DISNEY PRINCESS – THE CONCERT

TO EMBARK ON MAJOR

UK & IRELAND TOUR

FROM MARCH 2027

WITH 5 PERFORMANCES AT LONDON’S

ROYAL FESTIVAL HALL

NEXT EASTER

Disney Concerts and Cuffe & Taylor are delighted to announce that DISNEY PRINCESS – THE CONCERT will embark on a major UK and Ireland tour for the first time from March 2027, with 5 performances over the Easter break at London’s Royal Festival Hall.

For generations, the music of Disney’s princesses has been the soundtrack to our lives. Now, these beloved songs come alive on stage with a host of acclaimed Broadway and West End stars in DISNEY PRINCESS – THE CONCERT.

Your every dream will come true as larger-than-life animation and theatrical effects immerse the audience in pure Disney magic, while these powerhouse talents sing your favourite princess, hero and (yes!) villain songs, and share behind-the-scenes stories from their time on the stage and screen.

We invite you to relive your VHS glory days, dress up in your favourite royal attire, and share the joy of Disney with your loved ones at this internationally acclaimed concert experience. Be part of our world at DISNEY PRINCESS – THE CONCERT!

DISNEY PRINCESS – THE CONCERT has played 20 countries on 5 continents since its premiere in 2021, including two US tours of more than 100 cities, and tours the UK and Ireland for the first time in 2027.

The show features iconic songs from more than 29 films, including: “How Far I’ll Go,” “A Whole New World,” “Just Around the Riverbend,” “Part of Your World,” “Almost There,” “Let It Go” and more!

Cast of Disney Broadway and West End talent to be announced in August.

DISNEY PRINCESS – THE CONCERT is produced in London by Disney Concerts, Broadway Princess Party, Cuffe & Taylor and Live Nation.

Running time: Approximately 1 hour and 45 minutes, including one 20-minute intermission.

Website:  www.disneyconcerts.com/ cuffeandtaylor.com

Facebook: @DisneyConcerts/ @cuffeandtaylor

Instagram: @DisneyConcerts/ @cuffeandtaylor

TOUR LISTINGS INFORMATION

12 March 2027                        Warwick Butterworth Hall                              024 7649 6000                                       

                                                warwickartscentre.co.uk

13 March 2027                        Brighton Centre                                                                    

                                                brightoncentre.co.uk

14 March 2027                        Swansea Building Society Arena

                                                swansea-arena.co.uk

18 March 2027                        Portsmouth Guildhall                                    023 9387 0200

                                                portsmouthguildhall.org.uk

19 March 2027                        Leicester De Montfort Hall                             0116 233 3111

                                                demontforthall.co.uk

20 March 2027                        Torquay Princess Theatre

                                                atgtickets.com/torquay

21 March 2027                        Norwich Theatre Royal                                  01603 630 000

norwichtheatre.org                                          On sale soon

24 March 2027                        Peterborough New Theatre                          01733 852992

newtheatre-peterborough.com

25 March 2027                        Nottingham Royal Concert Hall                    0115 989 5555

                                                trch.co.uk

27 March 2027                        Hull City Hall                                                   01482 300 306

                                                hulltheatres.co.uk

28 – 30 March 2027                Royal Festival Hall, London                          020 3879 9555

                                                southbankcentre.co.uk                                    On sale soon

1 April 2027                             New Theatre, Oxford            

                                                Atgtickets.com/Oxford

2 April 2027                             Sunderland Empire

                                                atgtickets.com/sunderland-empire

3 April 2027                             Bradford Live

                                                trafalgartickets.com/bradford-live

4 April 2027                             Manchester Opera House

atgtickets.com/Manchester

6 April 2027                             Northampton Royal & Derngate                   01604 624811   

                                               royalandderngate.co.uk

8 April 2027                             Sheffield City Hall

                                                sheffieldcityhall.co.uk

9 April 2027                             York Barbican

                                                yorkbarbican.co.uk

10 April 2027                           Birmingham Symphony Hall

                                                bmusic.co.uk

11 April 2027                           Southend Cliffs Pavilion                                0343 310 0030

thecliffspavilion.co.uk

15 April 2027                           Carlisle Sands Centre                                    0333 33 55055

                                                thesandscentre.co.uk

16 April 2027                           Stoke Regent Theatre

atgtickets.com/regent-theatre

17 April 2027                           Ipswich Regent Theatre

ipswichtheatres.co.uk 

18 April 2027                           Cardiff Wales Millennium Centre

                                                wmc.org.uk

20 April 2027                           Belfast Waterfront Hall

                                                waterfront.co.uk

21 – 22 April 2027                   Dublin 3Olympia

                                                3olympia.ie

24 April 2027                           Bath Forum                                                    0161 832 1111

                                                bathforum.co.uk

25 April 2027                           Liverpool Empire Theatre                 

atgtickets.com/liverpool

27 April 2027                           Bournemouth Pavilion

                                                bournemouthpavilion.co.uk

29 April 2027                           Aberdeen Music Hall

                                                aberdeenperformingarts.com/music-hall

30 April 2027                           Edinburgh Playhouse

                                                atgtickets.com/Edinburgh

1 May 2027                             Glasgow SEC Armadillo

                                                sec.co.uk

2 May 2027                             Gateshead, The Glasshouse

                                                theglasshouseicm.org

The Glitch – until 22^nd June 2026

Reviewed by Heather Chalkley

4****

Award winning writer James Rushbrooke has captured the essence of a young women’s emotional journey through cancer, drawing on his experience working with children and young people. The shades of dark and light are well balanced to draw the audience in to this very human story. 

Stuart (Pete Ashmore) reminds me of so many compassionate, dedicated charity workers I have had the pleasure of knowing during my own career in the voluntary sector. Ashmore (Stuart) delivers a warm, believable performance, not shying away from the honesty built into the script. The tussle with ‘policy and procedure’ combined with mistakes made in paperwork, give you a real sense of the pressure Stuart (Ashmore) and many other charity workers like him experience every day.

 Zara (Myla Carmen) offers you an insight into the complexities of family relationships and an innate need to be heard before she dies. Carmen (Zara) gives a depth of emotion that visibly touches the audience, ranging from anger, pain, frustration to sorrow, love, vulnerability. Carmen (Zara) is able to bounce from a wise 17 year old who knows her own mind, to the inner child that needs the love of her parents.  

Together Ashmore (Stuart) and Carmen (Zara) create a bond on set that is palpable. Ashmore switches between charity worker and Zara’s dad seamlessly, giving both characters their own distinct identity. Carmen (Zara) is sometimes so quiet you are made to strain to hear, however well pronounced the script. However, Carmen also offers you humour in her portrayal of the charity bosses and gentle ribbing of Stuart (Ashmore) and his hand puppets! 

The stripped back set gives an intense focus on the two actors, with no where to hide. The lighting, sometimes glaring straight into the audience’s eyes, can do with a little adjustment.  

This play is well worthy of its awards, touching you in many ways – expect both tears and laughter.

Prince Edward Theatre, London W1 – until 17 April 2027

Reviewed by Phil Brown

4****

If, like me, you have never endured/enjoyed a Beetlejuice or even a Betelgeuse experience before, but are nevertheless gothic horror comedy curious, you need to prepare carefully.  

Step 1 is to deactivate the brain circuitry responsible for the rational part of your mind.  Step 2 is to recognise that you have strayed into cult territory – most of the audience will be dressed as characters from the show and will be going merch crazy.  Step 3 is to suspend any remaining critical faculties and go with the flow of one of the most preposterous and bizarre fantasies this side of the Arabian Nights.  Step 4 is simply to soak up the creative ambition, superb effects and phenomenal production values on display in this ultra slick, brilliantly presented musical.

This show has been a long time in gestation.  The Beetlejuice cult was originally kicked off by the 1988 Oscar winning (for make-up) film directed by Tim Burton.  A critical and commercial success, it went on to spawn all manner of media spin-offs plus a US musical in 2018 and a movie sequel in 2024.  

The pleasingly informative programme goes into some fascinating detail about the development of the stage musical which was written by Scott Brown and Anthony King, with music and lyrics by Australian Eddie Perfect.  Excellent work guys.  There is a palpable, informal, improvisational feel to the show, and it’s a lot funnier than I expected.  Songwriter Perfect keeps the humour going in his lyrics and has written some strong tunes such as the ballad “Invisible” which opens the show.   Some songs like “Dead Mom” and “Say My Name” already have a fan following before this opening.   The score mixes a range of musical styles from rock to classic show tunes to balladry which all fit quite seamlessly in the flow.

Ludicrous story aside, the show is an absolute feast for the eyes and ears, possibly teetering on the edge of sensory overload.   This may be because there are 10 (yes 10) main designers, not to mention super choreography (Connor Gallagher) and music supervision (Kris Kukul).  Sets (David Korins), costumes (William Ivy Long), lighting (Kenneth Posner), sound (Peter Hylenski), projection (Peter Nigrini), puppets (Michael Curry), special effects (Jeremy Chernick), and magic and illusion (Michael Weber) all made impressive impacts throughout the two hour extravaganza.  In addition, there are clever up to date references for the West End such as to Paddington.   All of which underlines how fastidious and skilful director Alex Timbers has been in pulling together a real humdinger of a show.  You get the feeling that the whole production team has pulled out all the stops to make this a hit.

The plot as briefly as possible…  

Charles and goth teenage daughter Lydia Deetz suffer the death of wife/mother Emily Deetz. Meanwhile, cloyingly lovey-dovey and conventional Adam and Barbara Maitland accidentally perish at their beloved country home as the result of botched DIY.  Consumed with grief and work, Charles decides to buy the Maitland’s house in order to make a fresh start, against the wishes of emotionally isolated and depressed, Lydia.  (So far, so realistic).  But as ghosts, the Maitlands want to rid their forever home of the Deetz family and summon up exorcist demon Beetlejuice to help. Beetlejuice is dead but wants to be alive and able to fully exploit his powers to create chaos and mayhem.  This needs someone, anyone, living, to say his name three times. He targets Lydia Deetz, who is living but desperately wanting death to bring her closer to her mother.  The fifth character in the mix is Delia – life coach and Charles’ new lover.  

Act 1 concludes with Beetlejuice back from the dead and generating pandemonium at a big Deetz dinner party, possessing the guests into singing “Day-O” (the Banana Boat Song).  Apparently, the 1988 film used four Harry Belafonte songs because they were cheap to licence and provided an upbeat, high-energy contrast to the slightly macabre ghost story.

Act 2 moves ever further into farce with the quest to find Lydia’s mother leading to adventures in “the Netherworld”, created by a deceptively simple telescopic effect stage set.  With Charles still engulfed in grief, Lydia consults the “Handbook of the Recently Deceased” to open a door into the Netherworld.  She, Charles and the Maitlands set off deep into the realm of the dead, experiencing bizarre encounters with harsh customs official, Juno (also Beetlejuice’s mother) and Miss Argentina.  Whilst lost, Lydia and Charles eventually open up about their sorrow and connect.  To save everyone from his vengeance, Lydia then agrees to marry Beetlejuice, allowing him to come fully alive, only to double cross the demon and dispatch him back to the Netherworld.  His mother Juno shows up but is devoured by a giant sandworm ridden by Beetlejuice.  In a happy ever after conclusion, Charles, Delia and Lydia agree to live in peaceful co-existence with the friendly ghosts of the Maitlands.  Weird!

The evening feels more like a one-off event than a regular show.  There is a definite gothic carnival feel to the Prince Edward Theatre with many of the audience dressed in black and white stripes and raucous cheering for each showcase routine on stage.  The show itself is loud, fast, chaotic, musically complex and rich in colour and detail.  

Although, the very first thing to make an impression is the eye-catching staging and lighting, the true star of this show is the exceptional David Fynn as Beetlejuice who leads the cast with extraordinary zeal, devilish charm and more manic energy than any self respecting corpse has a right to possess.  He also acts as a master of ceremonies talking to the audience and occasionally interacting to great comic effect.   A scintillating bravura performance.   Hannah Nordberg also impresses as grieving daughter Lydia Deetz with strong vocal performances of all her key songs.  These two leads are backed up superbly by a brilliant team – the supporting cast, the dance ensemble who deliver several dynamic routines on a crowded stage and the wonderful orchestra who worked their socks off faultlessly in a demanding gig.  

Overall, Beetlejuice, The Musical, The Musical, The Musical is quite breathtaking in its exuberant, flat out and flawless execution.  It’s unashamedly absurd in concept but some of the best fun in practice.  I fully expect this will be A West End Hit, A West End Hit, A West End Hit. 

THE ORIGINAL WEST END CAST

RETURN TO

JOINED BY BRYONY CORRIGAN

AS ELENA POPOVA

8 WEEKS ONLY FROM 1 AUGUST TO 26 SEPTEMBER 2026

London’s Adelphi Theatre

www.spiescomedy.com

This summer the temperature is high, and so are the steaks, as the original West End cast return to The Comedy About Spies at London’s Adelphi Theatre from 1 August for 8 weeks only.  They are joined by original Mischief member Bryony Corrigan as Elena Popova.

The full cast is Bryony Corrigan (Elena Popova), David Hearn (Lance Buchanan), Adele James (Rosemary Wilson), Chris Leask (Sergei Ivanov), Henry Lewis (Douglas Woodbead), Henry Shields (Bernard Wright), Greg Tannahill (Albert Tipton), Nancy Zamit (Janet Buchanan), Macadie Amoroso (Ensemble/Understudy), Adam Byron (Ensemble/Understudy), Matt Cavendish (Ensemble/Understudy), Allie Dart (Ensemble/Understudy), Niall Ransome (Ensemble/Understudy) and Ashley Tucker (Ensemble/Understudy).

The Comedy About Spies recently won the WhatsOnStage Award for Best New Play and was nominated for an Olivier Award for Best New Entertainment or Comedy Play following the hit’s critically acclaimed sold-out 21-week West End run in 2025.

Tickets are available from www.SpiesComedy.com with prices from £15.

MISCHIEF’s The Comedy About Spies is written by original MISCHIEF members Henry Lewis and Henry Shields and directed by Matt DiCarlo. Set Design is by David Farley, Costume Design by Deborah Andrews, the Movement Director is Shelley Maxwell, Lighting Design is by Johanna Town and Sound Design and Composition is by Jon Fiber for Jollygoodtunes, Casting is by Lucy Jenkins CDG & Sooki McShane CDG, Additional Casting is by Heather Basten CDG CSA and the Executive Producer is Jonathan Sayer.

Henry Lewis said:  “We are so excited to bring The Comedy About Spies back to the West End. It’s a particular treat to be playing the magnificent Adelphi Theatre. It’s a venue synonymous with long running musicals and so we’re honored that The Comedy About Spies will be the first play presented there in over 14 years.”

When a rogue British agent pilfers plans for a top-secret weapon, CIA and KGB spies converge on London’s Piccadilly Hotel in pursuit of the elusive file. Add to the mix a clueless young couple, a hapless actor angling for the role of James Bond, and enough double agents to confuse even the sharpest operative, and you’ve got a mission that’s hilariously out of control.

With over 12 impressive years of bringing laughter to the West End, MISCHIEF show no sign of slowing down in 2026. This year, as well as having The Play That Goes Wrong and The Comedy About Spies running simultaneously in the West End, MISCHIEF have just premiered their first-ever musical, Thespians at The Mercury Theatre in Colchester.  With book and lyrics by Mischief Creative Director and Original Founding Member Jonathan Sayer, music and lyrics by Ed Sanders, and directed by Robyn Grant, it is on a short tour, closing at HOME in Manchester in July.

Following a sold out UK Tour and 8-week West End season last year, Christmas Carol Goes Wrong will return to the West End this Christmas to cause chaos with a run at Wyndham’s Theatre, tour the UK from October 2026 – February 2027, make its North American Premiere in Los Angeles from December 2026 and play Australia in December.

Mischief are also back at Shedinburgh Fringe in August, with a silly and poignant new work-in-progress called We have a problem (WIP) by Charlie Russell and Henry Shields. 

The Play That Goes Wrong continues to perform to sell-out audiences in the West End after 12 smash-hit years, is also celebrating 9 years in New York in April, and is being performed in multiple languages worldwide every day in 2026.

Last year the production was the most watched show at the Sydney Opera House, Australia, celebrated its 4001st  performance in May 2026 at the Duchess Theatre, London, and Henry Lewis, Jonathan Sayer and Henry Shields were listed in the top 10 most produced playwrights across North America and Canada. 

In 2025 MISCHIEF filmed the original casts of both The Comedy About Spies and Christmas Carol Goes Wrong, adding these live captures to the digital content portfolio with Mischief Movie Night In and The Goes Wrong Show. 2026 will bring opportunities for audiences to stream, watch and laugh all over again. 

The Comedy About Spies is presented by Kenny Wax and Stage Presence in association with Jo Danvers.

Leeds Grand Theatre – until Saturday 30th May 2026

Reviewed by Adam Craddock

5*****

I had the privilege to be invited along to the stunning Leeds Grand Theatre to review the new stage show “The Karate Kid: The Musical”. I have to say that I was somewhat hesitant for this show, I have never watched the films (I know… shocking!) and we are in the middle of an unbearable heatwave so I was not looking forward to sitting in a packed theatre with little to no AC, however I must say that I was absolutely blown away by this production.

The show follows Daniel Larusso, a young New Jersey native who has just moved to California, as he struggles to integrate in the new community and runs up against a group of young karate practitioners training at the dojo Cobra Kai. Larusso seeks the help of the mysterious handyman Mr Miyagi and learns the way of Karate. As someone who has not seen the films (I only know the very basics, wax on wax off etc) I was apprehensive about how much would go over my head but I was pleasantly surprised that you needed no foreknowledge of the story to enjoy this show.

Gino Ochello stars as Daniel Larusso. Ochello screams of a future Evan Hansen, with a beautiful contemporary tone to his voice and a likeability that is very hard to come by. His vulnerable performance was spot on, never seeming needy but perfectly playing the underdog. Adrian Pang co stars as Mr Miyagi and I truly believe that this is one of the most perfect bits of casting we have seen. Pang brings such a brilliant quiet intelligence to the role, shining brightest for me in the moments when he is not saying anything, just watching. That is not to say however that his script work is not strong. Pang has impeccable comedic timing in this role and his relationship with Ochello was sublime. Bravo to both!

Abigail Amin was strong as Ali Mills, with a lovely tone to her voice and again a real likeability. That likeability can not be said however for Matt Mills and Joe Simmons who play John Kreese and John Lawrence respectively. Mills is deliciously villainous as the sensei of Cobra Kai with a real ruthlessness to his portrayal and Simmons plays the role of the Jock type character perfectly, really making you root even more for Larusso. Sharon Sexton is warm as Lucille Larusso. Sexton brings some real softness to this show and plays the role of a modern mother to perfection.

I know I keep using that word, perfection, but that truly for me is the word that best summarises this show. I struggle to think of a new musical that I have enjoyed this much for quite some time. The direction was brilliant, with time being allowed to the actors to let their characters breathe in the quiet moments. The choreography was out of this world, a brilliant blend of commercial and lyrical aspects with rises and falls in attack and flow as the story required. I particularly enjoyed the use of the ensemble as almost the spirit of karate for Mr Miyagi. This type of interpretive lyrical movement would normally make me roll my eyes but it worked to perfection here. The lighting and sound design were both perfect, and the sets almost were except for the shuttering that got stuck every time it came on stage, a minor hiccup that I am sure will be sorted by time this review is out.

Overall I could not recommend this show in a higher regard, this is one of the best new musical for me at least in the last decade if not more and really needs to be seen to be appreciated. So please get down to Leeds Grand before it leaves town. Go on, (karate) chop chop!

CASTING IS COMPLETE FOR THE

UK AND IRELAND TOUR OF

HIT COMEDY MUSICAL

MRS. DOUBTFIRE

HELP IS ON THE WAY, DEAR!

www.mrsdoubtfiremusical.co.uk

Casting is complete for the UK & Ireland tour of Mrs. Doubtfire the hit West End and Broadway comedy musical which opens at the Birmingham Hippodrome with performances from 13 August – 19 September 2026.

The beloved Scottish nanny will then tour to Newcastle, Plymouth, Leeds, Dublin, Glasgow, Southampton, Liverpool, Cardiff, Nottingham, Sheffield, Milton Keynes, Aberdeen and Canterbury with many more cities to be announced.

Full tour dates and tickets here: mrsdoubtfiremusical.co.uk. 

As previously announced, the UK and Ireland tour of Mrs. Doubtfire will star Gabriel Vick as Daniel Hillard following his acclaimed performances in the West End.

Gabriel will be joined by Kara Lily Hayworth as Miranda Hillard, Aaliya Mai as Lydia Hillard, Ryan Pidgen as Frank Hillard, Jairus McClanahan as Andre Mayem, James Darch as Stuart Dunmire, Samuelle Durojaiye as Wanda Sellner, Carl Patrick as Mr Jolly/Judge, Kiera Haynes as Janet Lundy and Rhianne Alleyne as Flamenco Singer. Adam Colbeck-Dunn is the Alternate Daniel Hillard and will perform at certain performances.

Mrs. Doubtfire also introduces Charlie Banks, Alexander Beaumont, Joshua Miles and Dexter Pulling who alternate the role of Christopher Hillard and Santi Cohen, Harly Gill, Mila Isaacs and Hattie Leddington Wright who alternate the role of Natalie Hillard.

The cast is completed by Zac Adlam, Rhona Butler, Joshua Clayton, Emma Dempsey, Abigail Eustis, Amy Louise Everett, Austin Garrett, Cruz-Troy Hunter, Nicholas Leon Jones, D’Mia Lindsay-Walker, Jordan Livesey, Michael Nelson, Lucy May Pollard, Paulo Teixeira, and Natalie Thorn.

A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.

Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the ​alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.

Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with Original Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, and a Book by Karey Kirkpatrick and John O’Farrell. Direction is by 4-time Tony winner Jerry Zaks, Choreography by Lorin Latarro, and Music Supervision, Arrangements & Orchestrations by Ethan Popp. Scenic Design is by David Korins, Costume Design by Catherine Zuber, Lighting Design by Philip S. Rosenberg, Sound Design by Gareth Owen, Original Hair Design by David Brian Brown, Hair and Wigs Designs by Sam Cox, UK Make-Up Designs by Craig Forrest-Thomas, Casting by Stuart Burt and Children’s Casting Director is Verity Naughton.

Mrs. Doubtfire is produced by Kevin McCollum and Jamie Wilson and is presented by special arrangement with Buena Vista Theatrical. 

LISTINGS INFORMATION

MRS. DOUBTFIRE
THE HIT COMEDY MUSICAL
www.mrsdoubtfiremusical.co.uk
Facebook/Twitter/Instagram: @DOUBTFIREUK

13 August 2026 – 19 September 2026
Birmingham Hippodrome
birminghamhippodrome.com

23 September 2026 – 11 October 2026
Newcastle Theatre Royal
theatreroyal.co.uk

20 October 2026 – 7 November 2026
Theatre Royal Plymouth
theatreroyal.com
 
10 November 2026 – 29 November 2026
Leeds Grand Theatre
leedsheritagetheatres.com
 
2 December 2026 – 3 January 2027
Bord Gais Energy Theatre, Dublin
ticketmaster.ie

12 January 2027 – 31 January 2027
Kings Theatre, Glasgow
atgtickets.com/venues/kings-theatre-glasgow/
 
2 February 2027 – 28 February 2027
Mayflower Theatre, Southampton
mayflower.org.uk
 
2 March 2027 – 21 March 2027
Liverpool Empire
atgtickets.com/venues/liverpool-empire/
 
23 March 2027 – 11 April 2027
Wales Millennium Centre, Cardiff
wmc.org.uk
 
27 April 2027 – 16 May 2027
Theatre Royal Nottingham
trch.co.uk
 
18 May 2027 – 6 June 2027
The Lyceum, Sheffield
sheffieldtheatres.co.uk
 
8 June 2027 – 27 June 2027
Milton Keynes Theatre
atgtickets.com/venues/milton-keynes-theatre
 
30 June 2027 – 18 July 2027
His Majesty’s Theatre, Aberdeen
berdeenperformingarts.com
 
27 July 2027 – 15 August 2027
Marlowe Theatre, Canterbury
marlowetheatre.com
 
…more venues to be announced.

Theatre Royal, Portsmouth- until 30 May 2026

Reviewed by Lorna Hancock

4****

With book by Jeff Whitty, and music and lyrics by Robert Lopez and Jeff Marx. This rude, hilarious and heart-warming musical is celebrating it’s 20th anniversary this year with a West End revival, so what a great choice of performance for the multi award-winning Portsmouth Players as part of their centenary year celebrations. 

Avenue Q is a hilariously irreverent musical that follows a group of confused twenty-somethings, attempting to figure out life, love, work, and their purpose in a run-down New York neighbourhood. Blending catchy songs, sharp satire, and brilliant puppetry with some very adult humour, following the life of recent college graduate Princeton and his eclectic misfit neighbours. It could easily be described as the adult version of Sesame Street, with puppets facing some very real life issues from relationships and sexual identity to ambition and internet addictions. I must however note, that this musical (with songs such as ‘The Internet is for Porn’ and puppets performing explicit acts on stage) is not for the easily offended.

The musical started strongly with the song ‘It Sucks to be Me’, and we were introduced to all of the main characters. It was obvious from the beginning, that the stand out performer for me was Rosy Stephens playing Kate Monster, and as her story progressed, I was extremely impressed by how much character and feeling she managed to portray through her puppet. With superb vocals she really showed the awkwardness of an early relationship through her song ‘Mix Tape’, and a touching rendition of ‘There’s a Fine, Fine Line’, depicting the confusing thin line between love and friendship that I’m sure many audience members relate to. I also loved her duet with Rod (Charlie Frame) ‘Fantasies Come True’, such impressive vocals and the two sounded brilliant together, my only complaint was that this song wasn’t longer. Charlie played a brilliantly confused Rod and his performance overall was the other one that really stood out for me.

I have previously seen this show in the West End and The Portsmouth Players certainly did it justice. The cast was brilliant. It’s impossible to mention everyone, but I must mention Rachel Dean, always making us giggle with her excellent portrayal of Christmas Eve,  she also showed us her powerful vocals in the humorous song ‘The More You Ruv Someone’. I must also mention Adam Fox who really brought Princeton to life through his animated facial expressions. I similarly loved Ben Irish as Trekkie Monster and Matt Gibbins as Nicky.

All together, a thoroughly enjoyable evening, roars of laughter were regularly heard throughout the theatre. Although Princeton may have spent the show in search of his ‘Purpose’, it was quite clear to the whole audience that the purpose of this show was to make us laugh.

WEST END TRANSFER ANNOUNCED FOR

TAMZIN OUTHWAITE AND KEVIN BISHOP IN

ABIGAIL’S PARTY

WITH PANDORA COLIN, OMAR MALIK AND LAUREN PATEL

WRITTEN BY MIKE LEIGH

DIRECTED BY NADIA FALL

HAROLD PINTER THEATRE
WEDNESDAY 12 AUGUST – SATURDAY 19 SEPTEMBER 2026
FOLLOWING UK NATIONAL TOUR

Theatre Royal Bath Productions are delighted to announce a West End transfer for the critically acclaimed Theatre Royal Stratford East production of Abigail’s Party.

Mike Leigh’s ferocious black comedy of suburban life, social class, materialism and sexual tension in 1970s England is directed by Nadia Fall and will play a limited season at the Harold Pinter Theatre from Wednesday 12 August to Saturday 19 September 2026, following a pre-announced UK national tour.

Tickets for the West End run will go on sale at 12pm today, Tuesday 26 May through atgtickets.com.

Television and stage actress Tamzin Outhwaite plays Beverly, one of the most iconic characters in British theatre. Outhwaite is much-loved from her television roles including EastEnders, Red Cap, Hotel Babylon and New Tricks. Her previous stage credits include Boeing, Boeing, How the Other Half Lives, Stepping Out, and The Haunting of Alice Bowles. She was a judge on the UK television programme Don’t Stop Believing  and in 2021 was unmasked as Scarecrow in the final of The Masked Dancer.

Comedian, actor and writer Kevin Bishop plays Laurence. Bishop is known for many roles in film and television including The Kevin Bishop Show, (which he also co-wrote), Muppet Treasure Island, the British Comedy Award winning Star Stories and the 2016 revival of Porridge. On stage he had roles in West End productions of Pete and Dud Come Again, Fat Pig, and Lady Windermere’s Fan as well as Fully Committed (Menier Chocolate Factory), and Once In A Lifetime (Young Vic). Further screen credits include Daddy Issues, Strike, Inside No. 9, Gangster Granny Strikes Again!, Agatha Raisin, Tracey Ullman’s Show, The Rat Pack, Plebs, The Detectorists, Murder In Successville, Benidorm, Hotel Babylon, Peep Show, Love Soup, My Family, David Brent: Life on the Road and Horrible Histories: The Movie. He is also the voice of the fictional lead singer of British virtual band Gorillaz.

Pandora Colin plays Sue.  National Theatre credits include Ballet Shoes, Dear Octopus, After The Dance, Every Good Boy Deserves Favour, Some Trace of Her and Women of Troy as well as Cow|Deer (Royal Court), Antigone and Our Town (Regent’s Park Open Air Theatre) and Bach and Sons (The Bridge). Screen credits include The Diplomat, Eric, Andor, Flatshare, Master of None, Chernobyl, Line of Duty, Count Arthur Strong, Penny Dreadful, Delicious, Toast of London, Black Books, Earwig And The Witch, The Lady In The Van, I Give It A Year, and Run, Fat Boy and Run.

Omar Malik plays Tony. Theatre credits include A Midsummer Nights Dream (Birmingham Rep), Marriage Material (Lyric Hammersmith/Birmingham Rep), My Beautiful Laundrette (Leicester Curve/Leeds Playhouse) East is East (Nottingham Playhouse/Northern Stage) and Gangsta Granny UK Tour. Screen credits include TV credits include: The Tower, Coronation Street, Hollyoaks, No Offence, The Tracey Ullman Show, The Dumping Ground, Behind the Filter, Doctors, Hounslow Diaries, Call the Midwife, Holby City, Moving on, and Young Dracula.

Lauren Patel plays Angela. Theatre credits include The Empress and Falkland Sound (RSC) and A Christmas Carol (Bolton Octagon). Screen credits include Wallace and Gromit: Vengeance Most Fowl, The Effects Of Lying, White Pudding Supper, Everybody’s Talking About Jamie, Small Prophets, Waterloo Road and Lloyd Of The Flies.

Essex, 1977. Beverly is hosting, the alcohol is flowing, Demis Roussos is on the record player and the cheese and pineapple cocktail sticks are ready to go. Queen of the castle in her suburban semi, Beverly and husband Laurence welcome new neighbours Angela and Tony round for drinks. Sue from next door is invited too but the real party is happening back at her place, as Sue’s teenage daughter Abigail can’t seem to keep the racket down. Awkward small talk quickly descends into inappropriate flirtation and marital disputes: a soiree from hell, but it’d be rude to leave… 

Abigails Party is written by Mike Leigh whose many accolades include prizes at the Cannes Film Festival, the Berlin International Film Festival, and the Venice International Film Festival, three BAFTA Awards, and nominations for seven Academy Awards. Notable work includes Topsy-Turvy, Vera Drake, Happy Go Lucky, Mr. Turner, Naked and Secrets and Lies. He wrote and developed Abigail’s Party through extended improvisations with the original cast, including Alison Steadman in a career launching role as Beverly. The play premiered at London’s Hampstead Theatre in 1977, before being recorded and televised on the BBC’s Play for Today. It has regularly been revived on stage in the decades since.  

Director Nadia Fall is currently the Artistic Director of the Young Vic and was formerly Artistic Director of Theatre Royal Stratford East where her directorial credits include a hit revival of Equus, August Wilson’s King Hedley II and Noye’s Fludde in collaboration with the English National Opera, which won the Olivier Award for Outstanding Achievement in Opera. National Theatre credits include The Doctor’s Dilemma and Home. She also worked with London’s Hampstead Theatre and Bush Theatre, where she directed Taylor Mac’s Hir.

The world class creative team is completed by Set and Costume Designer Peter McKintosh, Lighting Designer Howard Harrison, Sound Designer Alexandra Faye Braithwaite, Movement Director James Cousin and Casting Director Amy Ball CDG.

LISTINGS

WEST END PRODUCTION:

Harold Pinter Theatre
6 Panton Street, London, SW1Y 4DN
Wednesday 12 August to Saturday 19 September 2026
atgtickets.com

UK TOUR:

16 June – 20 June 2026
Malvern Theatres
malvern-theatres.co.uk

22 June – 27 June 2026
Theatre Royal Bath
theatreroyal.org.uk

1 July – 4 July 2026
Fareham Live, Fareham
trafalgartickets.com/fareham-live-fareham

6 July – 11 July 2026
Brighton Theatre Royal
atgtickets.com/venues/theatre-royal-brighton

13 July – 18 July 2026
Curve, Leicester
curveonline.co.uk

20 July – 25 July 2026
Richmond Theatre
atgtickets.com/venues/richmond-theatre/

3 August – 8 August 2026
The Arts Theatre, Cambridge
artstheatre.co.uk 

THE WEST END’S SUPERNATURAL HIT

EXTENDS FOR A FOURTH TIME FOLLOWING PHENOMENAL DEMAND

RETURNING TO THE AMBASSADORS THEATRE FROM TUESDAY 11 AUGUST 2026

www.paranormalonstage.com

Written by acclaimed playwright Levi Holloway

and directed by Felix Barrett, visionary director behind Punchdrunk

Based on the Paranormal Activity films, first written and directed by Oren Peli and brought

to the screen by Blumhouse and Solana Films

Following the recent announcement that Paranormal Activity is set to return to its West End home, the Ambassadors Theatre, this summer, producers Melting Pot are today delighted to announce the nerve-shredding scare-fest’s fourth extension, following terrific demand ahead of reopening in the capital on Tuesday 11 August 2026. Tickets for the new booking period, Monday 5 October – Saturday 7^th November, go on sale today, Tuesday 26 May at 10am at www.paranormalonstage.com.

Please note that, from Tuesday 11 August 2026, the show’s performance schedule will be evenings Monday – Saturday at 7.30pm with Friday and Saturday matinees at 2.30pm.

Blurring the line between cinema and live theatre, Paranormal Activity has been hailed as a ‘relentlessly frightening – arm-clutchingly, stranger-embracingly so’ (Metro) theatrical experience— leaving audiences jumping out of their seats and questioning what’s lurking in the dark long after the curtain falls.

Full casting to be announced.

Praised for its inventive storytelling and terrifying atmosphere, Paranormal Activity is a must-see event for thrill-seekers and theatre lovers alike. Following its original run at Leeds Playhouse and its first West End engagement which saw the show play at the Ambassadors Theatre from Friday 5 December 2025 – Saturday 25 April 2026, Paranormal Activity began a North American tour last autumn, with dates including the Chicago Shakespeare Theatre, Center Theatre Group, Ahmanson Theatre, Shakespeare Theatre Company, Washington DC and American Conservatory Theatre, San Francisco. Paranormal Activity marks its Canadian premiere at the CAA Ed Mirvish Theatre, Toronto this June, ahead of a run at Boston’s Emerson Colonial Theater in July, before embarking on a 20-week Broadway season at the August Wilson Theatre from August 14 2026.

James and Lou move from Chicago to London to escape their past, but they soon discover that places aren’t haunted, people are… Inspired by the iconic, terrifying film series, Paranormal Activity is a new story live on stage.

A new story inspired by the worldwide horror phenomenon, Paranormal Activity, is directed by immersive theatre pioneer and Punchdrunk’s Founder and Artistic Director, Felix Barrett and written by playwright Levi Holloway, whose pulse-pounding theatrical thriller Grey House chilled Broadway audiences.

Paranormal Activity reimagines the modern ghost story with an unsettling intimacy only theatre can provide. Immersing audiences in an atmosphere of creeping dread, unseen forces, and psychological tension, Levi Holloway’s script offers a bold reinterpretation of the original, blending domestic horror with mind-bending theatricality. Felix Barrett, known for breaking boundaries between audience and performer, brings his signature visionary style to the production. With innovative staging and chilling soundscapes, Paranormal Activity invites audiences to witness the inexplicable up close—and feel the fear in real time.

The creative team also includes Fly Davis as Set and Costume Designer, Illusions by Chris Fisher, Anna Watson as Lighting Designer, Gareth Fry as Sound Designer, Video Design by Luke Halls and Casting Direction by Stuart Burt CDG and Ginny Schiller CDG and Associate Director, Anna Marshall.

‘Will I be scared? Yes. How scared? Very. Cleverly, too.’ 

Chicago Tribune

Released by Paramount Pictures in 2009, the original Paranormal Activity is a master class in psychological terror.  Reimagining the found footage genre for a new generation, the film became a global sensation, grossing nearly $200 million worldwide and kicking off a blockbuster franchise spanning seven feature films.  Now, the legacy of fear comes to the intimate world of the theatre as the terrifying phenomenon transitions to the West End stage. Get ready to experience Paranormal Activity in real life.

Paranormal Activity is produced by Simon Friend & Hanna Osmolska for Melting Pot in association with Gavin Kalin, Ken Davenport, Jenny King, Patrick Gracey, Jonathan & Rae Corr and Leeds Playhouse.

Age recommendation – 15 +

THE OLIVIER AWARD-WINNING SMASH HIT COMEDY

WRITTEN BY TONY^® AWARD-WINNER

COLE ESCOLA

DIRECTED BY TONY^® AWARD-WINNER

SAM PINKLETON

EXTENDS BOOKING AT TRAFALGAR THEATRE

UNTIL 2 JANUARY 2027!

COLE ESCOLA

TO MAKE THEIR WEST END DEBUT

REPRISING THEIR TONY^® AWARD-WINNING ROLE

AS MARY TODD LINCOLN

FOR 4 WEEKS ONLY

FROM 20 JULY UNTIL 15 AUGUST 2026

TICKETS TO SEE COLE ESCOLA GO ON SALE FROM

11.00AM ON FRIDAY 27 MAY

SIGN UP FOR PRIORITY ACCESS

Producers Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia are delighted to announce that the Olivier and Tony Award-winning smash hit comedy OH, MARY! will extend booking at Trafalgar Theatre until 2 January 2027.

Cole Escola will make their West End debut reprising their Tony Award-winning role as Mary Todd Lincoln for a strictly limited 4-week season from 20 July until 15 August 2026. Sign up for priority booking to see Cole Escola by visiting ohmaryplay.co.uk. The sign-up window will close at 5.00pm UK time on Thursday 28 May 2026. A priority booking link will be emailed to those who have signed up, and priority booking will open from 11.00am UK time on Friday 29 May 2026. Public booking will open at 3.00pm UK time on Friday 29 May 2026. 

Access bookers will have a 48-hour priority window to book their access seats, from 11.00am UK time on Wednesday 27 May 2026. Requests for these tickets should be emailed to access@trafalgar.global

OH, MARY! currently stars Catherine Tate as Mary Todd Lincoln, Kate O’Donnell as Mary’s Chaperone, Oliver Stockley as Mary’s Husband’s Assistant, with Dino Fetscher as Mary’s Teacher, and Scott Karim as Mary’s Husband.

Catherine Tate’s final performance as Mary Todd Lincoln will be Saturday 18 July. Casting for the role of Mary Todd Lincoln from Monday 17 August onwards is to be announced.

Cole Escola (they/them) is a comedian, actor and writer. For their work on Oh, Mary!, they received two Tony Award nominations, winning the Tony for Best Actor in a Play. They also received a New York Drama Critics’ Circle Special Citation, a Drama League Award, a Drama Desk Award, a Theatre World Award, two Outer Critics Circle Awards and an Obie Award for the show; the play was also named a 2025 Pulitzer Prize Finalist for Drama. Notable TV includes Search Party, At Home With Amy Sedaris, Difficult People (on which they also wrote), Man Seeking Woman, Mozart in the Jungle and Ziwe (for which they were also a writer). Cole consulted on Hacks for HBO and also wrote for The Other Two for Comedy Central. They were the co-creator, writer and star of the lo-fi cult-hit TV show Jeffrey and Cole Casserole, and were named one of Vanity Fair’s 25 Best Performances of 2023 for their special Our Home Out West and Best Sketch Comic of 2020 by the New York Times for their special Help! I’m Stuck!, which they filmed alone in their apartment during quarantine. Both self-produced specials are available on YouTube.

OH, MARY! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this 80-minute one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln, through the lens of an idiot (playwright Cole Escola).

Declared “one of the best comedies in years” by The New York Times, OH, MARY! received Tony^® Awards for Best Leading Actor in a Play (Cole Escola) and Best Direction of a Play (Sam Pinkleton), Drama League Awards for Outstanding Play and Outstanding Direction of a Play, as well as a special citation from the New York Drama Critics’ Circle. It was named a finalist for the Pulitzer Prize for Drama.

OH, MARY! premiered off-Broadway at the Lucille Lortel Theatre in January 2024, before a Broadway transfer to the Lyceum Theatre in July 2024, where it broke box office records and continues to play to sold out audiences. It had its West End premiere at Trafalgar Theatre on 3 December 2025 and won Best Entertainment or Comedy Play at this year’s Olivier Awards. This Autumn, OH, MARY! will also launch a US National Tour.

In addition to Cole Escola (Writer) and Sam Pinkleton (Director), the full creative team includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), David Dabbon (Arrangements) with Casting by Stuart Burt CDG. 

Associate creatives include Zoë Hurwitz (Scenic), Debo Andrews (Costume), Tom Turner (Lighting), Chris Reid (Sound), Kim Kasim (Wigs), and Caitlin Morgan (Music Direction).

OH, MARY! is produced in the West End by Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia with Bob Boyett, The Council, Jean Doumanian Productions, Nicole Eisenberg, Jay Marcus & George Strus, Irony Point, Richard Batchelder/Bradley Reynolds, Tyler Mount/Tommy Doyle, Nelson & Tao, Palomares & Rosenberg, ShowTown Productions, Jamie Wilson Productions and Wessex Grove.

The Executive producers of OH, MARY! at Trafalgar Theatre are Wessex Grove.