STORYHOUSE, CHESTER – UNTIL WEDNESDAY 7TH OCTOBER 2026

REVIEWED BY MIA BOWEN

4****

I went into How Soon Is Now? at Storyhouse with absolutely no idea what to expect. Apart from the title suggesting music, and the fact it was set in Manchester, I was going in largely blind. What I got was a brilliantly nostalgic, funny and ultimately very moving new 1990s indie musical from Manchester-based Box of Tricks.

Written by award-winning playwright Siân Owen and directed by Adam Quayle, the production transports us to New Year’s Eve 1997, as Britain stands on the brink of a new millennium. The stage becomes Deja Vus nightclub, complete with DJ booth, instruments and what appears to be a rather questionable nightclub bathroom! It feels instantly familiar — and wonderfully 1990s.

Darren Cowley, Theo Woolford and L J Willow provide the live music, while Cowley’s DJ Spin Jim is an absolute triumph. In his green tracksuit, bucket hat and unmistakable Manchester attitude, he welcomes us into the club and introduces us to its regulars. Cowley completely owns the role, creating the atmosphere and energy of the night while reminding us just how powerful music can be in transporting us back to a particular time, place or feeling.

At the centre of the story are best friends Polly (Laura Robinson), a retail worker, and Angie (Kaitlyn Akinpelumi), a health worker, celebrating New Year at Deja Vus. Their night changes when they meet Jean (Bethan McLean), a Welsh girl who has recently been dumped by her controlling boyfriend and finds herself alone, vulnerable and with nowhere to go.

What follows is a story about friendship, vulnerability, relationships and the realities of life, beautifully threaded through the music of the era, which is very much at the heart of the storytelling. Songs by The Smiths, The Stone Roses, Radiohead and Manic Street Preachers are performed live and sung beautifully by the cast, while other 1990s favourites — including New Order and The Prodigy — are woven into the club atmosphere, playing in the background just as they would on a night out in 1997. It creates a brilliant sense of time and place, while showing how a particular song can instantly unlock a memory or emotion.

For me, Bethan McLean as Jean was the standout. Watching her character find her strength as the story unfolds was incredibly affecting. By the time she stands in that beautiful party dress, only to have her boyfriend dismiss her, your heart absolutely bleeds for her.

But Darren Cowley’s DJ Spin Jim deserves a special mention too — he absolutely nailed it.

I arrived not knowing what to expect and left feeling like I’d spent New Year’s Eve in 1997 with some very memorable people. A nostalgic, music-filled night that proves a great song can take you straight back to where you were — and how you felt.

Everyman Theatre, Cheltenham – until 11th October 2026

Reviewed by Jacqui Radford

5*****

If you’re after a night out that lifts the spirit from the very first note, this high-energy touring production of Annie absolutely delivers. Set against the bleak backdrop of Depression-era New York, the show follows Annie as she swaps the misery of Miss Hannigan’s orphanage for a fairytale Christmas with billionaire Oliver Warbucks. This interpretation of the story is every bit as heart-warming as you’d hope.

From the moment the curtain rises, the production has a definite West End feel. The imposing set makes a big impact on the smaller stage, shifting seamlessly between the drab greys of the orphanage and the luxury of the Warbucks mansion.

Costumes capture the era beautifully and the iconic musical numbers, played by a live orchestra that doesn’t hold back, fill the theatre with a familiar warm feeling. ‘Tomorrow’ lands exactly as it should: hopeful, bright and stirring. The ensemble keeps the whole show buzzing, stitching every scene together with crisp, confident choreography that pulls the audience into every moment.

The young performers carry the show with infectious energy. Annie herself is a pocket-sized powerhouse, delivering each line with a mix of grit and sweetness, instantly endearing herself to everyone. Her fellow orphans are a riot of personality, turning ‘It’s the Hard Knock Life’ into a burst of controlled mayhem that captivates hearts instantly. Adding to the magic, Sandy the dog appears on stage with impeccable timing and irresistible charm, prompting coos from the audience every time she appears.

In this production Claire Sweeney doesn’t just play Miss Hannigan, she revels in her. She totters, mutters, and rolls her eyes with despair, turning the orphanage into a gin-soaked circus of misery. Her humour is unfiltered: sharp timing, exaggerated exasperation; and a look that tells you she’s having the time of her life.

Alex Bourne as Oliver Warbucks matches Claire’s energy. He brings a stage presence and a rich, resonant voice, shifting beautifully from tough billionaire to tender father figure. His scenes with Annie feel genuinely warm and give the story its emotional heartbeat.

This joyous performance brought the entire auditorium to its feet for a well-deserved standing ovation. It’s a timeless, uplifting show for all ages; heartfelt, funny, beautifully staged and bursting with charm. You can bet your bottom dollar you’ll leave smiling.

Birmingham Hippodrome- until 10 October 2026

Reviewed by Emma Millward

5*****

Sylvia has arrived at Birmingham Hippodrome with a bang. With book by director and lyricist Kate Prince and Priya Parmar and music by Josh Cohen and DJ Walde, this vibrant musical brings the story of Sylvia Pankhurst and the suffragette movement to the stage through a striking combination of music and storytelling.

Naomi Katiyo is excellent in the title role, capturing the personal conflicts that arise as she develops her own political beliefs that the suffragettes should fight for the rights of everybody, not just women. Beverley Knight is equally impressive, reprising her Olivier Award-winning role as Emmeline Pankhurst. The chemistry between the two leading ladies is apparent from the first scene, and their vocals are incredible to witness live.

The music within the show is often unexpected, covering many styles including funk, hip hop and soul, and comparisons to Hamilton are inevitable. ‘March Women March’ and ‘Suffrajitsu’ were my musical highlights, showcasing the production’s ability to combine contemporary musical styles with its historical setting. Kate Prince’s choreography was crisp and precise throughout. This is particularly effective during the fighting sequences, where the sharp timing and controlled movement create real theatrical impact.

The production finds plenty of humour in its comic portrayals of well-known historical figures. Castell Parker is particularly entertaining as Winston Churchill, while Kenedy Small steals every scene as his mother, Jennie Churchill, bursting onto the stage singing over a drum and bass-infused beat. Collette Guitart as Clementine Churchill comically puts the men around her in their place while still standing by her husband. Ebony Clarke as Emily Davison captures her determination and eccentricity before her increasingly ill-fated campaign takes a much darker turn. Ivano Turco is delightful as Silvio Corio, with his relationship with Sylvia explored through the soulful song  ‘Sylvia, Silvio’, which brings a more intimate side to Sylvia’s story.

Visually, Sylvia takes a darker approach. The set, designed by Ben Stones, makes effective use of movable boxes. A large screen forms the back wall, providing changing imagery that adds atmosphere while also helping with narration. Natasha Chivers and Hector Murray’s lighting complements this effectively, while Andrzej Goulding’s video and animation give the production a cinematic quality. The instantly recognisable suffragette costume design, also by Ben Stones, works particularly well against the darker set.

The auditorium was certainly lively, with the ladies sitting behind me responding with laughter, cheers and whoops throughout the performance. Rather than detracting from the experience, their enthusiasm added to the infectious atmosphere in the theatre and was a clear indication of just how much fun people were having with the production.

If there is one area where Sylvia could be possibly be tightened, it is the running time. At around two hours and fifty minutes including the interval, there are moments when it begins to feel slightly stretched. That said, this is a relatively minor criticism of a production that delivers on almost every other level. With outstanding vocals, precise choreography, striking visuals and a cheeky sense of humour, Sylvia succeeds in making its historical subject feel accessible and thought-provoking.

Powerful and thoroughly entertaining

Theatre Royal, Windsor – until 10th October 2026

Reviewed by Andrew and Kate Lawrence

4****

“You don’t have to live forever; you just have to live!”

John Wilkinson, better known as Wilko, was the acclaimed lead guitarist of “Dr Feelgood”, a band he co-founded that become one of the biggest punk bands in Britain during mid-1970s.

“Wilko”, the play, written by Jonathan Maitland, tells his story, from his early childhood, growing up in Canvey Island, his school and university education, meeting the love of his life and of course the many bands he formed, joined and departed throughout his colourful “rock-and-roll” career. Then, when diagnosed with terminal cancer, the play explains his euphoric transformation and exploration of everything it means to be alive, summed up succinctly in his own life lesson statement – “You don’t have to live forever, you just have to live!”

The play is a monologue delivered by Wilko, played by Johnson Willis, where he describes his story, but delivered in his cockney-Essex drawl style native tongue. An accent which disguises his academic prowess, his knowledge of books and ancient Icelandic poetry, but lands perfectly with your expectations of a punk rock guitar hero.

While music, and in particular punk-rock music, features heavily into this story, including the various interludes of Dr Feelgood hits performed by the talented cast, those performances are, in our opinion, not as “punk rock” as the original beast. Nevertheless, they do add context to the story telling and demonstrating how talented the cast are.

It’s another one of those plays where five actors play the parts of maybe 10 characters throughout the story. Jon House, playing Lee Brilleaux, the lead singer in the band plus other bit parts; Georgina Field, playing Sparko the bass guitarist, and again other bit parts; David John, playing ‘Big Figure’ the drummer and more parts and finally Lara Lemon mostly playing Irene Knight, Wilko’s wife. The acting is superb, and the band performances are commendable.

What certainly does shine through, is how Wilko delivers a very personal perspective on his own life and his transition from living in the fast lane, enjoying the spoils of sex, drugs and rock-and-roll, to becoming a terminally ill cancer patient and living life in full and totally in the present. A life lesson that perhaps we should all learn from.

Nottingham Theatre Royal – until 10 October 2026

Reviewed by Louise Ford

4****

I just stand still and you colour me in….and don’t forget the Queen of Sheba lipstick.

In the  bar last night ,at the Theatre Royal, there was a fair sprinkling of sequins and platform boots, not the audience for the new offering at the Theatre Royal but the audience at the Concert Hall, next door (Mamma Mia! The Musical). The juxtaposition of the two audiences was a good illustration of the importance of clothing as an identifier and for sending a message about who we are and which tribe we belong to.

By Royal Appointment is Daisy Goodwin’s debut stage play, which first aired last year. It is a behind the scene look at the Queen (Jane Asher), her Dresser (Laura Main), her Designer (David Robb) and her Milliner (Matthew Cottle).

It is loosely based on the true story of Angela Kelly who was the late Queen’s dresser. The story draws on the ancient tradition of those closest to the Monach having both power and influence. Although in this play the power lies with the clothes that the Queen wore to a variety of State and public events and the team that put them together.

The play starts at the funeral in 2022, a lone figure in black on the edge of the ceremony. We meet Gigi, who was the late Queen’s Dresser, quietly weeping and mourning the loss of her employer. Her grief is interrupted by the Curator (Laura Matthews), who has been tasked with putting together an exhibition of the Queen’s outfits, unfortunately the official records are incomplete. Does the Dresser have any records of what was worn and why? Of course she does ….. and we start with the Investiture of the Prince of Wales in 1969. Each outfit is put into context by the Curator who does an introduction with key events for the particular year.

To add some extra context there are discussions between the Designer and the Milliner, sometimes these are deeply personal. We learn a little about their backgrounds and personal relationships. At other times it is about the Royal Family and some key events.
All of the audiences and discussions take place in the Queen’s State apartments and a simple sheer curtain helps show case the outfits . The curtain is at times flooded with colour to highlight the outfit being discussed. The set (designer Jonathan Fensom) is static and doesn’t distract from the interactions on stage.

Jane Asher plays the Queen with a quiet calm and elegance. Her transformation as the Queen ages is done with sensitivity and care. Asher is dressed for the most part in a simple tailored dress which is a nondescript “beige”, she fades into the background . However when she tries on her outfits she becomes the central focus of the stage. Thus illustrating the importance of not only being seen but also easily identified.

In contrast Gigi is clad in a smart tailored black dress and is a forthright Northerner ( from Wigan), she grows in confidence as the play progresses and isn’t afraid to speak her mind or make suggestions ( she is the keeper of the Queen’s jewels) for accessories. Towards the end of the play her dreams and ambitions are realised.

My only reflection on the story is that I’m not quite sure what the main focus was so at times it felt a little disjointed.

The show is informative and understated. You are drawn into a private world of privilege, power, intrigue and unlikely friendship. There is also a nice sprinkle of humour, with the Queen becoming quite animated when one of her horses nearly wins the Grand National.

Yvonne Arnaud – until 10^th October 2026

Reviewed by Heather Chalkley

5*****

This epic production has all the ingredients of an ancient tale of love and loss, with a contrasting focus on the unloved. Director Emma Rice has resurrected this brilliant piece of art after it lay dormant for 9 years. It has the richness and timelessness of a classic piece that will last forever. Running through its core is humour that is surprising and essential for this play’s uniqueness. 

The Love Spotters (Stu Barker, Harry Miller, Pat Moran, Philippa Hogg, Nigel Sudarkasa, Jack Heydon) wearing their anoraks, woolly balaclavas and binoculars interact with the audience before the show begins. Their joyful innocence is beguiling. As the play unfolds, we discover that it hides a desperate hopefulness to be loved. The Love Spotters bring humour, fluidity and an undercurrent of yearning that bonds them together and with the audience. The effortless timing and flow as one body replaces the need for many spoken words.

The story is skilfully told more with choreography than the spoken word. The physicality of the performers is inspirational and takes you on an emotional journey in a unique way that transcends time and place. Love is at the centre, amplified by betrayal, loss and yearning.  

Matthew Churcher gives his character Frocin an edge of desperation and dark desire. Churcher’s (Frocin) ability to translate this into physical humour, gives the audience cause to laugh and feel his pain all at the same time!

John Leader’s (Tristan) body is like liquid, flowing effortless through love scenes, fight scenes and in unison with his fellow players. Nandi Bhebhe (Yseult) matches him in strength and independence, whilst giving her character an element of childish abandon at times. Together they are like one body, in perfect harmony. 

Branigan (Tom Fox) is the jester of the piece, disguised as the king’s maid. In traditional style, Branigan’s character carries the darkest truths, sacrificing herself out of loyalty. You laugh out loud and want to cry at the same time. Brilliantly played. 

Whitehands (Stephanie Hockley) is the anomaly in the cast, keeping the audience wondering, ‘who is she?’ Hockley (Whitehands) narrates and carries herself with poise, not entering into any of the physical performance. All is revealed at the end!

The Love Spotters are musicians and stagehands, keeping the performance flowing dynamically and with precision. Choreographer Etta Murfitt has understood the piece and the players perfectly, playing to their strengths. It feels like the whole creative team has melded together to deliver this unique and epic legend like no other.

FULL CAST AND CREATIVE TEAM CONFIRMED FOR

WEST END TRANSFER OF

WATCH AN EXCLUSIVE TEASER OF

‘YOU’ PERFORMED BY JAMIE MUSCATO HERE

Book by David Greig

Music and lyrics by Abner and Amanda Ramirez

Additional Material by Jeremy Sams

Based on the novel by David Nicholls

and the Focus Features film

Directed by Max Webster

Produced by arrangement with Universal Theatrical Group

A BREATHTAKING NEW MUSICAL BASED ON THE GLOBAL BESTSELLING NOVEL.

Every day matters. But some days change everything.

www.onedaymusical.com

Ahead of One Day‘s highly anticipated transfer to London’s West End, Melting Pot today announces its full cast and creative team and releases an exclusive teaser of Jamie Muscato’s stunning performance of ‘You’ in celebration. Marking the moment ‘Dex’ realises his true feelings for ‘Em’ the song is an intimate and emotionally charged introduction to the music of the highly anticipated new musical, capturing the emotions at the story’s heart. Tickets are on general sale now at www.onedaymusical.com

Performancesfor the London transfer are set to start at the Garrick Theatre on Tuesday 17 November, 2026 and welcome the return of Jamie Muscato (Cabaret, Playhouse Theatre; The Great Gatsby, London Coliseum; Moulin Rouge! The Musical, Piccadilly Theatre) and Sharon Rose (Sylvia, Old Vic Theatre; Hamilton, Victoria Palace Theatre) as they reprise their celebrated roles as ‘Dex’ and ‘Em.’

Further casting announced today includes Dan Buckley as ‘Ian’, Dougie Carter as ‘Callum’, Anna-Jane Casey as ‘Alison Mayhew’, Ross Dawes as ‘Mr Godalming’, Christopher Dickins as ‘Stephen Mayhew’, Vanessa Fisher, Ensemble, Kelly Hampson as ‘Sylvie’, Jennifer Louise Jones as ‘Miffy’, Romona Lewis-Malley as ‘Tilly’, Rosalía Morales, Understudy, Ewan Murphy, Ensemble and Tom Mussell, Understudy. ‘Jasmine’ and ‘Sonia’ are played by Bonnie Harper, Esmae Kevany, Hannah McIntyre and Ava-Rae Timewell. Please see biogs and headshots here .

One Day’s band features: Musical Director and Keys, Nigel Lilley; Drums, Luke Baxter; Violin and Synth, Shelley Britton; Cello, Gemma Connor; Guitar, Matt Isaac and Bass and Double Bass, Marcus Pritchard.

This brand-new adaptation of the beloved story is written by The Royal Lyceum, Edinburgh’s former Artistic Director David Greig (Charlie & the Chocolate Factory, Touching The Void, The Lorax), with music and lyrics by Abner and Amanda Ramirez (of acclaimed US band Johnnyswim), with additional material by Jeremy Sams, and directed by Tony and Olivier award nominee Max Webster (Macbeth with David Tennant and Cush Jumbo, The Importance of Being Ernest with Ncuti Gatwa, Life of Pi, Sheffield Crucible, West End and Broadway). 

The creative team is completed by Carrie-Anne Ingrouille, Choreographer; Nigel Lilley, Musical Supervisor, Musical Director and Co-Arranger; Rae Smith, Set and Costume Designer; Bruno Poet, Lighting Designer; Simon Baker, Sound Designer; Lewis den Hertog, Video Designer; Carole Hancock, Wigs, Hair and Make Up Designer; Simon Hale, Orchestrator and Co-Arranger, Stuart Burt CDG, Casting Director, Ingrid Mackinnon,Intimacy Director; Barbara Houseman, Voice Coach and Chris Hay, Production Manager. Children’s Casting is by Keston and Keston and Orchestral Management is by Andy Barnwell and Rich Weeden for BW Musicians Ltd.

Emma walks into Dexter’s life on the night of their graduation. One unsuspecting day that changes them both forever. But where will they be on this day next year? And the year after that? And every year that follows? As Em and Dex’s lives intertwine through joy and heartbreak, missed opportunities and second chances, they navigate love, ambition, and the unpredictable twists of life.

One of the most treasured romances of the 21^st century, which has sold over five million copies worldwide and inspired both film and television adaptations, is brought to life as never before in the life-affirming ONE DAY – The MUSICAL. The fresh and emotionally rich interpretation captures the intensity of youthful romance, the moments that define us forever, and the enduring hope that love will find its way.

ONE DAY is produced by Simon Friend & Hanna Osmolska for Melting Pot, by arrangement with Universal Theatrical Group with Joshua Andrews, Kevin McCollum, The John Gore Organisation, Jenny King, Stuart McAlpine, Robson Entertainment, Vibecke Dahle Dellapolla, Ramin Sabi, Richard Batchelder, Umeda Arts Theatre Company and the Royal Lyceum Theatre, Edinburgh.

Wilton’s Music Hall Unveils Bold and Eclectic Spring 2027 Season

●        Canvey Rock Productions Ltd in association with Cahoots Theatre Company present Not the Benny Hill Show, premiere of Jonathan Maitland’s dark comedy starring Keith Allen

●        Proteus Theatre Company presents The Law of Mayhem, Tabby Lamb’s new play exploring the lives of two transgender trailblazers

●        Sally Homer and John Mackay present Stewart Lee’s Pea Green Boat his darkly comic tale for one night only

●        La Perla 29 presents The Tiger Lillies in A Macbeth Song, Shakespeare’s tragedy reimagined through dark cabaret

●        Lee Management for Gag Reflex Management presents Tape Face: 20

●        Charles Court Opera presents The Mikado, Gilbert and Sullivan’s comic masterpiece

●        The Production Garden, in association with Cube Room Productions, presents Eric and Ern the critically acclaimed West End hit

Wilton’s Music Hall today announces its Spring 2027 season, reflecting its enduring commitment to adventurous, distinctive and eclectic live performance and bringing established artists, comedy, new theatre and unique theatrical experiences to its historic stage.

Highlights include Jonathan Maitland’s provocative new comedy Not the Benny Hill Show, starring Keith Allen; Tabby Lamb’s new play The Law of Mayhem, exploring the lives of two transgender trailblazers; Elizabeth Godber’s new comedy Wolf Country; Charles Court Opera’s The Mikado; the critically acclaimed West End hit Eric and Ern; Tape Face:20 celebrating twenty years of Tape Face, stand-up with no talking, which has to be seen to be believed.

The season opens with a Wilton’s favourite: Tom Carradine and his six‑piece band, The China Plates, bringing the ever‑popular Carradine’s Cockney Sing‑along (11 January) back to the stage. Then Private Eye journalist Richard Brooks will discuss his book Post Mortem: The Post Office Horizon IT Scandal (12 January), examining the political, institutional, professional, and personal failures behind the scandal and the lessons that must be learned to prevent future abuses.  There will be more spoken word presented by Perrier and Fringe First winner Will Adamsdale and Fuel;Will Adamsdale: AI, AI, Oh… (Or How I Wrote a Hit Sitcom with ChatGPT But We’re Not Talking Now) (13 January), a hilarious true(ish) exploration of AI-aided creativity.

January continues with Opera della Luna’s semi-staged presentation of the Edwardian musical comedy The Arcadians (14–15 January). Arbeau Productions presents Paradise Lost (19 January), a theatrical staging of Milton’s epic performed by William Spaulding and directed by Olivier Award winner Keith Warner. By popular demand, for one night only Sally Homer and John Mackay present Pea Green Boat (21 January), Stewart Lee’s darkly comic tale inspired by Edward Lear’s The Owl & the Pussycat, with live improvised musical accompaniment.

A special Variety Gala for Cabaret vs Cancer (22 January) celebrates ten years and more than £500,000 raised to support people affected by cancer. Bringing together some of the UK’s and international cabaret scene’s leading artists, the gala promises a one-off evening of performance and celebration.

The following night, James Seabright presents David Alnwick in The Signalman (23 January), combining Victorian illusion with Dickens’ classic ghost story. The John Godber Company then presents Wolf Country (25–27 January), Elizabeth Godber’s hilarious and heartwarming comedy about friendship, fear and the supernatural, featuring a toe-tapping country music score and directed by Jane Thornton. January concludes with The Fourth Choir’s atmospheric presentation of James Joyce’s The Dead (28–30 January     .

February opens with The Lucky Dog Picturehouse celebrating the centenary of Fritz Lang’s Metropolis (4–5 February) with live accompaniment, followed by the silent classics Man with a Movie Camera and Buster Keaton’s Steamboat Bill Jr. (6 February). The Production Garden brings Jane Austen’s Sense and Sensibility (8–9 February) to the Hall, followed by contemporary music hall night Tiddley Pom (10 February), presented by Kit Green Productions and hosted by Ida Barr with musical director Tom Carradine.

The Brian Clemens Big Band featuring Francesca Confortini return with 20th Century Jukebox (11–12 February), before The Production Garden, in association with Cube Room Productions, presents Eric and Ern (16–20 February), the critically acclaimed West End hit celebrating the centenary of the nation’s much-loved comedy legends Morecambe & Wise. A warm, nostalgic celebration of two of Britain’s greatest comedy double acts, the show invites audiences of all ages back to a world of sunshine and laughter.

February culminates with La Perla 29 presenting The Tiger Lillies in A Macbeth Song (23 February–6 March). Cult dark cabaret band The Tiger Lillies join forces with the acclaimed Barcelona company to retell Shakespeare’s tragedy in a unique concert-performance directed by Oriol Broggi. Featuring new songs by Martyn Jacques, the production journeys through power, war, guilt, death, spells and the devastating consequences of Macbeth’s pursuit of the crown.

March begins with FB Music and Media Ltd presenting the 1920 silent film adaptation of      Strange Case of Dr Jekyll and Mr Hyde (8 March), accompanied by the FB Pocket Orchestra performing an original live score. This is followed by storytelling and music show OneTrackMinds (9 March), Steve Pretty (and Friends) in On the Origin of the Pieces (10 March), and improvised murder mystery CSI: Crime Scene Improvisation (11 March).

Lee Martin for Gag Reflex Management then presents Tape Face: 20 (12–13 March), celebrating more than two decades of the international comedy sensation. The anniversary production revisits highlights from Tape Face’s extraordinary career, from his street-performance beginnings to international touring success and appearances on America’s Got Talent.

Charles Court Opera returns with its acclaimed five-star production of Gilbert and Sullivan’s The Mikado (16–20 March), followed by The Actress (22–23 March), presented by The Long Lane Theatre Company and inspired by the true story of the first women to appear on the English public stage.

Mark Farrelly presents Kenneth Williams: A Celebration (24–25 March), exploring the extraordinary life, wit and work of the much-loved national treasure. Featuring scenes and sketches from his most iconic work alongside moving and revealing extracts from his private diaries, the production offers a personal portrait of one of Britain’s most distinctive performers, performed by Mark Farrelly, Russell Davies and Madeline Smith.    

The Lucky Dog Picturehouse closes March with Harold Lloyd’s The Freshman (30 March) and the silent version of Alfred Hitchcock’s Blackmail (31 March), both accompanied by live scores, including a world-premiere score for Blackmail.

April opens with the return of Tricity Vogue’s All Girl Swing Band (1 April), followed by Ida Barr: Slipped Disco (2 April), a new production from Kit Green Productions blending music hall, hip hop and R&B.

Canvey Rock Productions Ltd, in association with Cahoots Theatre Company, presents Not the Benny Hill Show (6–17 April), Jonathan Maitland’s provocative new comedy starring Keith Allen. Directed by Dugald Bruce Lockhart, this dark comedy is a timely look at cancel culture, shifting sensibilities and evolving attitudes which asks what happens when the world stops laughing along and whether a legacy can survive the verdict of later generations.Loosely based on real people and events, the audience is transported to 1989, when Benny Hill is the biggest comedian in the UK. Summoned to the office of ITV’s Controller of Comedy (played by Allen) he expects a warm welcome after making the channel millions of pounds, but the meeting doesn’t quite go as planned.

Proteus Theatre Company follows with The Law of Mayhem (20–24 April), Tabby Lamb’s new play exploring the lives of two pioneering figures in British transgender history. Meeting in 1949, racing driver and RAF pilot Roberta Cowell and ship’s doctor Michael Dillon would become trailblazers in the history of gender transition. Using circus as a physical language, the production explores their lives and the remarkable relationship that brought them together before ultimately driving them apart.

The season concludes with Fake Escape’s Don’t You Forget About Me (26 April), a nostalgic one-person show inspired by The Breakfast Club, and mind readerAlex McAleer in Reads the Room (27 April). The Lucky Dog Picturehouse returns with Harold Lloyd’s Speedy (28 April) and Sergei Eisenstein’s Battleship Potemkin (29 April), both accompanied by live scores, before The Production Garden closes the Spring season with Cocktails with Joyce Grenfell (30 April), celebrating the songs, monologues and unmistakable wit of one of Britain’s most beloved entertainers.

Darlington Hippodrome – until Saturday 10 October 2026

5*****

On the hottest day of the year, twelve men find themselves locked in a stifling jury room after hearing three days of testimony in the trial of a sixteen-year-old boy accused of murdering his father. The evidence appears overwhelming: a troubled relationship, eyewitness testimony, and a background that encourages easy assumptions. A guilty verdict seems inevitable.

As the judge reminds the jury that a conviction will carry the death penalty, the men retire to deliberate. A quick vote should settle matters – one juror is already thinking about the evening’s baseball game. Yet the first ballot reveals a single dissenter. Juror Number 8 (Gray O’Brien) is not convinced, and because the verdict must be unanimous, he begins the painstaking process of examining every piece of evidence and every assumption that has led his fellow jurors to their conclusions.

What follows is one of the most compelling and thought-provoking dramas ever written. Reginald Rose’s script is a masterclass in tension, logic and character development, exposing prejudice, personal bias and the dangers of rushing to judgement. Piece by piece, certainty begins to unravel as reasonable doubt emerges from the most unexpected places.

Michael Pavelka’s superb set design perfectly captures the claustrophobic atmosphere of the jury room, making the audience feel every degree of the oppressive heat and mounting pressure. The masterful use of a slow revolve ensures that every juror has their moment in the spotlight, subtly shifting perspectives and allowing the audience to scrutinise each character as alliances form and fracture. The period costumes convincingly evoke 1950s America, while Christopher Haydon’s assured direction expertly balances moments of explosive confrontation with quieter scenes of reflection. Particularly effective in the second half is the rhythmic thud of the fan, which resonates like a heartbeat beneath the action or the relentless ticking of a clock counting down towards a verdict. This understated but powerful sound motif heightens the tension, reinforcing the sense that time is running out for both the accused boy and the men tasked with deciding his fate. The tension never dissipates, maintaining an almost unbearable sense of anticipation throughout.

This is an ensemble piece in the truest sense, and every cast member delivers a finely judged performance. At its heart is Juror 8, whose remarkable restraint, intelligence and quiet authority make him the lone voice prepared to challenge the consensus. His measured reasoning provides the moral centre of the play, but what makes 12 Angry Men so compelling is the way each juror is forced to confront their own prejudices and assumptions.

Particularly striking is the heavily implied but never explicitly stated suggestion that the accused boy is not white, exposing the ugly racism simmering beneath the surface of the jury room. Tristan Gemmill is chilling as Juror 10, whose certainty of guilt appears rooted less in evidence than in prejudice, culminating in one of the production’s most uncomfortable and powerful moments. Bill Ward gives a formidable performance as the volatile Juror 3, whose personal anger and stubbornness are skilfully baited by Juror 8 until he is finally forced to confront the flaws in his reasoning. Ben Nealon brings a fascinating uncertainty to Juror 12, whose repeated shifts between guilty and not guilty reflect the ease with which opinions can be influenced, while Ricky Norwood’s Juror 7 initially appears more concerned with getting to a baseball game than delivering justice. Yet even he gradually comes to appreciate the enormous responsibility resting on the jurors’ shoulders.

As the discussion unfolds, the dawning realisation that there is reasonable doubt becomes almost tangible. The performances feel authentic and deeply human, ensuring every change of heart carries genuine dramatic weight. By the final vote, the audience has witnessed not only a jury deliberation but a profound examination of conscience, responsibility and the courage required to stand against the crowd.

Despite being set over seventy years ago, Twelve Angry Men remains strikingly relevant. Its exploration of justice, bias and the responsibility that comes with judging others feels every bit as urgent today as when it was first written. The dialogue is dense and demanding, but Rose’s script is so tightly constructed that every word matters, drawing the audience ever deeper into the debate.

Intelligent, gripping and superbly acted, this production of Twelve Angry Men is a riveting piece of theatre that commands attention from beginning to end. A timeless classic brought vividly to life, it leaves audiences questioning not only the verdict on stage but their own assumptions and prejudices. Quite simply, this is five-star theatre.

NEW NATIONAL INITIATIVE TO INSPIRE READING, WRITING AND STORIES

BY CHILDREN AND YOUNG PEOPLE  

LAUNCHES WITH THE STORY THAT MOVES

The Story that Moves project aims to champion the story-maker in every child and will travel around the UK beginning this autumn in east London and will tour to Oxford, Rotherham, Liverpool, Manchester, Exeter and Cornwall until April 2027.

The Story that Moves is a giant, 1.5m high story book which will be hosted by eight partner ‘Story Venues’, each rooted in their local communities and united by a shared commitment to empowering children and young people. From London to Yorkshire, and from Cornwall to the North-West of England, The Story that Moves is a joint project which moves between the network of Story Venues in celebration of the National Year of Reading 2026. A permanent home will be found for the finished story book artwork as the project concludes next year and aims to offer a national snapshot of children’s relationship with stories. Additionally, The Story that Moves will endure as a published book which includes story ideas for readers to build their own pick and mix stories.

Forming a centrepiece for bespoke writing workshops facilitated by writers, performers and storytellers, the project is designed to collect original stories created by young participants and their families. The Story that Moves book is a large, specially commissioned artwork by Will Atkins of Make Relief, which will grow as each venue on the national tour adds their distinctive story contribution. Arriving with a kit of story parts, the adaptable book offers the freedom for participants to choose a different story genre, from adventure to mystery to science fiction, but adheres to the essentials of story – setting, character, plot – with the intention of generating a kaleidoscope of child-led stories, unleashed from young imaginations across the country. 

Award-winning and bestselling children’s author and Ministry of Stories Ambassador, Piers Torday, commented: “The Story that Moves is a thrilling project which will spark connections and increase self-confidence for children and young people everywhere. Stories, storytelling and writing have the power to increase empathy, to deepen understanding and to build a sense of belonging and a better idea of who we are and why we matter. To all those story writers of the future: go for it!”

The Story Venues is a group of creative venues and story spaces, which together engage over 380,000 children and young people each year through the delivery of immersive programmes, creative writing workshops, exhibitions, performances and community-led initiatives. The work of the cohort began during lockdown in 2020, supported by Arts Council England, and has developed into the forging of the Story Venues partnership as an ambitious network capable of delivering at national scale and reach, whilst fostering vibrant local impact in a diverse range of communities.

There are eight Story Venues collaborating on The Story that Moves, all passionate about championing the voices of young people: Alibi (Exeter), Discover (East London), Grimm & Co (Rotherham), Ministry of Stories (East London), The Reader (Liverpool), The Story Museum (Oxford), The Writer’s Block (Cornwall) and Z-Arts (Manchester). Through the unique, immersive environments of each organisation, this joint project is a key next step in longer-term collaboration to develop the creativity of children, young people and families in the UK, encouraging their engagement with reading, writing and story.

This project is funded and supported by Arts Council England.

THE STORY THAT MOVES                                                                                                          

Schedule

LONDON, Discover Children’s Story Centre

383-387 High Street, Stratford, London E15 4QZ

LONDON, Ministry of Stories

Second Floor, 138 Shoreditch Stables (North), Kingsland Road, London E2 8DY

OXFORD, The Story Museum, from 23 October

42 Pembroke Street, Oxford OX1 1BP

ROTHERHAM, Grimm & Co, w/c 16 November

Ship Hill, Rotherham, Yorkshire S60 2HG

LIVERPOOL, The Reader, w/c 11 January 

The Mansion House, Calderstones Park, Liverpool L18 3JB

MANCHESTER, Z-arts, w/c 29 January

335 Stretford Road, Hulme, Manchester M15 5ZA

EXETER, Theatre Alibi, w/c 19 February

Emmanuel Hall, Emmanuel Road, St Thomas, Exeter, Devon EX4 1EJ

CORNWALL, The Writer’s Block, Redruth, w/c 12 March

The Ladder, 2-4 Clinton Road, Redruth, Cornwall TR15 2QE