Playhouse, Sheffield – until February 1st 2025

Review by Sharon Farley

4****

Interweaving contemporary dance, personal story-telling, cultural tradition and sport is not a combination many theatre productions achieve, or even attempt, but in Endurance Jennifer Jackson (WrestleLadsWrestle) moves efficiently between each element, with the greatest action given, surprisingly, to sport.

She first appears in a Bolivian Diablada mask, a huge, horned, non-human representation of the entities believed to exist as a link between the worlds of the living and the dead; the accompanying traditional dance seems mostly a feat of balance to hold its colourful mass upright. At the end, Jennifer strips away the bulk of the costume – a representation of her cultural heritage via her Bolivian mother – and is left standing small by comparison in a simple shorts and vest ensemble. The mask remains aside, watching over the rest of the performance. Jennifer laboriously dons running shoes and a heart rate monitor with the intensity of a meditative practice. There is silence and the plain backdrop of a black stage; she begins running between one point and another. The quiet and endless repetition may make you wonder if the feat of ‘endurance’ is to be that of the audience, patiently waiting for something to happen.

Soon, all is revealed via a digital backdrop displaying the words spoken by a robotic voice, explaining everything we need to know about Jennifer, her repetitive motion, the heart monitor ticking away on screen, her determination, and the belief that her maternal Bolivian genes will make her a natural mountain runner. So, is this the feat of endurance we are here to witness? The machine generated voice humorously entertains us with our own thoughts and opinions on what we are watching, with some considerable accuracy. This performance is more interesting than it at first appears.

The screen voice takes us through Jennifer’s thoughts, influences, dialogues with family and friends, difficulties of acceptance within British society – the other half of her heritage – and her obsession with a historical, female, Bolivian revolutionary, Bartolina Sisa, who fought against Spanish colonisers alongside her husband, Túpac Katari. The audience become spectators not only of Jennifer’s athletic endurance, but also that of the Latin American people, robbed and subjugated yet still surviving.

As we listen, we watch Jennifer’s heart rate rise. The internal dialogue on the screen turns negative, she’s hitting the runner’s wall. We see her pushing through the hardship, again a reflection of the endurance of the colonised indigenous people providing her with the genetic material to battle on, even when she just wants to hide under the duvet and cry. The heart rate keeps rising, are we about to witness a heart attack too? Dammit! She even knew we’d think that!

A break in the repetitive running leads us to the next act, as a dapper, skull headed figure appears bathed in a spotlight at one side of the stage. The robotic voice is silenced, and we are left to interpret for ourselves what the dance between Jennifer and the male figure means. Is it a depiction of Jennifer’s relationship with her Bolivian heritage? Are we viewing the difficulties of women struggling to establish their own space? Is it the repeated generational blending of indigenous people with European invaders? Or a struggle for meaning between life and death?

When the male dancer exits, Jennifer picks up from the same point she left off when he arrived; continuing her own personal endurance test, now accompanied by stories of her childhood. In contrast to the detailed breakdown of the on screen dialogue in the first act, this section is a little vague and leaves some uncomfortable questions hanging in the air.

The individual elements of this complex piece do not always fit seamlessly hand in hand, much as the experience of the children of inter-cultural relationships is rarely a smooth ride. One might wonder what part ancestral cellular memory plays in our own tangled personal development, given we are all the result of a widely mixed gene pool, often generated by historical invasions.

Evidently, a lot of thought has gone into this production, and though we may not be privy to all the inner workings of Jennifer’s process, take the time to invest in the piece with her and you may even feel the reflection of her heart beat within your own chest.

Eleanor Lloyd Productions and Rebecca Stafford Productions present

Witness for the Prosecution by Agatha Christie

• TODAY MARKS 100 YEARS SINCE THE ORIGINAL STORY OF ‘WITNESS FOR THE PROSECUTION’ WAS PUBLISHED AS THE ACCLAIMED STAGE PRODUCTION CONTINUES TO THRILL AUDIENCES AT LONDON COUNTY HALL NOW IN ITS 8TH YEAR.

• AGATHA CHRISTIE’S SHORT STORY ‘TRAITOR HANDS’ FIRST APPEARED IN A WEEKLY DETECTIVE MAGAZINE IN 1925 AND WAS LATER RETITLED ‘THE WITNESS FOR THE PROSECUTION’ AND PUBLISHED AS PART OF A SHORT STORY COLLECTION WITH ICONIC FILM, STAGE, TELEVISION AND RADIO ADAPTATIONS TO FOLLOW.

• TO MARK 100 YEARS OF THIS CAPTIVATING STORY A NEW MAP IS RELEASED TODAY HIGHLIGHTING KEY LONDON LOCATIONS FEATURED IN THE STAGE PRODUCTION AND NEW PHOTOGRAPHY OF THE CAST

Today (31 January 2025) marks 100 years since Agatha Christie’s story Witness for the Prosecution – originally titled Traitor Hands – was first published. A century later and the acclaimed stage production, produced by Eleanor Lloyd Productions and Rebecca Stafford Productions, continues to sell out every performance at the historic London County Hall where it is now in its 8th year and more popular than ever.

To celebrate this milestone, a new Witness for the Prosecution animated map has been released highlighting key London locations that appear in the iconic story, as well as new photography of the cast at the Old Bailey, New Scotland Yard and London County Hall.

Beginning life as a short story just five years into Christie’s illustrious career, Traitor Hands was initially published on 31 January 1925, as part of Flynn’s a weekly American detective magazine. Like many of Christie’s earlier works, the story first appeared in a magazine before being reissued in book form. Christie retitled the story as The Witness for the Prosecution eight years later. This shocking short story of lust and betrayal has since been reimagined for iconic radio, film, stage and television adaptations entertaining generation after generation in its various different forms.

The first stage production was adapted by Christie herself at the request of theatre producer Peter Saunders and opened on the 28 October 1953 at The Winter Garden Theatre in London. During its run, Christie also had two other plays running in London, making her the only female playwright to have three plays running simultaneously in the West End. In 1957 the play was adapted for film directed by Billy Wilder and starring Tyrone Power, Marlene Dietrich and Charles Laughton. During film previews test audiences were compelled to sign pledges saying, “I solemnly swear I will not reveal the ending of Witness for the Prosecution.” The original short story has also been adapted for TV five times (most recently by Sarah Phelps in 2016).

The current stage production of Witness for the Prosecution at London County Hall is now in its eight year is currently booking until 28 September 2025. The cast includes Ben Galvin as the accused Leonard Vole opposite Isabel Della-Porta as Romaine Vole, Dugald Bruce-Lockhart as Sir Wilfrid Robarts QC, Kriss Dosanjh as Mr Mayhew, Michael Cochrane as Mr Justice Wainwright and Robert Hands as Mr Myers QC. The company is completed by Karlu Akumas, William Baylis, Nicky Goldie, Harry Gostelow, Oxa Hazel, Thomas Judd, James Lavender, Avril Maponga, Alfie Noble, Shivam Pallana, Georgia Rona and Steve Watts.

Since 2017 Agatha Christie’s Witness for the Prosecution has captured the imagination of audiences gripped by the case of Leonard Vole, accused of murder in cold blood. The show is more popular than ever with almost every show selling out. Director Lucy Bailey (And Then There Were None, UK Tour) thrillingly places the audience in the thick of the action as Christie’s enthralling tale of justice, passion and betrayal unfolds around them.

The twists and turns of the case are played out in a spectacular courtroom setting inside the atmospheric London County Hall as prosecution battles defence and witnesses take the stand to give their shocking testimonies. The production received Best Revival nominations at the 2018 Olivier and WhatsOnStage Awards.

The production is designed by William Dudley, with lighting by Chris Davey, sound design by Mic Pool and casting by Ellie Collyer-Bristow CDG.

Curve Theatre, Leicester – until 8th February 2025 (accessible performances 6th, 7th and 8th February)

Reviewed by Leanne W

5*****

C S Lewis wrote the story of The Lion, The Witch and The Wardrobe 75 years ago. A much loved story which was televised on a Sunday afternoon during my childhood (the longest of waits between each episode, there was no binge watching in the 80s!) A story for all to love then, and a story which will continue to bring joy to future generations, the excited children leaving the theatre assured me of that.

The story concerns four evacuees who find themselves in Aberdeen and in the home of an eccentric professor (Kraig Thornber) – who happens to have a very special wardrobe in his spare room. This performance is expertly crafted from Sally Cookson’s original production and realised under Michael Fentiman’s Direction.

From the moment we enter the theatre the were treated to a lone pianist playing some old war time classics and framed by a huge lit circle. This framed the action throughout giving a sense that we were looking in to another world. On the stage were several smaller circles which double as a further window in to the story – the moon being a particularly enchanting use. The moveable aspects of the set were expertly steered in and out of position by the cast, and all seemed to seamlessly appear and leave as the story moved on. A highlight for me was the turning of a crank handle to produce the all-important lamppost from inside the piano.

The costumes were simple and yet extraordinarily effective, we knew who all the animals were without the need for a mask or a full outfit made from fur. The use of snow shoes to provide tails for Mr and Mrs Beaver (Jaya De Villiers and Ed Thorpe) was marvellous. What also caught my eye was how even when we were seeing the action in Narnia the reminder of the war was ever present, incorporating the use of muted tones, military style headwear and the odd aviator hat, complete with goggles, continuing the theme.

This was a play with music and the haunting melodies really added to the stark feelings of everlasting winter in Narnia. We were excited by the arrival of Santa and the Bringer of Gifts song. Whilst the music was not overly memorable if should be stated that it does what it is supposed to do; and that is to add to the story and not to replace any dialogue as we may expect from a musical. I really enjoyed seeing the band on stage and all in role as their various characters playing away merrily.

There are moments of puppetry, mainly Schrödinger the cat and Aslan (who was also played by Stanton Wright, a considered and powerful portrayal) – from the small to the large added to the magic.

Whilst I cannot say there were any standout performances, the play is very well cast and each and every portrayal wonderful. Joanna Adaran, Jesse Dunbar, Kudzai Mangombe and Bunmi Osadolor gave convincing performances as the children. Katy Stephens a delightfully mean White Witch with her pretty scary sidekick Maugrim (Shane Anthony-Whiteley) and an entire cast who multi-role the whole show leave too many to mention.

In summary this is a fantastic production, a fabulous set, beautiful music, clever costume, puppetry, magic and a wonderful story. Everything we love about live theatre.

Everyman Theatre, Cheltenham – until 1st February 2025

Reviewed by Josie Aburrow Smith and Emmie (9 years old)

5*****

The Pirates of Penzance is a comic opera by Gilbert and Sullivan. it premiered in New York on the 31st December 1879. It’s as hilarious today as it was 145 years. 

The story centres around the pirate apprentice, Frederic and the year is 1870. As his apprentice is coming to an end (when he turns 21) he tells the pirates that they are hopeless as they are too kind. He meets and falls in love with Mabel, the daughter of an incompetent Major-General who famously sings ‘I am the Very Model of a Modern Major General’ (which I also keep humming)

But it turns out that Frederic was born on a leap year and is still apprenticed to the pirate band until he reaches his 21st birthday in 1940. His alliances shift back and forth between the pirates and respectable society, and he engages the help of the police. 

This production has a clever set of a raised deck. Which means the ensemble can be sitting and standing and still be visible. It is Directed by Donna Stirrup and Conducted by Martin Handley. The orchestra were a joy to listen to. 

The whole ensemble worked together and were clearly enjoying themselves as much as the audience. The cast included: Benjamin Bevan, Barry Clark, Guy Elliott, Jonathan Eyers, Sioned Gwen Davies and Ellie Laugharne.

The Pirates of Penzance is suitable for all ages. I was accompanied by my 9 year old. It was her first experience of opera and she was able to follow the story and laugh at the funny bits. She loved the ladies singing and pretending to paddle. The Everyman Theatre is a wonderful place to take children too. The staff are all very enthusiastic and helpful. They gave her a bit to add to her seat to raise her up. 

This is a great night out, we all came out smiling and humming. Today I have Sung ‘I am a Pirate King’ a number of times. 

Southwark Playhouse Elephant, London – until 29 March 2025

Reviewed by Emily Smith

3***

Scissorhandz, based on the 1990s film Edward Scissorhands, promises to be ‘a musical reinvented’. Unfortunately, it falls flat of being a cohesive piece of theatre, ultimately being a concoction of well-known songs sprinkled between disconnected parts of the original plot, often lacking emotional depth.

That being said, if I could give more stars for talent alone, this brilliant cast would be deserving of at least one or two more. Emma Williams stood out as Peg, alongside Lauren Jones (Kim) and Dionne Gipson (The Inventor), who together and individually delivered some powerful and beautiful vocals to classic pop rock songs. Lauren Jones’s rendition of Fighter was a real standout of the evening!

Another brilliant trio were Tricia Adele-Turner (Joyce Vanderpump), Annabelle Terry (Esmerelda) and Ryan O’Connor (Helen/Bill/Delia Deetz). Both Tricia and Annabelle had both flawless vocals and comedic delivery, while Ryan, who makes his London debut in Scissorhandz, was an absolute standout of the evening. His comedic performance, including some ad-libbed moments, offered some much-needed relief from the confused narrative and really made the show for me. The live band were also great – they were clearly loving their jobs – and the music was definitely loud enough!

The staging is relatively simple given the size of the venue, which is intimate, but the show makes the most of the available space including aisles, the balcony, and even audience member’s laps! There is no raised stage – it is all floor level – so if you’re in any of the first rows you’ll need to mind your feet! The audience interaction was a fun addition to the show, which helped with keeping the audience’s attention given that the running time is 1 hour 45 minutes with no interval. To recreate the famous scenes where Scissorhandz is trimming bushes or sculpting ice, this show uses paper confetti and hand-held fans – not very high tech, but it did give the desired effect.

Costume-wise, a bug bear for me was that Scissorhandz’s infamous hands were clearly slide-on scissors i.e. you can see their real fingers behind. This wouldn’t perhaps be an issue on a larger raised stage, but given the proximity of the cast and audience in this venue, and the number of times Scissorhandz shows their hands to the audience, it was a detail that I felt could have been improved.

The main let down of this show is unfortunately in the writing. Bradley Bredeweg (writer/director/producer) wanted to ‘reinvent’ Scissorhandz (no ‘Edward’ here), taking the audience on an exploration of gender identity and belonging. However, it seems he has taken snippets of the film, added songs that are disconnected to the narrative, and merged the two together with a sprinkle of drag-favourites. Without the full plot, the story loses its way. Without songs that are related to the plot, the music doesn’t connect. Add this together, with a random Kiki in the middle, it seems this show is trying to achieve too much without having a stable foundation first.

One of the most significant issues for me was Scissorhandz as a character. In the film, Edward is a quiet man of few words, taking time to think before replying, yet in this show they burst into upbeat songs and that feels very out of character. Jordan Kai Burnett (Scissorhandz) does their best with what they are given, and did channel some of Johnny Depp’s original iconic movements, but the character doesn’t develop enough for the audience to have a strong connection to bring the message of belonging to fruition.

While this show promises a lot, it fails to deliver a reinvention of a well-loved classic. That being said, the cast are incredibly talented and perform the show with a lot of love and passion which makes up for some of its failings.

FULL CAST AND CREATIVE TEAM ANNOUNCED

FOR THE WORLD PREMIÈRE OF

LILA RAICEK’S NEW PLAY MY MASTER BUILDER

ELIZABETH DEBICKI, KATE FLEETWOOD, DAVID AJALA AND MIRREN MACK

JOIN EWAN McGREGOR TO COMPLETE THE COMPANY

Elizabeth Debicki, Kate Fleetwood, David Ajala, and Mirren Mack join Ewan McGregor to complete the cast of My Master Builder – a new play by American playwright and screenwriter Lila Raicek.

Directed by Michael Grandage, the Artistic Director of MGC, who also co-produces with MarketStall and Seaview, the production opens on 29 April 2025 at Wyndham’s Theatre, with previews from 17 April, and runs until 12 July.

Also announced today is the full creative team – joining Grandage are Richard Kent (Set and Costume Designer), Paule Constable (Lighting Designer), Adam Cork (Sound Designer and Composer), with casting by Sophie Holland CSA. Finishing the team are Bethany West (Associate Director), Kate West (Production Manager), Lisa Aitken (Costume Supervisor), Kate Margretts (Prop Supervisor) and general management by Fiona Steed.

With over 10,000 tickets at £25 across the run, public booking is now open. The captioned performance is on Saturday 24 May 2025 at 2.30pm; and the audio described performance is Saturday 14 June 2025 at 2.30pm.

www.mymasterbuilderplay.com/

Instagram, Facebook, X, TikTok: @MMBThePlay       

MarketStall, Michael Grandage Company, Seaview

MY MASTER BUILDER

A NEW PLAY BY LILA RAICEK

Cast: Ewan McGregor, Elizabeth Debicki, Kate Fleetwood, David Ajala, Mirren Mack

Director: Michael Grandage; Set and Costume Designer:  Richard Kent;

Lighting Designer: Paule Constable; Sound Designer and Composer: Adam Cork;

Casting Director:  Sophie Holland CSA

17 April to 12 July

at Wyndham’s Theatre

Co-producers:

Eilene Davidson Productions, Francesca Moody Productions, Gavin Kalin Productions,

Hunter Regian, Sand & Snow Entertainment, Sayers & Sayers Productions, The Array VII, Tilted

On the eve of July 4th in the Hamptons, Elena Solness, a publishing magnate, is preparing to throw a party to celebrate her architect husband, Henry Solness, as he unveils his latest masterpiece. Their already vulnerable union is shattered by the unexpected arrival of Mathilde, a former student of Henry’s, with whom he previously shared an intimate connection. As the evening unfolds, each find themselves face to face with a reckoning that indelibly tilts the axis of their lives.

Inspired by Ibsen, My Master Builder is a startling new play by Lila Raicek that lays bare the vulnerabilities we expose, when we leave ourselves open to love.

Ewan McGregor returns to the London stage to play Henry Solness. He previously appeared in Othello (Donmar Warehouse), Guys and Dolls (Donmar West End at the Piccadilly Theatre) and Little Malcolm and His Struggles Against the Eunuchs (Hampstead Theatre and Comedy Theatre); and on Broadway, The Real Thing. His television work includes A Gentleman in Moscow (Golden Globe nomination for Actor in a Mini-Series or Motion Picture Made for Television), Obi-Wan Kenobi, Halston (Emmy for Outstanding Lead Actor in a Limited Series or Movie), Fargo (Golden Globe for Best Lead Actor in a Limited Series or a Motion Picture Made for Television, Critics’ Choice Television Award for Best Actor in a Movie Made for Television or Limited Series), Karaoke, Scarlett and Black and Lipstick on Your Collar; and for film, Mother Couch, Bleeding Love, Raymond & Ray, Birds of Prey, Pinocchio, Star Wars: Episode IX – The Rise of Skywalker, Doctor Sleep, Christopher Robin, Beauty and the Beast, T2 Trainspotting, American Pastoral, Our Kind of Traitor, Star Wars: Episode VIII – The Force Awakens, Last Days in the Desert, A Million Ways to Die in the West, August: Osage County, The Impossible, Haywire, Salmon Fishing in the Yemen, Perfect Sense, Beginners, The Ghost Writer, Amelia, Angels & Demons, I Love You Philip Morris, Deception, Incendiary, Cassandra’s Dream, Miss Potter, Stay, The Island, Star Wars: Episode III – Revenge of the Sith, Robots, Big Fish, Young Adam (Scottish BAFTA for Best Actor), Down with Love, Star Wars: Episode II – Attack of the Clones, Black Hawk Down, Moulin Rouge!, Rogue Trader, Star Wars: Episode I – The Phantom Menace, Little Voice, Velvet Goldmine, A Life Less Ordinary, The Serpent’s Kiss, Emma, Trainspotting (Scottish BAFTA for Best Actor), The Pillow Book, and Shallow Grave. McGregor undertook an international motorcycle trip with friend and colleague Charley Boorman which included visits to several UNICEF programmes along the route, and formed the basis of a television series and a best-selling book, both called Long Way Round – this was followed by Long Way Down and Long Way Up.

Elizabeth Debicki plays Mathilde. Her theatre work includes The Red Barn (National Theatre), The Maids (Helpmann Award nomination and winner of the Sydney Theatre Awards for Best Newcomer – Sydney Theatre Company, New York City Center), and The Gift (Melbourne Theatre Company). On television, her work includes The Crown (Golden Globe, Critics’ Choice, SAG and Emmy Awards wins, with nominations from BAFTA and AACTA), The Night Manager (Critics’ Choice Television Award nomination), The Tale and The Kettering Incident (AACTA for Best Lead Actress in a Drama Series). Her film credits include Tenet, Widows (London Critics’ Circle nomination, LA Film Critics’ Circle Award runner-up, Hollywood Critics’ Association nomination), The Great Gatsby (AACTA Best Actress in a Supporting Role and Australian Film Critics’ Association nomination), The Man for U.N.C.L.E, MaXXXine, Guardians of the Galaxy Vol.2 & 3, The Burnt Orange Heresy, Vita and Virginia, Breath, Everest, and Macbeth.

Kate Fleetwood plays Elena. Her theatre work includes A View From the Bridge (Theatre Royal Haymarket), 101 Dalmatians (Regent’s Park Open Air Theatre), Absolute Hell, Ugly Lies the Bone, King Lear, London Road – Olivier Award nomination for Best Actress in a Musical, Love’s Labour’s Lost (National Theatre), Bug (Found111), Medea (Almeida Theatre), High Society (The Old Vic), Life is a Dream, Hecuba (Donmar Warehouse), Macbeth – Tony Award nomination for Best Actress in a Leading Role (Chichester Festival Theatre, Gielgud Theatre, Brooklyn Academy of Music, and Broadway), Twelfth Night (Chichester Festival Theatre), The Winter’s Tale, Pericles (RSC), Othello (Northampton Theatre Royal), and A Midsummer Night’s Dream (Bristol Old Vic). For television, her work includes Big Mood, Mary and George, Rain Dogs, The Wheel of Time, Fate: The Winx Club Saga, Brave New World, Victoria, Harlots, War and Peace, The People Next Door, The Widower, Way to Go, Touch of Cloth, Sarah Jane Adventures, Hustle and After Thomas; and for film, Scoop, Choose or Die, Beirut, Star Wars: The Force Awakens, London Road, Philomena, Les Miserables, Harry Potter and the Deathly Hallows: Part 1, Macbeth, The Golden Age, 77 Beds, Vanity Fair, A Changed Man and Beautiful People.

David Ajala plays Ragnar. His theatre work includes One Night in Miami (Donmar Warehouse), The Witness, Othello, Every Man (Royal Court Theatre), Ruined (Almeida Theatre), Nation, Death and the King’s Horseman (National Theatre), Love’s Labour’s Lost, A Midsummer Night’s Dream (RSC), The Swing of Things (Stephen Joseph Theatre), How to Steal a Diamond (Traverse Theatre), Right You Are If You Say So, Strange Lands, Suicided Man (N1 Theatre), and Tales of Courage (Nottingham Playhouse). His television work includes Nine Bodies in a Mexico Morgue, The Jetty, Star Trek: Discovery, Urban Myths, Supergirl, Under the Bridge, Nightflyers, Falling Water, Hooten and the Lady, Beowulf, Black Box, Law & Order, Black Mirror, Death in Paradise, Monroe, Misfits, Coming Up, Silent Witness, Doctor Who, Hamlet, Trexx and Flipside, The Revenge of Alistair Fury and Dream Team (as series regular Sean Campbell); and for film, The Woman in Cabin 10, Italian Studies, Brotherhood, Jupiter Ascending, Kill Command, Starred Up, Emulsion, Fast & Furious 6, Offender, Payback Season, One Day, The Dark Knight, Adulthood and Kidulthood.

Mirren Mack plays Kaja. Her theatre work includes Grapes of Wrath, Small Island (National Theatre), and Hamlet (Bristol Old Vic). Her television work includes Miss Austen, Say Nothing, Mary & George, The Doll Factory, The Witcher: Blood Origins (as series regular Merwyn), Dalgliesh, The Nest, and Sex Education (as series regular Florence); and for film, Hedda.

Lila Raicek is a New York based playwright. Her new play Fire Season, inspired by Measure for Measure, is in pre-production, and she is writing a new play Tulla about Edvard Munch for Seaview Productions. In television, she is penning two original series for Fifth Season and Made Up Stories, and wrote on Younger and Gossip Girl. Her debut novel The Plunge will be published by HarperCollins in Summer 2025. She holds an MFA in playwriting from Columbia University.

Michael Grandage is Artistic Director of the Michael Grandage Company (MGC) where for theatre he has directed Penelope Wilton and Luke Evans in Backstairs Billy (Duke of York’s Theatre), Emma Corrin in Orlando (Garrick Theatre), Dawn French in Dawn French is a Huge Tw*t (UK tour and The Palladium), Ian McDiarmid in The Lemon Table (UK tour), Aidan Turner in The Lieutenant of Inishmore (Noël Coward Theatre), Alfred Molina and Alfred Enoch in Red (Wyndham’s Theatre), Nicole Kidman in Photograph 51 (Noël Coward Theatre), Dawn French: 30 Million Minutes (national and international tour and West End), Jude Law in Henry V, David Walliams and Sheridan Smith in A Midsummer Night’s Dream, Daniel Radcliffe in The Cripple of Inishmaan, Judi Dench and Ben Whishaw in Peter and Alice and Simon Russell Beale in Privates on Parade as part of the season at the Noël Coward Theatre. His film work for MGC includes My Policeman (2022) starring Harry Styles, Emma Corrin, Gina McKee, Linus Roache, David Dawson and Rupert Everett, and Genius (2016) starring Colin Firth, Jude Law, Nicole Kidman, and Laura Linney. His opera work includes Madama Butterfly for Houston Grand Opera and Chicago Lyric Opera, Le Nozzi de Figaro for Glyndebourne and Houston, Don Giovanni for the Met and Billy Budd for San Francisco, Glyndebourne and BAM in New York. He was Artistic Director of the Donmar Warehouse (2002–2012) and Sheffield Theatres (2000-2005) where his work included Chiwetel Ejiofor in Othello, Frank Langella and Michael Sheen in Frost/Nixon, Derek Jacobi in King Lear, Eddie Redmayne and Alfred Molina in Red (Tony Award for Best Director), Jude Law in Hamlet and Kenneth Branagh in Ivanov. He won three Olivier Awards for his musical productions of Guys and Dolls, Merrily We Roll Along and Grand Hotel. His production of Disney’s Frozen – The Musical ran for three years at Theatre Royal Drury Lane. He was President of the Royal Central School of Speech and Drama from 2010 to 2022 and is currently President of the Morrab Library. He was appointed CBE in the Queen’s Birthday Honours 2011. His book, A Decade At The Donmar, was published by Constable & Robins in 2012. His charity, set up to help young theatre makers, can be found at www.mgcfutures.com. 

Listings Information 

MY MASTER BUILDER

Wyndham’s Theatre

Charing Cross Road, London WC2H 0DA

www.mymasterbuilderplay.com/

Instagram, Facebook, X, TikTok: @MMBThePlay       

www.delfontmackintosh.co.uk

Box Office: 0344 482 5151

Groups booking: 0344 482 5100

Access booking: 0344 482 5137

TICKETS

From £25

With over 10,000 tickets at £25 across the run

17 April to 12 July

Performances Monday to Saturday at 7.30pm

Matinees Wednesday and Saturday at 2.30pm

NB post press night, the matinee will be on Thursday 1 May

Access performances:

Captioned: Saturday 24 May 2025 at 2.30 pm

Audio Described: Saturday 14 June 2025 at 2.30pm

NOTES TO EDITORS:

MARKETSTALL PRODUCTIONS:

MarketStall is a UK based Production company established by John Brant in 2023 producing work nationally and internationally.

Theatre includes Macbeth with Ralph Fiennes and Indira Varma (Liverpool, Edinburgh, London, Washington D.C) and The Enfield Haunting with Catherine Tate and David Threlfall (Ambassadors Theatre).

MICHAEL GRANDAGE COMPANY

MGC is a London based company that produces work across all media, nationally and internationally. The company also provides a General Management service to other producers and represents a select group of creative practitioners.

MGC productions include: Backstairs Billy with Penelope Wilton and Luke Evans, Orlando with Emma Corrin, Dawn French is a Huge Tw*t, and The Lemon Table with Ian McDiarmid (UK tour). Also in the West End: The Lieutenant of Inishmore with Aidan Turner, Red with Alfred Molina and Alfred Enoch, Labour of Love (co-produced with Headlong) with Martin Freeman and Tamsin Greig, Photograph 51 with Nicole Kidman, Henry V with Jude Law, A Midsummer Night’s Dream with David Walliams and Sheridan Smith, The Cripple of Inishmaan with Daniel Radcliffe (and on Broadway), Peter and Alice with Judi Dench and Ben Whishaw, Privates on Parade with Simon Russell Beale, and Hughie on Broadway with Forest Whitaker. MGC co-produced (with Emily Dobbs Productions) The Dazzle with Andrew Scott, and Dawn French’s 30 Million Minutes (with Phil McIntyre Entertainment) in the West End, and on tour in the UK and internationally. 

MGC previously general managed School of Rock – The Musical at the Gillian Lynne Theatre, and the 20^th Anniversary production of Rent at the St James Theatre and on tour.

The company produced the feature film My Policeman (2022) starring Harry Styles, Emma Corrin, Gina McKee, Linus Roache, David Dawson and Rupert Everett which had its world premiere at Toronto International Film Festival. They also produced Genius (2016) starring Colin Firth, Jude Law, Nicole Kidman, and Laura Linney which premiered at the Berlin Film Festival. Both films were directed by Michael Grandage.

www.michaelgrandagecompany.com

X: @michaelgrandage

Facebook/Michael-Grandage-Company

Instagram: michaelgrandagecompany

SEAVIEW PRODUCTIONS

SEAVIEW (Producer) is a NY-based Tony, Olivier and Peabody Award-winning theatre and film company. This Season: Stereophonic; Once Upon a Mattress starring Sutton Foster; Romeo and Juliet starring Kit Conor and Rachel Zegler; Hold on to Me Darling starring Adam Driver; All In: Comedy about Love by Simon Rich starring John Mulaney and Lin-Manuel Miranda; Good Night, and Good Luck starring George Clooney; The Last Five Years starring Nick Jonas and Adrienne Warren; The Queen of Versailles starring Kristin Chenoweth; Reality (HBO); and Stress Positions (NEON).

www.seaviewprods.com

@ThisIsSeaview

Offies Finalists Announced as Awards Mark
15 Years with Ceremony Revamp, Landmark
Venue, and New Partnership

The finalists for the OffWestEnd Awards (Offies) have been announced today, as the UK’s foremost awards for independent theatre mark their 15th anniversary. This year’s nominees include a diverse mix of emerging grassroots talent and stars of stage and screen who continually choose to perform in Off-West End’s incredible world-class venues.

Following the unveiling of the new awards process last month, this year’s ceremony will introduce the new category-less model designed to create a more dynamic, inclusive, and transparent way of recognising the exceptional and innovative theatre as it emerges. The organisers promise an “entertainment-focused” event that will showcase the variety and creativity of theatre at all levels and sizes that takes place all over London and beyond.

To celebrate 15 years at the forefront of celebrating British theatre, this year’s Offies will take place at a new partner venue: Central Hall Westminster (right opposite the Abbey). Central Hall has a rich history of hosting important live events, and with a capacity of up to 2000 people it brings opportunities to expand the profile of the Offies.

This year’s Offies will be produced by ex-Olivier Awards Executive Producer Julian Bird OBE, through his production company Green Room Ents Ltd which announces a three-year partnership with the Offies starting this year. Executive Producers for the show will be Julian Bird OBE and Denholm Spurr. More details of the evening, including host, performers and presenters will be announced shortly.

The Offies have a history of spotlighting groundbreaking theatre before it reaches mainstream acclaim, with past winners including Baby Reindeer, Fleabag, and Operation Mincemeat – proving that Off-West End is a crucial launchpad for new talent Off-West End is the affordable (and sustainable) alternative to the West End where you can see exceptional talent live and grow.

But Off-West End is also a unique destination in its own right, and this year’s finalists reflect the sector’s remarkable draw including West End star Victoria Hamilton-Barritt, Doctor Who’s Tosin Cole, Tony Award-winning original Éponine in Les Misérables Frances Ruffelle, and a world premiere by celebrated playwright Roy Williams. Productions include a revival of what became the hit TV show Kim’s Convenience, a Pet Shop Boys musical, and the debut run of Shifters – which has already made a rapid West End transfer following its debut run.

With the revamped Offies ceremony set for Monday 17th March, this year’s event places the awards firmly at the centre of awards season. Tickets are now on sale.

As previously announced, the awards will abolish the current category model, introducing a streamlined system around eight broad Areas of Exceptional Contribution. These will enable the Offies to recognise exciting forms and creatives as they emerge.

The new Offies will better herald the grassroots talent that defines the industry. Denholm Spurr, Executive Producer of the Offies, commented, Over the past 15 years, the Offies have played a pivotal role in establishing Off-West End as the most vibrant, dynamic, and accessible place for creating and experiencing extraordinary theatre. The newly revamped ceremony is a testament to that growth, and I’m thrilled to collaborate with Julian Bird as we modernise and evolve. Together, we aim to create an event that not only celebrates the winners but also serves as a flagship moment for the entire sector—showcasing the innovation, talent, and passion that make it truly exceptional.

Julian Bird, CEO of Green Room Ents, commented, Our team at Green Room Ents are delighted to come on board to produce the awards for the next 3 years as we look to celebrate theatre in all its guises, and shine a light on the extraordinary talent working in our industry.

Throughout the year, Offies assessors reviewed thousands of potential nominees across nearly 600 productions at over 100 venues. With our three-tier assessment process—the most rigorous in the industry—narrowing the field to just over 100 nominees is a monumental achievement. Simply making the final list is an accolade in itself. Our new approach, organised into eight Areas of Production, Staging, Performance, Design, Sound & Music, Creation, Industry & Inclusion, and Innovation, ensures all genres of theatre are celebrated equally, with no specific categories and no fixed number of winners.

Below, you’ll find the full list of winners and finalists who have set the standard for exceptional theatre:

PRODUCTION

• A Letter To Lyndon B. Johnson Or God: Whoever Reads This First / Natasha & Xhloe
  (Kings Head Theatre)
• Blood Show / Battersea Arts Centre, Chapter Arts Centre, Colchester Arts Centre
  (Battersea Arts Centre)
• Follow The Signs / Fuse Theatre (Soho Theatre)
• Goldie Frocks and the Bear Mitzvah / JW3 (JW3 London)
• In Clay / Design & Canvas Co (Gatehouse Theatre)
• Journey of a Refugee / Theatre Rites (Stanley Arts Centre)
• Kurt Vonnegut’s Slaughterhouse-Five (or the children’s crusade) / So It Goes Theatre
  (Brockley Jack Theatre)
• L’Addition / Forced Entertainment (Battersea Arts Centre)
• Monica Salvi: Spirits In My Closet / Crazy Cat Dive Productions (Stage Door Theatre)
• Napoleon: Un Petit Pantomime / Charles Court Opera (Jermyn Street Theatre)
• Run, Rebel / Pilot Theatre (Theatre Peckham)
• Shifters / Bush Theatre (Bush Theatre)
• Sleeping Beauty / Broadway Theatre (Broadway Theatre, Catford)
• Sophie’s Surprise 29th / Three Legged Race Productions (Underbelly)
• The Big Life / Stratford East, Chuchu Nwagu Productions (Theatre Royal Stratford East)
• The Lonely Londoners / Jermyn Street Theatre (Jermyn Street Theatre)

STAGING

• Dkfash, Rebecca Solomon / by their fruits (Theatre503)
• Hannah Grennell / Giselle: Remix (The Pleasance)
• Toby Clarke / I Love You, Now What? (Park Theatre)
• Grace Taylor / In Clay (Gatehouse Theatre)
• Iskandar Sharazuddin / King Troll (The Fawn) (New Diorama Theatre)
• Christopher Haydon / Never Let Me Go (Rose Theatre)
• Lanre Malaolu / Now I See (Theatre Royal Stratford East)
• Robert Mcwhir / The Story of My Life (Stage Door Theatre)
• Tom Littler / Twelfth Night (Orange Tree Theatre)

PERFORMANCE

• Natasha Roland, Xhloe Rice / A Letter To Lyndon B. Johnson Or God: Whoever Reads This
  First (Kings Head Theatre)
• Kate Donnachie / Aladdin (Watford Palace Theatre)
• Victoria Hamilton-Barritt / Bronco Billy The Musical (Charing Cross Theatre)
• Mark Weinman / Captain Amazing (Southwark Playhouse)
• James Alexandrou, Kate Kelly Flood / Casserole (Arcola Theatre)
• Frances Ruffelle / Closer To Heaven (The Turbine Theatre)
• Virginia Gay / Cyrano (Park Theatre)
• The Cast / Dick Whittington And His Cat (Greenwich Theatre)
• Faye Castelow / Here In America (Orange Tree Theatre)
• Rosalind Ford / In Clay (Gatehouse Theatre)
• The Cast / Journey of a Refugee (Stanley Arts Centre)
• Ins Choi / Kim’s Convenience (Park Theatre)
• Sam Mitchell, Enyi Okoronkwo / King James (Hampstead Theatre)
• Bertrand Lesca, Nasi Voutsas / L’Addition (Battersea Arts Centre)
• Alexa Davies / Lady Dealer (Bush Theatre)
• Kai Luke Brümmer / Moffie (Riverside Studios)
• Anna Russell Martin / No Love Songs (Southwark Playhouse)
• Nnabiko Ejimofor / Now I See (Theatre Royal Stratford East)
• Oliver Alvin-Wilson / Now I See (Theatre Royal Stratford East)
• The Cast / The Belt – Past and Future (Coronet Theatre)
• Mariah Gale, Elizabeth Dulau, Alexandra Jensen / The Bleeding Tree (Southwark
  Playhouse)
• Ellena Vincent, Peter De Jersey, Daniel Francis-Swaby / The Book of Grace (Arcola
  Theatre)
• Joseph Millson / The Forsyte Saga (Park Theatre)
• Milo Twomey / The Harmony Test (Hampstead Theatre)
• Michela Murphy, Darcey O’Rourke, Felicity Sparks / The Littlest Yak (Polka Theatre)
• Ollie Maddigan / The Olive Boy (New Wimbledon Theatre)
• Danielle Bird, Nathan Johnston, Robert Penny, Rhiannon Skerritt / The Princess and the
  Pea (Unicorn Theatre)
• Jo Fong, George Orange / The Rest of Our Lives (Battersea Arts Centre)
• Skye Hallam / The Voice Of The Turtle (Jermyn Street Theatre)
• Thomas Oxley / [Title of Show] (Southwark Playhouse)
• Heather Agyepong, Tosin Cole / Shifters (Bush Theatre)
• The Cast / Sleeping With Beauty (The Union Theatre)
• Phoebe Ladenburg / Surrender (Arcola Theatre)
• Joshua Malina, Caroline Catz, Dorothea Myer-Bennett, Simon Yadoo, Gabriel Howell / What We Talk About When We Talk About Anne Frank (Marylebone Theatre)
• Ciaran O’Breen / Wonder Boy (Theatre Royal Stratford East)
• Victoria Yeates / Wormholes (Omnibus Theatre)

DESIGN

• Sam Wilde / Boxville (Little Angel Theatre)
• Sarah Mercade / Bronco Billy The Musical (Charing Cross Theatre)
• Amanda Ramasawmy / by their fruits (Theatre503)
• Cameron Gleave / Club Life (Omnibus Theatre)
• Shay Barclay, Yvonne Gilbert, Cleo Pettitt / Dick Whittington and his Cat (Hackney
  Empire)
• Rachael Ryan / In Clay (Gatehouse Theatre)
• Simon Daw, Mark Doubleday / Journey of a Refugee (Stanley Arts Centre)
• Mona Camille / Kim’s Convenience (Park Theatre)
• Douglas Baker / Kurt Vonnegut’s Slaughterhouse-Five (or the children’s crusade) (Jack
  Studio Theatre)
• Lambdog1066 / Metamorphoses (Cockpit Theatre)
• Ryan Day / Now I See (Theatre Royal Stratford East)
• Stewart J Charlesworth / Pinocchio (Theatre Royal Stratford East)
• Jack Weir / Remembrance Monday (Tristan Bates Theatre)
• Laura Mcewen, Keith Fredrick, Oliver Hymans, Aaron Dootson / Rosie Robin and the
  Christmas Post (Little Angel Theatre)
• Luke Adamson / That Girl vs The World (Battersea Arts Centre)
• Jasmine Swan / The Big Life (Theatre Royal Stratford East)
• Richard Evans, Rochelle Parry Clifford / The Pantomime Adventures of Peter Pan (Harrow
  Arts Centre)
• Alex Marker / The Silver Cord (Finborough Theatre)
• Helen Skiera / Toto Kerblammo! (Unicorn Theatre)
• Casey Jay Andrews, Simon Wilkinson, Gareth Fry / Viola’s Room (One Cartridge Place)

SOUND & MUSIC

• Matt Herbert / In Clay (Gatehouse Theatre)
• Xana / King Troll (The Fawn), Shifters, Guards at the Taj (New Diorama/Bush
  Theatre/Orange Tree)
• Beats And Elements / Romeo & Juliet (Polka Theatre)
• Liam Holmes / Songs for a New World (Gatehouse Theatre)
• Aaron Clingham / Stephen Sondheim’s Marry Me a Little (Stage Door Theatre)
• Ian Oakley / The Big Life (Theatre Royal Stratford East)
• Barra Collins, Joseph Hardy / The Littlest Yak (Polka Theatre)
• Naomi Hammerton, Nina Segal / The Odyssey (Unicorn Theatre)

CREATION

• Emily Woof / Blizzard (Soho Theatre)
• Che Walker / Burnt Up Love (Finborough Theatre)
• Maddie Dai / Captain Sandy and the Sea Monster (Puppet Theatre Barge)
• Rob Drummond / Don’t. Make. Tea. (Soho Theatre)
• Rebecca Simmonds, Jack Miles / In Clay (Gatehouse Theatre)
• Ruairi Conaghan / Lies Where it Falls (Finborough Theatre)
• Cal-i Jonel / No More Mr Nice Guy (Broadway Theatre, Catford)
• Khalil Abdalla / Nowhere / Fuel (Battersea Arts Centre)
• Manjeet Mann / Run, Rebel (Theatre Peckham)
• Benedict Lombe / Shifters (Bush Theatre)
• Roy Williams / The Lonely Londoners (Jermyn Street Theatre)
• Ollie Maddigan / The Olive Boy (New Wimbledon Theatre)
• Neil Bartram, Brian Hill / The Story of My Life (Stage Door Theatre)
• Tim Crouch / Toto Kerblammo! (Unicorn Theatre)

INNOVATION

• Soho Theatre, Impatient Productions / Julia Masli: Ha Ha Ha (Soho Theatre)
• Soho Theatre / Natalie Palamides: WEER (Soho Theatre)
• Contra, Le Carré Magique, Cambridge Junction / Spectacle of Herself (Battersea Arts
  Centre)

INDUSTRY & INCLUSION

• Justin Hopper / Bedbug (Drayton Arms Theatre)
• Birds Of Paradise Theatre Co / Don’t. Make. Tea. (Soho Theatre)
• Fuse Theatre / Follow The Signs (Soho Theatre)
• Kadiesha Belgrave / Grud (Hampstead Theatre)
• Luke Madaj / How Did I Get Here (Bread and Roses Theatre)
• Julia Thurston / Paved with Gold and Ashes (Barons Court Theatre)
• Rhianna Ilube / Samuel Takes A Break… (The Yard Theatre)
• Hannah Saxby / Some Demon (Arcola Theatre)
• Asylum / Surfacing (Omnibus Theatre)
• Hugo Pilcher / The Tailor-Made Man (Stage Door Theatre)
• Alex Hill / Why I Stuck a Flare Up My Arse for England (Southwark Playhouse)

From star-studded West End shoe-ins and groundbreaking, immersive productions to community-driven inclusive work, these nominees reflect the evolving landscape of theatre and celebrate a sector that is affordable, sustainable, accessible and incredible… Let’s show off!

Further information can be found here, https://www.gigantic.com/offies-tickets/london-centralhall-westminster/2025-03-17-18-00

Playhouse Theatre, Sheffield – 29 January 2025

Reviewed by Sharon Farley

4****

It has to be recognised that one must be very brave to perform solo to an audience for an hour, throw in flirting with the audience, ‘porn dancing’, and cavorting with a blow-up doll, and the effort is almost heroic. Aided only by a few simple props, this is exactly what Eleanor May Blackburn quite selflessly does in her one woman show, Does My F***y Look Big In This?, whilst also provoking more than a few laughs and revealing some personal trauma.

The sexual trauma element here isn’t so much harrowing as widely relatable, focused on how the absence of a ‘no’ does not equate to an enthusiastic ‘yes’. This is the subliminal story line, interspersed and alleviated by the enactment of a sex education class for 30 school kids, where any and all questions are answered purely matter-of-factly by ‘Miss Blackburn’, with occasional hilarious embellishment. Who knows? You might even pick up some new sexual vocabulary yourself!

Within the dual story line, a broad array of familiar sexual topics arise: sex education, basic anatomy, sexual anxiety, masturbation, misogyny, personal hygiene, sexuality, consent, and pubic styling. The overarching theme being explored is that we all go through the same uncertainties and self-conscious fumblings at the beginning of our sex lives, so why aren’t we discussing our very real sexual anxieties more openly? By breaking down the two themes of sex education and sexual trauma, Eleanor demonstrates how tight-lipped attitudes continue to lead to wide-scale unwanted and unpleasant sexual encounters. We are left asking ourselves, how far have we really come if generation after generation people are still having to deal with so much confusion and trauma because of the very thing that led to each of us existing at all? Also, are we already condemning the young to turn to online pornography to answer the questions we fail to confront? If so, how is this being reflected in their real life sexual development?

The naked honesty of Eleanor’s performance makes her instantly warm, open, and approachable. The themes are so recognisable that the audience can easily identify their own experience in this piece, enabling them to feel they are safe and among friends. With the addition of a frank and open discussion following the performance, this breaking down of barriers comes in useful when the audience has the opportunity to play the part of the school kids by bringing up any and all comments, questions, and thoughts they might have about sex. You may not necessarily get an answer, but that is much less important here than gaining permission to freely and openly express the questions we might normally be too afraid to ask.

Since bringing this performance to the Edinburgh Fringe in 2023, Eleanor has further developed the narrative and continues to appear around the UK. Watch out for her in a theatre near you.

DONMAR WAREHOUSE ANNOUNCES MAJOR REVIVAL OF PATRICK MARBER’S DEALER’S CHOICE

TO COMPLETE TIM SHEADER’S INAUGURAL SEASON AS ARTISTIC DIRECTOR

With the critically acclaimed Natasha, Pierre and the Great Comet of 1812 currently playing at the theatre, and the world premiere of Anna Mackmin’s Backstroke in rehearsals, Artistic Director Tim Sheader and Executive Director Henny Finch today announce a major revival of Patrick Marber’s Dealer’s Choice, completing Sheader’s inaugural season as Artistic Director.

Matthew Dunster directs this 30th-anniversary production starring Alfie Allen, Hammed Animashaun, Theo Barklem-Biggs, Brendan Coyle, Kasper Hilton-Hille and Daniel Lapaine.

Dealer’s Choice opens on 28 April, with previews from 18 April, and runs until 7 June. Tickets are on sale to the public on 7 February with priority booking available for Donmar members from 30 January.

DONMAR WAREHOUSE PRESENTS
DEALER’S CHOICE
Written by Patrick Marber

Cast: Alfie Allen, Hammed Animashaun, Theo Barklem-Biggs, Brendan Coyle, Kasper Hilton-Hille and Daniel Lapaine

Director: Matthew Dunster

Design by Moi Tran
Lighting design by Sally Ferguson
Sound Design by Holly Khan
Associate Director Robyn Grant

Casting Director: Lotte Hines CDG

18 April 2025 – 7 June 2025

“Play the man, not the cards”

Sunday night. Stephen hosts a weekly poker game in the basement of his failing London restaurant. All the usual suspects are there; the chef, the waiters, the errant son…but tonight a stranger has come to play.

As the stakes get higher, the game turns savage…now no one’s safe when everything’s on the line.

Patrick Marber‘s acclaimed 1995 debut won The Evening Standard Award (Best Comedy) and the Writer’s Guild of Great Britain Award (Best West End Play). It has since been performed in more than 50 cities across the world.

Matthew Dunster directs this 30th anniversary production starring Alfie Allen, Hammed Animashaun, Theo Barklem-Biggs, Brendan Coyle, Kasper Hilton-Hille and Daniel Lapaine.

We are hugely grateful to Charles Holloway OBE, Season Supporter.

We would also like to thank our Production Supporter, Charles J Burdick.

Alfie Allen plays Frankie. His theatre credits include Hangmen (Golden Theatre, Broadway), Equus (UK tour) and The Spoils (Trafalgar Studios). For television, his work includes Safe Harbour, Atomic, Transformers: Earth Park, SAS: Rogue Heroes, The Murders at White House Farm, Harlots, Game of Thrones, Close to The Enemy, Moving On, Accused, Freefall, Coming Up, Casualty 1907, Joe’s Palace, The Golden Hour and Jericho; and for film, Visitation, Night Teeth, Jo Jo Rabbit, How To Build A Girl, Predator, Plastic, John Wick, Confine, The Body, Powder, Soulboy, Freestyle, The Other Boleyn Girl, Atonement, Stoned and Agent Cody Banks 2.

Hammed Animashaun plays Mugsy. His theatre credits include A Midsummer Night’s Dream (Bridge Theatre- winner of 2020 WhatsOnStage Award for Best Supporting Actor in a Play, winner of 2019 Ian Charleson Award, winner of 2019 Critics’ Circle Award for Best Shakespearean Performance), ‘Master Harold,’ … and the Boys – winner of 2019 Clarence Derwent Award for Best Male in a Supporting Role, Barber Shop Chronicles (National Theatre), A Monster Calls (The Old Vic), The Producers (Royal Exchange Theatre ), Kiss Me Kate (Barbican) and Wolves on Road (Bush Theatre). His television credits include Black Ops – BAFTA-nominated for Best Male Comedy Performance and winner of RTS Programme Award for Male Comedy Performance, Ludwig, Breeders, The Wheel of Time, Time Bandits, Black Mirror, Pls Like and Gods of Game; and for film, The Festival, The Loneliest Boy in the World, Surge, How to Build a Girl and The Ellington Kid.

Theo Barklem-Biggs plays Sweeney. His previous work for the Donmar includes Europe and Les Liaisons Dangereuses. His other theatre credits include Don Juan in Soho (Wyndham’s Theatre) and Chapel Street (Bush Theatre). For television, his work includes SAS: Rogue Heroes, Sliced, The First Team, Carnival Row, Timewasters, Clean Break, Drunk History, White Gold, Ballot Monkeys, Cradle to the Grave, Tatau, Alt, Crims, Kerry, Our World War, Silk, The Interceptor, Black Out, Count Arthur Strong, Family V2, Homeboys, The Guilty, A Touch Of Cloth, The Fades, Coming Up, Holby City, Law & Order, Miranda, How Not To live Your Life, Micromen, New Tricks, Some Dogs Bite, Survivors, Missing and Moses Jones; and for film, Cherry, The Forgotten Battle, The Power, Farming, Make Up, Den Nedste Mand, Hunter Killer, Journey’s End, The Festival, Kingsman: The Secret Service, Borrowed Time, Hammer Of The Gods, Keith Lemon – The Movie, The Inbetweeners Movie, The Man Inside, 7 Lives and Age of Heroes.

Brendan Coyle plays Ash. His previous work for the Donmar includes: Saint Nicholas by Conor McPherson. Other theatre includes The Weir (Abbey Theatre Dublin); Shining City (Theatre Royal Stratford East); The Price (Theatre Royal Bath/Wyndhams); Mojo (Harold Pinter Theatre); The Late Henry Moss; The Silver Tassie (Almeida Theatre); Buried Child Battle Royal (National Theatre); The Ragged Trousered Philanthropists (Crucible Theatre,Sheffield); The Bear (The Gate Theatre, Dublin); The Weir –  Winner: Laurence Olivier Awards for Best Supporting Actor, New York Critics Award; Outstanding Broadway Debut (Royal Court/ West End/ Broadway); Pygmies In The Ruins (Royal Court/ Lyric Belfast); The Changing Room (Duke of York’s); The Plough & The Stars (Gaiety,Dublin/Opera House Belfast); September Tide; Elegies To Angels, Punks & Raging Queens (King’s Head); A Love Song For Ulster (Kiln); Philadelphia Here I Come (Kings Head/Wyndham’s Theatre); Playboy of the Western World; All Souls Night (Lyric Theatre,Belfast) and Judgement Day (Old Red Lion). Films include: Mary Queen Of Scots: Downton Abbey; Me Before You; Unless; The Mark of Cain; Offside; Allegiance; The Jacket; The General; Perrier’s Bounty; The Raven; Mapmaker; I Could Read The Sky; Conspiracy; Soft Sand Blue Sea; Tomorrow Never Dies; The Last Bus Home and Aisla. Television includes: Toxic Town; Finders Keepers; Riches; Requiem; 12 Monkeys; Spotless; Lark Rise to Candleford; The Starlings; Downton Abbey ( Nominated for Best Supporting Actor for BAFTA, EMMY, IFTA and 3 SAG Awards for Best Ensemble); Blue Murder; Damage; The Good Samaritan; True Dare Kiss; Wedding Belles; Perfect Parents; Prime Suspect; Commander; Ghost Squad; Jericho; Shameless; Soundproof; North and South; Omagh; Amnesia; Single; Waking The Dead; Rockface; Bombmaker; Great Deliverance; Paths to Freedom; Rebel Heart; Thief Takers; George Gently; McCready and Daughter; Silent Witness and The Glass Virgin.

Kasper Hilton-Hille plays Carl. His theatre credits include That Face (Orange Tree Theatre- Best Newcomer at the 2024 Off-West End Awards and nominated for Best Performer in a Play at The Stage Debut Awards 2024), The Glass Menagerie (Rose Theatre, Alexandra Palace Theatre, Belgrade Theatre) and Flicker (Edinburgh Festival Fringe). His television credits include Baptiste; and for film, The Immortal Man and The Woman in Cabin 10. 

Daniel Lapaine plays Stephen. His previous work for the Donmar includes The Dance of Death (Donmar at Trafalgar). His other theatre credits include Between Riverside & Crazy (Hampstead Theatre), Retrograde, Holy Sh*t, The Invisible Hand (Kiln Theatre), The Merchant of Venice (Shakespeare’s Globe), Other Desert Cities, Hedda Gabler (The Old Vic), The Winter’s Tale (Sheffield Theatres), All My Sons (Apollo Theatre), Scenes from the Back of Beyond, F**cking Games (Royal Court Theatre), Les Parents Terribles, King Lear (Sydney Theatre Co.), Island (Belvoir Street Theatre), and Romeo and Juliet, Richard III and Hamlet (Bell Shakespeare Co.). His television credits include The Marlow Murder Club, Safe Harbour, Moonflower Murders, McDonald and Dodds, The Queen Of Oz, Upright, Van Der Valk, Who Is My Husband?, Black Mirror: Black Museum, Black Mirror, The Durrells, Catastrophe, Critical, Vexed, Identity, Moonshot, Hotel Babylon, Sex, The City And Me, Jane Hall, The Good Housekeeping Guide, Golden Hour, Jericho, Death On The Nile, Red Cap, Helen Of Troy, I Saw You and Tenth Kingdom; and for film, Dead In Tombstone, Zero Dark Thirty, Jack The Giant Killer, Last Chance Harvey, Shanghai and Muriel’s Wedding.

Patrick Marber is a playwright, screenwriter and director.

PLAYS: Dealer’s Choice, Closer, Howard Katz, The Red Lion, Three Days in the Country (all National Theatre) After Miss Julie, Don Juan in Soho, (Donmar Warehouse) The Musicians, The School Film (both for National Theatre Connections), Hoop Lane (BBC Radio 3). Stage adaptations include versions of Hedda Gabler, The Beaux’ Stratagem, Exit The King (all for National Theatre) and Trelawny of the ‘Wells’ (Donmar Warehouse)

SCREENPLAYS: Closer, Notes on a Scandal (Academy Award nomination, British Independent Film Award Best Screenplay), Old Street, Love You More, The Critic.
TV: co-writing credits include the comedy shows The Day Today and Knowing Me, Knowing You With Alan Partridge (both BBC) His plays have won Evening Standard, Olivier, Time Out, New York and London Critics’ Circle and Writers’ Guild Awards. His TV work has received BAFTA, British Comedy and Royal Television Society Awards.

DIRECTOR: productions of his own plays and adaptations: Dealer’s Choice (National Theatre and Vaudeville) Closer (National Theatre, Lyric, Music Box NY), Howard Katz (National Theatre), Three Days in the Country (National Theatre), Don Juan in Soho (Wyndham’s) Exit The King (National Theatre). Other productions include The Room, Victoria Station and Family Voices (Pinter Season 2018/2019), Venus In Fur (Theatre Royal Haymarket), Travesties (Menier, Apollo and Roundabout NY – Tony Award nomination for Best Director), The Caretaker (Comedy Theatre) Blue Remembered Hills (National Theatre), ‘1953’ (Almeida) The Old Neighborhood (Royal Court). Recent work: Leopoldstadt (Wyndhams/Longacre – Broadway, Tony Award for Best Director of a play). The Producers, Habeas Corpus (Menier) Pandemonium (Soho Theatre) Nachtland (Young Vic) What We Talk About When We Talk About Anne Frank (Marylebone Theatre).

Matthew Dunster is a theatre and film director and writer. He was born and raised in Oldham and now lives in South East London. Previously an actor, he has directed or written over sixty theatre shows, often with major national companies (including RSC, NT, Royal Court, Young Vic, Royal Exchange, Shakespeare’s Globe, The Bridge), as well as directing on the West End, Broadway and internationally. He has been the Associate Director of The Young Vic and Shakespeare’s Globe.

His most recent productions include: 2:22 A Ghost Story, which ran in the West End for 694 performances; Shirley Valentine and The Pillowman, both at The Duke Of Yorks; The Homecoming at the Young Vic. Matthew has been nominated for four Olivier Awards and his Broadway production of Hangmen was nominated for five Tony’s.

In Autumn 2025, he will direct Conor McPherson’s stage adaptation of The Hunger Games.

DONMAR WAREHOUSE

LISTINGS

41 Earlham Street, Seven Dials, London WC2H 9LX

Box Office: www.donmarwarehouse.com / 020 3282 3808

Instagram and Facebook: @donmarwarehouse

Bluesky: @donmarwarehouse.bsky.social

PERFORMANCE TIMES
Evenings Mon – Sat 7.30pm
Thursday & Saturday matinees 2.30pm 

TICKET PRICES

Natasha, Pierre & the Great Comet of 1812
£70 / £50 / £30 

Backstroke, Intimate Apparel
£60 (£55) / £45 (£40) / £25 (£20)

Dealer’s Choice
£70 (£65) / £55 (£50) / £30 (£25)

Preview discounts apply to the first four performances only

Standing £15 to be released at a later date

Donmar Members Priority Booking

30 January – Donmar Patrons can book via the membership team
3 February 12pm – Best Friends
5 February 12pm – Friends
6 February 12pm – Access and 35 and under tickets
7 February 12pm – Public on sale 

35 AND UNDER TICKETS AT £20
Aged 16-35? Sign up to our exclusive email list to book tickets for £20, located throughout the theatre including the front row. Plus receive insights to shows, invites to socials, and exclusive offers at the bar and more. Book early to secure these prices. www.donmarwarehouse.com/35under

Maximum two tickets per person – both need to be aged 35 or under at time of the performance. Subject to availability. ID will need to be shown at Box Office to collect tickets.

DONMAR DAILY

New tickets on sale every day at the Donmar. Allocations of tickets will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band.

ACCESS

The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters.

ASSISTED PERFORMANCES
If you require a companion to attend the Donmar, their ticket will be free. To book call 020 3282 3808 or email [email protected].

For all other access enquiries or bookings call 020 3282 3808.

SEASON AT A GLANCE

NATASHA, PIERRE AND THE GREAT COMET OF 1812
Until 8 February 2025
Audio described: Saturday 1 February 2.30pm

BACKSTROKE
14 February 2025 – 12 April 2025
Captioned: Monday 31 March at 7.30pm
Audio described: Saturday 5 April at 2.30pm

DEALER’S CHOICE

18 April 2025 – 7 June 2025

Captioned: Monday 19 May at 7.30pm

Audio Described: Saturday 31 May at 2.30pm

INTIMATE APPAREL
20 June 2025 – 9 August 2025
Captioned: Monday 28 July at 7.30pm
Audio described: Saturday 2 August at 2.30pm

MACBETH – IN CINEMAS
5 February

DONMAR WAREHOUSE

The Donmar offers a uniquely intimate theatre experience where no audience member is ever more than four rows from the action.  In our converted warehouse in the heart of the West End, we bring together exceptional artists to tell powerful, popular and inclusive stories.  For over 30 years we’ve been making celebrated productions of classic plays, new work and intimate musicals that illuminate the human experience and thrill theatre-goers at our home base and further afield through transfers and on screen.  We enable talented emerging artists to find new routes into the industry, and create opportunities for local young people to experience the artform as both audience members and makers.  Through our productions and participation programmes we inspire audiences and artists of all backgrounds to embrace the experience of live theatre as a catalyst for inquiry, compassion, connection and joy.

NEW CASTING ANNOUNCED

FOR THE

PROLOGUE COMPANY

AT

CABARET

AT THE KIT KAT CLUB

FROM 3 FEBRUARY 2025

The producers of the multi award-winning, critically acclaimed West End production of CABARET at the KIT KAT CLUB are delighted to announce that joining the show’s Prologue Company from 3 February 2025 will be James Hastings, Dak Mashava, Nethra Menon, Oluwatosin Omotosho and Kristin Wei Wong.

They join existing company members Rachel Benson, Ami Benton, Joseph Hardy, Andrew Linnie, Jack William Parry and Jazmyn Raikes, who are continuing within the Prologue Company.

The cast is completed by Emmy, Tony and Grammy award winner Billy Porter as The Emcee and double Olivier award nominee Marisha Wallace as Sally Bowles (both joining Tuesday 28 January), with Daniel Bowerbank as Clifford Bradshaw, Vivien Parry as Fraulein Schneider, Fenton Gray as Herr Schultz, Fred Haig as Ernst Ludwig and Jessica Kirton as Fraulein Kost/Fritzie, Xenoa Campbell-Ledgister, Sam Darius, Damon Gould Adrian Grove, El Haq Latief, Justin-Lee Jones, Ela Lisondra, Hícaro Nicolai, Andy Rees Alexandra Regan, Marina Tavolieri, Ben Simon Wilson, Anne-Marie Wojna, Patrick Wilden and Lucy Young. Anne-Marie Wojna plays the role of Sally Bowles once a week.

CABARET recently celebrated the milestone of 1000 performances at the KIT KAT CLUB and is currently booking until Saturday 4 October 2025. kitkat.club

The Tony award winning Broadway production of CABARET opened in April last year at the KIT KAT CLUB at the August Wilson Theatre where it continues to play and currently stars Adam Lambert and Auli’i Cravalho.

Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a ‘club entry time’ to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

CABARET is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision is by Jennifer Whyte and musical direction is by Ben van Tienen with lighting design by Isabella Byrd, sound design by Nick Lidster, Wigs and Hair design by Sam Cox and Make-Up design by Guy Common. The casting director is Stuart Burt and the original associate director and prologue director is Jordan Fein. The prologue composer and musical director is Angus MacRae.

CABARET at the KIT KAT CLUB is produced by ATG Productions and Underbelly.