EVERYMAN THEATRE, LIVERPOOL – UNTIL SATURDAY 14TH MARCH 2026
REVIEWED BY MIA BOWEN
4****
I entered the press night of The Memory of Water on Thursday evening with only a vague sense of what to anticipate. However, in the weeks leading up to the performance, I consistently received glowing reviews, which left me feeling quietly optimistic. I’m thrilled to report that this Olivier Award-winning comedy exceeded all expectations and truly deserved the acclaim.
Set in the winter of 1996, this play tells the story of three distinct sisters who return to their mother’s house for her funeral. From the very beginning, Shelagh Stephenson’s writing beautifully marries sharp humour with heartfelt emotional resonance. What starts as a typical family gathering unfolds into a deeper, more enlightening experience. As the sisters go through their late mother’s possessions, they find that their childhood memories don’t exactly match up, leading to passionate debates that cleverly show how personal and varied memory can be.
Under the caring direction of Lotte Wakeman, the production feels warm, genuine, and vibrantly engaging. Wakeman allows the comedy to shine through while keeping a strong focus on the play’s emotional heart. The outcome is a touching, humorous, and cleverly insightful look at how real families interact when faced with grief, unresolved feelings, and hidden tensions.
The cast truly deserves high praise. Victoria Brazier shines as the eldest sister, Teresa—she portrays her as practical, a bit bossy, and subtly resentful after years of managing the family business and taking care of their mother. Brazier brings a strong but relatable presence to the role, allowing moments of vulnerability to peek through beautifully.
Polly Lister delivers a nuanced and captivating performance as Mary, the middle sister. As a successful doctor managing a complicated personal life, she skillfully portrays both her polished public persona and the emotional turmoil beneath the surface. Her scenes are especially engaging, particularly during her interactions with the ghost of their mother.
Vicky Binns does an exceptional job as Vi, the mother who has recently passed away. Instead of portraying her as soft and nurturing, Binns chooses to depict Vi as a complex and demanding figure — a woman longing to be understood, even after death. This choice adds depth and emotional richness to the story.
Helen Flanagan truly shines as the youngest sister, Catherine. She captures the perfect blend of neurotic energy, insecurity, and a humorous desire for attention. Her comic timing is spot on, bringing many of the evening’s biggest laughs.
What truly enhances this production is the wonderful harmony among the cast. They interact with one another with impressive skill, their timing is sharp, and their emotional exchanges feel completely genuine. The arguments resonate authentically, the humour lands effortlessly, and the quieter moments hold significant depth. This is a brilliant example of how strong writing and outstanding performances can come together to create something deeply moving.
Overall, The Memory of Water is a heartfelt, keenly observed, and highly entertaining piece of theatre that beautifully reflects the complexities of family life. Press night demonstrated that this production is both emotionally impactful and thoroughly enjoyable — a thoughtful comedy that leaves a lasting impression long after the curtain falls.
The Emerald Theatre – every Thursday until 19th March 2026
Reviewed by Carly
5*****
Sinematic Cabaret celebrating sinema, skin and scandal is, without question, one of the most captivating live performances I’ve ever had the pleasure of experiencing. From the moment I walked into the venue, there was an unmistakable sense of anticipation in the air — the kind that tells you you’re about to witness something truly fascinating and a little bit raunchy. By the time the final act was up, that feeling had not only been confirmed but completely exceeded my expectations. This show is a fusion bringing the most iconic films to life, through incredible stunts, outstanding burlesque and much debauchery, delivered with much passion, and unforgettable style making it a very fiery performance indeed!
From the very beginning, the atmosphere is immersive. The lighting design doesn’t simply illuminate the stage; it shapes the entire experience. Each shift in colour and intensity guides the audience seamlessly from one mood to the next, enhancing the cinematic quality the show promises in its name. The transitions between acts are done by Lola the master of ceremonies controlling the room whilst offering much whit, chaotic fun and a provocative streak directing the flow fantastically well for an adult-orientated intimate show. All then unfolding with acts from iconic films such as Pulp Fiction, Austin Powers, Magic Mike and many more. The sense of cohesion gives the entire production a refined, sophisticated flow that keeps you fully engaged from start to finish.
The performers are nothing short of extraordinary. Every dance is done with precision and confidence, yet what truly stands out is the build-up of anticipation holding the audience’s attention with such confidence through the sensuality of their bodies. The choreography blends classic cabaret glamour with contemporary energy, creating routines that feel both timeless and fresh. There are moments of sultry elegance, bursts of playful humour, and sequences of astonishing athleticism — all executed with effortless grace. Rather than feeling overly rehearsed, each number feels alive and expressive, as though the performers are sharing a piece of themselves with the audience.
The vocal performances add another powerful layer to the experience. The singers command the stage with remarkable presence, delivering intimate ballads with emotional depth and flawless control. The richness of iconic music draws you further into the world unfolding on stage. It’s this live energy that elevates the show from impressive to truly unforgettable.
What makes the Sinematic especially compelling is its ability to tell a story without relying heavily on dialogue. Through movement, music, and visual artistry, it explores themes of passion, ambition, desire, and triumph. Each act flows naturally, creating a sense of progression, while still allowing every number to shine individually.
The costumes deserve special recognition. They are phenomenal, intricately designed, impeccably tailored, and perfectly suited to each performance. From corsets and bustiers to stockings and suspenders and of course nipple tassels that shimmer under the lights, every look enhances the mood and character of the act it accompanies. The attention to detail is extraordinary. All chosen to complement the choreography and lighting, creating visuals that are as dynamic as the performances themselves.
The pacing of the show is masterfully balanced. High-energy numbers that have the audience cheering are followed by quieter, more intimate moments that hold the room in complete silence. This rhythm keeps the experience dynamic and engaging, ensuring there’s never a dull second. Just when you think you’ve witnessed the highlight of the evening, another act raises the bar even higher. The build toward the finale is particularly impressive — a crescendo of music, movement, and light that feels both exhilarating and deeply satisfying.
Perhaps the most remarkable aspect of the Sinematic Cabaret is the connection it creates between the performers and the audience. There’s an undeniable electricity in the room, a shared energy that makes you feel like you’re part of something special rather than simply observing it. The charisma on stage is magnetic, and the genuine joy of the performers is contagious. Laughter, applause, and audible gasps ripple through the crowd from both watching the performers and the rather amusing interactions from bringing members of the audience on stage, creating an experience that lingers long after the final bow.
Beyond its technical brilliance, this show radiates heart. It celebrates artistry in its purest form, and you can sense the dedication behind every rehearsal, every perfectly timed cue, and every daring movement. It feels like a true labour of love brought to life by a team committed to excellence. That authenticity is what makes the performance resonate so deeply and remain memorable long after you’ve left the theatre.
The Sinematic Cabaret is more than just an evening of entertainment — it’s an experience, that captures your attention from the first moment you step into the emerald theatre offering much excitement at every turn.
I would wholeheartedly recommend this show to anyone looking for something different and bold, or just simply seeking a unique and unforgettable night of glamour. This show delivers on every level. It’s sophisticated without being pretentious, daring without being overwhelming, and endlessly entertaining from beginning to end.
If burlesque, feathers, flames aerial displays and of course tassels is your thing then get yourself down to the Emerald Theatre you won’t be disappointed!
Royal & Derngate Theatre, Northampton – until Saturday 7th March 2026
Review by Amanda Allen
5*****
Samson Hawkins new Production, Top Gs like me, takes us into a world of 2026 teenagers that is a mystery to many of us. The way this production immerses you into the sad world of toxic masculinity and tragic lack of self esteem that is felt by so many of the current generation of teenagers is brilliant. Don’t get me wrong, every generation of teens has their struggles, but in the current world of instant accessibility to so much toxic influence at the click of a phone button, it’s never been more frightening. In setting the production in a skatepark, the simplicity of the surroundings makes the depth of the story even more profound. Although aimed at a younger audience, I feel this play has a valuable message for all generations, if only in educating us into the reality of teen life in 2026.
With a relatively small main cast of only 6 actors, supported by an excellent ensemble, the story unfolds of a pretty normal, underachieving teen, Aiden, played by Daniel Rainford. He quietly appeared on stage at the skate park passing his time just skating and doom-scrolling on his phone, we are quickly shown into his narrow world of dead-end work and no hope of a better future. Aiden, who we are told has ADHD and Dyslexia, was portrayed so well through body language, costume and vocal language, his performance was just brilliant. Running his hands through his hair, scratching his groin, head down not really engaging with the world at large, he painted a fabulous picture of a lost teen, looking for direction in his life. The use of sound and lighting to immerse us into this world was exceptional and special mention must me made of the lighting designer Rory Beaton and sound designer Benjamine Grant.
Before long we see the initial appearance of Hugo Bang, played by Danny Hatchard, appearing as a bright and shiny example of what Aiden would like to be. Giving him options he would not have thought possible on his own, each at the cost of his normal, decent, moral choices in life. We are introduced to his relationship with Mia (Fanta Barrie) his best friend who has managed to escape the drudgery of a dead end life in Northampton by the prospect of going away to college. The way she gently tries to encourage him to break out of the downward spiral of his life was brilliantly subtle. The addition of the Posh, Rugby playing boyfriend Charlie (Finn Samuels) was inspired. Demonstrating the socio economic gulf between the perceived classes helped to highlight the lack of choice Aiden thought he had in life. This was further demonstrated with the introduction of Grace (Emily Coates) as a new love interest for Aiden, only for her to be unveiled as the sister of Posh boy Charlie, pretending she was a cool Skating teen older than her 14 years of age to have what she thought was going to be a bit of fun in her summer holidays. Strangely, the thing I picked up on from this relationship was that her parents had gone away and left her on her own at home whilst the downtrodden Aiden was alluded to be caring for his mother, was this an intentional comment on modern parenting differences between class’s?
Hugo Bang exploded into Aidens life encouraging him to dig ever deeper into a world that most of us do not want to see or even acknowledge exists sometimes. The Toxic masculinity that is promoted by a section of humanity that seems to have lost sight of the bigger picture of a good life for everyone at the cost of selfish, instant gratification. This is a worrying world I don’t want to be part of, that is engulfing a generation of teens who fear they are forgotten by society and have no hope of a better future. In making Hugo so big, bright, shiny, red and exciting we are shown how easy it is for lost souls like Aiden to be embroiled into this shady sad world of selfishness. Portraying Hugo in a flash red suit was an act of genius by the costume department, representing the devil incarnate. Set and Costume designer Rebecca Brower did a fantastic job of telling so much of the story through the visual depiction of place and character.
The voice of reason through all this was the tramp, Dave, played by David Schaal. That a figure that would normally invite scorn should be the one to provide the stable voice of reason through all this was also inspired. Although he is a down and out we are shown that he has integrity, despite being a drunk driver who sadly killed his own son, he provides a stabilising influence on Aiden, the voice of reason, of an older, wiser generation.
Described as a comedy, I didn’t find it very funny, there were some funny moments but overall, I would describe it a drama, with some comedic lines. In conclusion I would encourage anyone to watch this production, it opens a window onto a world that those of us from older generations need to know and try to understand. With brilliant staging, acting, writing and production this is a play that could easily transfer to any other UK city as the story is universal and very of its time. The writers insight into the life and language of the 2020’s teenage generation is remarkable and in telling this story we are made only to aware of the effects of lack of engagement and toxic social media of a whole generation.
There is something genuinely magical about seeing a classic like Swan Lake at the theatre.
The Varna International Ballet brings a production that feels like a love letter to the traditional stage, focusing on pure storytelling and that unmistakable atmosphere of a grand evening out at the theatre. The vision comes from Artistic Director Sergei Bobrov, a decorated choreographer who has spent years building this company into an international success, while the music is guided by the experienced hand of conductor Azat Maksutov. Together, they have created a performance that reminds you of why this story has endured for so long. It is stunning, dramatic, and visually lush.
The production had a nostalgic charm, especially in the beginning scene when we see the pages of the Prince’s book opening on the screen backdrop. It creates a perfect Gothic lakeside vibe that shifts beautifully into the opulence of a palace ballroom. But it is the costumes that steal the show visually and pull everything together beautifully. There is a specific kind of stage magic in seeing a sea of white, feathered tutus drifting across a dark stage, it is the quintessential image of the ballet and it looked stunning under the lights. While the story is told entirely through movement, the drama really pulls you in as the conflict between the characters deepens.
The performances are packed with skill. The lead, playing the dual role of Odette and Odile is a wonder, she captures the fragile grace of the White Swan perfectly, but her turn as the sharp, cunning Black Swan is a total highlight. When she hit those famous spins, the energy in the room was electric. The Prince brings a great, youthful energy to the stage with leaps that he made look effortless and the villainous Baron von Rothbart had a commanding presence that added a real sense of danger to the lakeside scenes. The “Dance of the Cygnets” is always a highlight and was so sharp and synchronized it practically brought the house down.
What really elevates the whole experience is the live orchestra. Hearing Tchaikovsky’s score booming from the pit makes such a massive difference, something that a recording just cannot replicate. It is a heartfelt, professional production which I would definitely recommend that brings world-class international talent right to our doorstep in Hull.
Cambridge Arts Theatre – until Saturday 28th February 2026
Reviewed by Steph Lott
5*****
I’ll confess I arrived at the Cambridge Arts Theatre last night with certain expectations. Noel Coward. Champagne wit. Elegant drawing rooms. Clever dialogue. What I was not prepared for was to leave having witnessed something blisteringly funny and devastating in equal measure.
Easy Virtue, written in 1924, is not the play I had anticipated. Trevor Nunn’s production makes absolutely certain you understand how different this play is. Yes, the wit is there — and it is razor sharp, every line honed to a fine and dangerous edge — but Coward’s deeper intention reveals itself with increasing force as the evening progresses. He wanted, apparently, to write a comedy in the structure of a tragedy. Mission accomplished. A century on, it lands with all the weight of both.
The Cambridge Arts Theatre was packed to the rafters, and from the moment the curtain rose the audience were utterly gripped. You could feel it — that particular collective stillness that means a full house has forgotten it’s a full house.
Much of the credit for that must go to the extraordinary cast assembled here. Michael Praed as Colonel Whittaker brings a quiet dignity to his portrayal of a man who has clearly long since stopped fighting battles he knows he cannot win. His rapport with Greta Scacchi — superb as his wife, giving an excellent comic turn as a woman who has elevated passive aggression to something approaching high art — is a masterclass in what two skilled actors can communicate without saying very much at all. There is a lifetime of damage in every exchange between them, and it is utterly believable.
At the centre of the storm stands Alice Orr-Ewing as Larita Whittaker, the American divorcée whose arrival into this very English household acts as a kind of lit match thrown into dry tinder. It is an extraordinary performance — poised, electric, and deeply humane. Orr-Ewing never allows Larita to become merely a victim, nor merely a provocateur. She is both, and neither, and entirely her own person. You feel the indignity heaped upon her while simultaneously understanding why she cannot simply bend. She carries the play on her shoulders and makes it look effortless.
But my personal favourite was Grace Hogg-Robinson as the petulant Hilda. This is a star turn of the highest order. Comic and monstrous, she crackled in every scene.
The whole cast, frankly, deserve recognition. The blistering dialogue was delivered with marvellous pace and fluidity — not a single beat dropped, not a line thrown away.
Simon Higlett’s set and costume design deserves its own paragraph. Stepping into that world felt effortless and complete — the textures, the colours, the architecture of the space all conspiring to transport us back in time without a single false note.
Festival Theatre, Malvern – until 28th February 2026
Reviewed by Courie Amado Juneau
5*****
Morse is one of those iconic figures of the UK small screen, immortalized (of course) by John Thaw – a hard act to follow! So, how do Tom Chambers and co. do…?
The story begins with a victim collapsing on stage during a performance of Hamlet. Morse immediately takes charge and secures the crime scene. It then transpires that many of the touring company have a shared history with Morse, or each other, which holds intrigue and throws many suspects into the frame as well as red herrings…
Although I’m not an aficionado of Morse, I understand that this was a faithful adaptation (in as much as any actor following another of such stature and fame can muster). Very much playing to the tropes from the original series – the sullen character, lots of time in the pub, the crosswords, the love of classical music (though I think this could have been made more of in this stage adaptation).
Being that Tom Chambers is (arguably) a fair bit fitter, dare I say more attractive, than Thaw this was more of a younger adaptation than we are used to – at least re the original series, rather than Endeavor. Chambers did an admirable job in portraying the titular character and while not making me forget the original entirely (how could he?) he certainly carried me along very willingly. Tachia Newall, playing Lewis, was also fantastic. I loved his rapport with Morse, which was very convincing and they made a sympathetic duo. Plus, his trying to engineer a romantic evening with his wife provided some genuine laugh out load moments.
Rounding out the cast was Spin Glancy (as Justin) whose Shakespeare was good but his angst throughout was extra-special; Teresa Banham (Ellen) Morse’s love interest; James Gladdon (Freddy) as Geordie beefcake with perceptive depth; Olivia Onyehara (Harriet) the producer’s long suffering wife and Elize Teale (Rebecca) whose appearance was short but critical. A sensational cast who propelled the story along with gusto.
But, for me, the show stealers were Charlotte Randle playing Verity – who was truly wonderful throughout but whose drunk scene was one of the highlights of the evening. And Jason Done playing dual (and very different) roles showing impressive enormous range! Lawrence (the director) was rather odious and yet refreshingly endearing and Paul (the priest) who was a rather sad character – I loved both.
The set (from Set Designer Colin Richmond) was both inventive (in its use of economy and space to convey multiple settings) and grand enough to provide a cinematic spectacle (especially in the theatre scenes).
There was plenty to enjoy for history buffs (or those of us who were unlucky enough to be there), as the historical setting (1987) provided rich pickings to giggle at – such as some lush references to computer work, mobile phones etc. So, thought provoking social commentary as well as an entertaining play.
And it was – very entertaining! A worthy whodunnit to join the long cannon with a twist that this experienced viewer of the genre did not see coming. An extremely satisfying night’s entertainment all around and one that I cannot recommend highly enough. A well deserved top marks.
MAJOR NATIONAL TOUR OF SIMON BEAUFOY’S THE FULL MONTY ANNOUNCED AS THE ICONIC FILM CELEBRATES 30TH ANNIVERSARY IN 2027
To celebrate the 30th Anniversary of the iconic film, The Everyman Theatre, Cheltenham and Buxton Opera House in association with Mark Goucher and David Pugh will present a major national tour of The Full Monty. The production will open in Sheffield on 15th January 2027 before visiting Cardiff, Nottingham, Aylesbury, Woking, Bradford, Brighton, Southampton, Hull, Buxton, Manchester, Belfast, Truro, Southend, Cheltenham, Dartford, Wimbledon, Norwich, Glasgow, Liverpool, Birmingham, Leicester and York. For full tour dates and on sale information, visit www.fullmontytheplay.com. Star casting to be announced.
Simon Beaufoy’s heartfelt play tells the story of an ordinary group of men striving to reclaim their dignity and pride. Fast-paced and irresistibly funny, the play remains strikingly relevant today, resonating powerfully in an era marked once again by a cost-of-living crisis. Gaz and his mates find themselves down on their luck, cast aside and underestimated — but determined to fight back, even if it means revealing more than they ever imagined.
Simon Beaufoy said: “A lot has changed in Britain since The Full Monty appeared thirty years ago. What hasn’t changed is our need for laughter, compassion and dignity. I’m so delighted the Monty Men are back on the road with all their flaws, jokes and wobbly bits, bringing a bit of much-needed joy to audiences once again.”
Echoing the 1997 smash-hit film, this production delivers a rollercoaster of laughter and heartbreak as audiences are invited to relive the iconic music of the 90s cheering on this unforgettable group of lads as they prepare to put on the show of their lives.
Simon Beaufoy is an Academy Award–winning British screenwriter best known for writing The Full Monty, which became an international hit and earned him an Oscar nomination, and Slumdog Millionaire, for which he won the Academy Award for Best Adapted Screenplay.
THE FULL MONTY is directed by Michael Gyngell, choreography and intimacy direction is by Ian West, Set and Costume Design is by Jasmine Swann with Lighting Design by Andrew Exeter and Sound Design by Chris Whybrow. The Casting Director is Marc Frankum.
Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that BACK TO THE FUTURE The Musical’s acclaimed alumni cast Rosanna Hyland, Amber Davies and Sarah Goggin will make a special return to the production as ‘Lorraine Baines’ at the Adelphi Theatre on Monday 9 March.
Rosanna Hyland, Amber Davies and Sarah Goggin, will join the current Lorraine, Maddie Grace Jepson, for this very special one-off performance, where all four will play the role throughout the evening.
Rosanna Hyland said, “Coming back to Hill Valley feels incredibly special. Lorraine is such an iconic character, and to share her with the brilliant women who’ve also stepped into her shoes is a real full-circle moment. Four Lorraines, one stage – it’s going to be electric.”
Amber Davies said, “This show has a special place in my heart, so to return and share the experience alongside the other amazing Lorraines is such a joy. It’s not every day you get a time-travel reunion like this!”
Sarah Goggin said, “Lorraine is bold, funny, and fiercely herself and every actress who plays her brings something unique. To reunite and honour that together in one performance is incredibly exciting. It’s a beautiful celebration of the show’s journey so far.”
Maddie Grace Jepson said, “It’s an honour to be a part of the Lorraine legacy, I’m so excited to be sharing the stage with the women who also brought her to life on stage. It’s going to be an incredibly special night filled with heart, nostalgia and sisterhood.”
Rosanna Hyland originated the role of Lorraine Baines in Back to the Future The Musical at the Adelphi Theatre. Her other theatre credits include Emily Hobbs in Elf, The Musical at the Aldwych Theatre, Rosalie Mullins in School of Rock at the Gillian Lynne Theatre, Hope Cladwell in Urinetown at the Apollo Theatre, Shrek at Theatre Royal Drury Lane, Sister Act at the London Palladium and Carousel at the Savoy Theatre.
Amber Davies is currently starring as Elle Woods in the UK tour of Legally Blonde. Most recently she originated the role of Jordan Baker in the London production of The Great Gatsby at the London Coliseum, for which she is nominated for a 2026 WhatsOnStage award for Best Supporting Performer in a Musical. Her other theatre credits include Vivian Ward in the UK tour of Pretty Woman, Lorraine Baines in Back to the Future at the Adelphi Theatre, Campbell in Bring It On at London’s Southbank Centre and Judy in the original West End Cast of 9 to 5 the Musical at the Savoy Theatre and on tour. Off stage, Amber was a finalist in the 2025 series of Strictly Come Dancing, a semi-finalist on Dancing on Ice and the winner of Love Island 2017. She also directs and hosts her own podcast, Call to Stage.
Sarah Goggin’s theatre credits include Lorraine Baines in Back to the Future The Musical at the Adelphi Theatre, Helen Walsingham in Half a Sixpence at Kilworth House, Monica Geller in the original UK tour of Friendsical, and Sister Mary Robert in the UK tour of Sister Act.
Maddie Grace Jepson is best known for her online content creation, with a global digital following of over 2.1 million across her platforms, as well as hosting red carpets for major events including the 2024 Cannes Film Festival. On screen, Maddie played the role of Jade in Channel 4’s Big Mood, alongside Nicola Coughlan.
The production currently stars Caden Brauch as Marty McFly, Cory English as Doctor Emmett Brown, Maddie Grace Jepson as Lorraine Baines, Orlando Gibbs as George McFly, C.J. Borger as Goldie Wilson and Marvin Berry, Alex Runicles as Biff Tannen, Talia Palamathanan as Jennifer Parker, Lee Ormsby as Alternate Doctor Emmett Brown and Strickland, Gracie Caine as Linda McFly, Liam McHugh as Dave McFly and Ryan Appiah-Sarpong, Amy Barker, Jed Berry, Billie Bowman,Jabari Braham, Charlotte Coggin, Sia Dauda,Lauren Dawes, Alexander Day, Helen Gulston, Oliver Halford, Thomas Inge, Stephen Lewis-Johnston, Adam Margilewski, Anna Murray, Samuel Nicholas,Brian Ó’Muirí, Phoebe Roberts,Issie Wilman and Alexandra Wright.
At select performances Oliver Halford will play the role of Marty McFly. Oliver was discovered as part of the global casting call for the next Marty McFly. This production marks his West End debut.
BACK TO THE FUTURE The Musical is currently in its 5th year in the West End at the Adelphi Theatre, having broken box office records at the venue, and been seen by 2.3 million people. The production will play its final performance on Sunday 12 April 2026. The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical is also a global success, with productions currently running in North America, Japan, Royal Caribbean Cruises, and Germany, with a French production to follow, and the first ever UK tour opening later this year. The show has been seen by over 5 million people worldwide so far.
BACK TO THE FUTURE The Musical has tickets available from £19.55, with the overall average ticket price at £56.78. The show is currently booking until Sunday 12 April 2026.
The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available and has had over 20 million streams. It features the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode.
In celebration of 2023’s Back to the Future Day, Sony Masterworks Broadway released a Deluxe Edition of the Original Cast Recording both digitally and as a 2-CD set. Available everywhere now, the Deluxe Edition includes 13 never-before-heard demos, alternate and early versions of many of the show’s major numbers, most performed by Glen Ballard himself.
In July 2023, a brand new behind-the-scenes book documenting the of the show, Creating Back to the Future by Michael Klastorin, was released worldwide, published by abrams&chronicle books.
Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.
Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.
BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod CDG for Grindrod Burton Casting.
Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).
BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.
N.B BACK TO THE FUTURE The Musical has partnered with Gala Pro – a revolutionary app for accessibility and translation to enhance accessible experiences at live performances so you can enjoy any performance of Back to the Future with audio description and closed captioning.
Tickets: from £19.55
Please book via the website: BackToTheFutureMusical.com – no booking fees
Nottingham Theatre Royal – until Saturday 28 February 2026
Reviewed by Louise Ford
5*****
Blood behind the begonias
I’m sure that I’ve read somewhere that the Golden Age of murder and mysteries in the 1920s and 1930s was a response to the uncertainty and chaos of the First World War and the great social changes taking place across certain parts of the world. So perhaps it’s not surprising that these “cosy crimes” still appeal to audiences today, in our unsettling times. Caroline Graham’s first novel, The Killings at Badger’s Drift, was published in 1987. The first episode of Midsomer Murders aired on UK TV ten years later in 1997, with this first novel. The TV series ran to over 100 episodes. Caroline only wrote seven novels! The first episode starred John Nettles as Detective Chief Inspector Barnaby and Daniel Casey as DS Gavin Troy. The novel has now been adapted for the stage by Guy Unsworth. Guy also directed the play.
The good news is that DS Troy due to his hard work and diligence has now been promoted to Detective Chief Inspector and takes on the role of Barnaby. The sidekick role is played by James Bradwell, he’s got a lot to learn about red herrings and leaping to (the wrong) conclusions but he’s got a steady mentor to steer him through the murky world of village life.
Barnaby and Troy are key to the action and driving the story and mystery forward to a satisfactory conclusion. At times the action and scene changes take place around them as they stand centre stage ; pondering the chaos around them.
The rest of the cast really earn their wages with their quick changes . Each member of the cast plays at least two roles and are on and off stage in the blinking of an eye. The seven members of the cast play over 15 roles. There is a further nod to the drama’s classic roots in the program, where the casts’ pictures are all in golden frames. It is hard to pick out anyone performer, so I’ll just list them out as they all deserve recognition; Natalie Barclay, Chandrika Chevli, John Dougall, Julie Legrand, Rupert Sadler, Chris Agha and Rhîan Crowley-McLean
The big shout out goes to the set design (David Woodhead), we see the village through a window and the various rooms and buildings are “dropped in”, to great effect. To complement each set, various props whizz in and out and of course we have an overloaded tea trolley with a mind of its own! The sets are lit to perfection by Matt Haskins. The lighting really brings the scenes to life and are particularly impressive in one scene involving an interview of “two” suspects!
So in summary we are talking about an evening of murder and mystery set in the quaint English Countryside, where no one is quite who they seem and where the weapon of choice could be an axe, knife or good old fashioned poison. The production pays homage to the original TV series but is also peppered with humour and tongue in cheek self knowing. There is also a surprisingly high body count!
You wouldn’t think, would you, one small village could have so much trouble bubbling away under the surface?
Producers Barry & Fran Weissler and David Ian for Crossroads Live are delighted to announce full casting for the UK and Ireland tour of the smash hit romantic musical comedy WAITRESS, opening at the New Wimbledon Theatre from Saturday 28 March 2026.
Joining the previously announced Carrie Hope Fletcher as Jenna, Sandra Marvin as Becky, Evelyn Hoskins as Dawnand Les Dennis as Joe, will be Dan Partridge as Dr Pomatter, Mark Anderson as Ogie, Mark Wilshire as Earl and Dan O’Brien as Cal.
The company is completed by Will Arundell, Yochabel Asante, Alice Croft, Jamie Doncaster, Daniel George-Wright, Will Hardy, Bayley Hart, Olivia Lallo, Emma Lucia, David Mairs-McKenzie and Ellie Ruiz Rodriguez.
Carrie Hope Fletcher’s final performance will be Saturday 20 June 2026, with casting for the role of Jenna for the rest of the tour to be announced. Carrie will also not be performing in Sunderland (4-9 May).
Dan Partridge most recently starred as Charlie Price in the UK and European tour of Kinky Boots. His other theatre credits include Ben Locke in the world premiere of Here & Now, Magaldi in Evita at Curve Leicester, Danny Zuko in Grease both in the West End and on tour, Rum Tum Tugger in CATS in Europe and South Korea and Link Larkin in the UK tour of Hairspray.
Mark Anderson’s West End credits include Phil Spector in Tina – The Tina Turner Musical at the Aldwych Theatre, George Takei’s Allegiance at the Charing Cross Theatre, School of Rock at the Gillian Lynne Theatre, The Grinning Man at Trafalgar Studios, and the original West End cast of The Book of Mormon at the Prince of Wales Theatre. Further credits include the national tours of Bedknobs and Broomsticks, Salad Days, Love Me Tender, Legally Blonde and Mary Poppins.
Mark Wilshire previously covered the role of Earl in Waitress in the original West End company at the Adelphi Theatre. His other theatre credits include the original UK cast of White Rose: The Musical, The Bodyguard in the West End and on tour, the original West End company of Ghost, and UK tours of Never Forget, Our House, Starlight Express, Chitty Chitty Bang Bang and Carousel.
Dan O’Brien’s theatre credits include Erwin Bach in Tina – The Tina Turner Musical, Mamma Mia, Jersey Boys, both in the West End and on tour, and Ray in the UK tour of Dreamboats and Petticoats.
WAITRESS is based on the 2007 movie written by Adrienne Shelly. Music and lyrics are written by GRAMMY award-winning, singer-songwriter sensation Sara Bareilles. With a book by Jessie Nelson, direction by Tony-award winner Diane Paulus and choreography by Lorin Latarro, Waitress has garnered multiple awards and nominations in both America and the UK, receiving acclaim from both audiences and critics alike.
Celebrating 10 years of production, WAITRESS opened on Broadway on 24th April 2016 at the Brooks Atkinson Theatre, where it ran until 5th January 2020. Waitress celebrated its official opening night at the Adelphi Theatre in London’s West End on 7th March 2019. The show has gone on to global success with further productions in North America, Japan, Holland, a French language production in Canada, a Spanish language production in Mexico, and coming this spring of 2026 an Australian production in Melbourne and Sydney.
WAITRESS tells the story of Jenna, an expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a new life, while her fellow waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life. This beautiful musical celebrates friendship, motherhood, and the magic of a well-made pie.
Book by Jessie Nelson
Music and Lyrics by Grammy Award-winner Sara Bareilles
Based upon the motion picture written by Adrienne Shelly
Directed by Tony Award-winner Diane Paulus
WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. The tour is produced by Barry & Fran Weissler and David Ian for Crossroads Live.
