Birmingham Repertory Theatre – until 1st November 2026

Reviewed by Emma Millward

5*****

Based on Raymond Briggs’ much-loved book, The Snowman has returned to Birmingham Rep in a refreshed production that still captures the charm of the original. Revived and newly created for the stage by Will Tuckett, who also directs and choreographs, this delightful winter tale follows a young boy whose snowman comes to life, taking the pair on an unforgettable adventure. The role of The Boy is shared between four young performers, Felix Anderson, Jake Durant, Tristan Marwa and Tate Masuku.  For the performance I attended, Tate took on the role, bringing a lovely sense of curiosity and wonder to the part. His friendship with the Snowman is believable and extremely touching.

Andrew Ashton brings the Snowman to life with warmth and charm, creating a character whose physicality and expressive performance make him instantly endearing. Tahra Zafar’s costume gives the character an instantly recognisable appearance, while Daisy Beattie’s puppet designs fill the stage with personality. I particularly loved the cat puppet (Serafina Sofia Barbieri), whose movements and expressions were a delight to watch, especially when the cat is startled by the Snowman! The other snowmen were also a real highlight, each seeming to have their own distinct character. Tasha Chu and Teague Applegate play Mum and Dad, with Applegate also taking on the role of a gracefully balletic Father Christmas. There was a particularly amusing scene in which the oblivious Mum and Dad sleep peacefully while the Snowman explores their bedroom and tries on their clothes.

Anna Fleischle’s work as Production Designer (Set and Costumes) makes clever use of the stage, with the house providing the setting for much of the first act. The set rotates to reveal different rooms, while the video design by Nina Dunn adds atmosphere and really add to the magic of the flying scenes. Matt Daw’s lighting complements the imaginative visuals without distracting from the characters. The wider company also deserves credit for the precision and coordination that bring the production’s movement and storytelling together. Everything feels seamless, and you are drawn in so quickly that you barely notice the scene changes.

The live five-piece orchestra, under Musical Director Andy Massey, brings Howard Blake’s beautiful score to life. When The Boy and the Snowman (Aaron Smyth as the Flying Snowman) took flight to the familiar sound of Walking in the Air, it was clearly a moment the audience has been anticipating, with excitement building around the auditorium before the pair took off to cheers and applause. It was a breathtaking moment, and one that brought a tear to my eye. The emotional heartstrings were tugged again towards the end, as the Snowman melted, leaving just his hat, nose and a few broken hearts behind!

The Birmingham run is relatively short before the production moves to London’s Peacock Theatre. I heard several audience members comment that they would have loved to see it again closer to Christmas, but its October arrival offers a welcome chance to enjoy this much-loved story.

There is a lovely balance of humour, adventure and emotion, making it accessible and engaging for younger audiences, while still offering plenty for adults to enjoy too. With its charming performances and inventive puppetry, The Snowman is a production that stays with you long after the curtain falls.

Magical, moving and utterly enchanting.

Birmingham Hippodrome – until 7th November 2026

Reviewed by Emma Millward

4****

Cats has arrived at Birmingham Hippodrome. With music by Andrew Lloyd Webber and lyrics inspired by T. S. Eliot’s Old Possum’s Book of Practical Cats, the show introduces the Jellicle cats, each with their own distinctive character and story to tell. Led by the wise Old Deuteronomy (Kalisha Amaris), they gather once a year to decide which cat will be given the chance to begin a new life.

The story is told almost entirely through song, making the narrative feel loose and confusing at times. However, the variety-show format allows individual cats to take centre stage, giving the performers plenty of opportunities to showcase their personalities. Jennyanydots (Laura Tyrer) was among my favourites. She made the most of her moment in the spotlight, engaging with the audience during her number, and continued to catch the eye later through her expressive facial expressions. Danny Nattrass and Briana Craig brought a cheeky, Cockney-style charm to Mungojerrie and Rumpleteazer. Elliot Broadfoot’s dual roles as Gus and Bustopher Jones added an amusing touch, particularly as he bounced and twerked his way around the stage as the rather rotund Bustopher. Jaydon Vijn’s Rum Tum Tugger worked the stage well, even if he lacked some of the swagger I have seen in previous versions of the character.

Drew McOnie’s direction and choreography keep the action moving, with the precise movements particularly effective during the fighting sequences. Sami Fendall’s set, costume and wig design help establish the cats’ world, giving each character a distinctive look. Gone are the furry costumes of old, replaced by sleek leotards and bodysuits. Jessica Hung Han Yun’s lighting helps create an otherworldly atmosphere, particularly when the much-feared Macavity finally appears. Played by Dianté Lodge, he makes an eerie impression, with his tall, devil-like ears and confrontations with the other cats giving him a menacing presence.

Jet Yau brings a fresh twist to Mr Mistoffelees, with an impressive breakdancing sequence that adds a contemporary edge and provides one of the evening’s standout moments. Although Grizabella (Louise Dearman) has relatively limited stage time, her isolation is clear whenever she appears, with the other cats recoiling from her. When she sings Memory, Dearman draws the audience in, delivering one of the evening’s emotional highlights. The moment Grizabella is accepted back into the group is genuinely touching, prompting an audible “aww” from the audience.

Under Geraint Owen’s musical direction, the numbers remain a major strength, with Andrew Lloyd Webber’s score still managing to feel fresh and the ensemble maintaining the lively energy throughout.

While the loose narrative occasionally makes Cats difficult to follow, the individual character performances and wonderful score make it an entertaining experience. It may not always be straightforward, but there is plenty to enjoy.

A playful, quirky delight.

★★★★★

“It will fill you with joy and melt your heart”

Guardian

THE MULTIPLE AWARD-WINNING

CRITICALLY ACCLAIMED SMASH-HIT PRODUCTION OF

PADDINGTON^TM THE MUSICAL

EXTENDS UNTIL 25 JUNE 2028

★★★★★

“Is it possible to give a show six stars?”

Metro

★★★★★

“A marmalade flavoured masterpiece”

Daily Mail

With the new company starting performances and the production about to celebrate its first birthday in the West End, the multi-award-winning, critically acclaimed smash-hit PADDINGTON ^TM The Musical, extends until 25 June 2028 due to unprecedented demand. 

PADDINGTON The Musical won seven Olivier Awards equalling the number of wins for any musical – winning Best New Musical, Best Director for Luke Sheppard, Best Actor in a Musical, Best Supporting Actor in a Musical, Best Supporting Actress in a Musical, Best Set Design for Tom Pye and Ash J Woodward, and Best Costume Design for Gabriella Slade and Tahra Zafar – the latter, who designed the bear. The production also received nine WhatsOnStage Awards equalling the record for the most wins in WhatsOnStage Award history – and the most for any new musical. The production won Best New Musical; Best Professional Debut Performance; Best Direction for Luke Sheppard; Best Set Design for Tom Pye; Best Costume Design for Gabriella Slade and Tahra Zafar; Best Sound Design for Gareth Owen; Best Wigs, Hair and Make-Up Design for Campbell Young Associates; Best Musical 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. Additionally, earlier this year, the production won the Critics’ Circle Award for Best New Musical.

New productions will open on Broadway in March 2027 at the Al Hirschfeld Theatre; and at the Capitol Theatre in Sydney in September 2027.

Best availability for West End tickets is now from Summer 2027.

★★★★★

“Paddington The Musical will conquer the world”

The i Paper

Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK present

PADDINGTON THE MUSICAL

MUSIC AND LYRICS BY TOM FLETCHER BOOK BY JESSICA SWALE

DIRECTED BY LUKE SHEPPARD

Based on A Bear Called Paddington written by Michael Bond and the film ‘PADDINGTON’, by special arrangement with STUDIOCANAL

★★★★★

“A triumph. A love-letter to kindness, inclusion and family”

Daily Express

Cast:Samantha Bingley (Lady Sloane), Tarinn Callender (reprising his role as Grant), Alex Crandon (Hank the Pigeon), Linzi Hateley (Mrs Bird), Cassidy Janson (Millicent Clyde), Teddy Kempner (reprising his role as Mr Gruber), Sonny Monaghan (Paddington Voice and Remote Puppetry/Young Man), Sandra Marvin (Tanya), Haydn Oakley (Mr Brown), Marc Pickering (Mr Curry), Abbie Purvis (Paddington on Stage Performer), Hassan Taj (Paddington On-Stage Performer), and Charlotte Wakefield (Mrs Brown); and Poppy Houghton and Francesca Ratcliffe alternate the role of Judy Brown; Eddison Burch and Shayne Maphosa alternate the role of Tony, with Charlie Dean, Arlo Drage, Oliver Goodman, and Finn Leonard alternating the role of Jonathan Brown; with Esme Bacalla-Hayes, Sarah Benbelaid, Millie Gubby, Helen Gulston, Daisy Hanna, Jonathan Hermosa-Lopez, Jacqueline Hughes, Kellianna Jay, Kwame Kandekore, Sam Lathwood, Andilé Mabhena, Kate Parr, Billy Roberts, Hugo Rolland, Eugene Shire, Vicki Lee Taylor and Kevin Tristan. Freya Rose is the Paddington On-Stage Performer understudy.

Matt Brind (Musical Supervisor, Orchestrations and Arrangements), Ellen Kane (Choreographer), Tom Pye (Scenic Designer), Gabriella Slade (Costume Designer), Tahra Zafar (Paddington Bear Designer), Neil Austin (Lighting Designer), Gareth Owen (Sound Designer), Ash J Woodward (Video Designer and Animation), Campbell Young Associates (Hair, Wig & Make-Up Designer), Majid Adin (Illustration and additional Animation), Laura Bangay (Musical Director), Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting (Casting Director), Nick Hockaday (Young Persons’ Casting Director), Annabelle Davis (Paddington Casting Director), Javier Marzan (Physical Comedy Consultant), Tobago Crusoe and Felix Ruiz (Additional Music Consultants)

★★★★★

“London needs this musical now more than ever”

Radio Times

Join us for a rather wonderful adventure.

Hold on to your hats! PADDINGTON The Musical is now playing in London’s West End.

When a small, lost bear from Peru arrives in London in search of a new home, a chance encounter with the Brown family leads him to the wonderful world of Windsor Gardens.

But London isn’t all afternoon teas and friendly faces – and even the happiest families have their cracks beneath the surface. So when a mysterious and vengeful villain sets her sights on Paddington, the Browns embark on a thrilling rescue mission, realising they need this special bear as much as he needs them.

Packed with show-stopping songs, dazzling choreography, mishaps and mayhem at every turn – and of course, marmalade sandwiches – PADDINGTON The Musical is based on the iconic characters from Michael Bond’s books, with a story inspired by the award-winning 2014 film.

Michael Bond’s A Bear Called Paddington was published in 1958 by Collins, later Harper Collins – the first of 29 Paddington books he was to write, with the final one Paddington at St. Paul’s, published posthumously in 2018. The books have sold over 35 million copies worldwide.

Paddington has been adapted for television several times – first by the BBC in 1976; and most recently adapted by STUDIOCANAL who have produced three Emmy Award-winning series of The Adventures of Paddington. Paddington has also enjoyed three successful big-screen outings, all produced and developed by STUDIOCANAL, a Canal+ company – Paddington released in 2014, Paddington 2 in 2017, and Paddington in Peru in 2024, enjoying critical and commercial acclaim becoming the biggest independent family franchise of all time.

Instagram, Facebook and TikTok: paddingtonthemusical

www.paddingtonthemusical.com

Listings

Paddington The Musical

SAVOY THEATRE

Savoy Court, Strand, London WC2R 0ET

Box Office: 0844 871 7687 / www.paddingtonthemusical.com

Tickets from £25

Paddington ticket lottery: https://paddingtonthemusical.com/lottery/

Monday               7pm

Wednesday         7pm

Thursday              2pm & 7pm

Friday                   7pm

Saturday              2pm & 7pm

Sunday                 2pm

Recommended for ages 6+

TOM ROSENTHAL & ADRIAN SCARBOROUGH

TO STAR IN 2027 UK TOUR OF

JEEVES AND WOOSTER IN PERFECT NONSENSE

A COMEDY FROM THE WORKS OF P.G. WODEHOUSE

FROM 29 JANUARY 2027

ATG Productions are delighted to announce that stars of stage and screen Tom Rosenthal and Adrian Scarborough will lead the cast of the 2027 UK tour of Jeeves and Wooster in Perfect Nonsense: A comedy from the works of P.G. Wodehouse, written by Robert Goodale and David Goodale. The tour, which will be directed by acclaimed theatre director Phillip Breen, will open at Aylesbury Waterside Theatre from 29 January 2027.

Expect laugh-out-loud comedy, mistaken identities, romantic entanglements, spectacular muddles and a colourful cast of wonderfully eccentric characters. P.G. Wodehouse’s world of charm and mischief bursts onto the stage in a riot of impeccable comic timing, ingenious theatrical invention and gloriously British humour.

With comedy gold at every turn, Jeeves and Wooster in Perfect Nonsense is guaranteed to be the theatre comedy event of the year!

Tom Rosenthal, who plays the gloriously hapless Bertie Wooster, is an acclaimed British actor and comedian, best known for playing Jonny Goodman in the hit Channel 4 sitcom Friday Night Dinner and Marcus Gallo in ITV2’s Plebs. His further screen credits include Broadchurch, Dad’s Army: The Lost Episodes, Drunk History and Bridget Jones’s Baby. Alongside his screen career, he is an established stand-up comedian, performing at venues and festivals across the UK. His theatre credits include The Government Inspector (Chichester Festival Theatre), directed by Gregory Doran; The Philanthropist (Trafalgar Studios), directed by Simon Callow; and Chicken Soup with Barley (Royal Court Theatre), directed by Dominic Cooke.

Adrian Scarborough who plays Wooster’s unflappable valet Jeeves, is a two-time Olivier Award-winning British actor best known for playing Pete Sutcliffe in the hit BBC comedy Gavin & Stacey and the title role in The Chelsea Detective. His extensive television credits include Killing Eve, A Very English Scandal, Doctor Who, Miranda, Sanditon, Plebs, Blunt Talk, Mr Bigstuff, Falling and War. His film credits include 1917, The King’s Speech, Les Misérables, Gosford Park, Vera Drake, Notes on a Scandal and On Chesil Beach. Alongside his screen career, he is an acclaimed stage actor, having won two Olivier Awards for his performances in After the Dance (National Theatre) and Leopoldstadt (Wyndham’s Theatre).

Jeeves and Wooster in Perfect Nonsense is produced by ATG Productions.

Website: perfectnonsenseplay.com

Instagram, Facebook: @perfectnonsenseplay

2027 TOUR SCHEDULE

29 January – 6 February                   Aylesbury Waterside Theatre

                                                           atgtickets.com/Aylesbury

9 – 13 February                                 Manchester Opera House

                                                           atgtickets.com/Manchester

16 – 20 February                               Theatre Royal Brighton

                                                           atgtickets.com/brighton

23 – 27 February                                Princess Theatre, Torquay

                                                            atgtickets.com/torquay

2 – 6 March                                       Richmond Theatre

                                                           atgtickets.com/Richmond

9 – 13 March                                     The Arts Theatre Cambridge                                      On sale soon

                                                           www.artstheatre.co.uk

16 – 20 March                                   Theatre Royal Glasgow

                                                           atgtickets.com/theatre-royal-glasgow/     

23 – 27 March                                   Woking Theatre

                                                           atgtickets.com/woking                             

30 March – 3 April                              Milton Keynes Theatre

                                                           atgtickets.com/miltonkeynes

13 April – 17 April                               Liverpool Playhouse                                                  On sale soon

                                                            everymanplayhouse.com  

20 – 24 April                                       Sheffield Lyceum Theatre                                          On sale soon

                                                           sheffieldtheatres.co.uk

27 April – 1 May                                Birmingham, The Alexandra

                                                           atgtickets.com/Birmingham

4 – 8 May                                            Grand Opera House York

                                                            atgtickets.com/York

FULL CAST ANNOUNCED FOR

THE WEST END TRANSFER OF

KIMBERLY BELFLOWER’S

JOHN PROCTOR IS THE VILLAIN

DIRECTED BY TONY AWARD-WINNER

DANYA TAYMOR

AT WYNDHAM’S THEATRE

FOR A STRICTLY LIMITED 12-WEEK SEASON

FROM 2 FEBRUARY UNTIL 24 APRIL 2027

Producers Sue Wagner, John Johnson, Sonia Friedman Productions, Wessex Grove, Runyonland, Spark Productions, John Mara Jr, Jillian Robbins and The Royal Court are delighted to announce the full cast for the West End transfer of Kimberly Belflower’s JOHN PROCTOR IS THE VILLAIN, directed by Tony Award-winner Danya Taymor.

The cast are Lauryn Ajufo (Nell Shaw), Charlie Borg (Lee Turner), Reece Braddock (Mason Adams), Dónal Finn (Carter Smith), Holly Howden Gilchrist (Beth Powell), Miya James (Raelynn Nix), Molly McFadden (Bailey Gallagher), Amy Macken (Ivy Watkins) and Sadie Soverall (Shelby Holcomb).  

Lauryn Ajufo, Charlie Borg, Reece Braddock, Dónal Finn, Holly Howden Gilchrist, Miya James, Molly McFadden and Sadie Soverall all reprise their roles from the sell-out run at the Royal Court, with Amy Macken joining the cast for the West End transfer.

The cast is completed by Alfie Craig, Anna Francis, Thalia Gambe, Ada Grey and Tom Milligan.

Kimberly Belflower and Danya Taymor said today: “We’re over the moon to be reuniting with so many members of our Royal Court coven, and to be welcoming the extraordinary Amy Macken to the fold as we prepare to take the West End by storm in 2027. Rehearsing this play with these people is a sacred, special thing; we can’t wait to be back in the room and make more magic together.”

JOHN PROCTOR IS THE VILLAIN transfers to the West End following a critically acclaimed, sold out run at the Royal Court Theatre earlier this year. It will play a strictly limited 12-week season at Wyndham’s Theatre,a Delfont Mackintosh Theatre, from Tuesday 2 February until Saturday 24 April 2027 with a press night on Tuesday 11 February. Tickets are on sale now.

One small town. A soundtrack of pop, adrenaline and barely-contained rage, five young women reveal something darker is stirring. As long-buried truths rise to the surface, they begin to question everything and take control of the narrative for themselves.

Heralded as one of the most compelling new plays of recent years, the production offers a poised and piercing exploration of girlhood, power, and the courage to question what we think we know.

In addition to John Proctor is the Villain at the Royal Court,Lauryn Ajufo’s theatre credits include Chewing Gum Dreams for Theatre 503 and The Den at Swan Wharf. Her television credits include Accused, Dreaming Whilst Black, Everything Now, Tell Me Everything, The Last Bus and Holby City, and her film credits include Luther: The Fallen Sun, Boiling Point and Villain. Charlie Borg’s theatre credits include John Proctor is the Villain at the Royal Court and It’s About Your Son for Little Two Theatre Company, and his film credits include Dog of Time. Reece Braddock made his professional debut in John Proctor is the Villain at the Royal Court. Dónal Finn’s West End credits include Hadestown at the Lyric Theatre and his other theatre credits, in addition to John Proctor is the Villain at the Royal Court, include An Oak Tree at The Other Palace, Sing Street at the Huntington Theatre Company, Albion at the Almeida Theatre and Chasing Bono at Soho Theatre. His television credits include The Other Bennet Sister and SAS: Rouge Heroes for the BBC, Young Sherlock and The Wheel of Time for Amazon, and Cursed and The Witcher for Netflix. His film credits include The Uprising, Viva La Madness, Four Letters of Love, Fantastic Beasts: The Secrets of Dumbledore, and How to Build a Girl. Holly Howden Gilchrist’s theatre credits include John Proctor is the Villain at the Royal Court, Antigone and A View from the Bridge, both at the Tron Theatre, Beauty and the Beast and Small Acts of Love, both at the Citizens Theatre, and Blinded by the Light for Sylvian Productions.Her television credits include Murder Is Easy, and her film credits include I Swear, Whisky Galore!, Man to Man, and Love What You Love. Miya James’s West End credits include The Crucible at the Gielgud Theatre and her other theatre credits include Measure for Measure for the RSC, London Tide at the National Theatre and John Proctor is the Villain at the Royal Court. Miya’s television credits include Midsomer Murders for ITV. Amy Macken’s theatre credits include The Snapper and A Wonderful Life, both at The Gate Theatre, Dublin, and Les Liaisons Dangereuses at the National Theatre. Her television credits include Dublin Murders for the BBC. Molly McFadden made her professional stage debut in John Proctor is the Villain at the Royal Court and her television credits include The Rachel Incident. Sadie Soverall’s theatre credits include John Proctor is the Villain at the Royal Court and The Cherry Orchard at the Donmar Warehouse. Her television credits include Every Year After for Amazon, The Gathering for Channel 4, Never Let Me Go for FX and The Winx Saga for Netflix. Her film credits include Elsinore, Finding Emily, Arcadian, Saltburn and Little Bone Lodge.

JOHN PROCTOR IS THE VILLAIN premiered on Broadway in March 2025 at the Booth Theatre, where it was nominated for seven Tony Awards, including Best Play. It had its London premiere at the Royal Court Theatre on 20 March 2026, where it played to sold-out audiences until Saturday 25 April. Critical acclaim from its run at the Royal Court included:

Financial Times ★★★★★

‘a joyous, blazingly intelligent play’

London Theatre ★★★★★

‘It’s not just a drama: it’s a revolution.’

WhatsOnStage ★★★★★

‘Absolutely essential… this is art that helps us to understand life’

Time Out ★★★★

‘The hype is real’

Scenography is by AMP, featuring Teresa L. Williams, the costume design is by Sarah Laux, the lighting design is by Natasha Katz, the sound design and original composition is by Palmer Hefferan, projection design is by Hannah Wasileski and movement direction is by Tilly Evans-Krueger. The Voice and Dialect Coach is Gigi Buffington, the Casting Director is Julia Horan, CDG, with dramaturgy by Lauren Halvorsen.

JOHN PROCTOR IS THE VILLAIN is presented by Sue Wagner, John Johnson, Sonia Friedman Productions, Wessex Grove, Runyonland, Spark Productions, John Mara Jr, Jillian Robbins and The Royal Court.

Cambridge Arts Theatre – until Saturday 31 October 2026

Reviewed by Steph Lott

5*****

The title of Robert Bolt’s 1960 play comes from the Tudor scholar Robert Whittington, who described Sir Thomas More as “a man for all seasons”, meaning someone at ease in every circumstance of life. Bolt gave the phrase an ironic edge. His More stays the same through every season of fortune, from royal favourite to Lord Chancellor to prisoner in the Tower, while those around him bend with the political climate. The play leaves us asking whether that constancy is More’s greatest virtue or his fatal flaw.

Jonathan Church’s touring production, from Theatre Royal Bath, has arrived at the Cambridge Arts Theatre with Martin Shaw returning to a role he first played two decades ago. His More took a while to find his full voice. In the early scenes, his delivery was rather too quiet for those of us who are hard of hearing. But the performance grew steadily in power, and by the trial it was storming. Shaw’s More was no plaster saint: he was witty, stubborn and humane, and he believed that his silence would protect him, only to discover that the state read that silence as defiance. When he declared himself “the King’s good servant, but God’s first”, the line carried the full weight of a friendship with Henry that had turned fatal.

For many of us, our picture of the Tudor court now comes from Hilary Mantel’s Wolf Hall trilogy, in which Thomas Cromwell is the subtle, sympathetic centre and More the cold zealot. It was fascinating to see the same events from Bolt’s opposite perspective. The heart of the evening was the duel between More and Cromwell, played with true verve by Sam Philips: two brilliant, ambitious servants of the same king, one defending the authority of the Church and the other engineering the King’s break with Rome. Historians now see both men in more complex terms than either Bolt or Mantel allows. Even so, their scenes crackled like a political and moral chess match.

Peter Losasso’s Richard Rich and Chris Larkin’s Norfolk helped create the atmosphere in which these events unfolded: Rich the eager hopeful who becomes a perjurer, Norfolk the uneasy friend caught between loyalty and survival. Paul Kemp’s Common Man, stepping in and out of the action as servant, jailer and finally executioner, kept the whole narrative very nicely pieced together.

Simon Higlett’s costumes were gorgeous, and his set transported us convincingly into the period without ever slowing the action.

This is a handsome, intelligent and finely acted production. After a hesitant start, Shaw rises magnificently to one of the great roles of twentieth-century drama. Nearly five centuries after More’s execution in 1535, Bolt’s question of what we owe our own conscience when power demands otherwise has lost none of its force.

Festival Theatre, Malvern – until 31st October 2026

Reviewed by Courie Amado Juneau

5*****

Barnum is, of course, a name familiar to us all. Many will know of him from his original fame and the stories still told. For some, through The Greatest Showman. For others, this musical. I knew little about any previous portrayal but was anticipating a fun musical evening.

Matt Rawle played our titular character, the one and only P.T. Barnum. His theatrical CV promised much and he didn’t disappoint. A very charismatic performance in which he engaged with the crowd wonderfully – though I do wonder if Karen in the front row will ever recover to buy a ticket so close to the stage again? Thoroughly enjoyable.

Before curtain up it was announced that understudy Emma Jane Morton was to play Charity Barnum. An impressive feat – as she was sensational. Her acting and singing were first class, she looked taylor made for the role and her on-stage rapport with Rawle was top drawer giving the lead couple a believable air. I am really looking forward to seeing her in, well, anything again!

“160 year old” Joice Heth, played by Dominique Planter, was the first revelation of the night with the a barnstorming “Thank God I’m Old” taking the paint off the back wall. Socks well and truly knocked off.

Stunning acrobatics throughout meant there was always something to see; even in your widest peripheral vision! It really is a show that doesn’t know the meaning of standing still – not surprising when the programme informs that the choreographer was Oti Mabuse. One could come for the entire run and see something different each time.

Ben Goffe as Gen Tom Thumb brought the house down with his solo spot “Bigger Isn’t Better”; with shades of The Greatest Showman “This Is Me” attitude to the fore. Loved it!

Penny Ashmore as Jenny Lind the Swedish Nightingale was another with an incredible voice! And a convincing Swedish accent (well, at least to my ears who only have Abba to really go on). She carried the sultry diva part with a convincing conviction.

Gorgeous costumes and big top style set were inevitable and duly provided by Set and Costume Designer Lee Newby. The ladies, in particular, looked stunning in those Victorian era dresses.

The ensemble were equally deserving in praise given the multitude of tasks they performed. Juggling, singing and dancing, being lobbed around like rag dolls and playing music live on stage – many of them being multi-instrumentalists. They couldn’t have given more. The programme points out that there were 150 instruments played, which I can believe.

With plenty of interest in the scintillating score from Cy Coleman (lyrics by Michael Stewart) this is a superb show that I’m sure even P.T. would approve of. It was loud, bright, colourful – kind of how I imagine diving into a swimming pool of Skittles and eating your way out feels. But there were also tender moments, especially between Mr and Mrs Barnum that gave shade to the garish floodlit plains and a welcome emotional depth.

Perhaps not “the greatest show on earth” but certainly deserving of my hearty praise and wholehearted recommendation. Roll up roll up (at the box office)…

Blackpool Grand Theatre – until 31 October 2026

Reviewed by Annabel Southern

4****

If you are looking for a theatrical thrill that perfectly captures the spooky spirit of late
October, look no further than Westerberg High. Currently unleashing its razor-sharp
wit at the Blackpool Grand Theatre as part of an extensive nationwide tour, Heathers
The Musical is the absolute perfect Halloween viewing. It trades traditional
ghosts and ghouls for pitch-black humor, teenage angst, and a monstrous body
count.

Based on the iconic 1988 cult film starring Winona Ryder and Christian Slater, this
award-winning rock musical tells the story of misfit Veronica Sawyer, who navigates
the cutthroat high school social ladder by aligning with the beautifully cruel
“Heathers” trio. Things take a deadly turn when she crosses paths with the brooding,
trench-coat-wearing new kid, J.D., turning high school drama into a literal
life-or-death battleground.

Half the magic of last night’s performance was the audience. The Blackpool Grand
was a sea of vibrant blazers and pleated skirts as dedicated fans turned up fully
dressed as their favorite characters, making the auditorium feel like Halloween
party

Laurence O’Keefe and Kevin Murphy’s score is packed with relentless, pop anthems
like Candy Store and the rock-infused power ballad Dead Girl Walking had the
audience completely under their spell. These were perfectly executed by the cast,
hitting the high notes effortlessly.

The synchronized, stiletto-sharp choreography keeps the stage bouncing, while the
powerhouse vocals during emotional standouts like Kindergarten Boyfriend give you
literal goosebumps.

The show was fast, funny, unapologetically loud, and delightfully twisted.

Sheffield Lyceum – until Saturday 31st October 2026

Reviewed by Claire Moore

3***

Following a hugely successful West End run in 2025, Burlesque the Musical arrives in Sheffield, bringing plenty of music, dancing and glamour to the stage.

Based on the 2010 film and with Christina Aguilera as executive producer, the musical follows Ali, a young woman who arrives in New York hoping to find the mother she has never known. When she discovers an underground burlesque club, she finds herself drawn into a world of performers, big personalities and plenty of drama. Along the way, she begins to discover her own talent and finds a place where she might finally belong.

Written by Steven Antin, the show features songs by Christina Aguilera, Sia and Diane Warren, alongside new music from Todrick Hall and Jess Folley.

If you’re a fan of glitz, feathers and sparkle, then Burlesque is certainly going to be your kind of show!

After a slightly delayed start, the production gets underway with big voices, extravagant costumes and enough glitter to last a lifetime. And it certainly doesn’t hold back!

The standout stars of the evening are the three leading ladies, Faye Brookes as Tess, Gracie O’Brien as Ali and Vanessa Ela Young as Nikki. I’ve seen a lot of musicals this year, but these three have some of the most powerful and impressive voices I’ve heard on stage. Each brings something different to her performance, and when it comes to the big songs, they really do deliver. The live band is a great addition as well.

The show aims to recreate the atmosphere of a cabaret club, with dance routines woven between the unfolding drama. There are some great fun numbers along the way, but it’s when the whole ensemble comes together that the production really comes to life. The stage fills with energy, movement and colour, making these some of the most enjoyable moments of the evening.

Where the production doesn’t quite work is in the storytelling. There are some fantastic performances, but the scenes in between don’t always flow as smoothly as they could. At times, it feels as though the show is trying to do a little too much, moving between serious drama, comedy and musical numbers without quite bringing everything together.

With shows like Moulin Rouge! and Chicago setting the bar so high, Burlesque has some tough competition, but it certainly gives it a good go. It’s glamorous, a little cheeky and doesn’t take itself too seriously.

If you’re looking for a fun high energy night out with fabulous costumes, a little naughtiness and some truly outstanding singing, Burlesque certainly delivers.

Theatre Royal, Portsmouth – until Sunday 1st November 2026

Reviewed by Sally Lumley

4****

Portsmouth Players’ latest production, Joseph and the Amazing Technicolor Dreamcoat, arrives at Portsmouth’s Theatre Royal this week, bringing a stage full of colourful fun.

With music by Andrew Lloyd Webber and lyrics by Tim Rice, this much-loved musical tells the biblical story of Joseph (Archie Mac), whose extraordinary gift for interpreting dreams sets him apart from his eleven brothers. When Joseph dreams that he is destined for greatness, jealousy soon takes hold and his brothers sell him to slave traders in a bid to be rid of him. However, Joseph’s talent eventually leads him to fulfil his destiny and reclaim his famous dreamcoat.

One of the most interesting choices in this production is Portsmouth Players’ decision to split the role of the Narrator between two performers, Emily Horner and Kayleigh Pendry. This works really well, and their superb voices blend skillfully, adding beautiful layers of harmony.

Archie Mac is a real standout as Joseph, with his vocal talent shining throughout the show. His rendition of Close Every Door is a particular highlight; you could have heard a pin drop as the audience were completely captivated. Another scene-stealing performance is from Stuart Warner as Pharaoh, who absolutely makes the most of every moment in this role. Bringing buckets of personality, he really made the Pharoah his own.

There were unfortunately a few microphone issues on the night we attended, but the enthusiastic cast didn’t let these technical hiccups affect their performances. Their energy and enjoyment were infectious, and the talented children in the cast deserve a special mention for bringing a big injection of fun to the stage.

Joseph is perfectly timed for a half-term trip to the theatre, although there’s plenty of fun in this production for everyone. Portsmouth Players, in their centenary year, have created an energetic feel-good show, so go, go, go, go to the Theatre Royal for a technicolor treat for the whole family.