STEP RIGHT UP! AS FULL CASTING IS REVEALED FOR BARNUM
TOURING THE UK AND IRELAND FROM FEBRUARY 2026
“A DAZZLING, ALL-SINGING, ALL-JUGGLING MUSICAL” The Observer
Roll up, roll up for the greatest show on earth!
Bill Kenwright Ltd is delighted to announce that it will present Barnum, the classic Broadway musical by Cy Coleman (music), Michael Stewart (lyrics) and Mark Bramble (book) that celebrates the life of the world’s greatest showman, P.T. Barnum. Originally produced at the Watermill Theatre, this major new touring production will open at Theatre Royal Windsor on Tuesday 3 February 2026 (previews from Friday 30 January).
West End favourite and TV star Lee Mead will take centre stage as the legendary P.T. Barnum. Lee is best known for his breakout win on Any Dream Will Do and acclaimed performances in Joseph and the Amazing Technicolor Dreamcoat, Wicked and Legally Blonde.
The production will also be extending into the autumn of next year, with Matt Rawle(Cabaret; Evita; Les Misérables) reprising his critically acclaimed performance as P.T Barnum, with autumn dates starting at Newcastle Theatre Royal on Tuesday 12 August.
Starring alongside Lee are Monique Young (Mary Poppins) as Charity Barnum, Penny Ashmore (Dr Strangelove)as Jenny Lind, Dominique Planter (The Lion King) as Joice Heth, and Fergus Rattigan (The Wizard of Oz)as General Tom Thumb.
They are joined by Elena Bluck, Gianpaolo Candelaria, Eamonn Cox, James Gill, Jessica Jolleys, Kevin Oliver Jones, Emma Jane Morton, Sophie Precious Muringu, Lennin Nelson-McClure, Emily Odunsi, André Rodrigues, Ben Scott,Laura Sillett, Tom Sowinski, Tom Sterling and Niki Tsonopoulou.
Step right up and enter the dazzling world of P.T. Barnum, where imagination and ambition know no bounds. Hand in hand with wife Charity, Barnum’s life and career twist and turn as he schemes and dreams his way to headier heights.
This spectacular production will feature an extraordinary ensemble cast of actor-musicians, acrobats and amazing circus acts. Audiences are certain to delight at every sight, wonder and miracle that the name Barnum stands for!
Come follow the band with the glorious music of multi-award-winner Cy Coleman, Michael Stewart’s lyrics and Mark Bramble’s book. The show features a whole host of classic show tunes including Join the Circus, Colours of My Life, Come Follow the Band and Love Makes Such Fools of Us All.
This musical classicfirst took the UK by storm when it played the London Palladium, with Michael Crawford making theatrical history with a death-defying nightly tightrope walk across the stage. And now Lee Mead and Matt Rawle step into his shoes and onto the tightrope!
The production is directed by Jonathan O’Boyle (Picture You Dead; The Last Five Years) andchoreographed by Oti Mabuse(Strictly Come Dancing). The creative team alsoincludesGeorge Dyer (Arranger, Orchestrator & Musical Supervisor), Lee Newby (Set & Costume Designer), Matt Nicholson (Co-Choreographer), Jai Morjaria (Lighting Designer),Tom Marshall (Sound Designer), Amy Panter (Circus Director), Kevin Oliver Jones (Musical Director), Jess Ellen Knight (Associate Director), Iona Luvsandorj and Sabrina Joshua (Circus Instructors), Zippos Circus and The National Centre for Circus Arts (Circus Consultants), Mervyn Millar and Tracy Waller for Significant Object (Puppet Designers) and Helen Foan for Significant Object (Puppetry Director).
Barnum was originally produced on the Broadway stage by Judy Gordon, Cy Coleman, Maurice and Lois F. Rosenfield in association with Irwin Feld and Kenneth Feld.
LISTINGS
Bill Kenwright Ltd presents The Watermill Theatre production of
BARNUM
MUSIC BY CY COLEMAN LYRICS BY MICHAEL STEWART BOOK BY MARK BRAMBLE
Director Jonathan O’Boyle
Choreographer Oti Mabuse
Arranger, Orchestrator & Musical Supervisor George Dyer
The full cast joining the already announced Mark Addy as Harold Fry, Jenna Russell as Maureen Fry and Noah Mullins as The Balladeer in the 5-Star “pitch-perfect musical” (The Times) The Unlikely Pilgrimage of Harold Fry at the Theatre Royal Haymarket was revealed today.
Joining Mark, Jenna and Noah are: Craig Armstrong (Rich and Ensemble), Jenna Boyd (Sister Philomena, Farmer’s Wife, Rita and Ensemble), Daniel Crossley (Silver Haired Gentleman, Napier and Ensemble), Nell Martin (Young Maureen, Deliveroo and Ensemble), Nicole Nyarambi (Garage Girl and Ensemble), Peter Polycarpou (Rex, Locum and Ensemble), Gleanne Purcell-Brown (Kate, Betsy, Kind Customer and Ensemble), Ashley Samuels (Wilf, Jim and Ensemble), Maggie Service (Queenie Hennessey, Fairy Assistant, Gorilla and Ensemble), Madeleine Worrall (Martina and Ensemble), Timo Tatzber (Dog, Young Harold, Ensemble and Puppet Captain), with Gemma Atkins (Swing), Olivia Foster -Browne (Swing), Ediz Mahmut (Swing), Edwin Ray (Swing, Trainer Man and Dance Captain).
Orchestra includes Chris Poon (Musical Director, Keys), Lewis Dunmore (Guitar), Hsiao-Ling Huang (Cello), Clodagh Kennedy (Violin), Catrin Meek (Harp), Mike Nichols (Bass Guitar), Mike Parkin (Drums & Percussion).
The Unlikely Pilgrmage of Harold Fry will begin performances at the Theatre Royal Haymarket, London on 29 January and run until 18 April 2026
Funny, profound, deeply moving and uplifting, The Unlikely Pilgrimage of Harold Fryis a joyous new musical adapted by Rachel Joyce from her multi-million selling novel, with “a ravishing score” (The Times) by the chart-topping indie musician, Passenger (Let Her Go) and directed by Katy Rudd(Ballet Shoes, The Ocean at the End of the Lane NT/West End)). Recreating their roles are Mark Addy (The Full Monty, The Rig and Game of Thrones) as Harold andJenna Russell (Sunday in the Park with George, Hello, Dolly) as Maureen.
Rachel Joyce said: ‘ I couldn’t be more thrilled that this joyful show has found a home in the West End. I never imagined, when I first wrote the book, that it would become a musical one day, and never in my wildest dreams did I think it might find a home in one of my favourite theatres – the Theatre Royal Haymarket, which I have known and loved since I was a child. Passenger’s music and lyrics are perfect for this story of hope, as is Katy Rudd’s magical direction.’
From Devon’s quiet lanes to the windswept streets of Berwick-upon-Tweed, his journey becomes a pilgrimage of love, redemption, and second chances. Strangers turn into companions, kindness appears in unexpected places, and the road reveals more than Harold ever imagined. Back home, his wife Maureen begins her own journey, one that might bring them together again.
The Unlikely Pilgrimage of Harold Fry is a moving celebration of the human spirit and a reminder it’s never too late to start again.
The adaptation is co-created by Rachel Joyce, Peter Darling and Katy Rudd. The designer is Samuel Wyer, the choreographer is Tom Jackson Greaves, arrangement orchestration and additional music is by Jeremy Holland-Smith, musical supervision and additional music is by Phil Bateman, the lighting designer is Paule Constable, the sound designers are Ian Dickinson and Gareth Tucker for Autograph, the video designer is Ash J Woodward, illusions are by Chris Fisher, thecasting director is Anna Cooper CDG, the musical director is Chris Poon, the deputy musical director is Caitlin Morgan, the dramaturg is Nick Sidi, the associate directors are Jamie Manton and Nicky Allpress, the associate set and costume designer is Joseph Bisat-Marshall, the associate lighting designers are Hector Murray & Teresa Nagel, the assistant choreographers are Nell Martin & Edwin Ray, production management is by Ammomite Studios, the production consultant is Ben Arkell, the costume supervisors are Laura Rushton & Lisa Aitken with Sophie O’Connor,Wigs Hair & Make-Up Supervisor is Melanie Bouvet, the prop supervisor is Lizzie Frankl forPropworks, Orchestral Management is by Andy Barnwell & Rich Weeden for BW Musicians Ltd and General Management by Chris Harper Productions.
Chris Harper Productions and Nick Sidi, Len Blavatnik & Danny Cohen for Access Entertainment,
Jayne Baron Sherman, Beaver Dam Playhouse, Kevin & Kate McGrath, Drew & Dane Productions, Carolyn Lawson, Laurence Myers, Andrei Cotocu for Seabright Live present The Chichester Festival Theatre production of The Unlikely Pilgrimage of Harold Fry.
STORYHOUSE TO TOUR THE GANGS OF NEW YORK THANKS TO ARTS COUNCIL ENGLAND
Chester cultural venue receives generous grant from ACE’s Incentivising Touring Scheme
Reimagined version of acclaimed Grosvenor Park production will go on the road in 2027
Storyhouse is set to take its acclaimed production of The Gangs of New York on a nationwide tour after receiving funding support from Arts Council England.
The award-winning Chester producing house has been awarded a grant through the ArtsCouncil’s new Incentivising Touring Scheme which aims to give more people across the country the opportunity to enjoy high-quality cultural experiences.
Written by Kieran Lynn and based on Herbert Asbury’s 1928 non-fiction book, The Gangs of New York was a huge hit with both audiences and critics when it was premiered at Grosvenor Park Open Air Theatre in 2024, with praise for its infectious energy, thrilling mixture of raw and gritty historical drama, humour and romance.
Now with the assistance of funding from the Incentivising Touring Scheme it will be reimagined to be staged indoors, opening at Storyhouse itself in autumn 2027 before touring to at least eight locations throughout Britain.
Launched in November 2024, the pilot Arts Council England initiative offers repayable grants to producing companies to enable them to show work through the UK and Ireland, combatting some of the challenges facing regional touring.
It is the first scheme of its kind launched by the Arts Council, presenting an innovative new way to support mid and large-scale productions with commercial potential through reducing financial risk and giving boards and investors increased confidence and incentive to support tours and attract further investment.
Following an initial eight grants earlier this year totalling £1.5million, this latest round announced today sees15 successful applicants – including Storyhouse – share a £2.5m funding pot. It is estimated the new tours receiving awards will reach 1.4 million people across more than 100 venues in the UK and Ireland.
The Gangs of New York is a bold, entertaining and moving drama about immigration, belonging and the cost of progress.
Set in the violent streets of 1850s New York, the story follows Irish immigrants arriving in America in search of a better life. Met with prejudice, violence and institutional discrimination, they fight to rise against the odds.
At the centre is real-life figure John Morrissey, a boxer, entrepreneur and politician who embodies resilience and ambition. Against a backdrop of political corruption, rising gang tensions and cultural opposition, the characters find friendship, love and success – only for tensions to erupt into violence.
The 2027 production will be a deeper, darker, more intimate, passionate and atmospheric reworking of the original Grosvenor Park experience.
Storyhouse Creative Director Suzie Henderson said today:“We’re thrilled that Arts Council England is supporting this next chapter for The Gangs of New York. After extraordinary success in our open-air theatre, bringing this reimagined production indoors gives us the chance to deepen the storytelling and share it with audiences across the country.
“Opening the tour at Storyhouse in 2027 feels especially meaningful, and it reflects a major step in our ambition to make large-scale, original work and share it far beyond our home city.”
Among other successful shows in round 2 of the Incentivising Touring Scheme are Operation Mincemeat and The Curious Incident of the Dog in the Night-time, both of which are set to come to Storyhouse in 2026-27.
Arts Council England Chief Executive Darren Henley said:“This new investment helps people experience world-class theatre and dance close to home. The arts strengthen our economy, build a sense of community, support local growth and jobs and, most important of all, enrich lives and spark creativity. I’m looking forward to seeing these performances in towns and cities across England.”
And Hannah Lake, Director of Touring at the Arts Council, added:“I’m delighted to see the impact the Incentivising Touring Scheme is having as it enables producers to take outstanding shows to more venues and audiences than ever before. By starting to develop a dynamic mixed funding model for touring, incorporating both grant funding and alternative finance, we’re unlocking new investment, building confidence in the sector, and innovating our support for the valuable touring ecology.”
REGENT’S PARK OPEN AIR THEATRE APPOINTS NEW TRUSTEES
Regent’s Park Open Air Theatre today announce that Heather Clark Charrington, Robert Glick OBE and Dame Sue Street will join the organisation’s Board of Trustees, with Tyrone Huntley returning to the Board in January 2026. They join existing Trustees Stuart Griffiths OBE (Chair), Charlotte Aherne (Vice Chair), Partha Bose, Jaya Carrier, Anna Fleischle, Kate Millward, Steve Pennington, Toni Racklin and Dr Philippa Simpson.
Stuart Griffiths OBE, Chair of the Board, said today: “We’ve been truly inspired by the incredibly high standard of applications received (140 in total) from our public recruitment campaign for new Trustees. Following a thorough selection process, we are delighted to welcome three exceptional, highly skilled and dedicated individuals to the Board of Regent’s Park Open Air Theatre. We very much look forward to these new Trustees supporting our next chapter of growth.”
James Pidgeon, Executive Director, and Drew McOnie, Artistic Director, said today: “We are thrilled to be welcoming Heather, Robert and Sue to the Board of Trustees alongside the return of Tyrone. As we make the final preparations for our 2026 season announcement at the end of January (following our recently announced new production of CATS, and our award-winning production of Jesus Christ Superstar playing at the London Palladium next year), and with Fiddler on the Roof opening the final leg of its UK & Ireland tour at The Alexandra in Birmingham this week, it’s an incredibly exciting time to be joining the organisation. We very much look forward to working with our brilliant new and existing Trustees on the strategic development of our not-for-profit company over the coming months and years ahead.”
Heather Clark Charrington
Heather is Director of Audiences at Southbank Centre where, as a member of the Executive Leadership Team, she plays a vital role in shaping the future of Europe’s largest multi-arts centre. Heather oversees the end-to-end relationship with audiences by leading the marketing, digital, brand and design, communications, external affairs, insights, membership, visitor experience and ticketing teams. Prior to this, Heather was Director of Marketing & Communications for English National Ballet, leading the Marketing, Press and Digital teams of this visionary, ground-breaking company, and serving as Executive Producer of English National Ballet’s cinema releases: Akram Khan’s Giselle, Akram Khan’s Creature (directed by Asif Kapadia) and English National Ballet’s acclaimed 2020 Digital Season. Previous posts have included Director of Marketing for the National Theatre, Brand Manager for Wildlife Photographer of the Year at London’s Natural History Museum, Director of Marketing & Sales for Pittsburgh Symphony Orchestra and Director of Marketing & Communications for the August Wilson Center for African American Culture.
As a consultant, Heather has worked with Talawa Theatre Company, the UK’s outstanding Black British theatre company, Unicorn Theatre, the UK’s leading theatre for young audiences; IMG Artists, and Orange, successfully delivering their partnership with the Tour de France. Heather is a Trustee of SportsAid and of Chiswick House and Gardens Trust.
Robert Glick OBE
Robert Glick is Vice President and Head of International Public Affairs at American Express, with a career spanning senior communications and advocacy roles across both the corporate and public sectors. He currently serves as Chair of the Barbican Centre Trust and the Adult Literacy Trust, Vice-President of Save the Children UK, and as a Trustee of Sadler’s Wells Theatre and Open For Business.
His previous non-executive roles include serving as a Trustee of the Victoria & Albert Museum and as Chair of the Terrence Higgins Trust. A graduate of the University of Cambridge, the London School of Economics and Emory University (USA), he is the author of several works of fiction and non-fiction.
Dame Sue Street
Dame Sue reached the top of Whitehall as the Permanent Secretary for Culture, Media and Sport and led that Department for the UK’s winning bid for London 2012. She has extensive experience in the leadership and governance of major public, private and not for profit organisations.
Sue has a reputation for effective strategic leadership, and as a senior board member of organisations ranging from HMRC and the Ministry of Justice to the Royal Opera House, BUPA, an overseas tech start up, and Deloitte. She is an experienced Chair and known to take a constructive approach to major Non Executive roles. She has served on Finance, Audit, Remuneration and Nomination Committees as well as main boards. Dame Sue currently chairs Ballet Rambert and is a member of a charitable trust board. She has been invited to share her thoughts on governance with the Cabinet Office, Henley Management School and with not for profit boards.
Dame Sue is an accredited executive coach with a current extensive practice of clients. She has also conducted major public sector Board governance reviews.
JAMIE ARMITAGE’S A GHOST IN YOUR EAR ANNOUNCES EXTENSION
With the production currently in preview, HFH Productions and Hampstead Theatre today announce that the world premiere of Jamie Armitage’s A Ghost In Your Ear is extending, now running until the 31 January 2026. Also released today are first-look production images.
Writer and Director Jamie Armitage said today, “Hearing the gasps and screams from audiences during previews has been a true thrill! It’s a special reward for all the phenomenal work by our cast and team throughout the process. What makes me especially happy is how both horror fans and non-horror fans have been responding so positively, and I love that the extension means even more people can come see our spooky ghost story!”.
HFH Productions and Hampstead Downstairs presents
A GHOST IN YOUR EAR
Written and Directed by Jamie Armitage
A collaboration with Ben and Max Ringham
Cast: George Blagden (George), Jonathan Livingstone (Sid)
Creatives: Gurnesha Bola (Dramaturg), Anisha Fields (Set and Costume Design), Ben Jacobs (Lighting Designer), Becky ParisCDG (Casting Director), Matt Russell (Associate Sound Designer), Robert Strange (Movement Consultant)
Until 31 January 2026
‘The ghost is not real, it is only in your ear…’
An actor arrives late at a sound studio for a last-minute job that he is yet to see the script for: an audiobook recording of a particularly chilling ghost story. But as the evening progresses, the horrors start to escape the pages of the story, and haunt the studio itself…
A Ghost In Your Ear is the new play from Jamie Armitage, the writer/director of 2024 sell-out hit An Interrogation. Made in collaboration with Ben and Max Ringham (ANNA, National Theatre and Blindness, Donmar Warehouse).
Using binaural sound technology, the audience wears headphones so they are immersed in the terrifying auditory world of the show.
Health warning: this play is intentionally looking to scare its audience. If you are of a nervous disposition, then caution is advised…
Jamie Armitage’s first play, An Interrogation, opened at Summerhall, Edinburgh in August 2023, where it won the Lustrum Award before transferring to Hampstead Theatre in 2025 – enjoying entirely sold-out runs at both venues. As a director, Armitage’s work includes co-directing SIX: The Musical, which is currently playing in the West End, Broadway, and multiple locations worldwide – Tony Award nomination for Best Direction of a Musical. His other directing credit include The Red and The Black (Tokyo Metropolitan Theatre), Straight Line Crazy (The Shed – co-directed with Nicholas Hytner), Southern Belles: A Tennessee Williams Double Bill, And Tell Sad Stories of the Death of Queens (King’s Head Theatre), Spring Awakening, Sweeney Todd (Royal Central School of Speech and Drama) and Love Me Now (Tristan Bates). He is an Associate Director of the Bridge Theatre. He was a Resident Director at the Almeida Theatre from 2019 to 2021, and an Associate Artist at the King’s Head Theatre.
George Blagden plays George. His theatre credits include The Cabinet Minister (Menier Chocolate Factory), White Christmas (Sheffield Theatres), Company (Gielgud Theatre), Tartuffe (Theatre Royal Haymarket), Platinum (Hampstead Theatre), and The Pitchfork Disney (Shoreditch Town Hall). His television credits include Vikings (as series regular Athelstan – Series Lead 1-3), Versailles (as series regular Louis XIV – Series Lead 1-3) and Black Mirror; and for film, Wrath of the Titans, The Run, Blood Moon, Hello Stranger, Les Miserables, No Postage Necessary, The Land of Dreams, The Gallery, Rubikon, After the Dark, and The Three of Us.
Jonathan Livingstone plays Sid. His theatre credits include Troilus and Cressida, After Edward, Edward II, Romeo and Juliet (Shakespeare’s Globe), Hamlet, Twelfth Night, Now We Are Here (Young Vic), CashCow (Hampstead Theatre), Machinal (Almeida Theatre), Pandora (Arcola Theatre), ‘Tis Pity She’s a Whore (Bristol Old Vic), The Caretaker (Bristol Old Vic, Royal and Derngate), Our Country’s Good, Treasure Island (National Theatre), White Hot And Weak (Old Vic New Voices Festival), Superior Donuts (Southwark Playhouse), 7 New Plays by Young Writers (National Theatre Studio), The Taming of the Shrew (RSC), War Horse (National Theatre production at New London Theatre), and Ignition 2 (Royal Court Theatre). His television credits include Entitled, Bridgerton, Criminal Record, Peacock, The Pentaverate, Pls Like and Chewing Gum; and for film, Hard Truths, The Trouble With Jessica, The Witches, and Still Life.
Ben and Max Ringham are multi-award-winning composers, sound designers, and writers. In a career spanning more than two decades, they have created sound designs and scores for over 200 productions in the UK, West End, and Broadway. Notable productions include The Tempest/Much Ado About Nothing (West End), Prima Facie (West End/Broadway), A Doll’s House (Broadway), Cyrano (West End), and Blindness (Donmar and International). They have created a number of original works for, amongst others, the National Theatre – (ANNA, 2019, created in collaboration with Ella Hickson), and the BBC (EXEMPLAR, 2022-24, cowritten with Dan Rebellato). They are the recipients of five Olivier Award and two Tony Award nominations, two Drama Desk Awards, a Critics’ Circle nomination, a BBC Radio Drama Award, two Off West End Awards, and the H100 Award for Innovation in Theatre.
BRAND NEW AWARD FOR BEST CHILD PERFORMANCE ANNOUNCED
SUPPORTED BY GO LIVE THEATRE,
THE OFFICIAL CHARITY PARTNER OF THIS YEAR’S AWARDS
Hana Ichijo, Gabrielle Lewis-Dodson and Gracie McGonigal today announced the nominations for the 26th Annual WhatsOnStage Awards, the only major UK theatre prize-giving decided by the theatregoers themselves. The announcement of the nominations marks the opening of the final voting stage (until 22 January), with winners revealed at the annual awards ceremony held on 8 March 2026 at The London Palladium.
WhatsOnStage’s Darius Thompson and Alex Wood said: “UK theatre really has looked after the bear! It was no shock to see Paddington The Musical break the record for most nominations after the musical and technological marvel captured hearts and audiences after its Savoy Theatre debut.
“More broadly, we’re thrilled to see the awards reflecting a diverse geographic spread, with nominees being recognised in places like Dundee, Cirencester, Mold, and Sheffield. While the West End often captures the spotlight, the unwavering support from local communities for their shows is always heartwarming to witness – and much deserved!”
Credit: Johan Persson
The newly opened critically acclaimed smash-hit Paddington The Musical leads the field with a record-breaking 14 nominations – the most in WhatsOnStage Awards history. They receive nominations for Best New Musical; Best Performer in a Musical for jointly nominated James Hameed and Arti Shah who bring the beloved bear to life; Best Supporting Performer in a Musical for Victoria Hamilton-Barritt; Best Professional Debut Performance for Timi Akinyosade; Best Direction for Luke Sheppard; Best Choreography for Ellen Kane – who is also nominated for the National Theatre’s Ballet Shoes; Best Set Design for Tom Pye; Best Costume Design for Gabriella Slade and Tahra Zafar – the latter, who designed the bear; Best Lighting Design for Neil Austin; Best Sound Design for Gareth Owen; Best Video Design for Ash J Woodward; Best Wigs, Hair and Make-Up Design for Campbell Young Associates; Best Music Supervision/Direction for Matt Brind; and Best Casting Direction for Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting, Nick Hockaday and Annabelle Davis. Other major contenders in the musical categories include Evita with 9 nominations, and The Great Gatsby with 6 nominations.
Leading the straight play categories is The Importance of Being Earnest, currently running at the Noël Coward Theatre having transferred from the National Theatre, receiving 5 nominations – Best Play Revival; Best Supporting Performer in a Play for Stephen Fry; Best Costume Design for Rae Smith; Best Wigs, Hair and Make Up-Design for Rae Smith, with Kate Elizabeth, Campbell Young Associates and Adele Brandman; and Best Casting Direction for Alastair Coomer. Snapping at their heels are Much Ado About Nothing, Clarkston, Born With Teeth, The Seagull and Stereophonic, all with 4 nominations respectively.
In a strong year for Sonia Friedman Productions, the company receive 23 nominations from productions including Paddington The Musical, The Importance of Being Earnest – which they are co-producing in the West End with the National Theatre, and Stereophonic; with Jamie Lloyd Productions receiving 13 nominations and the National Theatre and RSC tying with 10 nominations apiece.
In the Best Performer in a Musical category, Hameed and Shah face stiff competition from Rachel Zegler and Diego Andres Rodriguez both for Evita, Jamie Muscato for The Great Gatsby, Lucie Jones for 13 Going on 30 The Musical, and Lauren Drew for Titanique. In the Best Supporting Performer in a Musical category, Hamilton-Barritt is nominated alongside Strictly favourite Amber Davies for The Great Gatsby, Bella Brown for Evita, Layton Williams for Titanique, Grace Mouat for 13 Going On 30 The Musical, and the mighty Muses from Hercules jointly nominated – Candace Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris, and Robyn Rose-Li.
Completing the gender-free performance categories are Best Performer in a Play, which sees previous WhatsOnStage Award winner Tom Hiddleston nominated for Much Ado About Nothing, facing off against fellow Shakespearean performer Jonathan Bailey for Richard II, and a host of new play nominees with Rosamund Pike for Inter Alia, Maxine Peake for The Last Stand of Mary Whitehouse, Ncuti Gatwa for Born With Teeth, and Joe Locke for Clarkston. For Best Supporting Performer in a Play the nominations are ‘Big Dog’ Stephen Fry for The Importance of Being Earnest, Joe Alwyn for The Lady from the Sea, Emma Corrin for The Seagull, Yerin Ha for The Maids, Sophie Meliville for Clarkston and Mason Alexander Park for Much Ado About Nothing.
The final performance categories are for Best Professional Debut which see Akinyosade compete against Mia Carragher for The Hunger Games on Stage, Hannah Dodd for Cabaret, Ruaridh Mollica for Clarkston and both Jess Foley and Asha Parker-Wallace for Burlesque The Musical; and Best Takeover Performance, which once again features a strong showing from Cabaret with both Rob Madge and Eva Noblezada nominated, alongside Karis Anderson for Moulin Rouge! The Musical, Stevie Doc for The Devil Wears Prada, Emma Kingston for Wicked and Alex Young for Operation Mincemeat.
Best New Musical is always a closely fought category, which sees Paddington The Musical take on Hercules, The Great Gatsby, Here and Now, Shucked and Titanique; and Best Musical Revival features two Lloyd Webber nominees in Evita and Jesus Christ Superstar up against The Producers, My Fair Lady, Little Shop of Horrors and Brigadoon.
The Best New Play category sees an eclectic mix of new work – The Comedy About Spies from WhatsOnStage Awards favourites Mischief Theatre, Inter Alia, Stereophonic, Clarkston, Through It All Together and Born With Teeth. In Best Play Revival, The Importance of Being Earnest faces stiff competition from Much Ado About Nothing, The Seagull, The Lady from the Sea, Richard II, and A Streetcar Named Desire.
In the Best Direction category, Sheppard is up against Tim Sheader for Natasha, Pierre & the Great Comet of 1812, Lynette Linton for Intimate Apparel – both at the Donmar Warehouse, Tamara Harvey for The Constant Wife, Jamie Lloyd for Much Ado About Nothing and Thomas Ostermeier for The Seagull.
Best West End Show sees the fan favourites battle it out – with Wicked, Cabaret, Hadestown, Les Misérables, Oliver! and Operation Mincemeat all in contention. Best Concert Event once again sees Rachel Zegler nominated up against Jeremy Jordan, Songs for a New World, Gravity, The Hunchback of Notre Dame, and The Book Thief.
Best Regional Production nominees are Jesus Christ Superstar, 13 Going On 30 The Musical, Come Fall in Love – The DDLJ Musical, Krapp’s Last Tape which saw Gary Oldman return to the stage after 40 years, Pride and Prejudice and Through It All Together; with Best Studio Production nominees including Be More Chill, Brixton Calling, Cul De Sac, The Frogs, The Last Five Years, and Young Frankenstein.
For the first time this year, in association with Go Live Theatre – a charity that uses the power of theatre to create inspiring experiences and unlock possibilities for children and young people and the official charity partner of this year’s WhatsOnStage Awards – there will be the inaugural Best Child Performance category. Nominees will be announced in January, with the winner chosen by Go Live Theatre.
Now in their 26th year, the WhatsOnStage Awards remain the only major UK theatre awards decided by the theatregoers themselves. WhatsOnStage readers will be able to nominate and vote across a range of categories.
The 2026 ceremony will begin at 6.30pm and will see winners crowned across a wide range of categories. Audiences can expect a spectacular line-up of exclusive live performances from leading stage talent. The event is co-produced with creative directors Alex Parker and Damian Sandys. Tickets are now on sale via LW Theatres: https://lwtheatres.co.uk/.
The 26th Annual WhatsOnStage Awards are supported by a wide range of partners from across the industry and beyond, including AKA Promotions Ltd, AudienceView, Boulevard Events, Brent Carpets, Concord, Dewynters, Disney Theatrical, Go Live Theatre, John Good, London Theatre Direct, Outernet Venues, Preevue, Re:Water, RSVP-ify, SINE Digital, Tandem Marketing Worldwide, Theatrical RightsWorldwide, The Londoner, Ticketmaster, Travelzoo and White Light.
Awkward Productions ensure Christmas is merry and gay at the King’s Head this year as they bring their 5-star Edinburgh smash to London slicker and sillier than ever. This gloriously knowing and daft send up of Hallmark and royal romance movies is cheesy, camp and extremely clever. Linus Karp and Joseph Martin’s previous shows involve digital appearances, catchy music by Leland, pop culture references and audience members taking on guest roles. The Fit Prince tests all of these elements to the limit, and the result is hilarious – there aren’t enough stars to award to this pair!
The King of Swedonia is dead, and at his funeral the mourners are reminded that for Prince Elian (Linus Karp) to be crowned, he must marry before Christmas. While Elian unenthusiastically surveys suitable consorts, the action switches to New York. Here baker Aaron Butcher (Joseph Martin), recently dumped, is drifting through daily routines until fellow baker and pushy puppet Jenny’s badgering of Swedonian officials somehow sets him off on the long, multi-vehicle journey to Swedonia. Of course, he bumps into Prince Elian, and they take a tour around the countryside, visiting Gerta McMurder’s House of Orphans (merchandise available!) As someone old enough to have seen The Dark Crystal on the big, terrifying, screen in the 1980s, Gerta’s first entrance was slightly (EXTREMELY) traumatic, but Joseph Martin’s puppetry and characterisation soon had me howling with laughter rather than fear. Hilarious – it’s just a shame Aaron is always in the bathroom and never gets to meet her.
Elian and Aaron ride horses, take a sauna, and go to a BAAB concert. BAAB’s appearance is the sequinned highlight of the show. The most famous group in Swedonia, we are treated to a medley of BAAB’s greatest hits: Dunkirk, Movement King, Is Your Father Aware – you get the gist. Simply brilliant. While Elian is away, his doppelganger keeps things running at the palace. But the doppelganger has nefarious plans – can Elian and Aron foil his fascist plot, and will they find true love? Well, obviously, yes – as Jenny Puppetson screams – “This is THEATRE!”
The show begins with just audience members on stage – madness, but it works brilliantly. Scene breaks are accompanied by clips of the Swedonian national anthem – a real earworm – with different lyrics explaining the plot. Various world dignitaries chip in on royal and diplomatic matters – Michelle Obama (Yshee Black), Angela Merkel (Kate Butch) and The Queen of England (Geri Allen) – and hot, unsuitable suitors court Elian, including Sebastian Croft as Prince Balthazar of Bashington. On press night, Croft was in the audience and was playing the doppelganger, resulting in a wonderfully chaotic scene where he was marrying himself.
Karp and Martin are as endearing and exciting performers as they are writers and you can’t help but get swept along with the joyful onstage nonsense. The Fit Prince is an unmissable Christmas treat – supremely silly and hilariously uplifting. Grab a ticket while you can – you could be lucky enough to play the monstrous corpse of the king!
St Philips Cathedral, Birmingham -10th December 2025
Reviewed by Emma Millward
5*****
St Philip’s Cathedral provided a breathtakingly atmospheric setting for Songs of the Season-A Celebration of Joy. The beautiful Baroque building can be found in Cathedral Square, or Pigeon Park, as locals usually refer to it. The Cathedral had been illuminated for the occasion and was looking particularly festive. The lights from the craft market outside were also shining through the intricate stained-glass windows, adding even more sparkle to proceedings.
The event was hosted and performed by the ever-charismatic James Edge. Edge is the founder of West End Best Friend Productions, which has organised this show, and he is also the theatre manager at The Old Joint Stock Theatre, which is just over the road from the Cathedral. Edge guided the audience through the show with ease, offering gentle humour and storytelling that made the show feel more intimate despite the grandeur of its setting. His opening performance of Christmas (Baby Please Come Home) really captured the show’s playful energy and set the tone for the evening to come. Joining him were featured performers Caprice Lane and Jack Carr, each bringing their own distinctive style and flair to the show. Lane’s beautifully clear soprano vocals suited both the contemporary arrangements and traditional carols. Jack Carr’s shy demeanour made his amazing voice all the more surprising when he started belting out such festive classics such as ‘Winter Wonderland’ and ‘Jingle Bells’.
A vital creative force behind the evening was musical director Callum Thompson, whose arrangements were nothing short of spectacular. Thompson has worked on many shows I have seen at the Old Joint Stock Theatre, and his ability to add his own twist and create something new from well-known songs never fails to amaze me. Some of the songs are currently appearing in The Old Joint Stock Theatre’s Christmas show ‘Sleigh Miserables’. One such number was an epic medley combining ‘I’ll Be Home for Christmas’ and ‘Bring Him Home’ from Les Misérables, sung with power and control by Jack Carr. Caprice Lane brought an extra bit of Christmas magic to the show with a mash-up medley of ‘When She Loved Me’ from Toy Story 2 blending seamlessly into Wham’s ‘Last Christmas’. The bittersweet nostalgia created something genuinely beautiful and fresh.
A huge highlight of the evening came from the talented students of the School of Theatre Excellence (SOTE). Their energy was infectious, and their professionalism was clear to see. Their rendition of ‘Carol of the Bells’ was exhilarating to hear in such a grand venue. They also performed the show-stopping ‘Seasons of Good’, another outstanding arrangement from Callum Thompson that blended ‘For Good’ from Wicked with ‘Seasons of Love’ from Rent. Though neither song feels particularly festive, when combined they seem very fitting for this time of year.
Songs of the Season was created with the hope that it would become a new annual tradition in Birmingham’s festive calendar, and I think all involved have achieved this goal. It is not only a concert of superb performances, but also a celebration of community, creativity and festive spirit. It reminds us how music really can bring people together at Christmas.
Songs of the Season will return for another performance on 21st December 2025.
Pompey Panto presents ‘Aladdin’ for their Christmas entertainment extravaganza of 2025, and it is certainly a must see.
Shaun Williamson and Rustie Lee join the seasoned Jack Edwards for this performance and there are certainly some surprises in store. Following the traditional plot of the Disney classic, we follow Aladdin through his journey to wed Princess Jasmine, but he gets tricked by the mysterious Aba’Barry’Nazer (Shaun Williamson), giving away his lamp and most importantly his genie (Rustie Lee). Widow Twanky and Wishee Washee (Jack Edwards and Joe Pollard) hilariously accompany this journey, with their delightful pantomime classic pantomime antics. Accompanied by Esme Bowdler as the Spirit in the Ring, this is a great show. With a chorus of dancers and younger members, this is a feast for the eyes. Every member of the company were superb, however there is always one member of the chorus stands out-and for us it was Bobby Watkins. He was engaging and really expressed his passion and talents.
The interval posed much excitement from the audience, as there was talk of toilet paper buzzing around the room. As a first time viewer of a Pompey Panto, this was confusing for me, but it all became clear in the ‘12 Days of Christmas’-I was totally blindsided and found myself feeling faint from how much I was laughing! It was bliss to hear the excitement of the children in the audience as the perfectly choreographed scene began. Also, the ‘Ghost’ song had me again, crying with laughter-it was a joy to behold.
This is a stellar piece of theatre, one I will be talking about to everyone I meet and I am excited to see what 2026 brings for Pompey Panto!!!
Cinderella and the Matzo Ball is a vibrant and refreshing reimagining of the classic fairy tale, delivered with humour, cultural flair and the unmistakable spirit of British pantomime. While it includes all the traditional elements — audience interaction, lively dance routines and recognisable musical numbers — it also offers a distinctive twist, presenting Cinderella’s story through a joyful blend of Jewish and British identities.
One of the production’s strongest assets is the sheer calibre of its cast. Every performer brings exceptional talent, commitment and charm to the stage. Their character work is finely tuned, with expressive physicality, confident delivery and a clear sense of play. As a result, the audience remains fully engaged from start to finish, drawn in by the energy and cohesiveness of the ensemble.
The musical choices are particularly memorable. Alongside familiar hits such as I Don’t Wanna Miss a Thing by Aerosmith and Wilkommen from Cabaret, the show incorporates Jewish songs including Yasis Alayich by Rabbi Ben Zion Shenker and Moshiach by Mordechai Ben David. These numbers create warm, celebratory moments, encouraging the audience to join in and adding a unique cultural richness to the evening.
Described by its writer as “unforgivingly Jewish and undeniably British,” the production embraces its identity without hesitation. It knows its audience and speaks directly to those who appreciate the fusion of these two worlds. Rather than aiming for broad universality, it celebrates specificity — and does so with pride.
The cast features excellent performances from Michael Cowan, Lilith Freeman, Libby Liburd, Talia Pick, Ronan Quiniou, Talya Soames and Rosie Yadid. The onstage band — Oliver Presman, Migdalia Van Der Hoven and musical director Josh Middleton — adds vitality and rhythm, positioned cleverly within the set, so they become an active part of the storytelling rather than a hidden backdrop. Special guest appearances by Emma Barnett as the News Reporter and Debbie Chazen as the Fairy Cake add further humour and delight.
Directed by Abigail Anderson and written by Nick Cassenbaum, Cinderella and the Matzo Ball brings together a creative team working seamlessly in harmony, including strong contributions from Amy Daniels (lighting), Yael Loewenstein (choreography), John Fiber (sound), Laura Hopkins (set and costumes), Beth Qualter-Buncall (associate costume), Lauren Connolly (puppet maker) and Plotnek Productions in association with JW3.
This exuberant Jewish pantomime blends music, comedy and cultural celebration into an evening full of warmth, joy and charm — a festive treat that stands proudly apart from more conventional seasonal offerings.
