19 APRIL – 14 MAY

8 – 14 MAY


The King’s Head Theatre are thrilled to announce further details of A QUEER INTERROGATION, the second season of the Takeover, curated by Guest Artistic Director Tom Ratcliffe, playing at the iconic Islington pub theatre 19 April – 14 May. In the final week, from 8 – 14 May, Tom will be working with artists such as writer, actor and director Rikki Beadle-Blair to produce Platform Festival – a full week of work-in-progress writing aimed at promoting new LGBTQI+ stories and voices. Rikki will be bringing 4 new plays by 4 different writers to the festival which contains 15 new plays in just one week.

Casting has also been announced for Tom’s headline show Breeding  by Barry McStay – a funny, moving drama about adopting as gay  parents – written by Barry McStay and directed by Offie Award Winning Director Matthew Iliffe (Bacon – Finborough Theatre), playing 19 April – 7 May, with a press night on Monday 24 April. Aamira Challenger (The Lavender Hill Mob – UK tour, Blithe Spirit – Bath Theatre Royal and West End) will play ‘Beth’, alongside Barry McStay as ‘Eoin’ and Dan Nicholson (Sleep No More – Punchdrunk, The Man Who Would Be King – Dawn State) as ‘Zeb’.

The rest of Tom’s season centres on new writing – plays and stories that have something BIG to say and ask important, necessary questions about the world we live in today. These stories are plot driven, and from the best up and coming LGBTQI+ playwrights.

Playing alongside Breeding is Vault Festival transfer That’s Ace, a story about asexuality, attraction and the difference between romantic and platonic love; Rapture, from interdisciplinary group Pink Sky uses verbatim recordings to explores polyamory, ones chosen family and queer identities; Belindafrom regular KHT cabaret collective  Bold Mellon (Aqueerius), a new play of friendship, tarot cards and imposter syndrome; Post Traumatic Slay Disorder a story exploring how mental illness can be navigated through Tik Tok trends; Rotting Hart, explores the history of homophobia in Spain, a horror period drama but with Werewolves. Brighton Fringe Nominated comedy Generation Why looks at how Pokemon ruined the millennial generation. Director Scott Le Crass (Harry’s Christmas) returns to King’s Head Theatre with Self-Tape a narrative that oscillates between a jobbing actor and his online sex-shows for clients. Written during lockdown this piece holds a mirror up to society. 

Tom’s season continues with Tangerines – a show looking at what would happen if Princess Charlotte was gay; Naughty, an intimate story about a taboo relationship between a teacher and their student. Another royal themed show God Save The Kink, performed on King Charles III coronation, this kinky cabaret by Letitia Delish is on a mission to expose our heads of states, guiding the audience through BDSM & fetishes. Finally, Drag Queen Rosacea Blemish brings you Will it Actually Ever Happen? a camp murder mystery set in a drag contest.

In the final week Tom will be working with artists such as writer, actor and director Rikki Beadle-Blair to produce Platform Festival – a full week of work-in-progress writing from some of the most exciting up and coming LGBTQI+ playwrights. Rikki will be bringing 4 new plays by 4 different writers to the festival which contains 15 new plays in just one week.

Tom Ratcliffe said, “I’m so excited to announce a season of work which celebrates and platforms such an exciting and important range of queer stories and artists. Having my work staged at fringe and off-west end venues such as the Kings Head over the years has absolutely shaped the artist I am still becoming. To be able to provide the same opportunities that have benefitted me to other artists is something that I am incredibly passionate about. Audiences can expect to be entertained, challenged, to laugh and cry but most importantly, they can expect to question the world around them through engaging with theatre that asks questions about our society.”

Rikki Beadle-Blair said, “It’s my thrill and ongoing passion to introduce exciting new visions from brave new minds to the world; to offer unforgettable new experiences to audiences, creatives and performers. These four performances offer the chance to say – ‘I was there that night. And what a night it was!”

Senior Producer Sofi Berenger said “A commitment to staging new writing has been important to the artistic ethos of Kings Head Theatre since founding artistic director Dan Crawford, who famously championed the early careers of writers such as Tom Stoppard, Steven Berkoff and Bryony Lavery. I’m so glad Tom and Rikki are continuing this during this season, especially since they have both previously had new writing themselves on at Kings Head Theatre.”

The Takeover sees the iconic Islington pub venue welcoming four guest Artistic Directors, drawn from different theatre backgrounds, curating their own individual programmes. The guest Artistic Directors – Isabel Adomakoh YoungTom RatcliffeTania Azevedo and David Cumming – are all mid-career LGBTQ+ artists from various disciplines.

The King’s Head Theatre was established in 1970. A vibrant and vital part of the UK theatre scene, they are known for their challenging work and support of emerging artists. They are committed to fighting prejudice through the work they stage, the artists and staff they work with. They believe in fair pay for all on the fringe and create accessible routes for early career artists to stage their work – work they are passionate about. 

Their artistic policy is unapologetically broad: they welcome new work, critical theatrical revivals, accessible opera and a full spectrum of LGBTQIA+ work.

The guest artistic directors’ seasons will be some of the final seasons ever programmed in the Kings Head Theatre Pub in its current building, London’s oldest pub theatre. More details on the new theatre space to be announced in due course. 

The programme has been supported by Arts Council England.

Further casting announced for THE VORTEX at Chichester Festival Theatre

Further casting announced for Noël Coward’s THE VORTEX at Chichester Festival Theatre

Lia Williams and Joshua James lead the company, directed by Daniel Raggett

28 April – 20 May, Festival Theatre

Further casting has been confirmed for Noël Coward’s THE VORTEXthe opening production of Festival 2023 at Chichester Festival Theatre, playing from 28 April – 20 May (press night: Thursday 4 May).

Daniel Raggett, nominee for the 2022 Evening Standard Emerging Talent Award, directs this new production in which Florence and Nicky Lancaster are played by mother and son, Lia Williams and Joshua James. Joining them are Jessica Aladeas Clara, Priyanga Burford as Helen, Richard Cant as Pawnie, Sean Delaney as Tom, Hugh Ross as David, Evan Milton as Bruce, and Esme Scarborough as Preston.

Fifty years after his death, Noël Coward’s brilliantly witty and stinging portrait of the darkness beneath the glittering surface of the Jazz Age is as vivid today as when it premiered, causing a sensation and catapulting its young writer to his first great success.

The roaring twenties. A world in flux. The magnetic Florence Lancaster draws people to her like moths to a flame. But when her son Nicky arrives home from Paris with an unexpected fiancée and a secret, it sets off a chain of events which threatens to pull them all into a maelstrom.

Lia Williams’s multi award-winning roles include Wallis Simpson in The Crown, Dr Cooper in His Dark Materials, and on stage Mary Stuart (Almeida & West End) and John Gabriel Borkman (The Bridge). Her critically-acclaimed production of Doubt was seen at Chichester last year.

Joshua James returns to the Festival Theatre where he appeared in the Young Chekhov trilogy as Nikolai in Platonov and Konstantin in The Seagull (for which he was nominated for an Ian Charleson Award), bothalso at the National Theatre.

Priyanga Burford’s work includes Consent (National Theatre), The Winter’s Tale (Shakespeare’s Globe), and TV’s Industry, Innocent and Press.

The Vortex will have set design by Joanna Scotcher, costume design by Evie Gurney, lighting design by Zoe Spurr, music and sound design by Giles Thomas, movement by Michela Meazza and casting by Lotte Hines CDG.

The production is sponsored by Close Brothers Asset Management.


Tickets £10 – £46

cft.org.uk         Box Office 01243 781312          

Prologue: £5 tickets for 16 – 30s

£5 tickets are available for 16 to 30 year-olds; sign up for free at cft.org.uk/prologue.




Following a national tour of Australia, British comedy sensation Myra DuBois will be bringing her new show ‘Be Well’ to the Edinburgh Festival Fringe before embarking on a UK tour for 2023. Tickets are on sale now and available from www.myradubois.co.uk

Myra DuBois calls out to you, the disadvantaged, downtrodden and tyrannised of the world, with her manifesto for mental health: AdMyrism! But are you ready to receive the call? Myra will head to Edinburgh Fringe to perform in Pleasance KingDome at 8pm throughout the month of August.

Audiences will be delighted to know that she will then kick off her nationwide live tour in Salford on 29th September before heading

to Ilkley, Leamington Spa, Southend, Edinburgh, Glasgow, Newcastle, Carlisle, Cambridge, Cardiff, Oxford, Nottingham, Swindon, Birmingham, Newbury, Liverpool, London before closing the tour in Brighton on 16th November.

“Be Well” is a sardonic side-eye at the Wellness Industrial Complex as Myra continues of the tradition of the likes Shirley McClean and Gwyneth Paltrow, a celebrity that knows best.

Having left audiences across the globe in physical pain from laughter with her take-no-prisoners brand of rapid-fire comedy; Myra DuBois lays her healing hands on the masses in this; her wellness sermon.

Unpredictable, intelligent character comedy, the self-declared siren of South Yorkshire works the room, sparing no-one her sharp tongue, and yet somehow keeping everybody affectionately on-side.

Myra DuBois will be supported on her UK tour by comedian Frank Lavender, who will performing highlights from his own Edinburgh Fringe Show “Be Funny” which is at Just the Tonic’s La Belle Angele at 17:00, 3rd – 27th August (not 14th).

Both Myra DuBois and Frank Lavender are comic creations of character comedian Gareth Joyner.


Myra DuBois is the acid-tongued comedic force of nature whose quick-wit and unrivalled crowd work has been taking the UK by storm for over a decade.

A 21st Centenary renascence woman from England’s North, Myra uses her skills as an actress, author, wellness guru, energy worker, Gemini, and (dare we forget) singer, to enrich each member of her audience personally. So popular is Myra’s ‘take-no-prisoners’ style amongst her fans, the ‘AdMyras’, that fighting for front row seats is a frequent occurrence at her shows. Springing forward from the Burlesque scene, Myra has trodden the boards of such prestigious stages as the London Palladium, the London Hippodrome, the Royal Festival Hall, and the Soho Theatre to name but four. Myra has opened for Bianca Del Rio on Del Rio’s 2018 & 2022 UK tours, and Myra’s own solo show ‘DEAD FUNNY’ premiered at the Edinburgh Fringe in 2019 before transferring for a two-week run at the Sydney Opera House, followed by a UK tour launched at the Garrick Theatre in London’s West End. The show was filmed for an exclusive special on comedy streaming service; NextUp Comedy. She has since turned her hand to healing the public with her interactive self-help seminar “A Problem Shared” which was a cult hit at the Edinburgh Fringe and is set for a run at the Soho Theatre in May 2023.



“Myra DuBois is a COMIC GENIUS, if you don’t believe me… ask HER!”

Bianca Del Rio

“Bust a gut funny” Graham Norton

“Hilarious”Boy George

“Acid tongued, funny to the bone” Time Out London

“Hilarious… comic timing that never misses a beat” Edinburgh Festival Magazine

“Incredibly quick-witted comedy” The Scotsman

“Raucous” New York Times

Titanic The Musical

Theatre Royal, Newcastle – until Saturday 1st April 2023


We are all aware of the story behind the great ship Titanic and the fate of the many men women and children who lost their lives to the sea that dreadful evening. The history books have given us true accounts of the events of that night which have been portrayed previously through film and documentaries, however the story has made its way onto the stage in this amazing production.

Currently on its 10 Year Anniversary Tour, Danielle Tarento has produced a thing of beauty. With Maury Yeston’s music and lyrics, Peter Stone’s book and a cast almost as big as the ship itself, this ensemble piece is both poignant and breath taking.

The staging take you straight into the setting with the huge backdrop of a ships enormous frame, just giving an idea of the sheer size of the original vessel. The lighting throughout the production allows for the audience to feel the excitement of the passenger as they board the majestic Titanic. And I swear as we sailed along the northern passage on our collision with the iceberg, the theatre got steadily colder.

Passengers from all walks of life are portrayed as we meet just a few of the people who joined the ill fated ship on the 10th April 1912 from the port at Southhampton. Passengers from Steerage, Second class and First Class were introduced and to the audience as they talked about going home or heading to the New World where many dreamed of a better life. Each having their own story to tell.

Captain Smith (Graham Bickley) is seen throughout the production, meeting the staff, passengers and also the architect Thomas Andrews (Ian McLarnon) and J. Bruce Ismay (Martin Allanson). On many occasions he is seen being informed of the impending sighting of icebergs from other ships, but chooses to brush these aside. Pressure is put on him from Ismay who wants to beat the record time of getting to New York as early as possible so encourages Captain Smith to push the ships engines faster and to the maximum capacity. A decision that would be regretted as this may well have been deciding factor if this dreadful accident could have been prevented. And during The Blame, Ismay, Smith and Andrews all blame each other, whilst knowing they all played a part

The musical score throughout the production was very apt and helped the audience relate to what the passengers and staff may well have been experiencing at the time. From the opening song In Every Age to No Moon which closes Act 1 and then Wake Up, Wake Up which starts Act 2 in a dramatic manner.

This is a production I would recommend everyone takes the opportunity to see as you will not be disappointed. Although we all know how the tragic voyage ends with first hand accounts from some of the 711 survivors this will leave you with a reminder of just how precious life is. Take tissues because the superb score played by a live band, amazing acting, stunning vocals and outstanding production values will tear at your heartstrings


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www.illuminateyourcuriosity.co.uk | #illuminateyourcuriosity




In celebration of World Theatre Day 2023, leading West End and Broadway theatre producers have announced that in April 2023 they will be illuminating your curiosity with A Spotlight On.

They will soon be shining a light on the people, artistry, and culture of theatre like never before as they launch something special that will ignite the passion of every theatre lover.

The joint founders and CEOs of A Spotlight On said: 

World Theatre Day celebrates the essence, beauty, and importance of theatre all across the world and the symbolic impact that theatre has on life. The uniquely collaborative art form that is built not on any one individual, but on hundreds of different players. Those on stage. And those behind. Each one a storyteller. 

We are thrilled to launch A Spotlight On, on World Theatre Day, a place that celebrates each and every one of these artists and the incredible industry they inhabit. The movers, shakers and show-makers.

At our core, the simple mantra to motivate, educate and inspire anyone with an interest in theatre. To get up close and personal with the people they already know and love and introduce the other crucial roles that exist behind the curtain. A Spotlight On is for anyone who loves theatre and needs to know more about the people and roles that make it one of the greatest art forms in the world.”

In advance of the launch, a secret star-studded event where the full details of the project will be revealed will take place in London’s West End. Theatre enthusiasts from all over the world can sign up to find out more and (for UK residents only) the chance to join the producers there. All entries must be completed by midnight on Friday 31st March 2023.

The lucky ones who sign up (UK entries only), and are selected, will get VIP access to the exclusive launch in London, an overnight stay in a London hotel, and much more. 

All entries must be completed by midnight on Friday 31st March 2023. To enter the ballot and to find out more about A Spotlight On visit www.illuminateyourcuriosity.co.uk.

The Bootleg Beatles Review

Forum Theatre, Malvern – 25th March 2023

Reviewed by Courie Amado Juneau


The Bootleg Beatles back at Malvern Theatres – I’m there already!

The lights dimmed, the video wall set the scene in glorious monochrome and our heroes got straight into a commemoration of the 60th anniversary (this week) of Please Please Me. The attention to detail in this show is astonishing with the early Beatles logo with insect antennae on the bass drum head showing meticulous care, adding to the atmosphere.

I love the early stuff but it’s Rubber Soul and Revolver which, for me, see The Beatles going from a popular band writing wondrous pop songs to something truly earth shattering. So when The Bootlegs reappeared with the longer wigs, the 1966 tour costumes and matching Epiphone Casinos, my heart leapt. The band play these songs with commendable ease (especially the fiendishly tricky vocal harmonies on Paperback Writer and Nowhere Man) displaying their formidable musicianship, reproducing the visceral excitement of those records. George’s (Steve Hill) playing gets a special mention for “Taxman” alone and a note perfect playing of that fizzing lead guitar riff. Sensational!

Revolver (of course) expanded the band’s instrumental palette, necessitating extra players onstage. “Got To Get You Into My Life” gave the horn/woodwind section a muscular introduction and “Tomorrow Never Knows” gave everyone the chance to go wonderfully bonkers. What a stunning achievement to recreate this seminal track so accurately. A total joy to hear played live and what a way to end the first half of a show!

The second half took us into psychedelic realms courtesy of the Magical Mystery Tour era and pre-Pepper double sided love song to Liverpool; “Strawberry Fields Forever” and “Penny Lane”. John (Tyson Kelly) and Paul (Steve White) gave us another round in the ongoing verbal battle of who had the coveted A side. Very entertaining; the Bootlegs sure knows the original band’s stuff with these in jokes. Ringo (Gordon Ellesmore) got his famous spotlit moment with “Yellow Submarine” before “All You Need Is Love” and “I Am The Walrus” gave the orchestra another chance to stand out, especially the strings!

A final change and the band exploded into a scintillating rendition of “Revolution” and the ‘68-69 era complete with encore including “Hey Jude”. Was it really all over? Nah (na na na na na…) well, yes, unfortunately it was.

A very different feel to last year but no less enjoyable, only different. With a songbook like this it’s hard to go wrong! A splendid time was guaranteed for all and with so many hits from them to us I did feel very fine!

The show is perfection incarnate: the mannerisms, the Beatle humour, the outfits, all those gorgeous guitars – I’d pay just to look at those lined up – everything present and very correct. They also have a natural rapport with their adoring audience as shown by the thoughtful way George gave a couple of young fans some picks.

I cannot recommend this show highly enough. During these worrying times it should be prescribed on the NHS! I only hope they please please me with another visit very soon.

Little Women Review

Theatr Clwyd, Yr Wryddgrug – until 25th March 2023

Reviewed by Julie Noller


Little Women an American literary classic exploring family life during the trying times surrounding the American Civil War. Written and published in two volumes in 1868 and 1869 by Louisa May Alcott.

It supposedly draws on Louisa’s own life experiences of growing up as the second of four sisters the tomboy surrounded by roses. This version draws on the emotions within the story using Jo as the main storyteller. It’s essentially a one woman actor, one man musician play; having come about during lockdown when the nation was reaching for contact within zoom, Jenny Wicks, the Director, adapted and worked with Hannah Churchill (Jo March) to develop the characters looking at each in depth. Kieran Capaldi came on board adding music which is a fantastic addition, adding lightness into what could quite easily become a heavy and mentally draining piece of theatre. Reece Webster then joined the small creative team as Laurie or Theodore Laurence.

Hannah Churchill you can tell has lived the role delving into Jo’s psyche and delivering a highly emotive sometimes raw performance but never faltering. It’s a brilliant look at Jo and how she herself as the writer of the story looks at not just her sisters but views the people she holds dear. It has what many film adaptations lack, with their confusing multi character analysis often missing the emotional element and encouraging attachment to one fully rounded character for us to concentrate on. For somewhat like the pages of a book I found my imagination working and forming pictures following Jo’s descriptions and words in her sisters voices.

Reece Webster as Laurie is an encouraging and welcome addition helping the story develop, keeping things from going too dark. It’s a reminder that music can trigger many memories, both good and bad.

As a story there is a lot of content for one women to deliver within one show but congratulations it is managed, it could have evolved in many directions but I’m happy to say it didn’t follow the romance path but took Jo as a character and looked at her emotionally, her angers, what makes her tick. We see just how spirited Jo is. It felt sometimes that Laurie was just tagging long for the ride but in reality that is the true nature of their friendship and his matter of factness in having married Amy, was quite fitting in closing the play with the mention of the floppy haired, kind brown eyed professor having called to visit.

Almost like a book closing a chapter the play finished with the closing of the chapter of childhood.

Hay Fever  Review

The Mill at Sonning Theatre – until 13th May 2023

Reviewed by Flo Genis


Hay Fever is a joyous combination of chaos and hilarity that grows on you throughout the 3 acts. It is set on a midsummer day in 1925.

The wonderfully  dysfunctional Bliss family take you on a realistic journey of hosting a collection of people and their evolving dramatic relationships. Each member of the Bliss family has invited a plus one to the house in the country without asking permission or considering logistics of hosting so many people in short notice. The guests are thrown into this whirlwind of a drama, games and family dynamics. The Bliss family consists of mother Judith (Issy Van Randwyck), father David (Nick Waring) and their two not grown up enough children son Simon (William Pennington) and daughter Sorel (Emily Panes). All totally absorbed in their own personal dramas and unable to hear what anyone else has to say. Their housekeeper Clara (Joanna Brookes) brings a comical grounding to the family’s chaos. In some way you end up connecting with each of the family members and the guests. They were relatable, mad as a box of frogs and utterly lovable, I was rooting for them. 

The set and costumes are beautiful, with great attention to detail including a series of elegant 20s dresses. The venue has to be mentioned as well- The Mill at Sonning is a grade II listed building, perched on an island on the Thames and the show is set in Cookham, Berkshire next to the Thames so this is a perfect place to see such a show. The theatre itself feels intimate, creating an illusion that the audience is another guest in the room with the characters. 

 The show was an amalgamation of slapstick, comedic timing, witty quips made for an hilarious experience. By the end of the show my face hurt from smiling so much.

Of Mice and Men Review

The Rep, Birmingham – until Saturday 8th April 2023

Reviewed Nadia Dodd


The story is set within the times of the Great American Depression in the 1930’s. The world had become a very dark and uncertain place to live. John Steinbeck the writer had no issues with introducing the audience to the characters which were living in such cruel and desperate times.

This production has been directed by Iqbal Khan who wanted to bring to bring this story to life as he was very interested in the characters.

We get introduced to George and Lennie, two close friends, almost like brothers, they are farm hands who seem to stick together no matter what. George, played by Tom McCall is extremely protective of Lennie who is labelled ‘slow’ and ‘dim’. He is a good worker, manual labourer, he has a super strength compared to other workers. All George would like is to earn their money and keep a quiet life. Save enough to live the American Dream but Lennie, played by William Young is making this difficult for him.

Following an incident with a lovely young lady who got the wrong idea about Lennie, they fled looking for work on a new ranch where no one knew them. Lennie has a tenderness about him, he dreams of petting rabbits or anything soft. Sadly, Lennie does not realise his own strength.

After finding work at a new ranch, we are introduced to other characters, all of which are very different. The Boss of the ranch is a little unsure of Lennie but George assures him that he is a good worker and he won’t be disappointed. Curly, played by Riad Ritchie is a fiery character, recently married and moved in with his bride, played by Maddy Hill. Curly’s wife has an eye for the men on the ranch, or so they think. She really wants someone to talk to, she’s lonely there as the only woman.

The story unfolds covering friendships and the want of a better life, but also racism and prejudices. Crooks, played by Reece Pantry, the only black man at the ranch was very aware of feeling different due to his colour.

The set rotates between work place and bunk house, seamlessly moved by the cast themselves depending on the scene. The costumes were perfect and the lighting very harsh, giving the whole play a real intense dramatic feeling, although there were some lighter quotes that had the audience quietly laughing.

A real close look at how in tough circumstances, people can stand together united. The cast were amazing portraying this 80 year old book onto the stage, just mesmerising.

Lord of The Flies Review

Leeds Playhouse – until 8 April 2023

Reviewed by Dawn Smallwood


Co-production between Leeds Playhouse and Belgrade Theatre Coventry of William Golding’s Lords of the Flies is brought to the stage and re-imagined 70 years later when it was first written. Nigel Williams’ adaptation and Amy Leach’s direction of this production realistically correlates to the world many live in.

The society people live in is compromisingly competitive and this has an impact whether inward or outward on everyone’s purpose to survive or thrive in society. Golding’s classic reflectively remains true to this present day and proves how society conditionally progresses and govern but sadly at the cost of humanity with psychological consequences.

The classic is set on an uninhabited island where a group of children are stranded following a plane crash during a war evacuation. This group of children are the sole survivors of the crash and are left to rule for themselves. Ralph (Sade Malone) and Piggy (Jason Connor) are firstly introduced and are keen to have order on the island however it doesn’t bide well with some the others particularly Jack (Patrick Dineen) whose ideas about authority differ. The power divisions within the group unfolds with wildly unimaginable actions which one wouldn’t imagine.

The narrative is dramatic, fast paced, bloodied and wild and certainly keeps one on the edge of their seat to anticipate what happens next. Strong themes evolve and battles are demonstrated between the rulers and unruly, morality and immorality, rational and irrational, the collective and the individual. It depicts how human nature and differing personalities contribute and compromise to the battle of wills and how this disunites all. This is very evident with today’s current affairs and events happening in many societies across the world.

Excellent portrayals of the cast including those from Sade Malone (Ralph), Jason Connor (Piggy) and Patrick Dineen (Jack) whose ideas of leadership embody the wild spirit of this production. Max John’s contemporary staging portrays an isolated desert island and works well with the story being told. The staging is supported by Chris Davey’s lighting and John Biddle’s soundscapes.

This well-done production is undoubtedly unique and inclusive with members of the deaf and hearing-impaired community being part of the cast and creative team. This solidifies the Leeds Playhouse’s commendable desire to include one and all to the world of theatre and creativity.

Lord of the Flies is chaotically energetic, honest, raw, and wild.