Lyceum Theatre, Sheffield – until 15th March 2025

Reviewed by Alison Beaumont

5*****

Ghost The Musical is based on the 1990 film Ghost starring Patrick Swayze, Demi Moore and Whoopi Goldberg. It tells the story about a couple, Sam and Molly, whose love is tragically cut short. Whilst walking back to their apartment late one night Sam is murdered. Sam is trapped between this world and the next and when he realises that his love, Molly, is in danger he tries to communicate with her via a Psychic called Oda Mae Brown.

The staging for this musical is excellent and the transitions from one scene to another are flawless. There were bodies miraculously appearing on the stage without you seeing how they got there, and the lighting and special effects are great especially at the end when Sam walks into the light.

Molly Jenson was played by Rebekah Lowings who is absolutely phenomenal both vocally and dramatically. My favourite being when she sang With You. Not only can she sing and act but there were various times when she was at the pottery wheel showing off her skills.

Sam Wheat was played by Josh St. Clair who gave a brilliant performance and good vocals. Both were strong leads who had a real chemistry between them.

When Molly, Sam and Carl (James Mateo-Salt) all sang Here Right Now in the first act it was amazing as they were all singing different but at the same time and it really showed off their professionalism.

The musical had lots of comedy in it which was mostly down to Jacqui Dubois who played the hilarious Oda Mae Brown and had her character down to a tee. Oda Mae’s sisters, Clara (Tanisha Butterfield) and Louse (Keiahna Jackson-Jones) were so funny with their dancing and made a great addition to the scene.

The famous train scene was cleverly done with the subway ghost being played by Garry Lee who did a bit of rapping. I did feel that some of his vocals were not very clear.

Of course I must mention the famous Unchained Melody song. The first time you hear this in the musical it is a bit of an upbeat version when Sam is playing the guitar (another talent of Josh’s) ending with another rendition of it with Sam and Molly dancing to it in the second act.

It is a very emotional musical and at times you may need your tissues.

I would definitely go and watch this musical again.

Hall for Cornwall, Truro, Cornwall – until 15 March 2025

Reviewed by Kerry Gilbert

5*****

‘An earnest and enthusiastic portrayal of this classic thriller’

An Inspector Calls returns to the Hall for Cornwall this week to an excited audience. I’ve never read the book, seen the film or any other productions, so I jumped at the chance to witness this earnest and enthusiastic portrayal of this classic thriller.

It is a play which is set in the dining room of the Birlings, an affluent family living within the fictional and industrial city of Brumley, in the north of England. The play is set in 1912, just two years before the First World War. Inspector Goole is the stranger who visits the affluent Birling family and confronts them with their complicity in the suicide of a young woman named Eva Smith. Inspector Goole arrives just as the Birlings are celebrating Sheila Birling and Gerald Croft’s engagement. While the Inspector informs that a young woman committed suicide by drinking disinfectant, the family is bewildered as to how they are connected. As the plot progresses, each character begins to realise their connection to Eva, and as the play concludes and the mysterious Inspector departs, an ominous phone call notified them that another police inspector is on his way.

Directed by Stephen Daldry, the key theme for the play is social responsibility. JB Priestley wanted his audience to be responsible for their own behaviour and responsible for the welfare of others. The performance explored ‘class’ between the wealthy land and factory owners and the poor workers. Priestley wanted to highlight that inequality between the classes still existed and that the upper classes looked down upon the working-class.

From the moment the curtain goes up to reveal the rain quite literally falling on a cobbled street in Brumley, the audience are captivated by Ian MacNeil’s ingenious designs. The Birlings grand house stands raised above the street below, and the class commentary is made clear immediately as the Birlings, in all their finery, enjoy their party enclosed in the privacy of their house, while dirty clothed children play in the street below. Melodrama is not held back, plot points are emphasised by dramatic music (which at some points I thought was a bit too loud) and by speeches made direct to the audience.

Tim Treloar’s masterful portrayal of Inspector Goole oozes with confidence and superiority, enlisting the help of the brilliant children, Caleb Munday, Piran Griffin, IIiana Cooper and the ensemble to assist him in giving the Birlings the moral dressing down that they so desperately deserve. Jackie Morrison commands the stage as the indomitable matriarch Sybil Birling, swanning in halfway through the action to try and uphold the family’s honour, but also sensitively captures the grief of a parent devastated by the trust about her not so perfect children.

Jeffrey Harmer’s Arthur Birling reeks of the arrogance and need for acceptance which characterises middle class social climbers, desperate to maintain his image as a prominent and affluent businessman in line for Knighthood. Harmer captures Mr Birlings growing frustration with Inspector Goole’s persistent questioning.

Tom Chapman is brilliant as Gerald Croft; he absolutely nails the upper-class swagger. Eric Birling provides much of the comedy in the first half of the play (there is no interval, though the curtain does fall and rise again to indicate the beginning of the second act) and George Rowlands gives an endearing performance as the Birlings’ slightly alcoholic son.

Leona Allen triumphs as the initially petulant and entitled Sheila Birling, who quite quickly becomes the voice of reason in the play after accepting her own guilt and imploring others to do the same. Allen is most believable as she gives her account of how her own vanity and jealousy contributed to the girl’s downfall, appealing to the audience to understand it from her perspective.

The use of lighting stands out to me as particularly effective, as we are subtly taken from late evening, through to sunrise and back again; all cleverly designed by Rick Fisher. Credit also goes to Mark Douet for the stunning production images which captures the set and characters incredibly well.

This is an exceptional production and one well worthy of all its accolades. It remains as audacious and engaging as when it was first staged, and still effective in communicating the author’s compassionate viewpoint. I would highly recommend going to see it, you will not be disappointed.

Nottingham Theatre Royal – until Saturday 16 March 2025

Reviewed by Louise Ford

3***

What lies beneath the veneer?

This week’s offering at the Theatre Royal is by the successful thriller writer, Peter James.

This is the seventh of James’ novels to be adapted (stage adaptor Shaun McKenna) for the stage, and features his most successful detective Roy Grace (George Rainsford). In this adaptation the detective and his side kick Bella (Gemma Saroyan) are secondary to the main story. They play their roles in a solid enough fashion and are times slightly Columboesque, clad in raincoats and of course the iconic line “just one more question “, guaranteed to wrong foot the suspect!

The main story has two main threads which twist and turn through the play. The two stories are brilliantly portrayed with a split stage design ( Designer Adrian Linford). On one side we have the artist’s studio of Dave Hegarty (Peter Ash); on the other the apartment of the Kiplings (Fiona Wade and Ben Cutler)(no relation to Rudyard or cakes); the overlap of these two is the Manor House of Mr Piper(Nicholas Maude). The police procedural action takes place, on the whole, at the front of the stage without any props or scenery. This inspired set design means that there is minimal set or prop movement which allows the action and the story to move seamlessly.

Having said that there are very few prop changes there is one item that does a lot of travelling around the stage and this is the “picture” which is central to the story!

Having set the scene of the artist  studio and the apartment we are introduced to the main characters. The Kiplings, a hardworking couple (he’s a builder with a soft centre) and she has dreams of being a jewellery designer. The Kiplings are counting their pennies and are kitting out their home with bargains from car boots. Their latest acquisition is a chair with a mind  of its own and an ugly picture that they’ve bought for £20, as they like the frame. Harry decides to dismantle the picture and suspects that there is a picture hidden underneath. They cannot decide on the best way to do this so they contact an old customer Dave Heagarty. He’s only too willing to help. He offers his professional advice and is willing to take a look at the unveiled picture. Is he being helpful because Harry went that extra mile when carrying out the building work or is there a more sinister motive? Is he really a forger with a heart of gold? The clues are all around Heagarty’s studio.

Dave Heagarty is based on the copyist David Henry who Peter James met in 2015. In this production the role is played with energy and skill by Peter Ash.

There’s a vignette of the Kiplings taking the uncovered picture to the Antiques Roadshow. The role of the expert Oliver De Souza is nicely played  by Adam Morris, all cravat and shiny loafers.

Running alongside the story of the painting is the opening of a twenty year old “cold case” the murder of a shady art dealer. Talking of shady characters, there’s the dubious art collector and dealer Stuart Piper, who’s played as a camp pantomime villain with great relish by Nicholas Maude. It’s nice to see the role of the henchman  played by a woman. Jodie Steele plays Piper’s expert fixer with thuggish relish.

The production is nicely paced, suspenseful and at times surprisingly funny and camp. However  I think on balance that the detective drama somehow got lost in the story and at times the dialogue was a little stilted.

ROYAL SHAKESPEARE COMPANY’S

MULTI-AWARD-WINNING MUSICAL

ANNOUNCES NEW TOUR DATES IN 2026

The internationally acclaimed

production ADDS

southampton, bristol, Birmingham,

norwich & milton keynes

to the UK & Ireland TOUR

All tour information & tickets at

WWW.MATILDATHEMUSICAL.COM

It was announced today (12 March 2025) that the Royal Shakespeare Company’s smash hit production of Matilda The Musical, based on Roald Dahl’s beloved book, will add five further dates to its upcoming tour of the UK and Ireland.

The show, which this year celebrates 15 years on stage, opens at the Curve, Leicester on 6 October 2025, before travelling to Bradford, Liverpool, Plymouth, Sunderland, Edinburgh and Manchester where it will run through March and April of 2026. 

The new tour dates begin in April 2026 at the Mayflower Theatre Southampton, followed by performances in Bristol, Birmingham, Norwich and Milton Keynes where the show will play until 14 November 2026.

The internationally renowned musical continues to play to packed houses in the West End at the Cambridge Theatre and has been seen by 12 million people across 100 cities around the world.

Priority Booking for Bristol, Birmingham and Milton Keynes will be from 11am on Monday 24 March, and general on sale from 11am on Wednesday 26 March.  For Southampton – Priority Booking is from 10am on Thursday 27 March, and general on sale from 10am on Wednesday 2 April.  In Norwich, Priority Booking starts from Monday 24 March, with general on sale from Friday 25 April.

For all tour booking information visit www.matildathemusical.com.

This anarchic production, about a strong and determined heroine with a vivid imagination, has won over 100 global awards, including 24 for Best Musical.  A film adaptation made by the core creative team received its World Premiere at the London Film Festival in October 2022 and can now be watched on Netflix.

Written by Dennis Kelly, with music and lyrics by Tim Minchin and developed and directed by Matthew Warchus, the production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and special effects and illusions by Paul Kieve.

Writer Dennis Kelly said:

“It’s great to get the chance to bring this little girl’s story to people in their home cities and towns, and to all those theatres where theatre really matters.”

Composer and lyricist Tim Minchin said:

“When we first started working on the show, our aim was to make a lovely little jewel of a musical for the RSC’s Courtyard Theatre in Stratford-upon-Avon.  We never imagined that all these years later it would still be running in the West End, have been made into a film, and is now about to embark on its second tour of the UK and Ireland. I’m deeply proud of Matilda The Musical, and every single talented person who continues to work on it with passion and enthusiasm.”

Director Matthew Warchus said:

“I’m delighted that our production of Matilda The Musical is about to be seen live by a whole new generation of children and families in theatres across the UK and Ireland.  It’s a show we’re really proud of, and an inspiring story of courage that we really care about, so it’s genuinely wonderful to see it continue bringing joy to audiences of all ages.”

RSC Co-Artistic Directors Daniel Evans and Tamara Harvey said:

“After its premiere so many years ago in Stratford-upon-Avon, Matilda Wormwood’s genius is still teaching us that ‘sometimes you have to be a little bit naughty’. We can’t wait to share her story with audiences up and down the country.”

Casting, further tour dates and further creative team details will be announced in due course.

Social Media:

Facebook: @MatildaTheMusical
Instagram: @MatildaTheMusical

TikTok: @thersc

#TimeToBeRevolting

Mayflower Theatre, Southampton – until 15 March 2025

Reviewed by Jo Gordon 

5*****

It has been 30 years since Matthew Bourne’s Swan Lake first spread its wings at Saddlers Wells,London. Back in the heady days of 1995,based on  Tchaikovsky’s world renowned masterpiece, Matthew switched up the classic line up of female swans, replacing them with a predominantly male cast. Although this did ruffle some feathers, it has become a huge global success and changed the Genre forever for the better.  

A love deprived Prince, ruled by his cold hearted Mother, seeks comfort and freedom. To be free from the constraints that duty impose on him and for once, feel the warmth of someone who sees his worth for who he really is, not his status in society. At a drunken low point, he encounters a swan who reaches out to him and shows him what true love can feel like, through the most beautiful, passion filled, gentle dance sequence. 

Sadly, when the Prince is reunited with the Swan in his human form, he is rebuffed and spirals into behaviour which sees him locked away by his mother in an institution with very questionable forms of “therapy”. 

Throughout the whole performance we do see humour, some real belly laugh moments, usually on the periphery of what’s going on centre stage. The characters are very recognisable with those we currently see, and how some think social stature and fame is the aim in life. 

Of course, the biggest delight is Matthew’s choreography of the male swans. Breathtakingly beautiful, strong yet delicate. The perfect balance. 

Then that final scene … oh that final scene!  I’ve seen this several times over the years, and it always leaves my cheeks wet with tears and an ache in my chest, every single time. 

Even if you never see another Ballet again, this one is a must, only you can decide if you believe the Swan is real or a part of the Princes imagination. 

Sublimely beautiful, yet gritty.

Hampstead Theatre Downstairs, London – until 5th April 2025

Reviewed by Celia Armand Smith

4****

Dungeons and Dragons is not a world I inhabit, however it is a world I can appreciate for the community and creativity it provides its players. It is this community that is at the heart of The Habits, the debut play by Jack Bradfield. Set in WarBoar, a board games cafe in Bromley, we meet Jess, Maryn, and Milo. A slightly odd trio who come together to explore fantastical worlds as goblins, elves and wizards, making decisions and changing narratives or fates at the throw of a dice.

Jess (Ruby Stokes) is the schoolgirl Dungeon Master who rules over the table, whilst also grieving the loss of her fantasy loving brother, Matt. With a well thumbed notebook in her hand, she guides Milo and Maryn (Jamie Bisping and Sara Hazemi) through an unending story that revolves around finding The Nightmare King. Milo and Maryn were school friends of Matt and are both navigating early adulthood and struggling to find their place in the world. Milo is drifting from job to job and Maryn is on a daunting trajectory through the world of corporate law. A somewhat motley crew all looking for community and place which they find in WarBoar, the cafe owned by Dennis (Paul Thornley), a cargo shorts wearing role-play game enthusiast who enters the game with his lute and boundless enthusiasm. Last to enter is Bev (Debra Baker), Dennis’s straight talking police officer girlfriend who loves monopoly but is drawn into the world of magical goblins and singing dwarves.

The cast are fantastic and Ed Madden’s production dances along with heart and humour. At the centre is a teenager dealing with a huge darkness that enveloped her brother, and in her grief surrounds her also, but with the help of four willing participants, some gentle coaxing and some LARP costumes, she is able to see the light. Alys Whitehead’s design is minimal yet effective – a simple pentagonal table set in the round with dice, notebooks and a laptop playing a D&D playlist through tinny speakers. D&D is already so colourful and full of drama that a table is all you need. Max Pappenheim’s soundscapes blend reality and fantasy seamlessly, working with Laura Howard’s atmospheric lighting which amps up as the team reach the conclusion of the story.

Bradfield’s writing is smart and kind, and all of the characters are likable and funny. The Habits is so much more than a play about Dungeons and Dragons. It is a thoroughly enjoyable and heartwarming examination of navigating loss and grief, finding your tribe, and the wonderful power of creativity and imagination. As Dennis says “Who knows what adventures await?”

NEW REHEARSAL PHOTOGRAPHS

RELEASED FOR

THE WORLD PREMIERE OF

MISCHIEF’S

THE COMEDY ABOUT SPIES

PERFORMANCES BEGIN AT THE NOËL COWARD THEATRE

ON MONDAY 14 APRIL 2025

www.spiescomedy.com

Tuesday 11 March  – New rehearsal photographs of Mischief’s brand new West End show,  The Comedy About Spies have been released today. 

The Comedy About Spies stars members of the original Mischief Company – Dave Hearn,Chris Leask, Henry Lewis, Charlie Russell, Henry Shields, Greg Tannahill and Nancy Zamit. They are joined by Adele James, who is making her Mischief debut.  

Mischief, the multi award-winning company behind The Play That Goes Wrong, Peter Pan Goes Wrong and The Comedy About a Bank Robbery bring an uproarious 1960’s spy escapade, bursting with bungled missions, tangled identities, and miscommunication that’s anything but covert to London’s Noël Coward Theatre from Monday 14 April 2025.

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

Tickets are available from www.SpiesComedy.com

Written by original Mischief Company members Henry Lewis and Henry Shields, The Comedy About Spies will have its Gala Night on Tuesday 6 May 2025 and finish its limited run on Friday 5 September 2025.

The director is Matt DiCarlo, set design is David Farley, costume design is by Deborah Andrews, and the sound design and composer is Jon Fiber for JollyGoodTunes.   

A sneak-peak of the opening scene from The Comedy About Spies brought the house down at The Royal Variety Performance in the presence of His Majesty The King at the Royal Albert Hall last year.  It was broadcast on ITV1 on Sunday 15 December and is currently available on ITVX.

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

New company Sage & Jester launch the world
premiere of STOREHOUSE, a groundbreaking
new immersive show
Deptford Storehouse, Off New King Street, Grove Street, London, SE8 3AA
Wednesday 4th June – Saturday 20th September 2025

Sage & Jester, a groundbreaking new arts production company, announces the world premiere of STOREHOUSE, an ambitious production that will challenge your sense of truth and trust. Opening on Wednesday 4th June at Deptford Storehouse in London, STOREHOUSE promises to be one of the UK’s most artistically daring and large-scale immersive theatre shows.

STOREHOUSE invites audiences to step into a world where humanity’s stories have been carefully archived since 1983, the dawn of the internet. As audiences navigate this rich and awe-inspiring underworld, they’ll confront the powers that shape everyday narratives, questioning their own role and behaviours within society.

This revolutionary production, set across a space equivalent to two football fields, thrusts audiences into a battle between the defenders of Truth and the keepers of Order. As the STOREHOUSE crumbles and secrets unfold, the true cost of controlling the narrative will be revealed, urging audiences to examine their vulnerability in the face of power. Fusing art, technology, and cuttingedge storytelling, this immersive theatre show will have audiences question how they can protect themselves—and others—from being manipulated by powerful forces within this digital information ecosystem.

Led by Founder and Concept Creator Liana Patarkatsishvili, Creative Director Sophie Larsmon and Lead Producer Rosalyn Newbery, STOREHOUSE brings together an award winning team of writers, designers, and artists. The creative team includes Story Producer Donnacadh O’Brian (Operation Mincemeat, Southwark Playhouse/Riverside Studios) and co-writers Tristan Bernays (Boudica, The Globe), Sonali Bhattacharyya (King Troll, New Diorama), Kathryn Bond (IT’S TRUE, IT’S TRUE, IT’S TRUE, Barbican Theatre), Katie Lyons (Peaky Blinders: The Rise, Caryn Mandabach Productions), Caro Murphy (Disney’s Star Wars: Galactic Starcruiser) and Rhik Samadder (The Indian Boy, The Globe). Production design is by Alice Helps (Lost Origin, Almeida Theatre and Factory 42), with costume design by Julie Belinda Landau (Wishmas, Secret Cinema), lighting design by Ben Donoghue (Ezra Collective, Wembley Stadium, UK Tour) and sound design by James Bulley (Distortions in Spacetime, Museum of Science and Industry).

The show takes place in Deptford Storehouse, over a 9,000 square metre space, which was once used as the paper store for Rupert Murdoch’s News International group, now known as News UK. The vast set is derived in large part from raw, organic and bio materials, ensuring an eco-conscious experience.

Sage & Jester was founded by Liana Patarkatsishvili, a Georgian-born media executive and cultural innovator with extensive experience in the television and arts sectors. She envisions STOREHOUSE as a catalyst for critical thinking about information consumption and its impact on society. Patarkatsishvili comments, “My whole life has been inextricably linked with the media and information ecosystem. I have witnessed firsthand the systemic impact of manipulated information on a personal, national and international level. With this awareness comes the need to share that insight and take steps to affect change.”

Grounding Sage & Jester’s creative work in research has been key. Creative Researcher Aoife van Linden Tol comments, Our work at Sage & Jester is informed by extensive and rigorous research ensuring that we have an in-depth understanding of the issues in information ecosystems. We have conducted years of desk research as well as original data collection allowing us to gather important insights about how susceptible our audiences are to misinformation and how it affects beliefs, behaviour and decision making, particularly around the major issues of our time. We then weave this knowledge into the creative process, providing checks and balances to ensure we are encouraging behavioural change that aligns with our mission.

STOREHOUSE promises an extraordinary experience that pushes the boundaries of theatre and invites reflection on the world we inhabit. By fostering critical thinking, Sage & Jester aims to build individual and collective resilience in the face of misinformation.

For tickets and more information, visit www.sageandjester.com.

Antic Productions, Bristol Old Vic, Longshot Films & Playtone

with thanks to Richard Reid, College Bowl and ITV

PRESENT THE NEW COMEDY MUSICAL

STARTER FOR TEN®

STARRING ACCLAIMED ACTRESS, COMEDIAN AND TV PRESENTER,

MEL GIEDROYC

COMING TO BIRMINGHAM REP FOR THE FIRST TIME

FROM 22 OCTOBER – 1 NOVEMBER 2025

TICKETS ON SALE 17 MARCH

‘Fingers on buzzers! Here’s your Starter for Ten…’

Following an acclaimed record-breaking run at Bristol Old Vic in February 2024 Birmingham Rep is delighted to welcome the Birmingham premiere of the criticially acclaimed new musical Starter for Ten from 22 October – 1 November 2025.

What is eighteen-year-old Brian Jackson’s proudest achievement to date? His A-level results. His idol? Kate Bush. His lifelong dream? To compete on legendary TV quiz show University Challenge. It’s 1985 and, leaving Southend to start his first year at Bristol University, Brian soon discovers that falling in love and growing up take a lot more than general knowledge…

This bright and big-hearted new musical, stars acclaimed actress, presenter, comedian and writer Mel Giedroyc to reprise the role of Brian’s mum, Irene Jackson and Bamber Gascoigne’s irresistible sidekick Julia Bland.

Based on the hilarious coming-of-age novel by David Nicholls (One Day, Us, Sweet Sorrow) and the popular 2006 film adaptation starring James McAvoy, Benedict Cumberbatch, James Corden and Rebecca Hall, this tale of love, class and growing up in the 1980s is set in Bristol against the backdrop of legendary British quiz show University Challenge.

Starter for Ten is a coming-of-age comedy musical about love, belonging and the all-important difference between knowledge and wisdom. Featuring an irresistible original soundtrack inspired by the riotous student scene of the ’80s it was nominated for Best Musical Production at the UK Theatre Awards 2024.

Mel Giedroyc said: “Buzzers at the ready— I’m beyond thrilled to be reunited with Starter for Ten! Our first run in Bristol was glorious—the audiences, the energy, the sheer joy —and to be returning to Bristol Old Vic feels like coming home (again). And then, to be taking it to Birmingham as well? Let’s crack open the Babycham IMMEDIATELY PLEASE! We’re bringing back the nail-biting competition, the romance, the wild 80s-inspired original soundtrack that will have you throwing on a legwarmer, back-combing your hair till it’s as big as Thatcher’s and dancing like nobody’s watching. I am genuinely so proud of our show and cannot wait for even more people to see it!”

Mel Giedroyc is a TV presenter, writer and actress. She is known for her work alongside Sue Perkins in shows such as the multi Bafta-winning Great British Bake Off (BBC) and Light Lunch (Channel 4) which made them household names. Mel has appeared in sitcoms and panel shows, as well as on stage, most recently in Stephen Sondheim’s Olivier Award winning Company at the Gielgud Theatre in the West End.

Mel and Sue were reunited in the comedy series Hitmen for Sky. Mel has been a regular presenter for BBC’s Children In Need and Eurovision. Mel also hosts the comedy panel show Unforgivable (BBC2) and her first novel The Best Things was released in 2021. She is currently writing her second novel.

Mel was recently the host of legendary game show Pictionary for ITV as well as being a radio presenter for The Magic Request Show on Magic Radio every Sunday.

Starter for Ten has a book and lyrics co-written by Emma Hall and Charlie Parham, Artistic Directors of Antic Productions. The 80s-inspired original score and lyrics is composed by queer, pop-punk composers Tom Rasmussen and Hatty Carman. The production is directed by Charlie Parham.

*Tickets for Starter for Ten at The Rep go on general sale on 17 March. Visit www.Birmingham-rep.co.uk or call 0121 236 4455.

CASTING ANNOUNCED FOR THE

SPECTACULAR, SPECTACULAR!

WORLD TOUR OF

MOULIN ROUGE! THE MUSICAL

Baz Luhrmann’s revolutionary film comes to life

moulinrougemusical.com

Casting is announced as rehearsals are underway for the first ever World Tour of Moulin Rouge! The Musical, the multi-award-winning hit stage show, which opens in Edinburgh in April 2025 before touring to venues across the UK, Europe and beyond. A tour schedule can be found at https://moulinrougemusical.co.uk/world-tour/  with many more cities still to be announced.

The cast includes Verity Thompson as Satine, Nate Landskroner as Christian, Cameron Blakely as Harold Zidler, Kurt Kansley as Toulouse-Lautrec, German Santiago as Santiago, James Bryers as The Duke, Kahlia Davis as Nini, Summer Priest as Arabia, Scott Sutcliffe as Baby Doll, Ellie Jane Grant as La Chocolat and Patrice Tipoki as Alternate Satine.

The full cast is completed by Dominic Booth, Alisha Capon, Sol Childs, Áine Curran, Kamau Davis, Martin Dickinson, Barry Drummond, Jacob Fearey, Tosca Fischer, Tessa Fox, Johnny Galeandro, Leyton Holmes, Sayaka Kato, Jacob Kohli, Tyler Lotzof, Avigalle Mendoza, Carly Miles, Luchia Moss, Matt Powell, James Revell, Josh Rose, Samuel Routley, Nathan Saxon, Sorcha Stephenson and Frazer Woolcott.

Biographies for all cast can be found at moulinrougemusical.com.

Enter a world of splendour and romance, of eye-popping excess, of glitz, grandeur, and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Pop the champagne and prepare for the spectacular spectacular…Welcome to Moulin Rouge! The Musical.  Baz Luhrmann’s revolutionary film comes to life onstage, remixed in a new musical mash-up extravaganza. A celebration of Truth, Beauty, Freedom, and — above all — Love, Moulin Rouge! The Musical is more than a musical — it is a state of mind.

As in the film, Moulin Rouge! The Musical celebrates over 160 years of music – from Offenbach to Lady Gaga. The stage musical features over 70 iconic songs, many from the movie as well as recent hits released since the movie premiered over 20 years ago.

Set in Paris, 1899, a world of indulgent beauty and unparalleled extravagance, of bohemians and aristocrats, of boulevardiers and reprobates, Moulin Rouge! The Musical is the story of a lovesick American writer, Christian, and Satine, the dazzling star of the Moulin Rouge nightclub. 

When their lives collide at the Moulin Rouge, they fall hopelessly in love, only to be thwarted by the nightclub’s host and impresario, Harold Zidler, and The Duke of Monroth, the wealthy and entitled patron of the club who thinks he can buy anything he wants, including Satine. Together with his Bohemian friends – the brilliant and starving artist Toulouse-Lautrec, and the greatest tango dancer in all of Paris, Santiago – Christian stages a musical spectacular in an attempt to save the Moulin Rouge and win the heart of Satine.

The hugely popular London production of Moulin Rouge! The Musical continues at the Piccadilly Theatre with performances now booking through to October 2025.

Moulin Rouge! The Musical is the winner of ten 2021 Tony Awards including Best Musical, an Olivier Award, two Drama League Awards including Outstanding Production of a Musical, five Drama Desk Awards and ten Outer Critics Circle Award Honor citations including New Broadway Musical.  

 Moulin Rouge! The Musical is directed by Tony Award^® winner Alex Timbers (other credits includeHere Lies Love, Beetlejuice, Bloody Bloody Andrew Jackson, Peter and the Starcatcher) with a book by Tony Award^® winner John Logan (also three-time Academy Award nominee including for Gladiator and The Aviator), choreography by Tony Award^® winner Sonya Tayeh (also Lucille Lortel Award for Kung Fu and Emmy winner)and music supervision, orchestrations and arrangements by Tony Award^® winner Justin Levine (other credits include The Outsiders, Here Lies Love, Bloody Bloody Andrew Jackson).

The design team for Moulin Rouge! The Musical includes Tony Award^® winner Derek McLane (sets; other credits include Beautiful – The Carole King Musical), Tony Award^® and Olivier Award winner Catherine Zuber (costumes; other credits include Kiss Me Kate, The King & I, South Pacific, Mrs Doubtfire), Tony Award^® winner Justin Townsend (lighting), Tony Award^® winner Peter Hylenski (sound), Drama Desk Award winner David Brian Brown (wig and hair design; other credits include Come From Away), Sarah Cimino (make-up design) and Tony Award^® winner Matt Stine (Music Producer). Casting is by Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting.

The World tour of Moulin Rouge! The Musical is produced by Carmen Pavlovic and Gerry Ryan OAM for Global Creatures and Bill Damaschke. Executive Producers of the World Tour are Angela Dalton and Nick Grace Management. General Management and Tour Booking by Nick Grace Management.