas and Phil King as Peter.

The company is completed by: Koko Alexandra, Jasmine Jules Andrews, Courtney Arango, Amy Barker, Alistair Beattie, Daniel Bowskill, Jahlil M Burke, Martha Burton, Marcelo Cervone, Sarah Freer, Sebastian Goffin, Alexander Kranz, Owen Lloyd, Milo McCarthy, Dan Moore, Cherece Richards, Kyle Richardson, Olivia Saunders, Toyan Thomas-Browne, Charley Warburton and Lillie-Pearl Wildman.

Casting for Judas Iscariot, Simon and King Herod for performances at Theatre Royal Drury Lane will be announced at a later date.

You can see Sam performing Gethsemane live this Saturday night, 16 May, when he appears on Britain’s Got Talent, from 6pm on ITV1.

Following this epic live performance, Sam Ryder’s brand-new recording of Gethsemane will be available to listen to on all streaming platforms from Saturday evening. With lyrics by Tim Rice and music by Andrew Lloyd Webber, the record was produced by music legend Fraser T. Smith (Adele, Raye, Dave) alongside Andrew Lloyd Webber and Sam Ryder. Recorded live to tape at British Grove Studios earlier this year, it sees Ryder take on one of musical theatre’s most iconic and challenging songs, showcasing his skill, range and vocal power. 

Tim Rice and Andrew Lloyd Webber’s iconic global phenomenon is directed by Tim Sheader with choreography by Olivier Award-winner Drew McOnie and design by Tony and Olivier Award-winner Tom Scutt. This reunites the creative team of the 2016 production 10 years on to create a unique staging of their Olivier award-winning, worldwide smash-hit production. The production which was originally created and produced at Regent’s Park Open Air Theatre, will play a limited 11-week season at The London Palladium followed by a 12-week season at Theatre Royal Drury Lane.

Jesus Christ Superstar follows the events of the last days of the life of Jesus Christ, as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and the iconic title number ‘Superstar’.

Originally released as an album, Jesus Christ Superstar opened on Broadway in 1971, at the Mark Hellinger Theatre, where it was nominated for five Tony Awards including Best Original Score. The original London production ran for over eight years. By the time it closed, after 3,358 performances, it had become the longest-running musical in West End history at that time. 

Joining director Tim Sheader, choreographer Drew McOnie and designer Tom Scutt on the creative team are musical supervisor Tom Deering,lighting designer Lee Curran, sound designer Adam Fisher, wigs, hair and makeup designers Sam Cox & Maria Johal, fight director Kate Waters and casting directors Grindrod Burton Casting.

Lloyd Webber Harrison Musicals’ recent productions include the smash hit double Olivier-Award winning Evita at The London Palladium last summer which transfers to Broadway in spring 2027, the seven-time Olivier-Award and three-time Tony-Award winning revival of SUNSET BLVD. and Starlight Express, which will embark on a World Tour in spring 2027 after recently concluding its London run. They have just opened CATS: The Jellicle Ball on Broadway to huge critical acclaim and nine Tony-Award nominations; and this summer bring a brand-new production of Andrew Lloyd Webber’s global sensation CATS to Regent’s Park Open Air Theatre ahead of a major UK Tour.

Michael Harrison for Lloyd Webber Harrison Musicals presents the Regent’s Park Open Air Theatre production by arrangement with LW Entertainment. 

Melting Pot and Birmingham Rep Present

CHARLIE BROOKS AND JOE McFADDEN

TO STAR IN

www.curiousonstage.co.uk

Adapted from Mark Haddon’s multi-million-selling novel by

Playwright Simon Stephens

Directed by Ned Bennett

Melting Pot and Birmingham Rep today announce first casting for their new production of The Curious Incident of the Dog in the Night-Time, inspired by the multi-million-selling, internationally acclaimed novel. EastEnders’ favourite Charlie Brooks (best known for her long-running role as Janine Butcher in the soap) and theatre credits including The Ocean at the End of the Lane (National Theatre,UK Tour) and Joe McFadden (BBC’s The Crow Road and Holby City, ITV’s Heartbeat and 2017 Strictly Come Dancing winner) play protagonist Chris’ parents, Ed and Judy.

Opening at Birmingham Rep on Saturday 5 September before embarking on a major UK tour, The Curious Incident of the Dog in the Night-Time is adapted from Mark Haddon’s multi-million-selling novel by acclaimed Playwright Simon Stephens and will be directed by Ned Bennett.

Chris Boone is gifted with a brilliant mind for numbers but unsettled by the unpredictability of people and everyday life. When a neighbour’s dog is discovered killed, Chris comes under suspicion. Determined to prove their innocence, Chris becomes both detective and suspect, drawn into a mystery that grows darker and more complex with every clue uncovered.

What begins as the search for a culprit soon reveals secrets closer to home, forcing Chris to confront truths that will test their courage, family, and understanding of trust, independence, and the wider world. Inventive, gripping, and moving, The Curious Incident of the Dog in the Night-Time combines the intrigue of a whodunnit with a powerful coming-of-age story in an unforgettable theatrical event.

Of her casting, Charlie Brooks says, “I am thrilled to be part of this new production of The Curious Incident of the Dog in the Night-Time, having been a huge fan of the book and Simon Stephens’ previous adaptation. Working alongside such a talented cast and creative team has been both inspiring and rewarding, and I cannot wait for audiences to experience the heart, humour, and humanity at the centre of this remarkable play.”

Joe McFadden continues, “I loved The Curious Incident Of The Dog In The Night-Time when I first read it, and I was completely blown away by the stage production in the West End so I’m absolutely thrilled to be playing Ed in this new tour and can’t wait to bring this brilliant, moving and uplifting story to audiences across the UK alongside such a fantastic cast.”

Director Ned Bennett concludes, “I’m absolutely thrilled to be directing this new production of The Curious Incident of the Dog in the Night-Time. Mark Haddon’s compassionate and extraordinary novel, and Simon Stephens’ moving, inventive, and imaginative adaptation, combine to create a complex play with remarkable emotional precision. I’m excited to be collaborating with this extraordinary cast and creative team – and to be working with the brilliant teams at Melting Pot and the Birmingham Rep.”

Joe McFadden’s theatre credits include: The Shawshank Redemption (UK Tour); 2:22 A Ghost Story (Gielgud Theatre); The Mirror Crack’d (UK Tour); Rocky Horror Show (UK Tour); Treason (London Palladium and Festival Theatre; Edinburgh); Priscilla – Queen of the Desert (UK Tour); The House on Cold Hill (UK Tour); Rent (Shaftesbury Theatre); Rainbow Kiss (The Royal Court) Torch Song Trilogy (Menier Chocolate Factory) How to Succeed in Business Without Really Trying (Chichester Festival Theatre); She Loves Me (Chichester Festival Theatre) and The Missing (National Theatre Scotland). Television credits include:  Holby City; Heartbeat; Casualty; The Crow Road; Sex Chips and Rock n’ Roll; Sparkhouse; Judge John Deed; The Law; High Road & Taggart. His films include: Small Faces and The Trouble With Men And Women.

Charlie Brooks’ theatre credits include: Chitty Chitty Bang Bang (UK Tour); The Ocean At The End Of The Lane (National Theatre); All In A Row (Southwark Playhouse); Monogamy (Park Theatre); Beautiful Thing (Arts Theatre; West End); A Streetcar Named Desire (Curve Theatre); How The Other Half Loves (UK Tour); Contact.com (Park Theatre); Our Country’s Good (Liverpool Playhouse); The Play What I Wrote (UK Tour). Her TV credits include: The Hack; Lie With Me; Bleak House; Wired; Robin Hood; Eastenders; Moving On; Suspects; The Dumping Ground; Love Soup; Heartbeat; Casualty; Angel of Death; Golden Hour; London’s Burning; Out of Tune; The Demon Headmaster. Film includes: The Secret Santa Projects; Fog; Take Three Girls.

After opening at the Birmingham Rep in early September 2026, where The Curious Incident of the Dog in the Night-Time plays from Saturday 5 – Saturday 19 September, the tour then visits Woking, New Victoria Theatre (Tuesday 22 – Saturday 26 September 2026); Brighton, Theatre Royal (Tuesday 29 September – Friday 3 October 2026); Milton Keynes, Milton Keynes Theatre (Tuesday 6 – Saturday 19 October 2026); Nottingham, Theatre Royal (Tuesday 13 – Saturday 17 October 2026); Leicester, Curve Theatre  (Tuesday 20 – Saturday 24 October 2026); York, Grand Opera House (Tuesday 27 – Saturday 31 October 2026); Liverpool, Empire Theare (Tuesday 3 – Saturday 7 November 2026), New Wimbledon Theatre, (Tuesday 10 November – Saturday 14 November), Chichester Festival Theatre, (Tuesday 17 November – Saturday 21 November), Bath, Theatre Royal (Tuesday 24 – Saturday 28 November 2026); Edinburgh, Festival Theatre (Tuesday 12 – 16 Saturday January 2027); Cheltenham, Everyman Theatre (Tuesday 19 – Saturday 23 January), Leeds Playhouse, Tuesday 26 January – Saturday 30 January Sunderland, Empire Theatre (Tuesday 2 – Saturday 6 February), Cambridge, Arts Theatre (Tuesday 9 – Saturday 13 February), Richmond, Richmond Theatre (Tuesday 16 – Saturday 20 February); Northampton, Derngate Theatre (Tuesday 22 – Saturday 27 February); Manchester, Opera House (Tuesday 2 – Saturday 10 March); Glasgow, Theatre Royal (Tuesday 9 – Saturday 13 March); Chester, Storyhouse Theatre (Tuesday 16 – Saturday 20 March); Aberdeen, His Majesty’s Theatre (Tuesday 23 – Saturday 27 March); Shrewsbury, Theatre Severn (Tuesday 6 – Saturday 17 April); Sheffield Lyceum, Tuesday 13 April – Saturday 17 April Bradford, Alhambra Theatre (Tuesday 20 – Saturday 24 April); Cardiff, Wales Millennium Centre (Tuesday 27 April – Saturday 1 May); Aylesbury, Waterside Theatre (Tuesday 4 – Saturday 8 May); Southampton, Mayflower Theatre (Tuesday 11 – Saturday 15 May), Malvern, Malvern Theatre (Tuesday 18 – Saturday 22 May) and Darlington, Hippodrome Theatre, (Tuesday 25 – Saturday 28 May 2027).

Inventive, gripping, and moving, The Curious Incident of the Dog in the Night-Timecombines the intrigue of a whodunnit with a powerful coming-of-age story in an unforgettable theatrical event.

‘Crowd-Pleasing, Life-Affirming And Unmissable’ – The Times

The Curious Incident of the Dog in the Night-Time premiered at the National Theatre in 2012 and immediately received widespread acclaim for its groundbreaking theatrical design, emotional storytelling and sensitive depiction of neurodiversity. It remains one of the most successful and acclaimed British plays of the 21st century and has been seen globally by over 5 million people.

The Curious Incident of the Dog in the Night-Time won seven Olivier Awards in 2013 (equalling the then record, set by the Royal Shakespeare Company’s Matilda), including Best New Play for Stephen’s stage adaptation, Best Director for Marianne Elliott and Best Actor for its star, Luke Treadaway. The play debuted on Broadway at the Ethel Barrymore Theatre in 2014 and scooped five Tony Awards in 2015, including Best Play, Best Direction of a Play and Best Actor. Numerous tours and international productions have followed, including in North America, Europe, Asia, and Australia.

Full casting and creative team to be announced.

The Curious Incident of the Dog in the Night-Time is produced by Melting Pot and Birmingham Rep

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The Grand Theatre Blackpool – until 16 May 2026

Reviewed by Debra Skelton

5*****

Since its debut in London in 1973, The Rocky Horror Show, written by Richard O’Brien, has become a global phenomenon. The production has been staged in cities across the world and was quickly followed by a hugely successful film adaptation just two years after its original opening.

The show opens with an Usherette (Laura Bird) positioned in front of the curtain, performing Science Fiction/Double Feature. This introduction frames the performance as though the audience is about to watch a movie. The set design by Hugh Durrant reinforces this cinematic concept, featuring a backdrop styled like a strip of film, with the orchestra seated above it.

We are introduced to Brad Majors and Janet Weiss, a wholesome, newly engaged couple, setting out on a road trip after attending a friend’s wedding. When their car breaks down during a storm, they seek help at a nearby, ominous castle. Inside, they stumble upon a raucous annual convention hosted by the castle’s residents—strange, flamboyant characters led by the charismatic and provocative Dr. Frank‑N‑Furter, a self‑described Sweet Transvestite from Transsexual, Transylvania.

Brad and Janet are drawn into the chaos as Frank‑N‑Furter unveils his latest experiment: Rocky, a physically perfect man artificially created in a lab. The celebration quickly turns surreal. Brad and Janet are separated, manipulated, and tempted, each confronting experiences that challenge their conservative views on sex, relationships, and self‑control.

The household also includes Frank’s disillusioned servants Riff Raff and Magenta, the mysterious groupie Columbia, and biker‑turned‑rebel Eddie, whose unexpected return disrupts Frank’s plans and escalates tensions inside the castle.

As the story progresses, Frank‑N‑Furter exerts total control over his guests, revealing a deep fear of loneliness and loss beneath his flamboyance. Brad and Janet begin to shed their innocence, exploring desire and moral ambiguity. Eventually, Riff Raff and Magenta lead a revolt, exposing Frank’s true origins and condemning his excesses. The film ends with the shattered survivors crawling through the ruins of the castle, having been permanently changed by the night’s events.

Stephen Webb (who played the leading role of Dr Frank ’N’ Furter) had a really strong and demanding voice. Whenever he appeared it was if he commanded your attention and he didn’t have to try hard to get it. Even during the quieter moments, he still had this intense stage presence that left you wanting more. The chemistry between Haley Flaherty (Janet) and James Bisp (Brad) was evident from the start to finish but also, they gave good depictions of their characters on a separate basis.

The real stand out performance however was given by the Narrator, who at this performance was played by Nathan Caton. The Narrator gets the most interaction with the audience as he comes on stage to help further the plot. As he reads the next part of the story from a big book he carries, he is interrupted by the audience shouting back at him. The way he interacted with the audience was absolutely incredible and his quick, witty responses left me in tears of laughter and wanting more. The comedic timing from him was on point every time as he gave you regional themed jokes and improvisation based on the reaction he got from the audience.

A special shout out also goes to the incredible supporting cast Ryan Carter-Wilson (Riff Raff), Laura Bird (Magenta), Daisy Steere (Columbia), Morgan Jackson (Rocky) and Edward Bullingham (Eddie / Dr Scott).

Ultimately, The Rocky Horror Show is a joyfully queer production with something to offer everyone, whether they’re seasoned fans fluent in every callout or newcomers encountering Dr Frank N Furter for the very first time. The cast deliver an outstanding and unforgettable performance, honouring a legacy that began over fifty years ago at London’s Royal Court Theatre. I can’t wait to don my dancing shoes and do the Time Warp again in the future.

Nottingham Theatre Royal – until Saturday 16 May 2026

Reviewed by Louise Ford

5*****

Bold, stylish and dramatic just as you would imagine Anne Lister to be in real life.

Heading to the Theatre Royal on a frankly wet and cold evening I had time to ponder how the story of Anne Lister could be depicted on the stage through a ballet. Well never in my wildest imaginings could I have expected such a modern and strong telling of a story which only came to light when Anne’s diaries, partly written in code, were deciphered after her death. Although the more scandalous parts were not published until 1988, over a hundred years after she died. The story was brought vividly to life by Sally Wainwright in 2019 for BBC television. Sally also acted as creative consultant on this production.

Anne Lister lived at Shibden Hall, near Halifax. Which is only a stone’s throw away from the home of Northern Ballet in Leeds. So it seems only fitting that this excellent Company should take on the story of an (in) famous Yorkshire woman.

The story weaves together Anne Lister’s business and personal life. The story was brought to the stage by the choreographer Annabelle Lopez Ochoa. The costumes are by Louise Flanagan. The set and lighting design are by Christopher Ash.

Peter Salem’s score is an absolute delight. It is expertly performed by the Northern Ballet Sinfonia, conducted by Daniel Parkinson. The music is an outstanding mix of folk melodies and more traditional ballet music,which enhances and develops the story.

So to the main character Anne Lister; she book ends the production,standing defiantly centre stage in her top hat, slicked back hair, tail coat and silver topped cane. The tail coat flashes its silky green lining as she moves across the stage. The sheer athleticism and strength of Nina Aydinoğlu is awesome. She owns the stage and is a seductive presence. I particularly liked the knowing look and the hat-brim touch (borrowed from the TV series), to the audience, as she leaves the stage.

The story charts Anne’s two main loves Marianne delicately performed by Sarah Chun and in the second half of Ann Walker a flirtatious Julie Nunès. They both contrast beautifully with the masculine strength and presence of Anne Lister.

On the whole the stage is minimally furnished,simple curtains and a chandelier denote the drawing or ball rooms,the outside scenes are projected within three or four mobile screens which travel around the stage,the industrial sites by simple wooden structures. The starkness of the stage allows the ensemble to fill the space with life and dance. Whether this is the group of industrialists performing a tight “male” dance,the miners performing a variation on a morris men’s dance or the chorus of words swirling around as Anne endlessly writes her diary entries.

Curve Theatre, Leicester – until 16 May 2026

Reviewed by Leanne W

4****

Based on the 1992 film of the same name, The Bodyguard musical follows Frank Farmer (Adam Garcia), a former Secret Service agent turned professional bodyguard, who is hired to protect superstar Rachel Marron (Sidonie Smith) from an unknown stalker. Rachel is a headstrong diva who initially resists Frank’s rigid security protocols, viewing them as a hindrance to her career and lifestyle. As the threats from the stalker become more lethal, the professional ice between Frank and Rachel melts, leading them into a love affair. The tension peaks at the Academy Awards, where Frank must make the ultimate sacrifice to save Rachel’s life before they ultimately realise their paths must diverge.

Opening the show is a silhouetted backstory of Farmer, though it was not totally clear who was being depicted, it certainly gripped the audience. Next we are transported to a Rachel Marron gig, complete with distorted bass, flashing lights and pyrotechnics. Smith’s vocals show a real strength and ably mimic the power of Whitney Houston’s voice as she belts out ‘Queen of the Night’. Several times throughout the performance we witness these show-like performances and all are done extremely well creating a real sense of attending a concert. Direction and choreography here show the strength of Thea Sharrock and Karen Bruce respectively. 

One issue I felt with this adaptation is that it appears to sacrifice character nuance in order to showcase the musical numbers. While Rachel Marron is granted some complexity through her dual role as a mother and a target, the supporting cast frequently felt like archetypes rather than fully realised people. By leaning heavily into the “jukebox” format, the script leaves little breathing room for the quiet, internal moments that might explain a character’s motivations, resulting in a narrative where the emotions sometimes felt lacking. The stalker (James-Lee Harris) was reduced to a looming shadow to maintain tension, which removed understanding of his obsession beyond a surface-level “villain” trope. 

Tim Hatley’s set and costume design and use of Neutral Curtains provided a versatile “blank canvas” that allowed the audience to focus on the performers without distracting clutter. The use of dynamic lighting successfully transformed the mood from a cold, high-security mansion to the explosive energy of a world tour. However, some of the projections felt, at times, out of place, as did the use of sudden, loud sound when the Stalker arrived at the cabin where the Morran family were hiding out, the loud bang resulted in laughter and destroyed any hope of creating tension. 

All in all, The Bodyguard serves as a high-octane celebration of Whitney Houston’s peerless discography and the cinematic legacy of the original film. While the narrative occasionally favors spectacle over deep character development, the production’s clever use of staging and brilliant lighting creates an atmosphere that frames the music perfectly.

Despite a few personal niggles, the show ultimately succeeds as a visual and audial delight. For fans of the movie and those who want to hear some great pop hits performed with powerhouse energy, it is an immersive, nostalgic experience that hits all the right notes.

Sadler’s Wells Theatre – until 16 May 2026

Reviewed by Phil Brown 

4****

It goes without saying that Still Pointless, a  25th anniversary show, is virtually an obligatory event for fans of the BalletBoyz.  But, for any fan of dance – classical or contemporary – not already acquainted with the BalletBoyz oeuvre, this superb retrospective (with one new piece) is an absolute must-see.

The genesis of the BalletBoyz adventure is fascinating.  It goes back to the 1997-1999 renovation of the Royal Opera House.  Two principal dancers with the Royal Ballet – Michael Nunn and William (Billy) Trevitt – with an interest in film and photography, took the opportunity to produce a behind the scenes video diary of the process.  Meanwhile, the venue closure and associated career uncertainty also led to the momentous decision to resign from the Royal Ballet and pursue more original, less traditional works of ballet.  Free of the Royal Ballet, they took the finished film to Channel 4 who wanted to air it as Michael & Billy’s Royal Ballet, but eventually launched it as a four part series called BalletBoyz establishing virtually overnight a major entertainment brand.    

With considerable panache, Nunn and Trevitt then launched their first pioneering show called Pointless at the Roundhouse in October 2001 featuring the choreographic work of Russell Maliphant, Bill Forsythe and Paul Lightfoot.

Hence the self referential tongue in cheek title of this show.  With the Roundhouse venture leaving them broke, Still Pointless celebrates an improbable triumph in the world of the arts thanks to perseverance, risk taking, persuasive fundraising and artistic vision.

Having retired from performing, Nunn and Trevitt act purely as artistic directors of the BalletBoyz enterprise.  They don’t choreograph – they commission admired choreographers and composers to create works for their all-male-presenting company of dancers, well named the Talent.  While there are featured dancers, there is no star ranking.   It is very much an ensemble and one in peak condition, yet nearly every one of the ten dancers had a solo or duet during the evening.  In an insightful post performance discussion, they say they refrain from interfering with choreographic decisions, preferring to place certain constraints on the creatives from the outset to focus minds.  As a result, the dance and music seem to bleed into each other to fashion deeply transfixing multi-sensory experiences.

Still Pointless consists of a fine selection of nine works created mostly over the last 15 years, nicely sequenced and cleverly linked by short often humourous recorded conversations and cinéma vérité that relieve the incredible intensity of the stamina testing performances sustained over 2 hours (with interval).   

Part 1 kicks off with the very first BalletBoyz work – Maliphant’s duet Critical Mass dating from 1998 (actually performed on the night by Nunn and Trevitt).  This is followed by Motor Cortex an impressive new work by one of the company Seirian Griffiths, Xie Xin’s beautiful Ripple, Maliphant’s Fallen, and Ivan Perez’s Young Men.  

For me the stand out works were the gently beguiling Ripple mimicking the motion of bodies of water, and the powerful Young Men – a group of young soldiers in an unending cycle of combat and death.  With consistently subdued lighting and largely ambient music or sound samples employed throughout the first part, there are hints of sameness to the three other works which, while wonderfully fluid and fluently performed, are reminiscent of training drills for martial arts or dojo routines. 

The four works in Part 2 offer more variation, less industrial ambient sound and generally something closer to traditional dance steps, in particular Liam Scarlett’s Serpent, and Christopher Wheeldon’s wonderful duet Us.  Maxine Doyle’s Bradley 4.18 examines the different aspects of a man’s personality set to a mashup of cocktail lounge and free jazz whilst Javier de Frutos’ Fiction which closes the show, explores an imaginary scenario of the choreographer’s death before the premiere of his latest work.  It features all ten dancers performing around a single steel barre combining emotional scenes of mourning with high-energy movement, including a memorable, energetic finale dance to Donna Summer’s Last Dance.

The success of BalletBoyz seems incredible to contemplate given the risks Nunn and Trevitt have taken in their careers.  In the post show discussion, they admit to a fearlessness born of not fully appreciating what was involved when they first started.  This show demonstrates beyond doubt how that fearlessness has paid off in consistently producing artistic excellence across a vast array of collaborations.  They should be proud – Still Pointless is a triumph.

Whilst there would be no BalletBoyz without Nunn and Trevitt, the true stars of this show are without question the ten outrageously gifted, athletic, sinewy and fabulously lissome dancers of the Talent – Joshua Attwood, Dan baines, Paris Fitzpatrick, Seirian Griffiths, JJ James, Dylan Jones, Benji Knapper, Luigi Nardone, Kai Tomioka, and Yasset Roldan.

Far from being pointless, this show proves that BalletBoyz was built on a purpose and that purpose remains undiminished.

Hull New Theatre – until 16th May 2026

Reviewed by Dawn Bennett

5*****

There was only twelve episodes of Fawlty Towers filmed for the BBC back in 1975/1976. I must have seen each episode dozens of times. I was introduced to it, at 9 years old, by my grandma who adored all things “Python”, and I soon loved it too. John Cleese’s adaptation of his own television series (co written with Connie Booth) is nothing short of brilliant. It wasn’t just a rehash or copy of the television series. It was a mixture of The Hotel Inspectors, The Germans, Communication Problems and if I’m not mistaken a little bit of Basil the Rat (It’s a hamster!). It was an hilarious show, brilliantly acted and fast paced.

Normally, you don’t get to see the set until the curtain goes up, but we were treated to Liz Ascroft’s fabulous 1970s-inspired hotel from the outset. In full view were the reception area, the dining room one of the hotel bedrooms the hotel sign (which changed its name after the interval!)

Danny Bayne is superb as the bad-tempered hotel owner, Basil Fawlty. His physical comedy is spot on, and he embodies the character so completely that even a look or a slight bend of his body had the audience in stitches.

Mia Austen is fabulous as Sybil Fawlty. She captures Sybil’s voice and mannerisms perfectly.

Joanne Clifton is perfectly cast as Polly Sherman. Her throwaway remarks land beautifully, and her chemistry with Manuel adds an extra spark.

Hemi Yeroham is a delight as Manuel. His impeccable comic timing brings the bumbling waiter to life.

Paul Nicholas is terrific as the always-forgetful Major, delivering the show’s best-loved lines with ease. Jemma Churchill is equally strong as the very hard-of-hearing Mrs Richards, making every misunderstanding count.

The whole cast deserve a huge round of applause, and the production is funny, chaotic, and brilliantly performed. I’ve rarely seen a play staged so seamlessly: the movement is slick, the timing is pinpoint, and every cue is hit.

Even if you’ve never seen Fawlty Towers, this is an excellent night out and one I’d wholeheartedly recommend.

THE ARTS AT MARBLE ARCH | POWERED BY TODAYTIX – FIRST DETAILS REVEALED OF NEW 594-SEAT WEST END VENUE

COMMERCIAL PARTNERSHIPS ANNOUNCED WITH TODAYTIX AND MIROMA LEISURE

TICKETS ON SALE NOW FOR BE LIKE BLIPPI! AND BURLESQUE THE MUSICAL, WITH A MAJOR NEW SHOW ANNOUNCEMENT COMING SOON FOR OPENING IN JULY

https://www.artsatmarblearch.com

Producers Louis Hartshorn and Brian Hook today announce further details for The Arts at Marble Arch powered by TodayTix, a brand-new 594-seat theatre venue set beside the world-famous Marble Arch, between Oxford Street, Hyde Park and the West End.

HH Productions also today announces strategic partnerships with TodayTix and Miroma Leisure, both of whom will play integral roles in the future success and operation of the venue.

TodayTix will provide the box office and premium customer ticketing experience for the venue, alongside integrated marketing technology designed to enhance customer relationship management and audience communications.

Miroma Leisure joins the project as food and beverage consultants, with menu development and customer experience at the heart of their partnership with the venue.

Created by HH Productions, The Arts at Marble Arch powered by TodayTix is a fully accessible, 594-seat, fully air-conditioned theatre featuring a 17-metre-wide stage, two bars and a 14-seat hospitality box. The venue has been designed with sustainability at its core and is currently scheduled to occupy the Marble Arch site until 2028.

Using bespoke modular construction and innovative design, the theatre is fully portable and can be reconstructed in future locations, with an anticipated lifespan of more than 20 years. The structure has been designed to offer a long-term, sustainable model for commercial theatre presentation in high-footfall locations.

Powered by TodayTix, the new venue has been conceived as a major destination for commercial entertainment in central London, bringing ambitious cultural programming to one of the capital’s most prominent public spaces.

Brian Fenty, CEO of TodayTix Group adds, “London continues to set the pace for live entertainment globally, and we see The Arts at Marble Arch powered by TodayTix as an important investment in its future. It’s an opportunity to support bold programming, reach new audiences, and deepen the connection between fans and live theatre.”

As previously announced, the programme will begin this summer with a season of Be Like Blippi! From 5 – 23 August, before welcoming the previously announced West End premiere of Christina Aguilera’s Burlesque the Musical from 12 September, playing until 31 January 2027.

Further announcements will be made shortly, including the first production that will officially open the venue in July.

As the historic Arts Theatre reaches its centenary year and prepares for major redevelopment works at its original home on Great Newport Street, The Arts at Marble Arch will continue its legacy of presenting ambitious commercial entertainment in the heart of London.

Louis Hartshorn and Brian Hook of HH Productions said, “The Arts at Marble Arch powered by TodayTix represents an exciting new chapter both for the Arts Theatre and for commercial entertainment in London.

We wanted to create a future-facing venue in one of the capital’s most iconic locations — a theatre designed for audiences, producers and partners alike: accessible, adaptable, sustainable and capable of hosting world-class entertainment at scale.

We are hugely grateful to Westminster Council, Reed Watts, Osmo Projects, all of the subcontractors involved, and the entire HH Productions team for helping bring this ambitious project to life. This is only the beginning for The Arts at Marble Arch, and we are incredibly excited for audiences to discover the production that will officially open the venue in July – watch this space!”

Website: www.artsatmarblearts.com

Twitter & Instagram: @artsatmarblearch

The Arts at Marble Arch powered by TodayTix – images

A Sheffield Theatres Production in association with Blackpool Grand Theatre

SHEFFIELD THEATRES ANNOUNCE CASTING FOR
SUMMER HOLIDAY THE MUSICAL
Stage adaptation by Michael Gyngell and Mark Haddigan
Based on the film directed by Peter Yates, screenplay by Ronald Cass and Peter Myers

Directed by Elizabeth Newman and Ben Occhipinti 

Sheffield Theatres in association with Blackpool Grand Theatre have today announced casting for their upcoming co-production of Summer Holiday The Musical directed by Sheffield Theatres Artistic Director, Elizabeth Newman and Ben Occhipinti (The Brenda Line, Gypsy, The Secret Garden).

The cast includes Fanta Barrie (The Ministry of Lesbian Affairs) as Barbara, Jim Duah (Good Golly Miss Molly) as Edwin, Ava Duncan (A Bit of Roll Play – Tramway)as Ensemble, Charlie Hale (Come From Away) as Swing, Nis Raza Hamiliton (The Railway Children) as Angie, Robin Harris (Much Ado About Nothing – Shakespeare North)as Steve, Matthew James Hinchliffe (The Lion, the Witch and the Wardrobe) as Al, Damian Humbley (Stephen Sondheim’s Old Friends) as Jerry, George Jones (Witness For The Prosecution) as Don, Elliot Mackenzie (The Curious Case Of Benjamin Button) as Cyril, Jane McCarry (Still Game – BBC)as Stella, Isaac Savage (SCOTS) as Ensemble, Tolia Uwalaka (Wham! The Show) as Swing and Trudy Ward (Gypsy – Pitlochry Festival Theatre) as Mimsie.

The iconic 1960s film is now the feel-good musical of the year!  Aboard a double decker bus, Don and his friends are on a fun-packed trip to Paris, The Alps, Italy and Greece, in search of a good time and a brilliant summer. On the way they encounter pop bands, runaway pop stars and of course holiday romance. Especially adapted for Sheffield and featuring classic hits such as Summer Holiday, The Young Ones and Living Doll, Summer Holiday really is the happiest of all the musicals. 

Sheffield Theatres Artistic Director and Co-Director of Summer Holiday, Elizabeth Newman and Co-director Ben Occhipinti said: “For us, Summer Holiday is pure joy – full of freedom, adventure, music and heart. We’re incredibly excited to bring a fresh new energy to this iconic musical and create a production that feels vibrant, uplifting and bursting with life.”

Adam Knight, Chief Executive of Blackpool Grand Theatre, said: “We’re thrilled to be partnering with Sheffield Theatres and look forward to welcoming Elizabeth Newman and Ben Occhipinti’s outstanding cast to Blackpool Grand from 29 July to 8 August. Summer Holiday is set to be the standout productions of our season, and we can’t wait for audiences to share in its joy, energy, and sheer feel-good spirit.”

The full creative team are: Co-Directors Elizabeth Newman and Ben Occhipinti, Set and Costume Designer Amanda Stoodley, Musical Director Richard Reeday, Movement Director Lesley Hutchison, Lighting Designer Rory Beaton, Sound Designer Tom Marshall, Associate Director Eilidh Gibson, and Casting Director Arthur Carrington CDG. 

Stage adaptation by Michael Gyngell and Mark Haddigan. Based on the film Summer Holiday, directed by Peter Yates, screenplay by Ronald Cass and Peter Myers and by special arrangement with StudioCanal. Orchestrations by Keith Strachan. Presented by arrangement with Music Theatre International on behalf of Josef Weinberger Limited.

Summer Holiday opens at the Crucible, Sheffield from Saturday 20 June and runs until Saturday 18 July. The production then transfers to Blackpool Grand Theatre from Wednesday 29 July – Saturday 8 August. 

Diana: The Untold and Untrue Story makes triumphant
London and Edinburgh Fringe return!

Awkward Prods’ royal hit is back both in London and at the Edinburgh Fringe due to diconic demand, following its sold out NYC run this year. The show, that sees Linus Karp as the People’s Princess, is heading to London’s Arcola Theatre 6-11th July, followed by its return to the Edinburgh Fringe where it plays at Underbelly George Square, for the final week of the festival 24-30th August.

Awkward Prods’ multiple award-winning, Edinburgh Fringe 2023 sell-out show Diana: The Untold and Untrue Story became an immediate cult hit with UK audiences for its unique audience participation and staggeringly camp portrayal of the royals. The show has won an OffFest Award for Best Play and the prestigious LAURA Award and has enjoyed four UK Tours, sell-out runs in London and New York, and a World Tour across four continents. The show features special multimedia appearances from a cast including Geri Allen (Oh Mary!), Zina Badran (Doctor Who), Jeanna de Waal (Diana: The Musical) and Rob Madge (My Son’s a Queer), the latter voicing Mother Teresa.

Through a comedic and unhinged lens, the show highlights Diana’s ground-breaking stances on social and queer issues and allows her to finally speak her (un)truth and break free from the monarchy. Told by Diana from heaven, Diana: The Untold and Untrue Story is “so much more than just a show. It’s an experience. It’s a lifestyle. It is the moment” (The Reviews Hub – ★★★★★)

Awkward Prods was created by Linus Karp and Joseph Martin to bring ridiculous genre-mixing comedy, niche pop culture references, audience participation and queer joy to the stage.

Diana is currently enjoying a UK and Ireland tour, alongside Awkward Prods’ latest show The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)). At the Edinburgh Fringe she will also be joined by a highly anticipated new show from Awkward Prods called Linus Karp Was Hit With An Umbrella, about the real life hate crime Linus was a victim of.

Their past shows include Gwyneth Goes Skiing and how to live a jellicle life: life lessons from the 2019 hit movie musical ‘Cats’. These shows have all achieved sold-out runs, toured the UK extensively, received international media coverage and won awards. An Awkward Prods shows isn’t performed for you, it’s performed with you – making each one unique.

Linus Karp, the show’s writer, director and Diana comments “I am Di-lighted that people love Diana and this show as much as I do. Looking forward to a diconic summer at Arcola and Underbelly.”

Social media @awkwardprods #UntrueDiana
https://www.awkwardprods.com

Praise for Diana: The Untold and Untrue Story:
Outrageous Triumph – Edgar Wright
An unhinged, gay fantasia – Playbill
★★★★★★ An endless amount of non-stop laughter – Jack The Lad
★★★★★ Serving c*** – Attitude
★★★★★ A masterclass – The Skinny
★★★★★ The most unhinged piece of theatre in existence – Broadway Baby
★★★★★ Perfectly imagined and brought to life on stage with vision and heaps of silliness – The National