Festival Theatre, Malvern – until 14th February 2026
Reviewed by Courie Amado Juneau
5*****
I was fortunate enough to see Fiery Angel’s production of Murder on the Orient Express last year, so I felt enormous anticipation at the return to Malvern of this great company with Death on the Nile.
At curtain up, we saw Poirot in a London street witnessing two lovers embracing and it was immediately apparent that this version was not going to be following the original rigidly. There then followed a party which, again, was not in the original book. Although not canon; this was a very clever plot ploy to set the scene and introduce the characters rapidly – so I can understand the poetic licence.
Since David Suchet’s flawless performance it must be nigh on impossible for any actor portraying our peculiar Belgian friend. Mark Hadfield did a wonderful job, imbuing the character with a lot of humour which was most welcome. The fact that Mark made one forget the inimitable Mr Suchet is a testament to how superb he was!
Every member of this wonderful cast, brought passion and drama and carried the plot forward beautifully, adding to the whole with excellent performances. But the central protagonist love triangle – Esme Hough as Jacqueline De Bellefort (spurned lover turned revenge specialist), Libby Alexanda-Cooper as Linnet Ridgeway (selfish rich girl on honeymoon) and Nye Occomore as Simon Doyle (the man in the middle of this love triangle) were especially effective, believable and odious.
Glynis Barber (playing Salome Otterbourne) was the marquee name – certainly, her acting prowess was the most familiar to me due to her wonderful portrayal of Soolin in Blakes 7. And I loved the character she brought to life on the stage tonight – a very batty thespianic match-maker who very nearly stole the show from the main characters. Bob Barrett (Colonel Race) was another total joy who lit up the stage; especially in the scenes with him and Poirot – the “here comes the denouement” bit being one of the highlights of the entire evening!
The staging was rich and sumptuous with the set being particularly effective; on two levels providing much scope for drama as seeing the actors high up had a surprisingly thrilling effect and made the most of a quite minimalistic construction. A big pat on the back then for Designer Mike Britton.
As I mentioned, there was a lot of liberties taken with the rewrite with a murder or two completely missing. Couple that with some deliberately shifty goings on designed (I’m sure) to muddy the waters with lots of fishy red herrings and this turned out to be a masterstroke (presumably) from Director Lucy Bailey, particularly if you were new to the tale, in keeping you guessing.
The ending packed a punch too (which I won’t spoil), leading to a genuinely thought provoking love monologue from our titular detective – unlike the murders it was perfectly executed and stayed with me long after the actors had left the stage! Worth attending for that alone.
So, were the unfamiliarity and changes etc worth it? You bet they were! I found this to be a thoroughly enjoyable night’s entertainment and one that I highly recommend. Even better than last year’s performance, so bravo all around!
Nottingham Theatre Royal – until Saturday 14 February 2026
Reviewed by Amy V Gathercole
3***
“The atmosphere created by the set and lighting design is unmistakably noir, welcoming the audience into a shadow‑drenched world flickering into view…”
The main draw of this production is the UK theatre debut of British‑American Mischa Barton (best known for playing Marissa in the 00s teen drama The OC) as the famous femme fatale Phyllis Nirdlinger — a character defined by calculation, charm and hidden agendas.
James M. Cain’s Double Indemnity has travelled a long way from its 1930s origins, becoming a cornerstone of the film‑noir genre before finding new life on stage. This latest production, directed by Oscar Toeman, embraces that heritage with confidence. From the moment the lights rise, the atmosphere is unmistakably noir, complete with the shutter‑blind aesthetic that defines the style. A minimalist, shadow‑drenched world of offices, alleyways and underground corners flickers into view with crisp clarity. Josh Gadsby’s lighting and Ti Green’s set design complement each other perfectly, while the haunting score threaded throughout heightens key moments. Dan Balfour’s sound design and composition give the show much of its brooding mood.
At the centre of this entangled tale is Walter Huff (Ciarán Owens), an insurance man looking for something to get his pulse racing. He comes into contact with Phyllis and together they weave a web of deceit and deadly consequences. Owens delivers a performance that feels grounded yet quietly electric. In classic noir fashion, he narrates the action, feeding the audience clues, concerns and ultimately, confessions.
He charts Huff’s slide from curiosity to complicity with natural ease, never overplaying the drama but letting it simmer beneath the surface. He’s compelling to watch, especially as the stakes tighten around him. His scenes with his boss and mentor, Keyes (Martin Marquez), are among the production’s strongest. Marquez brings passion, humour and moral weight to the role, grounding the play with warmth and conviction. Their dynamic becomes the emotional anchor of the piece and is more gripping at times than the central seduction plot, which never fully convinces.
Mischa Barton takes a more understated approach to Phyllis. It’s a gentler interpretation than audiences familiar with the source material might expect, especially for a character traditionally defined by dangerous allure. While the restraint is an interesting choice, it sometimes leaves the role feeling muted in a production that leans heavily into noir’s heightened tension. Even so, Barton finds moments of quiet intensity that hint at a more internalised, psychological Phyllis — less overtly seductive, more quietly calculating. Her presence adds intrigue, even if it doesn’t fully ignite the story.
The supporting cast, including Gillian Saker, Joseph Langdon, Oliver Ryan and Sophia Roberts, add texture without pulling focus. Their shifts between roles are clear and purposeful. As Phyllis’s younger step‑daughter, Lola, Roberts provides a sincere and vulnerable performance that softens the production’s harder edges.
Double Indemnity is stylish and steady, but ultimately fails to be truly absorbing. While the atmosphere is rich and the cast are committed, the show never quite achieves the necessary momentum, leaving this viewer admiring the craft but ultimately unmoved.
The Grand Theatre Blackpool – until 14 February 2026
Reviewed by Debra Skelton
5*****
The Midsomer Murders: The Killings at Badger’s Drift theatre tour, directed by Guy Unsworth, brings the classic TV whodunnit to the stage by Nicholson Green Productions and Colin Ingram LTD with a blend of humour, suspense, and rural charm and is based on the original novel by Caroline Graham and the pilot episode of the TV series.
The plot follows DCI Tom Barnaby and DS Gavin Troy investigating the murder of the well- loved spinster and former teacher Emily Simpson who has been found dead in her cottage in the seemingly peaceful & picturesque village of Badger’s Drift; however, it comes to light that the village is actually full of secrets.
Her doctor initially dismisses it as a heart attack, but her friend Lucy Bellringer insists on foul play which prompts DCI Tom Barnaby and DS Gavin Troy to be called in to investigate where after the requirement of an autopsy, it is confirmed that Emily was poisoned with a mixture of red wine and hemlock.
As they dig deeper, the detectives encounter a cast of eccentric suspects, including the blackmailing birdwatcher Iris Rainbird and various villagers with hidden passions and dark and dangerous long-buried rivalries.
The murderer does strike again giving a rise to the body count leading to an “unforgettable reveal” that connects a cold case from the past to the current string of killings.
The show features a mix of comedy, innuendo, and moments of genuine terror and has been described as a “homicidal panto” or parody. It features a small cast playing multiple roles with quick, striking changes in tone from comedy to suspense. The production is noted for its clever use of, sometimes, exaggerated, and, at other times, subtly nuanced acting to create the classic, cosy Midsomer atmosphere.
The cast in this production can only be described as sensational starring Daniel Casey as Detective Chief Inspector Tom Barnaby (the original Detective Sargeant Gavin Troy in the TV series), James Bradwell as Detective Sargeant Gavin Troy, Nathalie Barclay as Judy Lessiter / Katherine Lacey, Chandrika Chevli as Barbara Lessiter / Dr Bullard / Dickie Whiteley, John Dougall as Trevor Lessiter / Iris Rainbird / Henry Trace, Julie Legrand as Lucy Bellringer, Terry Bazely / Phillis Cadell, Rupert Sadler as Dennis Rainbird / Michael Lacey and the ensemble of Chris Agha and Rhian Crowley-McLean.
Special thanks also need to go to David Woodhead for the adaptable set design (includes a large circular “roundel” at the back used for flashbacks and dream sequences, while sets of picturesque houses slide on and off stage) and costume design, Matt Haskins for the lighting design (spooky at times) and Ella Wahlstrom for sound design (added to the tension).
The play is designed to be accessible to both fans of the long-running television series and newcomers, delivering a “cozy evening of butchery and bucolic charm”.
Watermill Theatre, Newbury – until 14th March 2026
Reviewed by Joanna Huggett
5*****
I attended the production with my 14-year-old daughter, and what an absolute treat it was for us both. From the very first moment, we were completely drawn in.
The set beautifully captured what life might have been like in rural Oxfordshire at the end of the nineteenth century — simple yet incredibly effective and wonderfully versatile. We especially loved watching the cast sing while seamlessly moving furniture between scenes; it felt fluid, natural, and added to the charm of the performance.
The characterisation was outstanding. The cast transitioned effortlessly between roles, convincingly portraying characters ranging from very young to very old. Their adaptability and attention to detail made each character feel distinct and believable.
For us, the star of the show was Laura, played by Jessica Temple. She carried the narrative with such grace, guiding us through her story with warmth and authenticity. Her performance was deeply emotive, particularly in the final scene following her brother’s death at war — a moment that was truly moving. We also adored Edmund, played by Alex Wilson, whose comic timing was impeccable. The scene in which he and Godfrey (Zrey Sholapurkar) played the young girl cousins was a particular highlight and had us thoroughly entertained.
We always love visiting the Watermill — such an intimate, quaint theatre with a wonderfully welcoming atmosphere. This production felt perfectly suited to the space.
I had initially wondered whether my 14-year-old might find the show a little slow, but when I asked her afterwards, she replied, “Not at all.” As a young teenager, she really connected with Laura’s journey of self-discovery and finding her place in the world.
A truly delightful and thoroughly engaging production — not to be missed.
Cambridge Arts Theatre, Cambridge – until Saturday 10th February 2026
Reviewed by Steph Lott
3***
As a lifelong fan of the Inspector Morse television series, I approached last night’s performance of “Inspector Morse: House of Ghosts” with a mixture of excitement and trepidation. Could the stage truly capture the brooding atmosphere and intellectual depth that made the show so compelling? The answer, I’m afraid, is “not quite.”
The production’s greatest challenge rested on Tom Chambers’ shoulders: could he embody Morse without simply mimicking John Thaw’s iconic portrayal? Chambers opts for his own interpretation, presenting a more vulnerable, romantic, and occasionally lighter version of the character. While this shows admirable courage, his reliance on certain mannerisms became somewhat distracting as the evening progressed. I found myself watching the performance rather than believing in the character—a critical distinction that prevented full immersion in the story.
Alma Cullen, who wrote episodes for the original television series, brings undeniable credentials to the script. The play attempts to capture that familiar intellectual, moody, and nostalgic tone we associate with “Inspector Morse”, but it falls somewhat short of the mark. The deep psychological edge that distinguished the TV series feels diluted here, replaced by something more conventionally theatrical.
Fortunately, the supporting cast provides solid ballast. Tachia Newall delivers an empathetic and grounded performance as DS Lewis, offering a necessary counterpoint to Morse’s eccentricities. Charlotte Randle brings faded amusing glamour to her role as the diva Verity, while Jason Done proves particularly commanding when portraying Lawrence, helping to maintain momentum throughout the production.
The pacing presents significant problems. The first act is slow and dense, establishing atmosphere at the expense of engagement. Then, as if overcorrecting, the second act rushes through revelations at such speed that crucial plot points feel confusing rather than satisfying. This uneven tempo undermines the mystery-solving experience that should be the production’s heart.
The “play within a play” conceit feels forced and distracting rather than clever. More frustratingly, there are characters crucial to the action who are referenced but never appear on stage—a theatrical choice that left me feeling cheated. In a whodunnit, we want all the pieces visible before us; having key players exist only in dialogue feels like a storytelling cop-out.
“Inspector Morse: House of Ghosts” suffers from an identity crisis. If you’re seeking an amusing whodunnit for a pleasant evening out, you’ll likely enjoy yourself. The production has moments of wit, the performances are professional, and the Cambridge Arts Theatre is as always, a great setting. However, if you’re hoping for the melancholy Morse, the philosophical musings, and the emotional depth that characterized the television series, you may leave disappointed.
The play isn’t unsuccessful—it’s simply caught; neither a faithful homage nor a bold reimagining. For devoted fans, that’s perhaps the most unsatisfying mystery of all.
York Theatre Royal today announces Frances Barber will star as Rosa in the world premiere of The Psychic, a new play by writing duo Jeremy Dyson and Andy Nyman. After the international success of Ghost Stories, the pair bring their latest dark thriller to York Theatre Royal on 6 May 2026, with previews from 29 April 2026, and running until 23 May 2026. Jeremy Dyson previously worked with Barber on his BAFTA-nominated drama series Funland and the Rose d’Or-winning comedy series Psychobitches.
Jeremy Dyson and Andy Nyman’s twisty new thriller follows TV psychic Sheila Gold and is brought to the stage by a creative team including Rae Smith (Designer), Chris Fisher (Illusions Designer), Zoe Spurr (Lighting Designer), Nick Manning (Sound Designer), and Arthur CarringtonCDG (Casting Director).
Creators Jeremy Dyson and Andy Nyman, said today, “We’re absolutely thrilled to be working with Frances again who is an extraordinary, one-of-a-kind talent. After working together on Funland and Psychobitches, we can’t wait to see her bring Rosa to life in this haunting new play.”
Full casting will be announced at a later date.
A York Theatre Royal production
THE PSYCHIC
Created by Jeremy Dyson and Andy Nyman
29 Apr 2026 – 23 May 2026
Cast includes: Frances Barber (Rosa)
Co-Directors: Jeremy Dyson and Andy Nyman; Designer: Rae Smith; Illusion Designer: Chris Fisher; Lighting Designer: Zoe Spurr; Sound Designer: Nick Manning; Casting Director: Arthur Carrington CDG
Popular TV psychic Sheila Gold loses a high-profile court case, which brands her a charlatan. It costs her not only her reputation, but a fortune in legal fees. When a wealthy couple ask Sheila to conduct a séance to attempt to make contact with their late child, Sheila senses an opportunity to bleed them for money. What follows makes her question everything she’s ever believed and leads her on a journey into the darkest corners of her life.
This twisted new thriller from the creators of the international smash hit Ghost Stories, brings thrills, laughs and shocks back to the stage – in the world Premiere of this electrifying and unmissable play.
Frances Barber plays Rosa. Her theatre credits include Musik (Wilton’s Music Hall/Leicester Square Theatre/Edinburgh Festival Fringe), The Unfriend (Wyndham’s Theatre/Criterion Theatre/Chichester Festival Theatre), Hamlet (Theatre Royal Windsor), An Ideal Husband (Vaudeville Theatre/Theatre Royal Bath), Madame Rubinstein (Park Theatre), The School for Scandal (Lucille Lortel Theatre, NYC), What the Butler Saw (Mark Taper Forum, LA), Julius Caesar (Donmar Warehouse/St. Ann’s Warehouse, NYC), Les Parents Terribles (Donmar Warehouse at Trafalgar Theatre), That Face (Sheffield Theatres), Afterplay (King’s Theatre, Edinburgh/ The Gate Theatre, Dublin), Madame de Sade (Donmar at Wyndham’s), King Lear, The Seagull (RSC/International tour), The Dead Monkey, Love’s Labour’s Lost, Hamlet (RSC) Antony & Cleopatra (Shakespeare’s Globe), Aladdin (The Old Vic), One Flew Over The Cuckoo’s Nest (Gielgud Theatre/Edinburgh Festival Fringe), Tales from Vienna Woods, Pygmalion, The Night of the Iguana (National Theatre), Closer to Heaven (Arts Theatre – WhatsOnStage Award for Best Actress), Closer (Lyric Theatre), Uncle Vanya (Chichester Festival Theatre/UK tour), and Insignificance (Donmar Warehouse). Her television credits include Whitstable Pearl (as series regular Dolly Nolan), The Chelsea Detective, Dreamland, Inside No. 9, Dodger, Cold Feet, Silk, Doctor Who, and The Street; and for film Trick or Treat, Mr. Holmes, Goal!, and Goal II: Living the Dream.
Jeremy Dyson is an award-winning writer and director.His writing credits include Ghost Stories – nomination for Olivier Award for Best Entertainment, The League of Gentlemen are Behind You, The League of Gentlemen: A Local Show for Local People – nomination for Olivier Award for Best Entertainment), and The League of Gentlemen. His co-writing credits for television include Psychobitches – winner of the Rose d’Or for Best TV Comedy and nominations for two British Comedy Awards, The Armstrong & Miller Show – winner of the BAFTA Award for Best Comedy, Billy Goat, Funland – nomination for the BAFTA Award for Best Drama Serial, The League of Gentlemen – winner of the BAFTA Award for Best Comedy, Golden Rose of Montreux and RTS Award for Best Entertainment); and his co-writing credits for film include Ghost Stories and The League of Gentlemen’s Apocalypse.
Andy Nyman is an award-winning actor, director and writer. As an actor, his theatre work includes The Producers (Menier Chocolate Factory/Garrick Theatre), Assassins, Terrible Advice (Menier Chocolate Factory), Fiddler on the Roof (Menier Chocolate Factory/Playhouse Theatre – Olivier Award nomination for Best Actor in a Musical), Abigail’s Party (Menier Chocolate Factory/Wyndham’s Theatre), Hello, Dolly! (The London Palladium), Hangmen (Wyndham’s Theatre/Golden Theatre, NYC), and Ghost Stories (Duke of York’s Theatre/Arts Theatre) – which he starred in, co-wrote and co-directed with Jeremy Dyson – later adapted into a film, in which he also starred. His television credits include Hanna, Wanderlust, The Eichmann Show, Campus, Crooked House, Dead Set, and Peaky Blinders; and for film, Wicked: Part 1, Jungle Cruise, Judy,The Commuter, Death at a Funeral, Kick-Ass 2, Black Death, The Brothers Bloom, Severance and Shut Up & Shoot Me (Best Actor Award at the Cherbourg Film Festival). He has collaborated with Derren Brown for almost 20 years, co-writing and co-creating much of Brown’s early TV work; and his co-writing and directing credits for Brown’s shows include XX , Derren Brown – Something Wicked This Way Comes – winner of the Olivier Award for Best Entertainment, and Derren Brown – Secret (New York Drama Desk Award for Best Unique Theatrical Event.
BSL Interpreted performance Friday 15 May at 7:30pm Audio Described performance Saturday 16 May at 2:30pm Captioned performance Saturday 23 May at 2:30pm
Universal Theatrical Group and Working Title Filmsare delighted to announce a national tour of the original award-winning production of BILLY ELLIOT THE MUSICAL opening at Sunderland Empire on 4 November 2026 where it will play until 28 November 2026 and its first return to the West End in over 10 years, playing a limited West End season at the Adelphi Theatre from 12 February – 31 July 2027.
Following its run in Sunderland, BILLY ELLIOT THE MUSICALwill visit the Palace Theatre Manchester (2 December 2026 – 9 January 2027) and Edinburgh Playhouse (19 January – 6 February 2027). Further touring dates and casting to be announced soon.
Sign up for exclusive pre-sale access to BILLY ELLIOT THE MUSICAL across all announced venues here: billyelliotthemusical.com
Tickets go on sale for Sunderland, Manchester, Edinburgh and London on 9 March 2026 at 10.00am.
Composer Elton John and Director Stephen Daldry said today, “Creating Billy Elliot the Musical was one of the most joyous and inspiring moments of our careers, so to bring the show back for a UK tour and a season in the West End for the first time in over a decade is both incredibly emotional and exciting. It’s bold, it’s British, it’s full of heart and the story feels more relevant than ever. We can’t wait for a whole new generation to experience it!”
Based on the highly successful film, the show is set in a northern mining town against the background of the 1984/’85 miners’ strike and follows Billy’s journey from the boxing ring to the ballet class where he discovers a passion for dance that inspires his family and whole community and changes his life forever.
Acclaimed by audiences and critics alike, BILLY ELLIOT THE MUSICAL has been seen by just over 12 million people across five continents and is the recipient of over 80 awards internationally, including ten Tony Awards and five Olivier Awards. In 2006, Liam Mower, James Lomas and George Maguire, the first three boys to play the title role, became the youngest performers ever to have won the Olivier Award for Best Actor with the show also picking up the Best Musical prize. In total, over 125 boys have now played the iconic title role on stage worldwide.
BILLY ELLIOT THE MUSICAL is brought to life by the multiple award-winning creative team behind the film including writer Lee Hall (book and lyrics), director Stephen Daldry and choreographer, Peter Darling, joined by Elton John who composed the show’s score. The production features scenic design by Ian MacNeil, costume design is by Nicky Gillibrand, lighting design by Rick Fisher, sound design by Paul Arditti and hair, wig and make up design by Campbell Young. Musical supervision and orchestrations are by Martin Koch. The tour director is Simon Pollard and the associate choreographer is Jeroen Luiten. Adult casting is by Pippa Ailion CDG and Natalie Gallacher CDG and children’s casting is by Nick Hockaday CDG for Jessica Ronane Casting.
BILLY ELLIOT THE MUSICAL is presented by Universal Theatrical Group and Working Title Films and is based on the Universal Pictures/Studio Canal film. The show is produced by Tim Bevan, Eric Fellner and Jon Finn. David Furnish and Angela Morrison are executive producers.
Holy Trinity Church, Guildford – until 28th February 2026
Reviewed by Carly
5*****
Guildford Shakespeare Company brings you the story of David Copperfield adapted and directed by Abigail Pickard Price. A story that takes you through the stages of his life over the years and across many separate places of travel. The highs and the lows of relationships and friendships along the way, as well as ones lost. Finding love and experiencing hurt all shaping him into the man and author that he later becomes. This production was done exceptionally well, very quick paced with only three actors taking on nineteen roles all in total. Which was so much fun to watch, pure brilliance, exceptional energy and excitement throughout the whole show!
Eddy Payne who only plays the part of David Copperfield and does he fantastically well. Takes you through his whole story, starting from the very beginning as a newborn baby. He transformed himself into his role. He was authentic and provided an emotional experience throughout, drawing the audience in with his great acting skills as well as bringing much laughter to the show also.
Luke Barton who takes on nine separate roles, some including Peggotty, Mr Wickfield, Mr Dick and many more. Does this with pure brilliance and is just mesmerising to watch as he jumps from character to character upon the stage. His ability to memorize lines, switch voices and change his mannerisms in seconds as well as costume, was just exceptional he offered so much to the play and had the audience laughing on many occasions. Just done fantastically well and was such a pleasure to watch.
Louise Beresford who also takes on nine characters including David Copperfield’s mum, Miss Betsey, Emily and more makes the audience forget that they are watching the same person with her ability to transform entirely to a different role using great posture movement and voice throughout. Done flawlessly again with the seriousness needed for certain roles and bringing the laughs with the funnier roles just magical.
The stage was simple but highly effective. With small props achieving so much upon the platform bringing the whole story to life.
There were suitcases that turned into carriages for travel, chairs, stairs and even beds with the use of a blanket for a fuller effect. Storages chests were also very cleverly used for hiding props, making them easy to access. The chests were also used for rocks on the sea, being jumped across by the actors on the stage and material of blue being unravelled from a dress to mimic the waves. A small boat being held in the air to look at in the distance. The simplicity of a paper kite on wire being flown in the air. The use of clever signs to keep the audience grounded as to where the story was, due to its fast pace. This was a very well though out stage, simplistic but offered so much detail and description throughout.
This production was a pleasure to watch what a great storyline, exceptional acting throughout was exciting and funny a great evening out and one not to miss.
The setting was a beautiful Church which gave the whole production an amazing feel. The staff were also lovely, welcoming, and there to help making the evening one to remember.
complete the star line-up joining RAMIN KARIMLOO GRAHAM BICKLEY ROB HOUCHEN KELLY MATHIESON in To Maury, With Love A celebration of the works of Maury Yeston on the occasion of his 80th birthday Sunday February 22, 2026 at 7.30pm Theatre Royal Drury Lane, Catherine St, London WC2B 5JF
Sydnie Christmas (the first female vocalist to win Britain’s Got Talent) and Madalena Alberto (Eva Perón in Evita and Fantine in the 25th Anniversary production of Les Misérables) complete the star line-up joining Ramin Karimloo, Graham Bickley, Ron Houchen and Kelly Mathieson to celebrate multi-Tony Award winning composer Maury Yeston’s 80th birthday.
To Maury, With Love is a concert of his most well know and loved music, directed by Thom Southerland and produced by Danielle Tarento.
Tarento and Southerland have collaborated previously on several of Yeston’s shows in the UK, including the London premieres of Titanic the Musical and Death Takes a Holiday and a critically acclaimed revival of Grand Hotel.
These musicals will be represented in the concert, along with music from Nine, Phantom (Maury’s 1991 version of The Phantom of the Opera has received over 1,000 productions globally) and many others, including never-before heard songs and an overture written especially for the occasion.
Sydnie Christmas captured the nation’s heart as the first female vocalist to win Britain’s Got Talent. Her Golden Buzzer audition of “Tomorrow” from Annie amassed over 50 million views worldwide. She went on to win the competition with spellbinding performances of “My Way” and “Over the Rainbow.” Sydnie starred as Cruella de Vil in Disney’s 101 Dalmatians: The Musical (Eventim Apollo) and starred in the West End premiere of Oscar-winning lyricist Don Black’s musical revue, From the Heart at the Fortune Theatre.
Madalena Alberto is best known for playing Eva Perón in Evita (Dominion Theatre) and Gloria Fajardo in Gloria Estefan’s musical On Your Feet! (London Coliseum). Her other West End roles include Fantine in the 25th Anniversary production of Les Misérables (Barbican), Grizabella in Cats and Zorro the Musical She played Alice Beane in Maury Yeston’s Titanic, when it toured mainland Republic of China.
West End and Broadway star Ramin Karimloo is no stranger to Yeston’s work, Karimloo played Barrett in the recent Encores production of Titanic the Musical at NYCityCenter and Guido Contini in Nine in Concert for Hope Mill Theatre at The Lowry.
Graham Bickley made his West End debut in 1981 in They’re Playing Our Song. His other West End credits include The Pirates of Penzance, Metropolis, Which Witch, Maddie, The Pajama Game (Best Actor nomination, Toronto), Les Misérables (as Enjolras and Marius), Miss Saigon (as Chris), and Sunset Boulevard (as Joe Gillis, playing opposite Petula Clark). He played Tateh in the 2003 London premiere of Ragtime (nominated for the Laurence Olivier and The Whatsonstage Award for Best Actor in a Musical). In 2023, he toured the UK as Captain EJ Smith in Maury Yeston’s Titanic the Musical.
Rob Houchen played Jack in the West End premiere of Titanique. He made his West End debut in Les Misérables (as Marius Pontmercy) and later played Marius in the staged concert version of Les Misérables at the Gielgud Theatre. He was Lieutenant Joseph Cable in the Chichester Festival Theatre production of South Pacific (Manchester Opera House, Sadler’s Wells and UK tour). He was Frederick Fleet in the Maury Yeston’s Titanic the Musical at Charing Cross Theatre.
Kelly Mathieson made her name in the musical theatre industry when she landed the lead role of Christine Daaé in The Phantom of the Opera in the West End. During her nearly three-year, award-winning run as Christine, Kelly also built a flourishing concert career, performing as a soloist at prestigious venues such as the Royal Albert Hall, Royal Concert Hall Glasgow, and Cadogan Hall, where she played Tonia in the UK premiere of Dr Zhivago. The concert will feature a 30-piece London Musical Theatre Orchestra and a 30-strong choir of this year’s graduating MA Musical Theatre students from the Royal Academy of Music, under the baton of Mark Aspinall.
Tarento said “My working relationship and friendship with Maury is one of the great joys of my life. His musicals resonate so deeply with me and have framed so much of the past 15 years of my career. To be able to celebrate his 80th birthday in such a significant way is a privilege and an honour.”
The concert is raising funds for Bowel Cancer UK.
Maury Yeston is one of Broadway’s most celebrated composer lyricists. In addition to winning a Tony Award for Best Score for Titanic the Musical (which won another four Tonys including Best Musical), Yeston won a Tony Award and two Drama Desk Awards for his music and lyrics to Nine (based on Fellini’s 1963 movie 8½). That production also won four additional Tonys including Best Musical. The Broadway revival of Nine, starring Antonio Banderas, won the Tony Award for Best Musical Revival. Yeston’s contribution to the score for Grand Hotel was nominated for a Tony and two Drama Desk Awards, and the Donmar Warehouse production won an Olivier Award. His score for Phantom has received national and international acclaim. More recently, he wrote music and lyrics to Death Takes A Holiday, which was nominated for 11 Drama Desk Awards, the first entirely American full length ballet, Tom Sawyer: A Ballet In Three Acts, which premiered in Kansas City and Anything Can Happen in The Theater – The Musical World of Maury Yeston, a new musical revue conceived and directed by Gerard Alessandrini which premièred in March 2020 at Manhattan’s York Theater Company.
In 2009, Nine was adapted into a film with a screenplay by Anthony Minghella and Michael Tolkin, directed by Rob Marshall and featuring Daniel Day-Lewis, Penelope Cruz, Marion Cotillard, Nicole Kidman, Dame Judi Dench, Kate Hudson, Fergie, and Sophia Loren. It was nominated for five Golden Globes and four Academy Awards. Yeston was nominated for a Critics Choice and Golden Globe for Best Original Song, Cinema Italiano, and an Academy Award for Best Original Song, “Take It All”.
Other works include: Cello Concerto, premièred by Yo Yo Ma; the concert album Goya – A Life In Song, featuring Placido Domingo and Gloria Estefan; December Songs, a song cycle commissioned by Carnegie Hall for its centennial celebration; An American Cantata – 2000 Voices, a choral symphony in three movements for the National Symphony Orchestra and 2000 singers commissioned by the Kennedy Center for the Performing Arts.LISTINGS INFO
Danielle Tarento presents
To Maury, With Love
Directed by Thom Southerland
Orchestrated and Conducted by Mark Aspinall Lighting Designed by Howard Hudson Sound Designed by Andrew Johnson
Theatre Royal Drury Lane Catherine St, London WC2B 5JF
The Bodyguard the Musical is based on the 1992 movie which featured the iconic Whitney Houston and her songs. It tells the story of Rachel Marron a famous singer who is being stalked and receiving death threats. Former Secret Service Agent Frank Farmer is hired to protect Rachel. Initially Rachel does not like Frank’s strict security measures, but their professional relationship soon turns to romance.
The shows starts off with a bang and when I say a bang I literally mean a loud gunshot bang which then leads straight into the opening song “Queen Of The Night”, with great singing, dancing, amazing costumes and flashes of fire. This certainly set you up for a wonderful performance.
Rachel is played by Sidonie Smith who absolutely smashed the role. Her voice was powerful and filled with emotion. It is difficult to step into the role of the famous Whitney Houston, and her songs are without doubt difficult to sing but Sidonie rose to the task showing confidence and delivering a good performance.
Adam Garcia gave a grounded and strong acting performance as Frank Farmer. He was so funny in the scene at the Karaoke bar. I could relate to the 3 girls singing (in their not so tuneful vocals) on a night out.
Sasha Monique took on the role of Nikki Marron, Rachel’s sister and really stood out for me, she had wonderful vocals, and I could listen to her sing all day, I could see her playing the role of Rachel extremely well. A highlight for me was when Sidonie and Sasha sang the duet “Run to You”, their harmonies were brilliant.
Fletcher (Rachel’s son) will be played by four different actors and on this occasion, I had the pleasure of seeing 10 year old Prince Conteh. He was such an adorable character and gave an outstanding performance.
I also must give a shout out to all the ensemble who were all very talented and made the dance moves, flips and somersaults look effortless.
The musical finished with “I Wanna Dance With Somebody” which had all the audience up on their feet dancing and singing along.
