FIRST TOUR CASTING ANNOUNCED FOR THE

BRAND-NEW PRODUCTION OF

ANDREW LLOYD WEBBER’S

MULTI-AWARD-WINNING MUSICAL

MICHAEL HARRISON FOR LLOYD WEBBER HARRISON MUSICALS PRESENTS THE REGENT’S PARK OPEN AIR THEATRE PRODUCTION ACROSS A MAJOR UK AND IRELAND TOUR

PERFORMANCES BEGIN AT THEATRE ROYAL PLYMOUTH ON 6 OCTOBER 2026 FOLLOWING A RECORD-BREAKING SEASON AT REGENT’S PARK OPEN AIR THEATRE, NOW PLAYING UNTIL 19 SEPTEMBER 2026

https://uktour.catsthemusical.com

Michael Harrison for Lloyd Webber Harrison Musicals presents the Regent’s Park Open Air Theatre productionof Andrew Lloyd Webber’s global sensation, CATS, across a major UK and Ireland tour and is delighted to announce first casting for the forthcoming tour. The brand-new production of the multi-award-winning musical will open at Theatre Royal Plymouth, where it plays from 6 – 17 October 2026 and then tours through to June 2027.

The UK and Ireland tour will star: Fin Adams (Alonzo), Kalisha Amaris (Old Deuteronomy), Carla Bertran (Electra and Co-Dance Captain), Elliot Broadfoot (Bustopher Jones / Gus), Grace Burrows (Offstage Swing), Matthew Caputo (Skimbleshanks),         Josie Chambers-Sims (Syllabub), Briana Craig (Rumpleteazer), Katie Dunsden (Bombalurina), Joshua-Samuel Freeman (Tumblebrutus), Regan Garcia (Pouncival), Aaron Jenkins (Offstage Swing), Hannah Joseph (Victoria), Taziva-Faye Katsande (Tantomile), Diante Lodge (Macavity), Shona Mairi Masson (Offstage Swing), Owen McHugh (George), Danny Nattrass (Mungojerrie), Millie O’Connell (Demeter), Andrew Parfit (Coricopat), Dean Rickards (Offstage Swing), Nathan Rigg (Offstage Swing), Lucie-Mae Sumner (Jellylorum /Griddlebone), Laura Tyrer (Jennyanydots / Gumbie Cat), Jaydon Vijn (Rum Tum Tugger), Jack Wilcox (Munkustrap), Jet Yau (Mr. Mistoffelees), Taela Yeomans-Brown (Offstage Swing and Co-Dance Captain), and Patricia Zhou (Cassandra). 

Casting for Grizabella will be announced later this year.

The tour is directed and choreographed by Regent’s Park Open Air Theatre Artistic Director, Drew McOnie and follows a record-breaking summer season now playing at the venue until 19 September 2026.

Drew McOnie said: ‘CATS has always celebrated the unique talents of its performers, and I can’t wait for audiences across the country to experience this company’s brilliance in this brand-new production. Each of these cast members will play their own special part in creating animalistic harmony under the Jellicle Moon. It’s going to be quite an adventure, and we look forward to welcoming you to join us.’

With music by Andrew Lloyd Webber and based on Old Possum’s Book of Practical Cats by T.S. Eliot, this production of CATS after its Theatre Royal, Plymouth dates, will visit Hull, New Theatre (20 – 24 October 2026); Birmingham, Hippodrome (27 Oct -7 November 2026); Manchester, Palace Theatre (10 – 21 November 2026) Bristol,Hippodrome (24 – 28 November 2026); Llandudno,Venue Cymru (1 – 5 December 2026);  Glasgow, Theatre Royal (8 – 27 December 2026); Nottingham, Royal Concert Hall (6 – 16 January 2027); Canterbury, Marlowe Theatre (19 – 23 January 2027); Sunderland, Empire Theatre (26 – 30 January 2027); Aberdeen, His Majesty’s Theatre (9 – 13 February 2027); Norwich, Theatre Royal (16 – 27 February 2027);  Belfast, Grand Opera House (2 – 13 March 2027); Dublin, Bord Gáis Energy Theatre(16 – 20 March 2027); Oxford, New Theatre (23 – 27 March 2027); Southampton, Mayflower Theatre (30 March – 10 April 2027); Edinburgh, Playhouse (20 – 24 April 2027); Bradford, Alhambra Theatre (27 April – 1 May 2027); Liverpool, Empire Theatre (5 – 15 May 2027); Woking, Woking Theatre Theatre (18 – 22 May 2027); Cardiff, Wales Millennium Centre (25 – 29 May 2027); Milton Keynes, Milton Keynes Theatre (1 – 5 June 2027) and Newcastle, Theatre Royal (8 – 19 June 2027).

CATS at Regent’s Park Open Air Theatre is part of Drew McOnie’s second season as Artistic Director. It marks the third Andrew Lloyd Webber title produced by the venue in the last 10 years, following the Olivier Award-winning revival of Jesus Christ Superstar (directed by Tim Sheader and choreographed by Drew McOnie) in 2016, 2017 and 2020, and Evita (directed by Jamie Lloyd) in 2019.

Michael Harrison for Lloyd Webber Harrison presents this Regent’s Park Open Air Theatre production, by arrangement with LW Entertainment. Lloyd Webber Harrison Musicals’ productions include this year’s smash-hit summer production at The London Palladium, Jesus Christ Superstar starring Sam Ryder, Starlight Express at Troubadour Wembley Park Theatre, the acclaimed, hit production of Evita at The London Palladium and the Olivier-Award and Tony-Award winning revival of SUNSET BLVD.

‘A new day has begun.’

From Euston station to Victoria Grove, the strays and rebels of London gather under the Jellicle moon in the hope they’ll be the chosen one. And each of them asks, because each of them dares, who will it be?

Based on T.S. Eliot’s Old Possum’s Book of Practical Cats, and with a legendary score which inspired generations featuring Old Deuteronomy, Macavity: The Mystery Cat, Jellicle Ball and the chart-topping hit Memory, this brand-new production of CATS, directed and choreographed by Drew McOnie (Brigadoon, Jesus Christ Superstar), is a magical musical like no other.

CATS is one of the longest-running shows in West End and Broadway history. The show originally premiered at the New London Theatre in 1981, where it played for 21 record-breaking years and almost 9,000 performances. The ground-breaking production was the winner of the Olivier and Evening Standard Awards for Best Musical. In 1983, the Broadway production became the recipient of seven Tony awards, including Best Musical. It ran for 18 years.

Since its world premiere, CATS has been presented in over 54 countries, has been translated into 23 languages and has been seen by more than 77 million people worldwide. The Broadway cast recording won a Grammy Award for Best Cast Album. In 2026, CATS will also embark on 2 major international tours.

Joining Drew McOnie on the creative team are Sami Fendall, Set, Costume and Wigs Designer; Jessica Hung Han Yun, Lighting Designer; Adam Fisher, Sound Designer; Guy Common, Makeup Designer; Ingrid Mackinnon, Intimacy Director; Kev McCurdy, Fight Director; Will Burton, Casting Director and Alex Parker, Musical Supervisor.

CATS 2026 – 2027 UK TOUR DATES

Michael Harrison for Lloyd Webber Harrison Musicals presents The Regent’s Park Open Air Theatre production of CATS

Theatre Royal, Plymouth  

6 – 17 October 2026

www.theatreroyal.com

Hull, New Theatre   

20 – 24 October 2026

www.hulltheatres.co.uk

Birmingham, Hippodrome  

27 Oct -7 November 2026

www.birminghamhippodrome.com

Manchester, Palace Theatre  

10 – 21 November 2026

www.atgtickets.com/venues/palace-theatre-manchester

Bristol Hippodrome   

24 – 28 November 2026

www.atgtickets.com/venues/bristol-hippodrome

Llandudno, Venue Cymru 

1 – 5 December 2026

www.venuecymru.co.uk

Glasgow, Theatre Royal   

8 – 27 December 2026

www.atgtickets.com/venues/theatre-royal-glasgow

Nottingham, Royal Concert Hall         

6 – 16 January 2027

www.trch.co.uk

Canterbury, Marlowe Theatre                                  

19 – 23 January 2027

www.marlowetheatre.com

Sunderland, Empire Theatre  

26 – 30 January 2027

https://www.atgtickets.com/venues/sunderland-empire

Aberdeen, His Majesty‘s Theatre   

9 – 13 February 2027

www.aberdeenperformingarts.com

Norwich, Theatre Royal   

16 – 27 February 2027

www.norwichtheatre.org

Belfast, Grand Opera House    

2 – 13 March 2027

www.goh.co.uk

Dublin, Bord Gáis Energy Theatre

16 – 20 March 2027

www.bordgaisenergytheatre.ie

Oxford, New Theatre   

23 – 27 March 2027

www.atgtickets.com/venues/new-theatre-oxford

Southampton, Mayflower Theatre  

30 March – 10 April 2027

www.mayflower.org.uk

Edinburgh, Playhouse Theatre    

20 – 24 April 2027

www.atgtickets.com/venues/edinburgh-playhouse

Bradford, Alhambra Theatre   

27 April – 1 May 2027

https://www.bradford-theatres.co.uk/alhambra-theatre

Liverpool, Empire Theatre   

5 – 15 May 2027

www.liverpooltheatres.com/whats-on/liverpool-empire-theatre_liverpool

Woking, Woking Theatre

18 – 22 May 2027

www.atgtickets.com/venues/new-victoria-theatre

Cardiff, Wales Millennium Centre  

25 – 29 May 2027

www.wmc.org.uk 

Milton Keynes, Milton Keynes Theatre  

1 – 5 June 2027

www.atgtickets.com/venues/milton-keynes-theatre/

Newcastle, Theatre Royal   

8 – 19 June 2027 

www.theatreroyal.co.uk

The Troubadour Theatre, Wembley Park – until 27 September 2026

Reviewed by Rebecca Salveson 

5*****

I had the absolute pleasure of attending I’m Every Woman – The Chaka Khan Musical at The Troubadour Theatre Wembley Park. The show is an Adrian Grant production in association with Chaka Khan, and it is a vibrant, heartfelt celebration of one of music’s greatest icons. More than a jukebox musical, it tells the inspiring story behind the legend, which took us through Chaka Khan’s remarkable journey with honesty, passion and incredible energy.

The show is written by Nia T. Hill and expertly directed by Racky Plews, with dynamic choreography by Ebony Clarke and musical supervision by Mark Crossland, the production perfectly balances powerful storytelling with electrifying musical performances. Every creative element works together to honour Chaka’s extraordinary life, from her activism and personal struggles to her phenomenal rise to global superstardom.

The cast is exceptional, led by the phenomenal Alexandra Burke as Chaka Khan, supported by Jordan Frazier, Chrissie Bhima, Ashley Stroud, Charlotte St Croix, Miles Anthony Daley, Jelani Munroe and a hugely talented ensemble who bring warmth, emotion and infectious energy to every scene. Their performances capture the strength, resilience and sisterhood at the heart of the story, celebrating powerful women who refuse to be defined by adversity.

Of course, the music is the show’s beating heart. Chaka Khan is a true legend, and hearing timeless anthems including I’m Every Woman, Ain’t Nobody, I Feel for You, Tell Me Something Good, Sweet Thing and Through the Fire performed live is an unforgettable experience. The audience is swept up in the joy, emotion and sheer brilliance of a catalogue that has inspired generations.

Alexandra Burke delivered a performance that truly embodies the spirit of Chaka Khan, capturing not only her unmistakable powerhouse vocals but also the confidence, charisma and stage presence that have defined Chakas legendary career. Burke brought authenticity and emotion to the role, which allowed us to connect with the passion and resilience behind the songs, she paid tribute to Chaka Khan whist showcasing her own exceptional talent as a performer. 

Alongside Alexander Burke the talented cast members portrayed some of the greatest stars in music history. Including  Prince, Whitney Houston, Joni Mitchell, Stevie Wonder, Miles Davis, Steve Windwood and Luther Vandross.  Each actor embraced the unique style, voice and personality of the artist they represented, celebrating the long-lasting influence of these performers. Together the cast recreated iconic moments that celebrated the timeless music and the artists that shaped it. 

This show is an uplifting, empowering and deeply moving production that celebrates not only an extraordinary artist but also the enduring strength of women. Packed with outstanding performances, compelling storytelling and iconic songs, I’m Every Woman – The Chaka Khan Musical is a must-see and a fitting tribute to a true musical legend.

Stage@leeds, University of Leeds – until 31 July 2026

Edinburgh Fringe Festival – The Space on the Mile, Space Three from 17 August 2026

Reviewed by Lauren Fordham 

5*****

Fantasy World Adventures Mega Park The Musical (thereafter referred to as FWAMP) is an original show created by University of Leeds graduates Abbie Freeston, who is responsible for the book and lyrics, and Matthew Stanley, who wrote the music. It follows the (mis)fortunes of Teddy Mega (played by Owen Wardle), son of deceased FWAMP owner Carlos (Rhys Rogers) who is being pressured by his mother Susan (Charlotte Farthing) to take over as CEO so she can retire. Secretly, however, Teddy harbours a different ambition, to become the park’s mascot, Fwampy the rabbit.

I first reviewed FWAMP when it premiered at stage@leeds a year ago, but it has since been recast, and also shortened and streamlined to fit the requirements of the Edinburgh Fringe Festival. 

Wardle’s Teddy has a somewhat grating, misogynistic attitude towards the female characters, particularly his mum, who he resents but also doesn’t want to disappoint, and his long-suffering best-friend-who’s-secretly-in-love-with-him, Pippa (Maeve Gallagher). This characterisation reminds me of modern male protagonists like Evan Hansen from ‘Dear Evan Hansen’ and Jamie New from ‘Everybody’s Talking About Jamie’ , and I could definitely see Wardle playing Evan in the future. Charlotte Farthing would make an excellent Margaret New or Heidi Hansen, with her powerful vocals in Mummy Megan’s Lament competently conveying the same mixture of frustration, anxiety and pride that Margaret New does in ‘When I Met Myself Again.

Like ‘Everybody’s Talking About Jamie’ and ‘Dear Evan Hansen’ FWAMP is a show that, though it is led by a male protagonist,  is propped up by a galaxy of female stars. Gee Case-Watson still commands the stage and frankly, steals the show as Barb, the acerbic Hook-a-Duck seller and often-unsolicited advisor to Teddy, delivering her lines with precise comic timing and in a perfect Yorkshire accent that only makes her funnier. Charlotte Farthing is less likeable as Teddy’s mother, but as I mentioned above her talent is undeniable. 

Lilian Sztankov flexes her comedic muscles for a change as beautiful-but-bitchy princess Mabel (as well as playing one of the Designers), and her fellow Royal Castle members’ number about giving each other sexually transmitted infections is definitely memorable and would make anyone visiting Disneyland look at cast members differently. 

Eliza Mella plays Charlie, the principal designer of the phallic rollercoaster they are petitioning Teddy to let them make, and she and the other Designers deliver humorous lines with suggestive skill ‘we couldn’t get it up without bringing it down’ and also great physical theatre.

Credit is also due to David Bygraves as Jason, the work experience kid. He plays the awkward teenager well but it’s his Dragon’s den-style monologue with the Designers that he subverts his supposedly supporting role and shows his star quality, as well as humour when the maternal designers say ‘can we keep the little one’ and he smoulders with joy. He also multitasks well since he also plays one of the maintenance men who fashion themselves as James Bond, singing a Full-Monty-esque innuendo-ridden song about fixing things and apparently stripping for guests.

The only dimmer switch on this dazzling show was some of the lighting – the logo only lit up Fantasy Mega Park rather than its full title, and some of the signs were also difficult to read as they were only lit in the background, but I’m sure that’s easily rectified and I was too gripped by the show to care for long. It was a shame to lose some of the interactive pre-show games, too.

All in all though, this is a hilariously funny, fantastic show which thoroughly deserves to be a mega success, both at the Edinburgh Festival and beyond.

Cambridge Arts Theatre – until Saturday 8th August 2026

Reviewed by Steph Lott

5*****

There’s a moment early in the second half of this touring production where Tamzin Outhwaite’s Beverly moves around her living room ordering her guests to eat, drink, dance, sit, smoke— and it becomes suddenly, grotesquely clear that she isn’t just hosting a terrible drinks party. She’s manipulating everyone at one. Guests are handled like puppets, strings pulled one at a time, and suddenly it’s not funny anymore.

That reframing is what makes this Beverly worth seeing, more than fifty years after Mike Leigh devised the piece with Alison Steadman and the original Hampstead Theatre cast. Steadman’s Beverly is a monster of bad taste who doesn’t quite know she’s monstrous — gauche, oblivious, and funny precisely because the gap between her self-image and the horror she’s inflicting on everyone else is so wide. Outhwaite’s Beverly is different. Somehow she is not only bad at reading the room but also manages to control it. It’s a such a different performance and not an impression of Steadman’s. The comedy is there in spades but it curdles faster, and the menace sits closer to the surface throughout.

Nowhere is this clearer than in the play’s most notorious sequence, when Beverly gropes Tony under Laurence and Angela’s noses. Play this moment as tipsy obliviousness and it’s excruciating comedy. Outhwaite plays it as calculation: her hands are on Tony, but her eyes are on the rest of the room, watching for the reaction she’s engineering. Tony isn’t the point. He’s the instrument. The seduction is aimed at Laurence and Angela, who dance with superb awkwardness, and it lands with real, uncomfortable heat.

Nadia Fall’s direction gives this version of Beverly room to develop and unfold. She is cruel and calculating but still shocked at the tragic outcome of the evening. The rest of the ensemble hold their own against Outhwaites’s Beverly: we dislike and feel sorry for Craig Hamilton’s Laurence in equal measure. Omar Malik’s stolid and sexy Tony is charismatic but we don’t know whether we should like him or not. This also goes for Lauren Patel’s irritating Angela, getting drunker and more annoying with each gin she swallows. Pandora Colin’s Sue provides a perfect contrast to them all. Nobody gets swallowed and each character has their moment.

It’s very funny. It’s also more disturbing than I expected a drinks party to be. At the end of the performance the whole audience erupted in cheers and applause which were very well deserved.

Royal Hippodrome Theatre, Eastbourne – until 1 August 2026

Reviewed by Mike Linane

5*****

Everybody over the age of 35 will remember where they were when they first heard the news.

On the morning of 11 September 2001, the world changed forever.

As the United States closed its airspace for the first time in history, 38 international aircraft carrying almost 7,000 passengers and crew were unexpectedly diverted to the small town of Gander, Newfoundland.

A community of just 9,000 people suddenly found itself welcoming thousands of strangers from every corner of the glove. What happened over the next five days became an extraordinary story of compassion, generosity and human connection.

Come From Away tells the remarkable true story of the people of Gander and the ‘place people’ whose lives became forever intertwined. Filled with humour, hope and unforgettable music, the show celebrates the kindness that can emerge in the face of uncertainty and reminds us that, even during the darkest times, humanity has an incredible capacity for goodness.

Come From Away is not a musical with lots of pretty costumes or big production numbers – it doesn’t need any of that as it is a simple story, told in a simple but compassionate way.

Don’t worry if you think the basis for this musical is a bit sombre and downbeat – this show is anything but that (although it doesn’t ignore what was actually happening in the world outside of Gander at the time either). This show is full of heart, emotion, love, kindness and lots of humour.  You will sit there with a big smile on your face for most of the time as your faith in your fellow man is restored in you.

The Rattonians who perform this musical have an incredible reputation in the theatre world already. They always put on shows that could easily transfer straight into the West End immediately and this musical is no exception. There isn’t a dud member amongst the cast of 21 all of whom play more than one role.

This is a true ensemble piece of theatre where everyone gets their chance to shine in the spotlight but special mention must be made of the vocal coach (name not given in the programme) as the harmonies that are achieved by this cast are incredible.

Director Alex Adams (who also appears as Kevin J and others) must be congratulated on producing a very tight production which involves a lot of moving of on-stage props all of which appeared to happen seamlessly, quickly and with no one getting hurt in the process.

It’s a pity this show has such a short run as I’m sure it would have been enjoyed enormously by all the visitors still to visit Eastbourne this summer.

Come From Away runs at the Royal Hippodrome Theatre until Saturday 1^st August and is a show you need to see whether you live locally or come from away.

The Lowry, Manchester 22^nd August – 19^th September 2026

Troubadour Wembley Park Theatre 12^th October  2026 – 3^rd January 2027

First there was the television film, then came a sequel followed by another and now, celebrating 20 years since the initial film, comes High School Musical live on stage. Based on the hit Disney Channel original movie, HIGH SCHOOL MUSICAL follows Troy, Gabriella and the students of East High as they navigate first love, friendships and self-discovery, all while juggling classes, basketball games, auditions and the expectations of their peers. Featuring all the beloved songs from the original film, this fresh new production is High School Musical like you’ve never seen it before. This is an immersive production that will feature an actual basketball game and, beware, an infamous kisscam feature.

Directors William Whelton and Joseph Houston promise a show like we’ve never seen before with a state of the art light and video concept which means that wherever audience members look there will be something original and interesting to see.

Starring as Coach Bolton at the Lowry in Manchester is Jason Donovan (although not performing on September 19^th) whilst Harry Judd from McFly takes over the role for the London run at the Troubadour Theatre in Wembley. Directors Whelton and Houston were keen to have an original cast member included in this new production and have cast KayCee Stroh, who played Martha Cox in the original trilogy of films, as Ms Darbus who is East High’s homeroom and drama teacher and takes drama way too seriously. She is in constant conflict with Coach Bolton over what is more important for their students – drama or sport. Stroh will play this role for the entire run of the show at both venues.

They join the previously announced Tobias Turley (ITV’s Mamma Mia! I Have A Dream), Leonor Correia (Six), Caitlin Tipping (Frozen) and Luke Bayer (Titanique) as Troy, Gabriella, Sharpay and Ryan respectively.

The show features all the hit songs from the original film, including Breaking Free, We’re All In This Together, Stick to the Status Quo, Get’cha Head in the Game and many more.

The supporting ensemble cast are played by Char Burnett as Taylor McKessie, Jordan Benjamin as Chad Danforth, Simeon Beckett as Zeke Baylor, Olivia O’Connor as Martha Cox, Yna Tresvalles as Kelsi Nielson, Curtis Patrick as Jack Scott and Alexander Black, Eleanor Bye, Harriet Caplan Dean, Alison Driver, Connor Luke Drury, Mary Francis, Sania Gil-Lubeiro, Tamsin January, Joseph Lennox, Lucas Marlotti, Katie Mulligan, Andre Phipps, Meg Silsby, Kade Stenson, Ethan Vijn and Eddie Zickerman.

This show promises to be the must see show of the autumn and winter for those wanting to relive their youth and also those wanting to take their children along so that they can discover for themselves what got their parents so hot and bothered a mere twenty years ago. This will be a night out to remember!

President Hotel, London WC1N 1DB – reduced family tickets available until 1st September 2026

Reviewed by Julia Spargo

4****

I am a lifelong Fawlty Towers fan. At age 13 I could recite the scripts of all the episodes. I loved Andrew Sachs, who played Manuel in the television series, which ran from 1975 to 1979. So, thus far, I have stayed clear of any shows, spin-offs or experiences featuring the well-loved British sitcom.

Until I was invited to attend Faulty Towers The Dining Experience with my family. The experience takes place in the dining room of the President Hotel, just off Russell Square in London. It was the school holidays. There was food involved. My children were unfamiliar with Fawlty Towers. What could possibly go wrong?

Answer: everything, but in the best possible way.

Arriving at the President, we were greeted by staff and shown to the bar. We were told we would be shown to our seats by the cast as part of the experience. I gave my kids a quick precis of the characters: Basil is a very rude hotel owner. I’m glad I led with this. My daughter was having the children’s menu. He looked her up and down, raised one eyebrow at me and said, “You’re really pushing this one aren’t you. Chicken nuggets indeed. Tsk.” It was a good indication of what was to come.

Manuel (Nick Moon) went all-out to keep guests (noted by my kids as predominantly over 50) entertained. Bread rolls to go with the tomato and basil (naturally) soup were lobbed over diners’ heads. Butter was thrown onto the centre of the table. I am not sure the parsley garnish actually made it into anyone’s bowls but I found some in my hair. One group’s water was served by Manuel who was standing in the centre of their table. Audience participation was expected. One bald diner’s head was polished by Manuel’s tea towel. Sybil checked her hair in it moments afterwards. My daughter, who uses her knife and fork the wrong way round, had them snatched and replaced the correct way by Basil, who muttered through gritted teeth, “Most people have this mastered by the time they are four.” We get this brand of humour. We laughed. One table did not last the distance. This was not a huge surprise. Fawlty Towers is regularly listed as one of the most quintessentially British sitcoms. I am not sure the guests at the table were familiar with it. They probably had quite a shock.

For the enthusiasts, however, all the usual gags are there. A couple of familiar scenes from the television program were reenacted to great cheers from the diners. Slapstick, farce, snobbery; it was all there. By the end of the two hours we were exhausted. As my daughter exclaimed, despite having been mocked more than once, “That was fun!” It was. A great way to pass a summer holiday evening, particularly with the family discount currently available until 1st September. Just brace yourselves.

Evolution London in Battersea Park – until 13^th September 2026

Reviewed by Mike Linane

5*****

First there was the stage show, then the record-breaking Hollywood film and now comes the immersive movie musical.

So what’s this all about I hear you ask. When you arrive at the venue you walk into a proper fairground setting with lots of rides you can go on and side stalls where you can try to pick up a duck by a stick with a hook on the end of it or pick a winner on the Kentucky Derby, you know the kind of thing. Straight back to your childhood. The rides and stalls aren’t free but are very reasonably price.

You can also buy food – hamburgers, fries, ice cream sundaes and there is also a bar for liquid refreshment. It’s good to arrive early so you can immerse yourself in all this fun and take yourself back to those summer nights of the late 1950’s.

Then on a big screen we see trailers for films of the 50’s and when the doors open and you are free to enter the auditorium where the show is to take place – prepare yourself to go straight back to your high school days at Rydell High. The theatre is decked out in different sections all that have stages within them where during the course of the evening various parts of the show will be performed. There is the Main Gym where most of the show takes place, but also the Rydell Autoshop (Greased Lightning) the Pink Clubhouse (all of the girlie songs), the National Bandstand, the Benefit Beauty School and the Shake Shack – you get the idea.

Seating is in two sections: the Drive In where you get to sit behind 50’s vintage car fronts (and gives you the best view of the show, and also the Frosty Diner where you sit in a re-imagined American Diner. As the show is played in the round there really isn’t a bad seat in the house.

Or if you are feeling energetic enough you can stand throughout the show and join in with all the fun, singing and dancing. You are actively encouraged to join in with everything as much as you want to. Even if you are in the seating areas you are encouraged to go down on to the dance floor or even the actual stage at times to join in.

If you decide to stay in your seats don’t worry, many of the cast come round to you and interact with you throughout the show. You can order food and drink to be brought to your table or you can go to the fully-functioning diner counter to buy your own.

All this to keep you amused and the show hasn’t even started yet!

So what is the actual show all about? Well, there are plenty of large cinema screens placed all round the auditorium on which the original film of Grease is played, but whilst this is going on beneath the screens on one of the many stages live actors come out and also perform the show at exactly the same time. This is a really original concept and is so clever. No matter where you look there is always something going on around you.

The whole point of the evening is to have fun and the entire cast work their socks off to ensure that you do just that. If you don’t want to dance just sing along and wave your hands in the air.

For those worried about being so active during these hot summer nights, worry not, the theatre is fully air conditioned and lovely and cool.

Ricky Wilson, of the Kaiser Chiefs band, is the star of the evening coming out to perform as the Teen Angel but it is invidious really to single him out because all of the rest of the cast are just as good whether they are playing a main role or are there as backing support.

This is the most fun you are going to have at any trip to the theatre in London this summer and I urge you to dress up in costume (if you so desire), get out those dancing shoes and ra-ra skirts, and get yourself along to Evolution London for a night of entertainment that you won’t forget in a very long time.

The Winter Gardens Blackpool – until 1 August 2026

Reviewed by Annabel Southern

5*****

Annie the Musical returned to The Winter Gardens as part of its latest UK tour, starring Claire Sweeney as the unforgettable Miss Hannigan.

A much-loved family musical, Annie is set in 1930s America and follows the determined young orphan Annie as she searches for her parents and dreams of a better life. Its uplifting themes of hope, resilience and optimism shine through iconic songs such as You’re Never Fully Dressed Without a Smile and Tomorrow.

Claire Sweeney’s Miss Hannigan is gloriously cantankerous, balancing spiteful humour with impeccable comic timing. Her performance is both entertaining and memorable, while the entire cast delivers strong performances that draw the audience into Annie’s world from the very beginning.

The true stars of the show, however, are the young performers portraying the orphans. They are professional and polished, engaging the audience from the moment they step on stage as theatre-goers settle into their seats. Their singing and dancing are superb, and their on-stage chemistry with Miss Hannigan creates both hilarious and touching moments throughout the production.

Special mention must also go to Sandy, Annie’s faithful four-legged companion, whose appearances delighted younger audience members and earned audible gasps of excitement.

The standing ovation at the curtain call was richly deserved. Packed with memorable songs, outstanding performances and plenty of heart, this touring production proves that Annie remains a timeless musical that continues to charm audiences of all ages.

Festival Theatre, Malvern – until 1st August 2026

Reviewed by Courie Amado Juneau

4.5****

Like many, many people I loved Yes Minister and the follow up Yes Prime Minister. So I was understandably excited to see this new stage play based on those beloved characters; I’m Sorry Prime Minister.

The show is a compact one – a one room set with (at most) 4 characters on stage – most of the time just 3. There’s not much in the way of action (well, the characters are rather old by the time we get to this iteration) so that’s not surprising. Speaking of which…

The story follows ex-PM Jim Hacker’s attempts not to be evicted from his rather cushy position as fellow at a University, with all the perks that includes (like a free house). Trouble is, he’s been rather loose and free with his speech so the students are revolting (he’s sure of that much). After a rather tricky ultimatum he does the sensible thing for a change and calls in the cavalry – Sir Humphrey, his old sparring partner.

Robert Kitson gives us a very different feeling Hacker to the original. I suppose it’s some years down the line so it’s understandable. Even so, it was a rather different approach that was fun but didn’t seem 100% in keeping. I did thoroughly enjoy the depiction of the inevitable health problems that plague persons of a certain age. And Robert did imbue the titular character with much charm and warmth.

Clive Francis brought Sir Humphrey to life with a marvelously impish quality. More playful than I remember but there were enough of the mannerisms to spark that fuzzy place in the heart. Especially wonderful was Clive’s delivery of the trademark long, meandering sentences that only one who has swallowed a dictionary for breakfast can muster. And some glorious slapstick with some errant underpants.

Princess Donnough was in many ways the pivotal character of the whole affair – being the thoroughly modern young lady in Hacker’s life who begins to teach him some harsh but long overdue life lessons. Very nicely played with just the right amount of subtlety to glue events together. An enjoyable performance.

William Chubb was mistaken early on as the Grim Reaper and I’m not sure they were far wrong. As the baddie of the piece Sir David was a fine adversary played with aplomb in this tale of the generational clashes of culture…

…which is at the heart of this play – explorations of the near history of British politics (yes, Brexit looms large), freedom of speech, woke-ness and the difficulties the older generations have with the demands of the younger generation (nicely harking back to other such TV classics as Bless This House). If it sounds rather dry and dull then please be totally reassured – it’s anything but! It was riveting throughout and I was hanging on every word of a witty and thought provoking script from writer and Director Jonathan Lynn.

So, it wasn’t perfect – although with such an iconic original to live up to it was never likely to be – but it was thoroughly engaging and enjoyable. It also had an ending that provided the feel good factor that nostalgic revisiting of past classics does best. Frankly, it gets my vote – and there’s not many ex-PM’s that can say that.