THE OLIVIER AWARD-NOMINATED INTERNATIONAL SMASH HIT

THE CHOIR OF MAN

RETURNS TO LONDON THIS CHRISTMAS

WORLDWIDE HIT RETURNS TO THE CAPITAL FOLLOWING ITS FIRST UK & IRELAND TOUR

THE JUNGLE WILL OPEN AT
THE ARTS AT MARBLE ARCH:POWERED BY TODAYTIX

10 DECEMBER 2026 – 14 FEBRUARY 2027

www.choirofmanwestend.com
TICKETS ON SALE NEXT WEEK

[Friday 28 August 2026, London] The producers of the Olivier Award-nominated international smash hit musical THE CHOIR OF MAN are delighted to announce that the show will return to London this Christmas, opening at Arts at Marble Arch, powered by TodayTix, on Thursday 10 December 2026, playing until Sunday 14 February 2027, with a press night on Wednesday 16 December.  

The London season follows THE CHOIR OF MAN’s first ever UK & Ireland Tour, which opened at New Wimbledon Theatre in March 2026 and is currently taking The Jungle to audiences across the country and Ireland. The tour continues through the autumn, culminating at Edinburgh Festival Theatre in December, immediately ahead of the show’s return to the capital.

THE CHOIR OF MAN’s West End journey began at the Arts Theatre in October 2021. Across more than 1,000 performances, the show welcomed over 280,000 audience members and received an Olivier Award nomination for Best Entertainment or Comedy Play, before concluding its most recent West End run in January 2026.

Nic Doodson, Creator and Director of THE CHOIR OF MAN, said, “We’ve always said that home isn’t really a building; it’s the people who know your name, pull up a chair, fill your glass and make room for you exactly as you are. For a long time, one particular corner of London felt like home to us, and we’ve really missed it.

“So it feels incredibly special to be bringing The Choir of Man back to the West End, opening the doors to our brand-new pub at the Arts at Marble Arch. It may be a new pub and a new chapter, but the feeling at the heart of the show remains exactly the same: whoever you are, and wherever you’ve come from, there will always be a place for you at our table.

“London, we’re coming home — and we can’t wait to see you at the bar.”

Set in on-stage pub The Jungle, THE CHOIR OF MAN is the best trip to your local you’ll ever have. Here, a cast of nine (extra)ordinary guys combine beautiful harmonies and foot-stomping singalongs with world-class tap dance and soulful storytelling.

Featuring hits from artists including Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns N’ Roses, Avicii and Katy Perry, this uplifting celebration of community and friendship offers something for everyone – including free beer. It’s feel-good, foot-stomping entertainment celebrating the power of music, friendship and finding your people.

Since its creation, THE CHOIR OF MAN has become an international stage sensation, playing three sell-out seasons at the Sydney Opera House alongside multiple sold-out tours across the US and Europe. Its first UK & Ireland Tour launched in March 2026, taking the show to more than 30 towns and cities across England, Scotland, Wales and Ireland.

Tickets for the London season will go on sale next week, and casting for the London season will be announced separately.

THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with musical supervision, vocal arrangements and orchestrations by Jack Blume, movement direction and choreography by Freddie Huddleston, monologues written by Ben Norris, scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and co-scenic design by Verity Sadler, sound design by Sten Severson and casting by Debbie O’Brien.

The London season is produced by HH Productions, Nic Doodson, Andrew Kay, Global Creative and Kenny Wax.

LAST CHANCE TO SEE

HOT MESS: A NEW MUSICAL

PLAYING AT THE OTHER PALACE

UNTIL SUNDAY 6 SEPTEMBER 2026

‘ONE IN A TRILLION’

BRAND NEW TRACK RELEASED ON SPOTIFY,

PERFORMED BY

MORGAN GREGORY AS HUMANITY

MUSIC AND LYRICS BY JACK GODFREY

BOOK AND DIRECTION BY ELLIE COOTE

TICKETS AVAILABLE HERE

[Friday 28 August, London] Producers Vicky Graham, Birmingham Hippodrome, and Aria Entertainment are delighted to announce the release of “One in a Trillion” a brand-new track from the multi-award-winning 5-star new musical Hot Mess, closing next week on Sunday 6 September at The Other Palace.

After a billion years of bad dates, Earth has finally found the one… Humanity. Sparks fly. Seeds are sown. Ground is broken. But what begins as a passionate love affair between the universe’s most iconic couple quickly descends into a hot mess.

An original pop musical about love, hope, and the ultimate break up.

Created by the award-winning duo behind 42 Balloons, Jack Godfrey and Ellie Coote, Hot Mess is a high-energy original romcom that reimagines the climate crisis as a turbulent love story between Earth and Humanity.

Vicky Graham said, on behalf of the producers, “It has been incredibly exciting to see audiences embrace Hot Mess throughout this London run, and we’re so proud of everything Jack, Ellie and this brilliant company have achieved.

‘One in a Trillion’ was newly created for this production at The Other Palace, and Morgan Gregory makes it a true showstopper with his incredible vocals. 

Releasing the track as a single feels like the perfect way to celebrate these final performances in London, and to give audiences another piece of the show to take away with them. 

This may be the end of this particular chapter, but there are lots of conversations happening about what comes next for Hot Mess – so watch this space!”

One in a Trillion is performed by Morgan Gregory, with music and lyrics by Jack Godfrey. Godfrey also serves as music producer and co-orchestrator, alongside Joe Beighton as co-orchestrator and music producer. Sam Featherstone is recording engineer, mixing engineer and music producer, with Leo Aram-Downs on guitar and mastering by Ste Kerry.

Danielle Steers (Just for One Day, Six the Musical, Bat Out of Hell) stars as ‘Earth’, following her acclaimed performances in the show’s sell-out Edinburgh Fringe premiere and subsequent Southwark Playhouse transfer. Morgan Gregory (The Lightning Thief: The Percy Jackson Musical, UK tour, Back to the Future, original West End cast at the Adelphi, 42 Balloons, Lowry, and Newsies, Troubadour Wembley Park) stars as ‘Humanity’. Mia Quimpo (Pippin, Upstairs at the Gatehouse) is cover ‘Earth’ and Nathan Shaw (Mamma Mia! The Party, and The Rocky Horror Show UK and International tour) is cover ‘Humanity’.

The production features music supervision and co-orchestrations by Joe Beighton, choreography by Alexzandra Sarmiento, set design by Shankho Chaudhuri, lighting design by Ryan Joseph Stafford, audio production and sound design by Paul Gatehouse, costume design by Sarah Mercadé, musical direction by Sara De Sanctis, casting by Pearson Casting CDG and intimacy coordination by Lex Kaby. The dramaturg is Deirdre O’Halloran, with Lydia Cook as Associate Director and Taz Hoesli as Associate Choreographer, Phil Burke as Associate Lighting Designer, Charlie Smith and Richard Pomeroy as Associate Sound Designers, and Ciéranne Kennedy-Bell as Costume Supervisor. Rosie Morgan is Company Stage Manager, with James Anderton as Production Manager and Byron Ladd-Carr as Sound No.1.

Hot Mess is produced by Vicky Graham Productions, Birmingham Hippodrome, Aria Entertainment, Pascal Ultee Productions, Broadway Asia International, TRW Production, Willette Klausner, and RJG Productions as General Managers.  

Instagram: @hotmessmusical

Tiktok: @hotmessmusical

Original cast recording available here: https://slinky.to/HotMess

Rosie O’Donnell Joins the Producing Team of 

London Bound Musical 

Indigo

Emmy Award winner and autism advocate signs on to co-produce the new musical, which is planning a London premiere in 2027

Emmy Award-winning entertainer and longtime autism advocate Rosie O’Donnell has joined the producing team of Indigo, a new original musical about an unconventional family told through the eyes of a non-speaking autistic teenager. The announcement was made today by the production, led by Lorenzo Thione, Joey Monda, and Jay Kuo of Sing Out, Louise! Productions.

O’Donnell decided to join the production in reaction to her experience of the UK premiere of the show, which took place at the Leicester CURVE in 2025. 

“INDIGO is the most beautiful and authentic depiction of autism in a kid as I have ever seen. This story needs to be seen by the world.” – Rosie O’Donnell

“Rosie has spent years speaking candidly and with humour about neurodivergence to millions of people, in her own voice and on her own platforms,” said Thione. “Now she is bringing that voice and the community she has built to Indigo and inviting them to experience this incredible story for themselves. We couldn’t be prouder of welcoming Rosie to the Indigo family.”

A DIRECT LINE TO THE NEURODIVERGENT COMMUNITY

O’Donnell has built one of the most direct parent-to-parent channels on autism and neurodivergence anywhere on social media. On TikTok, where she posts as @rosie to an audience of roughly 3 million followers, she speaks candidly and near daily about neurodivergence, about parenting a child on the autism spectrum, and about how autistic people are portrayed and misrepresented, on screen and in the press.

Her advocacy extends well beyond social media platforms. In 2025 she produced Unleashing Hope: The Power of Service Dogs for Children with Autism; a documentary that followed families, including her own, through the Guide Dogs of America service dog program. It was released on Hulu during Autism Awareness Month.

ABOUT INDIGO

Elaine is starting to forget. Beverly wishes she wouldn’t remember. Emma just wants her family back.

Heralded as “a thing of beauty that lifts the spirits and warms the heart,” Indigo is an emotional exploration of the true meaning of family in a complex, neurodiverse, and not always easy world. Three generations of women navigate a life of mistakes, broken promises, and ultimately, their need to reach one another. Emma’s internal experience, in a world awash with color, allows the audience to experience life from her perspective, even while she remains silent to the outside world, as a non-speaking neurodivergent teen. A celebration of empathy, family bonds, and embracing new perspectives, Indigo feels like a story that’s familiar and relevant to each and every one of us.

The musical tackles deeply meaningful human subjects: autism, Alzheimer’s, addiction, loss, and the unbreakable ties of family. It does so with a stunning score and breathtaking design that immerses audiences in Emma’s sensory world of color and light.

Indigo has a book by Kait Kerrigan (The Great Gatsby, The Time Traveller’s Wife), music & lyrics by Scott Evan Davis (ASCAP, MAC & MTI Award winner), is conceived by Jay Kuo, Lorenzo Thione & Scott Evan Davis, with direction by Catie Davis (Beetlejuice, Moulin Rouge, Company); music supervision & orchestrations by Brad Haak (Mary Poppins, An American in Paris), scenic & video design by Tony & Olivier Award-winner Andrzej Goulding (& Juliet, Life of Pi, Groundhog Day), lighting design by Jake DeGroot, and sound design by Matt Peploe (Starlight Express, We Will Rock You). 

A COMMITMENT TO AUTHENTIC REPRESENTATION

From its earliest days, Indigo has been developed in close collaboration with the autism and neurodivergent communities. Composer and lyricist Scott Evan Davis has a longstanding personal connection to the autism community, as an educator and board member of Epic Players, the pre-eminent US neurodivergent theater company, and the production has engaged neurodivergent artists throughout its creative process, both on and off the stage. In Leicester, as in every iteration prior, the actors who have played the leading role of Emma are themselves neurodivergent; a casting commitment held since the first national search.

O’Donnell’s involvement deepens that commitment. She comes to the work not as an observer, but as a parent and advocate who has used her platform to support neurodivergent kids and their families, in addition to her long-standing involvement with stage and film.

“When we first conceived Indigo, our goal was never to explain autism to an audience. It was to tell the story of a kid who is not a victim, who is not broken and doesn’t need to be changed. It was to invite an audience in to feel what Emma feels and to see the world from her eyes,” said Davis. “Rosie has spent years speaking up for neurodivergent kids to be seen for who they really are. Having her on our team is a reaffirmation of our goal and commitment.”

ABOUT ROSIE O’DONNELL

Rosie O’Donnell is an Emmy Award-winning comedian, actress, producer, and advocate. She hosted and executive produced The Rosie O’Donnell Show for six years, winning 12 Daytime Emmy Awards across its run for Outstanding Talk Show Host and Outstanding Talk Show, and later served as a moderator on ABC’s The View.

She has hosted the Tony Awards three times (1997, 1998 and 2000), winning a Primetime Emmy for Outstanding Variety, Music or Comedy Special for the 52nd Annual Tony Awards. On Broadway she has appeared in Grease, Seussical, and Fiddler on the Roof, and served as lead producer of Taboo.

In 2003 she founded Rosie’s Theater Kids, which provides free theater and life-skills instruction to New York City public school students. The Tony Awards honored her with the Isabelle Stevenson Award in 2014 for her commitment to arts education, and in 2015 First Lady Michelle Obama presented Rosie’s Theater Kids with the National Arts and Humanities Youth Program Award at the White House.

She most recently produced the documentary Unleashing Hope: The Power of Service Dogs for Children with Autism for Hulu and reaches an audience of millions on TikTok as @rosie, where neurodivergence and autism representation are recurring subjects.

ABOUT SING OUT, LOUISE! PRODUCTIONS

Sing Out, Louise! Productions is a New York-based theatrical production and general management company led by Lorenzo Thione, Joey Monda, and Jay Kuo.

Sing Out, Louise! producing credits include the Broadway productions of Days of Wine and Roses and Allegiance, which starred George Takei and Lea Salonga and was based on the true events of Mr. Takei’s life, and later that of the box-office-breaking London run of the same, in which Takei made his West End debut at 86. In addition, its co-production credits include Hadestown (Tony Award), The Inheritance (Tony Award), A Strange Loop (Tony Award), Slave Play (Tony Nom), & Juliet(Tony Nom), Mrs. Doubtfire, The Notebook, and many more, in both the US and the UK. 

In addition to Indigo, Sing Out, Louise! is currently developing the original musical Midnight at the Palace (Edinburgh Fringe, 2025), and the original play, Relentless (Syracuse Stage, 2025),and is currently working to bring the Olivier Award-winning Showstopper! The Improvised Musical to the Broadway in the 2027/2028 season.

NANNY McPHEE
IS COMING TO THE STAGE!

WORLD PREMIERE OF NEW MUSICAL
WRITTEN BY EMMA THOMPSON

TO OPEN IN LONDON IN SUMMER 2027

SIGNUP FOR MORE INFORMATION AT
NannyMcPheeTheMusical.com

Thursday 27 August, London: The world premiere of a brand-new musical stage adaptation of Nanny McPhee, with a book by Academy Award®-winning actor and screenwriter Emma Thompson, will open in London in summer 2027.

Based on the beloved Universal Pictures/Working Title Nanny McPhee films, and the Nurse Matilda character by Christianna Brand and Edward Ardizzone that inspired them, the new musical will bring the magical world of Nanny McPhee to the stage for the first time.

When the mysterious figure of Nanny McPhee arrives at the Browns’ door she discovers a household in chaos; anarchic children who have driven away every Nanny before her, a desperate father, a donkey that is out of control, and a baby who will stop at nothing. Armed with her strange knobbly stick, exceedingly unorthodox methods and quite a lot of magic, Nanny McPhee begins to restore harmony. And as it turns out, the children aren’t the only family members who have lessons to learn. 

Working Title Films first brought Nanny McPhee to the screen in the 2005 film written by and starring Emma Thompson, alongside Colin Firth, Angela Lansbury, Kelly Macdonald, Imelda Staunton and Thomas Brodie-Sangster. Thompson returned to write and star in the 2010 sequel Nanny McPhee and the Big Bang.

A world-class creative team has been assembled to bring Nanny McPhee to the stage including book by Academy Award®, BAFTA, Golden Globe and Emmy Award-winning actor and writer Emma Thompson (who won anAcademy Award® for Best Adapted Screenplay for Sense and Sensibility), music by singer-songwriter Gary Clark (frontman of the band Danny Wilson who wrote the music for Sing Street on stage and film), with original lyrics by Emma Thompson and Gary Clark.

Emma Thompson said: “I’ve lived with Nanny McPhee for so long that to see her finally tread the boards is supremely exciting. Theatre feels like her natural home – magic, music, mischief and a good dollop of danger can all happen right in front of you. Working with Gary Clark to create the musical heart that beats through the story has been an unforgettable journey of a lifetime. And I am thrilled and so proud that the brilliant Katy Rudd will be bringing it all to life with her inimitable witty wonderment. I can’t wait to introduce the all-new Nanny McPhee to audiences next summer.”

Nanny McPhee will be directed by Katy Rudd (Ballet Shoes and The Ocean at the End of the Lane), with set and costume designs by the Tony and Olivier Award-winning Rob Howell (Matilda the Musical) and choreography by Ellen Kane, who won the 2023 World Choreography Award for Best Motion Picture Choreographyfor her work on the film adaptation of Matilda the Musical.

The award-winning creative team also includes orchestrations by Tony and Olivier Award-winning Simon Hale (Spring Awakening, Girl From the North Country), music supervision by Nigel Lilley (Follies, Next to Normal, Newsies), with music arrangements by Simon Hale and Nigel Lilley. Lighting is by multi award winning designer Howard Hudson (& Juliet, Starlight Express and Natasha, Pierre & the Great Comet of 1812), sound designs by Olivier and Tony Award-winning Ian Dickinson for Autograph (Company, Angels in America, Jerusalem), illusions by Chris Fisher, an award-winning illusion and visual effects designer and a member of The Magic Circle (Stranger Things: The First Shadow, Back to the Future: The Musical, Harry Potter and the Cursed Child), puppetry by Samuel Wyer (Wolf, Witch, Giant, Fairy and The Ocean at the End of the Lane), projections by Tony and Olivier Award-winning Andrzej Goulding (Life of Pi, & Juliet, Groundhog Day) and casting by What’s On Stage Award-winning Natalie Gallacher CDG (for Pippa Aillon and Natalie Gallacher Casting) (Come From Away, Spring Awakening). The show will be general managed by Playful Productions. 

Nanny McPhee  is presented by Working Title Films and Universal Theatrical Group. The show is produced by Tim Bevan, Eric Fellner, Lindsay Doran, Emma Thompson, Paul Warwick Griffin, Gareth Hewitt Williams and Rebecca Quigley for Working Title Films.

Further information, including the theatre, performance dates and casting will be announced in due course.

To be first in line for updates and tickets, signup at nannymcpheethemusical.com.

THE DEVIL WEARS PRADA WILL EXTEND ITS 

FASHIONABLE REIGN ONCE AGAIN

 NOW PLAYING UNTIL 25 SEPTEMBER 2027 

AT THE DOMINION THEATRE

The Dominion theatre will continue to be the chicest place in the West End, as The Devil Wears Prada The Musicalwill be extending its London run until 25 September 2027. 

With London Fashion Week approaching, and Runway’s exciting new leadership soon to be announced, Matt Henry will also be remaining in his FROW position as Nigel until February 2027. If he is ever allowed to leave remains to be seen.

Packed with high fashion and theatrical flair, The Devil Wears Prada continues to redefine what audiences can expect from a musical. The production features more than £1.5 million worth of fashion, showcasing iconic designer labels including Dior, Vivienne Westwood, Alexander McQueen and Balmain, alongside expertly sourced vintage and second-hand pieces. Renowned British footwear brand Terry de Havilland has supplied more than 80 pairs of shoes for the show, with the designer known for creating shoes for Elton John. 

Opening in the West End in December 2024, The Devil Wears Prada: The Musical has become the fastest‑selling show in the Dominion Theatre’s history, selling more than 1.2 million tickets to date. The show will also celebrate a major milestone on 23 September 2026, when it reaches its 800th performance.

The groundbreaking musical continues to take the West End by storm having also released its first original cast recording last year, available HERE, which includes two unheard Elton John original demos and charted as the #1 new release on the compilations chart. 

The Devil Wears Prada has anaward-winning creative team led by Elton John (Tammy Faye, Billy Elliot: The Musical, The Lion King), new direction & choreography by Jerry Mitchell (Kinky Boots, Legally Blonde, Pretty Woman, Hairspray), lyrics by singer-songwriter Shaina Taub (Suffs) and Mark Sonnenblick (Theatre Camp), book by Kate Wetherhead (Ever After, Submissions Only), set design by Tim Hatley (Life of Pi, Back to the Future), costume design by Gregg Barnes (Some Like It Hot, Legally Blonde), lighting design by Bruno Poet (The Tina Turner Musical, Frankenstein), sound design by Gareth Owen (Come From Away, & Juliet) and casting by Jill Green CDG. 

The production opened at Theatre Royal Plymouth prior to arriving in the West End last summer, from 06 July – 17 August 2024.

Fresh out of college, aspiring journalist Andy scores a job at the prestigious Runway magazine working for fashion’s most powerful and terrifying icon — editor-in-chief Miranda Priestly. Sacrificing her personal life to meet Miranda’s impossible demands, Andy finds herself seduced by the glamorous world she once despised. How far will she go to succeed… and will it be worth selling her soul to get what she’s always wanted?

The musical is based on Lauren Weisberger‘s best-selling 2003 novel and the 2006 blockbuster film from Twentieth Century Studios which went on to gross $326 million worldwide and received two Academy Award nominations. The sequel, The Devil Wears Prada 2 was released on 01 May 2026 with its original leading cast, Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci all reprising their roles. 

Hilariously fun and fabulously stylish, The Devil Wears Prada tells an inspiring story about discovering what kind of person you truly want to be. Choose your outfit carefully and get ready for a musical that’s hautter than hell!

The Devil Wears Prada is produced by four-time Tony Award winner Kevin McCollum (Mrs. Doubtfire, In the Heights, Avenue Q and Rent), David Furnish (Tammy Faye, Billy Elliot: The Musical) and Jamie Wilson (Into The Woods, Mrs Doubtfire, Two Strangers)as a co-production with Theatre Royal Plymouth and presented by special arrangement with Buena Vista Theatrical. 

GROSVENOR PARK OPEN AIR THEATRE, CHESTER – UNTIL SUNDAY 6TH SEPTEMBER 2026

REVIEWED BY MIA BOWEN

5*****

After what felt like the longest heatwave, the cooler evening at Grosvenor Park Open Air Theatre was a welcome relief. There really is something magical about this venue on a summer’s evening. Audiences relaxed beneath the trees with wood-fired pizzas, glasses of prosecco and the unmistakable buzz that only live theatre can create. It was the perfect setting for Jessica Swale’s Nell Gwynn.

I’ll admit I knew very little about the play before arriving, but I quickly discovered a witty, heartwarming and thoroughly entertaining production. Blending historical drama, romantic comedy and backstage farce, Nell Gwynn tells the remarkable story of one of England’s first actresses. If Bridgerton, Shakespeare in Love and a mischievous episode of Horrible Histories had a theatrical love child, this would be it.

The story follows Nell, an orange seller whose sharp wit and natural charisma unexpectedly launch her onto the stage just as women are finally being allowed to perform in English theatres. What follows is a joyous mix of backstage chaos, royal romance and clever comedy, while also celebrating a woman determined to forge her own path in a male-dominated world.

The production never loses its pace, balancing laugh-out-loud moments with genuine warmth and emotion. Jessica Swale’s script is packed with witty dialogue, but also shines a light on an important moment in theatre history without ever feeling like a history lesson.

The entire cast is exceptional, but Guy Woolf is the undeniable standout as King Charles II. Rather than portraying him as a stern monarch, Woolf gives us a king full of charm, humour and irresistible swagger. His cheeky grin, effortless comic timing and natural charisma make every scene sparkle. He perfectly captures a man who seems just as interested in enjoying life as he is in ruling a kingdom, making it easy to understand why everyone around him is captivated.

Stanton Wright is equally memorable as Edward Kynaston, the celebrated actor horrified by the arrival of women on the stage. His outrage at the changing times is comedy at its finest. Every dramatic sigh, flamboyant flourish and exaggerated tantrum is delivered with impeccable timing, creating a wonderfully pompous character whose oversized ego provides some of the evening’s biggest laughs. Wright throws himself into the role with infectious enthusiasm, making Kynaston’s spectacular meltdowns utterly irresistible.

The wonderful combination of period music and beautifully detailed costumes perfectly captures the spirit of Restoration England, immersing the audience in a world that feels vibrant, colourful and wonderfully alive.

Nell Gwynn is funny, charming, romantic and surprisingly moving. It’s a celebration of theatre itself and of a remarkable woman who helped change it forever. Grosvenor Park Open Air Theatre has once again delivered a wonderfully entertaining evening under the stars that leaves audiences laughing, smiling and wanting more.

Leeds Grand Theatre – until Saturday 29th August 2026

Reviewed by Adam Craddock

3***

Last night I had the pleasure to once again be invited along to the wonderful Leeds Grand Theatre to review the latest leg of the UK tour of Cole Porter’s “High Society”. Having never seen the film but being fully aware of its reputation I was extremely excited to see this show and I have to be straight up from the start… I have mixed feelings. 

Lets start with the positives, and believe me when I say it the high points in this show really are high, mostly of all the absolutely jaw dropping Julian Ovenden as the male lead “Dexter Haven”. I was aware of Ovenden as a performer but had never seen him on stage before and all I can say is… wow. I don’t think in my 27 years of life I have heard a voice so suited to legit musical theatre, with a delicious richness and roundness to his tone. That is not to say he is a one trick pony in this role, he is naturally endearing and likeable, but without being cheesy. Helen George more than matched Ovenden in the role of the socialite bride to be “Tracy Lord”. George was a real ball of energy on stage, wickedly playful and energetic but again with a definite realness to her portrayal in such a farcical show. Her voice blended beautifully in the duets with Ovenden and their chemistry was real. I also enjoyed Nigel Lindsay as “Uncle Willie”. Lindsay was so endearingly funny and his performance was just so warm and likeable. I particularly liked his back and forth with people at the party. One final note of praise must go to the band who were absolutely astounding and really brought that old school Hollywood movie feel to life. Bravo!

And now sadly… the not so goods. In my opinion the ensemble felt slightly sloppy. For me there was a lack of clarity to the movement. I completely understand the breathiness that was the style and intention but the movements ended up feeling unfinished and lacking in energy. I also found myself being repeatedly distracted by ensemble members preparing for set changes encroaching on the stage, particularly on the stage left side, which is surprising as the stage left wing was so large that the pre show curtain showing the name of the show read “HIGH SOCIET” with the curtain cutting off a letter! I also was not the biggest fan of the relationship between Freddie Fox and Carly Mercedes Dyer as “Mike Connor” and “Liz Imbie”. Whilst both performers were fine individually, in particular Dyer, I really did not feel any chemistry between the pair and whilst I could see them ending as a pair a mile off I just didn’t feel like this was earned…

Overall, I think this is a show somewhat carried by two exceptional leads and without these star performances, I think it may have been a bit more of a difficult watch. 

Festival Theatre, Malvern – until 29th August 2026

Reviewed by Courie Amado Juneau

4.5****

This week Malvern Theatres explores the sultry back streets, hot spots and low lives of the Cuban capital for Graham Greene’s classic comedy Our Man in Havana.

The story concerns James Wormold, a vacuum cleaner salesman who is not very successful at his craft. With low funds and a wallet challenging daughter, he reluctantly takes up the opportunity to make some extra cash when he is recruited by the British Secret Service. They think he has connections. He has no connections. So he starts making them up, as well as bogus reports. As events unfold his fabrications (and simple life) begin to unravel…

Jack Ashton gave a enjoyable and compelling performance as lead character, James. His story arc gave the actor plenty of opportunity to display his full range; from desperate to exasperated, defiant to validated. A fabulous portrayal which gave us a believable man in the midst of a ridiculous situation – quite a feat of acting skills.

Jack played our lead throughout but the other three actors played multiple roles – Leon Ockenden (Captain Segura, Lopez and a host of others), Bob Barrett (Dr Hasselbacher, Hawthorne…) and Jodie Steele (as James’s daughter Milly, various dancers, a stripper, Agent Severn etc etc…) – all amazing. Their ability to make quick changes in the wings and reappear not only wearing a different outfit but with a totally different voice and personality were astonishing. To be honest, that was half of the fun of the show – hoping that they accidentally kept the previous character upon reappearance as the next. Unfortunately, the actors were far too good for that kind of schoolboy error and so we were left to marvel at their acting accomplishments instead.

The set was a clever concoction evoking Havana perfectly. With lots of entry and exit points, things being pushed in from the wings and dropping from the ceiling and alcoves and shutters aplenty it was a sumptuous creation that did the play and Set and Costume Designer Julie Godfrey justice. It also made me want to visit Cuba!

Clive Francis’s adaptation really takes off in the second half with many of the highlights being after the break. The convention dinner and Jodie Steele’s striptease are comedy gold and worth the price of admission alone. And the checkers game adds a new level of suspense which is very welcome – and pivotal to the story. All well worth waiting for, hurtling us to a very satisfying conclusion to the evening.

In many ways this is a comedy of errors and one that could easily fall into the category of “you couldn’t make it up” – although the programme notes explain that, in fact, the novel was inspired by the true story of a Spanish spy who provided fictitious reports to the Nazis about England whilst never leaving his home in Portugal, solely using a tourist guide and his imagination! Life – it’s a funny old game.

Sparkling performances throughout, a fun script, laughs, danger, intrigue, dancing, some worrying drag moments… this play really does have something for everybody. A highly recommended slice of nonsense to thrill the senses and fire the imagination. And it’s useful for practicing your Spanish too! What more incentive could you need?

Jermyn Street Theatre – until 26th September 2026

Reviewed by Mike Linane

4****

A Slow Fire is not your normal, everyday play that you go to the theatre to see. The first act is a complete conundrum. Nothing is properly explained and it is left to the audience to try to figure out what is going on. I went to see this without reading anything about it beforehand so it left me somewhat confused by the time the interval came.

The set is that of some sort of manmade bunker but we are not told why the two men who inhabit it, Ashton and Reece, are living there. We assume there has been some kind of apocalyptical event on earth and that is where they have taken refuge. Are they the only people left on the planet? Why and how are they the only ones to have survived? What hope is there for their future? How do they cope on a day to day basis with regard to food and water? How do they prevent themselves from going insane in a world that has clearly already gone mad? These, and many more questions, I found myself asking as I watched this very intense piece of theatre.

The characters appear to change names and personalities as the play progresses. Parts of scenes are repeated over and over again. The character of Ashton is unwell and is unable to leave the bunker and so relies on Reece’s account of what has happened and is happening outside. Is Reece telling the truth or is he lying so as to keep Ashton in hiding?

This piece delves into what man needs to survive apart from food and water and what is important to him come what is possibly the end of the world. Hope is definitely one requirement, along with companionship and what about possessions from an outside world that no longer exists?

This is a very bleak play that demands your total concentration to try to work out what is happening. All is made much clearer in the second act which at times has you on the edge of your seats worrying about what you are watching and when you come out of the theatre at the end of the performance you are left in no doubt that you have just witnessed a very important, original and masterful piece of theatre.

Ross Gaynor is outstanding at Ashton, the sickly man who has built the bunker in the hope that he can survive the devastation outside. He gives a performance that has you gripped from the moment he first appears, and is ably supported by Ian Toner as Reece and Fionn Ó Loingsigh as Presley (a third man who appears to have also survived but what difference will his arrival have upon the two men who have lived together for several years now without seeing anyone else?)

This is an excellent play written by Tony and Olivier award winning Simon Stephens that demands to be see in its UK premiere. Stick with it and you will be richly rewarded if you do.

Nottingham Theatre Royal – until Saturday 29th August 2026

Reviewed by Louise Ford

3***

The clue’s in the title.

It’s nearly the end of the school holidays, and this week it is the final offering in Colin McIntyre’s Classical Thriller Season 2026, in Nottingham. This season there are only three plays, I’m sure that there are usually four, but maybe I’ve misremembered. As we know, memories are fickle, and people can lie.

The original story was written by Robert Thomas in 1960 and was set in the French Alps. The story was translated, updated, and relocated to a remote holiday cottage in Cornwall by Sean Aita. The promotional literature for the play and the program give us some clues about the central story: memories can be stolen, and identities can be assumed. Just who do you think you are?

The play is set in one room in the cottage, so there are no set changes to distract the audience or slow down the story. The cast is pretty pared back with just five actors on stage. These are the man, Daniel Edwards (Parvan Maru), the Inspector (John Goodrum), Reverend Susan Green (Susan Earnshaw), the woman (Sarah Wynne Kordas), and the visitor (Juliette Strobel).

The story centres around a disappearance. A couple of newlyweds are holidaying in a wet and windy Cornwall when the wife, Lizzie, goes missing. The manhunt is being investigated by Cornwall’s finest, a cross between Colombo and Inspector Barnaby, with a Cornishish accent and a Wycliffe ringtone on his mobile. The Inspector treads a fine line in believing Mr Edwards that his wife has disappeared, and that she simply doesn’t want to be found, and something more sinister. The story unfolds with the comic Reverend Green (very Vicar of Dibley) arriving at the French windows. She’s a fan of the single malt. Reverend Green has had a guest over the last few days who is….drum roll….Lizzie. It looks as though the mystery is solved and we are in for an early bus home. However…second drum roll…Daniel says that the woman is not his wife. So what is going on? Several scenes in, and several repeat visits from the Inspector, it seems as though Mr Edwards is an unreliable witness. The woman answers all of the questions, seems plausible, and what would she have to gain by pretending to be Lizzie?

The story ends with a neat twist, and we can all leave the theatre happy after an enjoyable evening. The cast and the audience really enjoy the thriller mystery summer season, and the good news is, is that they will be back in 2027, so spend the intervening months practising your sleuthing skills.