Mayflower Theatre Southampton – until 1st March 2025

Reviewed by Emma Barnes

5*****

A Brush with Danger: “Picture You Dead” Delivers Suspenseful Thrills

Peter James’ “Picture You Dead” has transitioned from the page to the stage, bringing the murky underworld of art, deceit and of course murder to life. The stage adaptation for me successfully captured the essence of James’ popular Roy Grace series whilst adding touches of well timed dark humour. 

The play weaves together two stories: the tale of Harry and Freya Kipling, who stumble upon a drab portrait at a car boot sale, only to discover a hidden masterpiece beneath its surface,  and Detective Superintendent Roy Grace’s investigation into a cold case. I really enjoyed the interweaving of storylines leading to a thrilling investigation that had me on the edge of my seat. 

As someone familiar with the novel, I was particularly impressed by how the production captured the book’s atmosphere and intricate plot twists. The tension builds methodically, mirroring the experience of reading the novel, and the climactic moments are executed with precision, including a very effective clap of thunder, leaving the audience in stunned silence. 

George Rainsford reprises his hold as he delivers DSI Roy Grace, embodying the detective’s sharp intellect and unwavering determination.  Other cast members include Peter Ash and Fiona Wade also delivered convincing performances, I particularly enjoyed the portrayal of Freya with a perfect blend of vulnerability and resilience, making her plight deeply relatable.

Another mention must go to Ben Cutler who delivers a compelling performance as Harry Kipling, capturing the character’s transition from an unsuspecting art enthusiast to a man ensnared in a web of greed and danger.

For theatre-goers seeking a compelling thriller, “Picture You Dead” delivers on all fronts. This well-crafted production successfully translates the tension and suspense of Peter James’ writing to the stage. Leaving the theatre, I felt that familiar thrill, the kind that comes from a well-told story expertly brought to life. Peter James’ Grace series has earned its reputation as the most successful modern-day crime stage franchise since Agatha Christie, and this production exemplifies why.  This is a deadly snapshot of entertainment, a well-crafted play that will leave you pondering the darkness lurking beneath the surface of seemingly idyllic lives.

Jack Studio Theatre – until 8 March 2025

Reviewed by Claire Roderick

4****

Stewart Pringle’s charming comedy is a beautifully observed story of village life. Written by Stewart Pringle, and winner of the 2017 Papatango New Writing Prize, the play centres around two retired people whose lives intersect every Thursday evening in a Temperance Hall in Yorkshire.

The characters are instantly recognisable to anyone who grew up in a village. Widower Harry sits on the committee, helps out at the CAB, visits the garden centre and has a quietly structured life, while Denise is finding freedom in her retirement. As Harry (Timothy Harker) takes a moment after chairing his committee meeting, Denise (Jilly Bond) comes in to set up her Zumba class. Their friendship slowly develops from their first awkward meeting, when Harry mistakes her for the cleaner, and they are soon sharing sandwiches together – and playing “guess my sandwich” with Denise’s sense of adventure and abandon coming to the fore.

Parker Graham’s fantastic set feels like it’s been scooped up from a village with its magnolia walls and familiar furniture. (Although from my own experience, witchcraft may have been involved to get the table up and down so smoothly without bloody knuckles) Matthew Parker’s smart direction and Laurel Marks’s lighting create a gentle rhythm as each weekly encounter is marked.

Jilly Bond and Timothy Harker have extraordinary chemistry as the relationship changes and they navigate misunderstandings and conflicts. Harker’s portrayal of Harry’s precise and fussy mannerisms is delightful, and the impish glee that is evident as he lets himself try new things is lovely. The Zumba session is a joy to watch. Jilly Bond is wonderfully nuanced as Denise – brash and loud on the surface but slowly opening up to Harry about her lack of confidence. The moments when they are simply being silly together are a sweet picture of friendship, making their shock and discomfort when they find out more about each other more emotional.

Pringle’s witty writing captures the social nuances of village life, with each character running in different social circles with shared knowledge but different perspectives of people and local places. The sense of community, and the characters’ motivation for contributing are evoked carefully alongside the petty prejudices and lack of anonymity.

Trestle is a delightfully gentle and cosy comedy, a wonderful way to fill a chilly winter evening.

Leeds Playhouse – until 1 March 2025

Reviewed by Gretel Price

5*****

The House Party spins Strindberg’s classic play Miss Julie into an intense but enthusiastic portrayal of young adult life for today’s generation. Beautifully written by the wonderful Laura Loman and directed by the fantastic Holly Race Roughan, it stars three incredible performers: Synnove Karlsen (as Julie), Sesley Hope (as Christine) and Tom Lewis (as Jon) in which all actors played their characters immaculately as believable teenagers. The House Party managed to capture a realistic portrayal of modern life, despite originally being an older play from 1888, showcasing not only the perks of pop culture but delving into deeper themes such as the psychological trauma, class, sexuality and social expectations of young adult life.

The cast thrived in capturing the chaotic energy of youth, with the central trio delivering compelling and believable performances. Synnove Karlsen presented an outstanding portrayal of the complicated but charming protagonist ‘Julie’, who was both pitied and disliked through the play. From her typically teenage style of ‘tights and t-shirts’ (designed by Maybelle Laye) to her youthful demeanour, Synnove was an obvious pick for the role, capturing the essence of a troubled teenage girl. Likewise, both Sesley Hope (Christine) and Tom Lewis (Jon) accurately exhibited a lovable teenage romance, which unfortunately unfolds before our eyes into a toxic betrayal. Sesley, successfully builds up Christine’s loyal nature and obvious compassion for others (especially Julie), allowing her to be easily sympathised in moments of distress. All while Lewis does the opposite and reveals Jon’s true character – an internally conflicted adolescent– demonstrated visibly in his body language towards either Christine or Julie and ultimately ruining his relationship with both characters from his ignorance and duplicity. Although as an audience, we can understand their actions as young adults trying to survive in a modern world.

Frantic Assembly’s direction to create visually impressive movement sequences brought the idea of a vibrant and chaotic party to life. The sudden innovative movements of the ensemble (from the works of movement director Scott Graham) forced the audience to feel both overwhelmed and excited with the thrilling dynamism and life brought to the stage. We were also forced to feel confined within the house – like the characters on stage – trapped with their individual struggles. Within these scenes, the audience were captivated throughout, in awe of the motion before our eyes, accompanied by energetic and upbeat music and the vibrant lights – courtesy of the excellent sound designer Giles Thomas and exceptional lighting designer Joseph Hornsby.

However, the true standout of the evening was the way these same techniques were used to create the harrowing imagery of Julie’s attempted suicide alongside young Christine’s final dance during the song ‘when the party’s over’ by Billie Eilish, creating a solemn and poignant conclusion to a series of ill-fated events. The use of staging by remarkable set designer Loren Elstein successfully conveyed intense emotion when we saw the dreams played out on screen, almost as if we could see inside the character’s heads.

Despite being aimed towards teenagers the play also makes itself accessible to a wider audience by incorporating different and darker themes into the narrative such as Christine and Julie’s strained relationship with their mothers. As a young adult myself, I found the play to be relatable depiction of teenage relationships, representing prevalent themes within modern life on an exaggerated scale. I would highly recommend The House Party as it was an enjoyable, unique and modernised execution of Miss Julie, which I believe to be more engaging and fitting for today.

Theatre Royal, Nottingham – until 1st March 2025

Reviewed by Chris Jarvis

4****

This play is a hilarious insight into the relationship between the 3 main actors in the Blockbuster cinematic phenomenon – Jaws!

It was the brainchild of Ian Shaw – son of the late Robert Shaw one of the leading actors in Jaws the movie released in the summer of 1975 directed by the young inexperienced Steven Spielberg. While most people remember the terror created by this film, most have little knowledge of what went on behind the scenes.

It was filmed out in the Atlantic Ocean where weather conditions couldn’t be controlled and other ships frequently passed in the background, both resulting in delays in shooting as modern methods of ‘airbrushing’ weren’t available in the 70’s. The 25ft mechanical sharks designed in a freshwater tank, performed less well in salt water and kept breaking down resulting in further delays.

Jaws immortalised its actors and creator, but almost ended Steven Spielberg’s career before it had really begun! It was months over schedule and the cost spiralled from 4 to 14 million dollars.

The Shark is Broken as well as being the title of this play, became a daily reason for filming to be delayed while the 3 leading actors waited on a small fishing boat out in the Atlantic for filming to start. The brilliant set designed by Duncan Henderson of the boat in cross section, allows the audience to experience the interplay between these 3 very different characters on stage, as though we were there.

Robert Shaw played the shark hunter Captain Quint, hired by the town to restore tourist confidence in their beach following the rogue shark attacks. He is played by his son Ian and the likeness between him and his father is uncanny, even down to his voice.

Roy Scheider who played Chief Brody, the local Chief of Police on Amity Island under pressure from the mayor and residents to get rid of the shark. He is played by Dan Fredenburgh.

Richard Dreyfuss who played Matt Hooper, the marine biologist. He is played by Ashley Margolis.

The Shark is Broken shares with the audience the relationship between the actual actors and not the characters they were playing in Jaws – though it’s sometimes difficult to separate the actor from their character. The experienced British actor Robert Shaw who was a heavy drinker and often drunk, gave the less experienced and, in Shaw’s mind, arrogant Richard Dreyfuss a really hard time. He continually goaded him to “mind his mannerisms” when filming, impacting his confidence. The more philosophical ‘live and let live’, Roy Scheider acted as go-between trying to keep the peace, even standing between them to break up fights.

Their differences in opinion were amplified by hour after hour on the boat with nothing to occupy them other than daily newspapers to keep up with current world events – many of which served to highlight their differences leading to further arguments with much humour for the audience and very clever links to current events.

While reading the newspaper coverage of US President Nixon and the Watergate Affair Roy Scheider commented that “there will never be a more immoral president than Nixon” – the audience of 2025 erupted in laughter!

They played every card game imaginable creating further competition between them. A simple game of Shove Ha’penny suggested by Robert Shaw and unheard of by the 2 Americans, amplified the tension and disdain when Richard Dreyfuss won on the last shove.

Ian Shaw, Dan Fredenburgh and Ashley Margolis were all brilliant in their roles and all bore resemblance to the original actors in Jaws, making them more believable. Many of the incidents in this play are based on real accounts of events and relationships at the time of production of Jaws and are portrayed in an enjoyable and often ‘laugh out loud’ comedy that kept the audience entertained.

A laugh out loud moment for the audience towards the end when they were discussing what the movie was actually about came with Robert Shaw‘s epic derogatory response “Do you really think they’re going to be talking about this in 50 years?” Sadly, Robert Shaw didn’t live to see the longevity of the film, but it stands as testament to the pain endured in the making of it and the foundation now of a must see play in reminiscence, which is at times both painful and laugh out loud.

Stephanie Okoye joins cast of The Psychiatrist world premiere

Stephanie Okoye joins the cast of The Psychiatrist, a play by psychiatrist and physician Julian Bird based on his experience in practice. The play receives its world premiere at The White Bear Theatre in Kennington from Tuesday 8 – Saturday 26 April 2025.

After working as a psychiatrist and physician for 40 years, Julian Bird started acting in his sixties. The Psychiatrist is based on real events and portrays a psychiatrist’s struggle with poor resources, whilst trying to achieve a better life for his patients. Troubling events and losses in the psychiatrist’s personal life lead him to seek help from a psychotherapist while he continues his work. In alternating scenes, he is shown as a patient and as a therapist. 

In The Psychiatrist, Bird plays Dr Andrew Faulkner – an ageing consultant psychiatrist who provides general psychiatry for his district. Stephaine Okoye plays both other roles – Alex Dickens, a distressed and disturbed woman in her twenties, and Dr Zarah Templeton, a middle-aged consultant psychiatrist who specialises in psycho-dynamic therapy.

Following his career in psychiatry, Julian Bird trained as an actor at The Royal Central School of Speech and Drama. His TV credits include East Enders and The Tudors for the BBC. He received critical acclaim for his role as Sigmund Freud in Freud’s Last Session at the King’s Head in 2022.

After training and working as a lawyer, Stephanie Okoye made the decision to pursue acting, drawn to the power of storytelling and human connection. Now making her stage debut, she hopes to bring depth and authenticity to the complex female characters she portrays. She said: “I am incredibly grateful to have the opportunity to be a part of this production which tackles such an important and relevant issue in today’s society. Julian is an extremely generous actor and I’m honoured to be a part of bringing his experiences to life.”

Julian Bird said: “Stephanie is hugely talented: she can switch roles in an instant and make both roles real and meaningful: it is a great pleasure to work with her.”

The Psychiatrist is directed by Kenneth Michaels, returning to the White Bear after directing The Dedication in October 2024, and produced by Alistair Brown. 

Noel Coward Theatre, St Martin’s Lane – until 22 March 2025

Reviewed by Phil Brown

5*****

The Last Laugh is described succinctly on the theatre’s web-site as straight from a sell-out run at Edinburgh Fringe Festival, a brand new laugh-a-minute play which reimagines the lives of three of Britain’s all-time greatest comedians – Tommy Cooper, Eric Morecambe and Bob Monkhouse.  “Guaranteed to be London’s best comedy night out…”  For once, the marketing department actually manages to undersell a dazzling show which, in a just world, should be a monster sell out hit. 

Beautifully written and directed by the award-winning Paul Hendy, it stars three extravagantly gifted performers – Damian Williams (as Cooper), Bob Golding (as Morecambe), and Simon Cartwright (as Monkhouse) – revelling in an affectionate homage to their comedy heroes, and capturing their respective characters to perfection.  The likenesses, particularly vocally, are simply uncanny, testament not only to the performers’ skill but to the whole production team (manager – Dan Kay).

Whilst, Cooper, Morecambe and Monkhouse were comedy gods and household names in their last century prime, this so much more than an action replay of their best gags.  It is inevitably nostalgia, but with depth and nuance, as well as triumph and tragedy in a brilliant, incisive and poignant reflection on their careers, quirks,  and heroes as well as the very tense and competitive business of comedy.  Without a topical reference in sight, it also proves that good comedy doesn’t age.  This show marries peak inspiration and peak execution with incredible teamwork to produce 80 minutes (no interval) of sheer magic. 

In contrast to a smart stage set at showtime, the action is set pre-show and takes place in a shabby dressing room presumably haunted, as signalled by flickering lights (set designer – Lee Newby), and curtain up reveals a large Tommy Cooper in his vest and pants wearing massive chicken feet.  That’s enough to kick start the fun which rarely lets up except for the occasional moments of personal sadness.  We are treated to a few minutes of Tommy solo before he is joined by Monkhouse for banter à deux.  When Morecambe arrives, (“oh sorry, I thought this was the comedian’s dressing room”), the sparks really fly.  

Whilst the gags are without exception hilarious, it is the razor-sharp and cleverly crafted script that weaves them together so smoothly along with the brilliantly timed interaction between the three, that make the play flow so naturally yet with real snap.  It truly is like eavesdropping on three “top dogs” shooting the breeze before required to do their thing on stage. 

The reflection on their own comedy influences and what makes them want to be comedians is instructive.  It provides an opportunity to reprise some such material (Tommy – “I didn’t realise you two couldn’t do impersonations”), reflect on what makes great comedy and discuss how tense being a comedian can be. 

Their divergent styles are highlighted.  Cooper comes across as more of a deadpan improviser who incorporates what works from show to show.  He constantly ribs Monkhouse about his over-analytical approach.  Monkhouse thinks true comedy gold is about the writing and authorship of jokes (and he has the joke books to prove it), but as Morecambe quoting W C Fields noted “the funniest joke has many fathers”.  Morecambe himself is more of a comic actor and relies on Eddie Braben’s writing. They seem to agree that you have to be ambitious, driven, egotistical, self-obsessed, and narcissistic to overcome the stress and fear of getting up on stage.

And, unlike many current comedians, these three greats were never about making a political or social point for audience approval.  They focused entirely on the serious business of getting a laugh.  The longer and louder the better.  

And in several decades of theatre going, I can’t remember laughing longer and louder and enjoying a show as much as The Last Laugh.  Rarely, have I seen an entertainment so perfectly conceived and beautifully realised on stage as this wonderful three hander at the charming grade 2 listed Noel Coward Theatre.  There is no question that writer and director Paul Hendy observes Max Miller’s three rules of successful comedy as pronounced by Monkhouse during the play  – energy (tick), clear & simple (tick), and “let the audience in” (tick).   

If laughter is indeed the best medicine, this show needs to be in everyone’s get-well plan.

THE GLOBAL STAGE PREMIERE OF

THE HUNGER GAMES: ON STAGE

Based on Suzanne Collins’ Acclaimed Book & Lionsgate’s

Blockbuster Film

TO OPEN AT THE BRAND NEW

TROUBADOUR CANARY WHARF THEATRE

IN OCTOBER 2025

Adapted by Olivier Award-winning playwright CONOR McPHERSON

Directed by MATTHEW DUNSTER

SIGN-UP FOR PRIORITY ACCESS TO TICKETS AT

www.thehungergamesonstage.com

GENERAL ON SALE THURSDAY 27 MARCH

The highly anticipated first-ever live stage adaptation of Suzanne Collins’ internationally acclaimed book ‘The Hunger Games’ and Lionsgate’s motion picture will begin performances on Monday 20 October 2025 at the Troubadour Canary Wharf Theatre, a brand new 1,200 seat venue situated right in the heart of London’s vibrant Canary Wharf. 

Heralded by the New York Times as the best playwright of his generation, the multi award-winning Conor McPherson has adapted the first book from Suzanne Collins’ epic series and the first film from Lionsgate’s iconic film franchise for this live theatrical production. The production will be helmed by renowned director Matthew Dunster (2:22 – A Ghost Story, Hangmen, The Pillowman), with a world-class creative team who will bring the show to breathtaking life.

The Hunger Games franchise encompasses four critically-acclaimed novels that have sold over 100 million copies worldwide and been translated into 52 languages as well as a blockbuster film franchise that has grossed more than $3.4 billion at the worldwide box office. Suzanne Collins’ latest Hunger Games novel, the eagerly-anticipated Sunrise on the Reaping, will be launched by Scholastic on March 18, 2025 and will be adapted into a major motion picture event to be released by Lionsgate on November 20, 2026.

Hunger Games creator and author Suzanne Collins said, “I’m thrilled that The Hunger Games is in the hands of gifted playwright Conor McPherson and accomplished director Matthew Dunster. Connor has done a fantastic adaptation, which is quite unique from the screenplay. And Matthew’s immersive, dynamic staging gives the audience a brand-new way to experience the story.”

Matthew Dunster said:“Conor McPherson lifts the detail and power from the book and film and has provided us with the kind of taut and dangerous play he is renowned for. He honours the young voice of Katniss Everdeen and puts her front and centre. We’ve been workshopping the play for over a year with our world class creative team; carefully honing our theatrical vocabulary because we want to bring audiences something as impactful and edgy as Suzanne Collins’ novel and as passionate and exciting as the movie. But we are going to do it in our own way – in the theatre. We want our Hunger Games to be uniquely, thrillingly theatrical.” 

Tickets for The Hunger Games: On Stage will go on-sale at 1pm GMT on Thursday, 27 March 2025. Sign-up for priority access to tickets at www.thehungergamesonstage.com and be among the first to receive announcements and updates.

Conor McPherson said: “As a dad to a teenager myself, it’s especially gratifying working on a story whose values of resilience and moral courage speak to young people in these uncertain times. Our singular focus is to honour Suzanne Collins’ achievement with a faithful adaptation that’s as thrilling on stage as it is on the page. It’s been a great pleasure to watch the theatrical language of this show evolving through explosive workshops under Matthew Dunster’s inspired partnership with choreographer Charlotte Broom and their tireless team of young performers.”

Jenefer Brown, EVP and Head of Global Products and Experiences at Lionsgate, said: “The Hunger Games is one of the best book to movie adaptations of all time, inspiring audiences to think deeply about the world around them and the strength of the human spirit. We are honored to bring its powerful story, characters and world to the stage in this latest exciting chapter.”

The state-of-the-art Troubadour Canary Wharf Theatre is purpose built to host the world premiere of the stage adaptation of The Hunger Games where spectators will feel like a part of the action in a dynamic in the round venue, developed with groundbreaking entertainment in mind.

Tristan Baker & Oliver Royds, joint CEOs and founders of Troubadour Theatres said: “Bringing The Hunger Games to the stage is an extraordinary moment, and we knew it demanded an equally extraordinary team and venue. This specially designed theatre is the perfect home for Panem, allowing our world class team to create a transportive, electrifying experience that fully captures the scale, intensity, and spectacle of Suzanne Collins’ world. Every element—from the staging to the technology—has been tailored to transport audiences right into the heart of the Games like never before.”

Introducing the Creative Team

Conor McPherson is amongst the world’s most revered playwrights. His plays include Girl from the North Country with Bob Dylan, (Old Vic, West End & Broadway), The Weir (Royal Court, West End & Broadway), The Seafarer (National Theatre & Broadway), Shining City (Royal Court & Broadway), The Night Alive (Donmar & Off Broadway), Port Authority (West End & Off Broadway), St Nicholas (Bush theatre & Off Broadway), and This Lime Tree Bower (Bush Theatre & Off Broadway). His West End adaptation of Anton Chekhov’s Uncle Vanya for Sonia Friedman Productions was filmed for the BBC and broadcast by PBS in the United States. Awards and nominations for McPherson’s work include the Laurence Olivier Award, Evening Standard Award, London Critics’ Circle Award, New York Drama Critics’ Circle Award, New York Outer Critics Circle Award, George Devine Award, five Tony Award® nominations, four Irish Film and Television Academy Best Screenplay Awards and the South Bank Show Sky Arts Theatre Award.

Matthew Dunster is a theatre and film director and writer. He has directed or written over sixty shows, often with major national companies (including RSC, NT, Royal Court, Young Vic, Royal Exchange, Shakespeare’s Globe, The Bridge), as well as directing in the West End, on Broadway and internationally.  He has been the Associate Director of The Young Vic and Shakespeare’s Globe. Dunster has been nominated for three Olivier Awards, and his Broadway production of Hangmen was nominated for five Tony Awards®. His recent work includes Martin McDonagh’s The Pillowman in the West End and the phenomenally successful 2:22 – A Ghost Story, also in the West End and now on a major tour of the UK.

Joining McPherson and Dunster on the creative team are Miriam Buether (set designer), Moi Tran (costume designer), Charlotte Broom (choreographer), Lucy Carter (lighting designer), Ian Dickinson for Autograph (sound designer), Tal Rosner (video designer), Chris Fisher (illusions), Kev McCurdy (fight director), Suspended Illusions (performer flying), James Maloney (arranger, musical director & additional compositions), Amy Ball CDG (casting director), James Robert Moore (associate director), Robyn Grant (creative assistant director), Luke Smith, (associate set designer) and Lloyd Thomas (production manager).

In a dystopian future, The Hunger Games ignite a thrilling battle for survival, where 24 young tributes are pitted against each other in an arena. Katniss Everdeen, a fearless and resourceful heroine, emerges as a symbol of rebellion as she fights not only for her life but for the hope of a nation oppressed by a ruthless Capitol. In a brand-new epic stage production, The Hunger Games: On Stage is a gripping tale of courage, defiance, and the unbreakable human spirit.

The Hunger Games: On Stage is produced by Oliver Royds, Tristan Baker & Charlie Parsons for Runaway Entertainment, Isobel David and Umeda Arts Theater, by arrangement with Lionsgate.

Divina de Campo announced as host for theOffies plus performances from Mischief Theatre,Frances Ruffelle and London Gay Men’s Chorus;Royal Variety Charity to be Charity Partner

Drag-artist superstar Divina De Campo will host the 15th anniversary Offies on Monday 17th March at Westminster Hall. A night celebrating everything the Off-West End offers, performances will include the legendary London Gay Men’s Chorus, the award-winning Mischief Theatre, Tony Award-winning Frances Ruffelle and Divina De Campo themself. The evening will be accompanied by a live band with musical direction and original music from past Offies finalist, Ben Goddard (Million Dollar Quartet, West End; Tim Burton’s Sweeney Todd: The Demon Barber of Fleet Street, Warner Bros, with more surprises on the evening.

Mischief Theatre will perform at the ceremony with the iconic sideways stylings that the company is known for internationally. Their inaugural hit The Play That Goes Wrong started at the Old Red Lion Theatre, before transferring to the West End, Broadway and then being made into a television series – the company was well and truly created in the Off West End

Alongside them the legendary team at the London Gay Men’s Chorus, widely known as LGBTQ+ icons, will be bringing their renowned talents to the night. Tony-Award winning musical theatre icon Frances Ruffelle, nominated herself for an Offies this year ,will also perform. Best known for originating the role of Éponine in the Les Misérables in both the West End and on Broadway.She also represented the UK in Eurovision.

Fresh from hosting The Stage Debut Awards for the past two years, host Divina De Campo will bring their glitz and glamour to the awards. Having competed in the first season of Ru Paul’s Drag Race UK their ample experience across the UK theatre scene promises magnificent performances and witty hosting

There will also be alive red carpet show produced in association with The Theatre Channel and a socials area will be presented by ITV Mamma Mia I Have A Dream and White Rose Rising Star Tobias Turley who will be on hand to interview finalists and attendees.

This year’s sponsors for the Areas of Exceptional Contribution include Mischief Theatre, The Theatre Channel and White Light. Further support comes from John Good, Tarento Productions and Central Hall Westminster, with further organisations to be announced

The Offies are delighted to announce that the Charity Partner will be The Royal Variety Charity – Founded in 1908, the charity assists those who’ve worked professionally in the entertainment industry and are in need of help. The charity strives to support all those, both young and old, who’ve worked on the stage, in the wings, in front of a camera,or behind it, as well as all those who have spent their lives working in the numerous support industries dedicated to entertainment.

This year’s Offies will be produced by Julian Bird OBE, through his production company Green Room Ents Ltd – this marks the start of a three-year partnership with the Offies.

The full list of finalists who have set the standard for exceptional theatre have previously been announced

The night marks the incredible and innovative thinking in the industry. Past winners include Baby Reindeer, Fleabag, and Operation Mincemeat showing how the Off-West End is a crucial launch pad for new talent, the affordable (and sustainable) alternative to the West End where you can see exceptional talent live and flourish.

The scale of the new awards ceremony marks the Offies as the at the forefront of spotlighting groundbreaking theatre before it reaches mainstream acclaim. This event unequivocally reflects the importance of celebrating this work and taking a moment to look back at the year of Off West End.

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

NEW PRODUCTION PHOTOGRAPHY RELEASED FOR THE WEST END PRODUCTION OF

LES MISÉRABLES

WHICH EXTENDS BOOKING AT THE SONDHEIM THEATRE UNTIL MARCH 2026

Cameron Mackintosh is delighted to announce that Boublil and Schönberg’s LES MISÉRABLES has extended booking at the Sondheim Theatre in London until March 2026, with new production photography released today.

The current cast includes Ian McIntosh as ‘Jean Valjean’, Stewart Clarke as ‘Javert’, Jacob Dachtler as ‘Marius’, Amena El-Kindy as ‘Éponine’, Annabelle Aquino as ‘Cosette’, Katie Hall as ‘Fantine’, Luke Kempner as ‘Thénardier’, Claire Machin as ‘Madame Thénardier’, and Robson Broad as ‘Enjolras’.

The company is completed by Matt Bateman, Michael Baxter, Emily Olive Boyd, Daniel J Brian, Ella May Carter, Adam Colbeck-Dunn, Matthew Dale, Irfan Damani, Sophie-May Feek, Matt Hayden, Christopher Jacobsen, Jessica Johns-Parsons, Sam Kipling, Anouk van Laake, Mia Lamb, Sarah Lark, Matthew McConnell, Aaron-Jade Morgan, Ben Oatley, Adam Pearce, Jordan Simon Pollard, Danielle Rose, Jonathan Stevens, Georgia Tapp, Noah Thallon, and Imaan Victoria.

LES MISÉRABLES entered its 40^th record-breaking year in London last October. To kick off the celebrations, the show launched its first World Tour with the highly anticipatedLES MISÉRABLES THE ARENA SPECTACULAR, which opened in Belfast before playing limited dates in Glasgow, Sheffield, Aberdeen, Manchester, Newcastle, Luxembourg, Geneva, Trieste, Milan, Copenhagen, Oslo, Zurich,  Gothenburg, Stockholm, Malmö and Amsterdam. The production opens in Abu Dhabi in April before moving to Australia, Taiwan, Japan, and  South Korea, with more worldwide destinations to be announced. Simultaneously, and for the first time ever, 11 leading amateur companies in the UK will present their own staging of the full show across the country this year.

The staged production continues to triumph around the globe with local language productions currently on or in preparation, and it continues to break box office records on tour in North America. Earlier this year, the remastered and remixed Oscar-winning movie was released again in several countries around the world.

Boublil and Schönberg’s magnificent iconic score of LES MISÉRABLES includes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom. Seen by over 130 million people worldwide in 53 countries and in 22 languages, LES MISÉRABLES is undisputedly one of the world’s most popular musicals.

LES MISÉRABLES

Sondheim Theatre, Shaftesbury Avenue, London W1D 6BA

Now booking until 28 March 2026

Prices: Tickets from £25 – No booking fee applies

Box Office: 0344 482 5151

Website: www.lesmis.com

Social Media:
www.facebook.com/lesmisofficial/
www.twitter.com/lesmisofficial
www.instagram.com/lesmizofficial
www.tiktok.com/@lesmisofficial
#LesMiz

Race Furniture and Theatres Trust partner for
‘Seating’s Second Act’ to Refurbish Community
Theatre Seating

As part of its 80th-anniversary celebrations, Race Furniture, a leader in high-quality seating solutions, is partnering with Theatres Trust for ‘Seating’s Second Act’—an initiative to refurbish the seating in a selected community theatre. This project is a gesture of gratitude to the theatre industry, which has played a vital role in Race Furniture’s success over the decades. The collaboration aims to provide one deserving UK theatre, which will be selected by Theatres Trust, with a full auditorium seating refurbishment, enhancing the audience experience while supporting the cultural and creative heart of its local community.

Race Furniture has long been synonymous with quality, innovation, and craftsmanship, providing seating solutions for some of the UK’s most iconic performance venues, including the Royal Opera House, Cadogan Hall, and the New Vic Theatre in Newcastle. Partnering with Theatres Trust, the only organisation that supports all the UK’s theatres, was a natural fit. With their extensive sector expertise, Theatres Trust will ensure that the award goes to a theatre where it will have the greatest impact, reinforcing Race Furniture’s commitment to keeping theatres vibrant, comfortable, and accessible for future generations.

Eligible theatres are invited to apply for this refurbishment opportunity, designed to prioritise sustainability by upgrading existing seating rather than replacing it entirely. This approach aligns with Race Furniture and Theatres Trust’s shared commitment to reducing waste and promoting environmentally responsible practices within the theatre industry, ensuring that cherished venues can continue to serve their communities with minimal environmental impact. Representatives from Theatres Trust and Race Furniture will assess applications and select a winner, who will be announced in June 2025. The refurbishment work is scheduled to commence in autumn 2025, in alignment with the selected theatre’s availability.

To qualify, theatres must be located in England, Scotland, Wales, or Northern Ireland, have an auditorium seating capacity of 200 or fewer and host at least 30 live performances annually. The award is not limited to not-for-profit theatres. Any eligible theatre that can demonstrate how it supports its local community and what a difference refurbished seating would make, is welcome to apply.

This partnership with Theatres Trust is our way of giving back to an industry that has been integral to Race Furniture’s success, says John Schofield, Managing Director of Race Furniture. We are excited to collaborate with Theatres Trust, leveraging their expertise and network to support a theatre that truly needs it. This initiative ensures that local theatres continue to inspire audiences with both comfort and style.

Joshua McTaggart, CEO of Theatres Trust, adds, We are thrilled to be collaborating on Seating’s Second Act with Race Furniture, a company that shares Theatres Trust’s belief in the vital importance of theatres to their communities. An uncomfortable seat can ruin good night out at the theatre, yet faced with tight budgets, many theatres are unable to invest in seating upgrades. This award will ensure that audiences in one deserving theatre will enjoy the benefits of refreshed seating.

Applications for the refurbishment project are now open. Full details on eligibility and submission can be found on Theatres Trust’s website at https://www.theatrestrust.org.uk/ssa.