TIM VINE

SILLYPUN VALLEY

UK Tour 2027

“A joyous explosion” The Times

On sale: Friday 10am 30th October 2026

One of the UK’s favourite comedians, Tim Vine is heading back out on tour in 2027 with his brand-new stand-up show Sillypun Valley.

Tim invites you to leave the real world behind and take a trip to Sillypun Valley where he will pepper you with a barrage of new drivel. The joke conveyor belt is set to full speed. Expect daft gags by the handful, stupid props and a sprinkling of musical interloons. A show without a message. It’s Timmaterial. The Man with the Golden Pun has reloaded and he’s aiming at you. Strap in and let go.

Come Onnnnnnnnnn!!

Tim Says “On Average children laugh 300 times a day and adults laugh about 17 times. Come along to my new show and get your average up a bit.”

The management reminds you to breathe normally between jokes to avoid suffocation.

Also, on board the train to Sillypun is Tim’s ever faithful pal and the world’s greatest comedy magician John Archer.

Tim Vine has been making the country laugh for over 30 years. Coming hot on the heels of his last two tours BREEEEP! and Sunset Milk Idiot, Sillypun Valley is his silliest so far.

Tim started doing stand-up in the early 1990s on the London Circuit and quickly discovered one liners were his forte. This led to success at the Edinburgh Festival with his show The Tim Vine Fiasco and he hosted various gameshows on TV and made numerous appearances on other TV and Radio shows always armed with his trademark one liners.

In 2001 he starred in the Sketch Show on ITV which won a BAFTA. By 2003 he was doing national stand-up tours and went on to release the very popular Tim Vine Joke Book and The Tim Vine Bumper Book of Silliness, and he won Dave’s Best Joke Of the Fringe twice at the Edinburgh Festival in 2010 and 2014. His TV appearances since have ranged from Taskmaster through to Celebrity Pottery Throwdown.

Tim’s Radio 4 show The Tim Vine Chat Show where he interviewed members of the audience was hugely popular and he has also produced and directed three very silly films. The latest was Rocker ‘Brella Fella containing 26 songs written by Tim and starring Tim’s alter ego Plastic Elvis. It was screened in cinemas around the country. But all roads lead back to stand-up, and Tim is delighted to be back on tour again to fill the theatres of the U.K. with uncontrollable laughter.

Tour schedule:

April:

Thursday 1 Basingstoke, Haymarket

Friday 2 Southend, Palace Theatre

Saturday 3 Southend, Palace Theatre

Tuesday 6 Leeds, City Varieties

Wednesday 7 Leeds, City Varieties

Thursday 8 Chesterfield, Winding Wheel

Friday 9 Birmingham, Alexandra Theatre

Saturday 10 Leatherhead, Theatre

Tuesday 13 Stamford, Corn Exchange

Wednesday 14 Stamford, Corn Exchange

Thursday 15 Northampton, Royal and Derngate

Friday 16 Hayes, Beck Theatre

Saturday 17 Crawley, The Hawth

Tuesday 20 Peterborough, New Theatre

Wednesday 21 Ulverston, Coro

Thursday 22 Salford, Quays Theatre

Friday 23 Salford, Quays Theatre

Saturday 24 Dartford, Orchard Theatre

Tuesday 27 Dorking, Halls

Wednesday 28 Weymouth, Pavilion

Thursday 29 Torquay, Babbacombe

May:

Saturday 1 Chatham, Central Theatre

Tuesday 4 Guildford, G Live

Wednesday 5 Ramsgate, Granville Theatre

Thursday 6 Ramsgate, Granville Theatre

Friday 7 St Albans, Arena

Saturday 8 Chipping Norton, Theatre

Tuesday 11 Malvern, Theatre

Wednesday 12 Malvern, Theatre

Thursday 13 Burnley, Mechanics

Friday 14 Nottingham, Playhouse

Saturday 15 Oxford, New Theatre

Tuesday 18 Monmouth, Savoy Theatre

Wednesday 19 Chester, Storyhouse

Thursday 20 Chester, Storyhouse

Friday 21 Milford Haven, The Torch

Saturday 22 Eastleigh, The Point

Tuesday 25 Wolverhampton, Grand Theatre

Wednesday 26 Wolverhampton, Grand Theatre

Thursday 27 Leamington Spa, Royal Spa Centre

Friday 28 Leamington Spa, Royal Spa Centre

Saturday 29 Fareham, Live

June:

Tuesday 1 Buxton, Opera House

Wednesday 2 Newcastle, Tyne Theatre

Thursday 3 Wakefield, Theatre Royal

Friday 4 Lancaster, Grand Theatre

Saturday 5 Blackpool, Grand Theatre

Wednesday 9 Worthing, Pavilion

Thursday 10 Hastings, White Rock Theatre

Friday 11 London, Shepherds Bush Empire

August:

Tuesday 31 Bristol, Redgrave

September:

Wednesday 1 Bristol, Redgrave

Thursday 2 Bristol, Redgrave

Friday 3 Bristol, Redgrave

Saturday 4 Bristol, Redgrave

Tuesday 7 Inverness, Eden Court Theatre

Wednesday 8 Perth, Theatre

Thursday 9 Glasgow, Oran Mor

Friday 10 Dunfermline, Alhambra Theatre

Tuesday 14 Wimborne, Tivoli Theatre

Wednesday 15 Bridport, Electric Theatre

Thursday 16 Isle Of Wight, Shanklin Theatre

Friday 17 Isle Of Wight, Shanklin Theatre

Saturday 18 Portsmouth, Theatre Royal

Tuesday 21 Norwich, Playhouse

Wednesday 22 Lowestoft, Marina Theatre

Thursday 23 King’s Lynn, Corn Exchange

Friday 24 Ipswich, Corn Exchange

Saturday 25 Ipswich, Corn Exchange

Tuesday 28 Bognor Regis, Alexandra Arts

Wednesday 29 Bognor Regis, Alexandra Arts

Thursday 30 Hertford, BEAM

October:

Friday 1 Hertford, BEAM

Hull New Theatre – until 31st October 2026

Reviewed by Dawn Bennett

5*****

From the moment the cast stepped onto the stage, I knew we were in for a treat. Leah Hill’s slick choreography highlighted the performers’ brilliant acting, singing, and dancing. A talented band, led by musical director Cerys McKenna, brought the familiar tunes to life.

Elle Woods (Amber Davies) is in love with her boyfriend, Warner (Jamie Chatterton), and is convinced he is about to propose. Instead, he breaks up with her, claiming she is not serious enough for him as he prepares to study at Harvard Law School. Heartbroken but determined to win him back, Elle applies to Harvard herself—much to the shock of her friends Margot (Hannah Lowther), Serena (Rosanna Harris) and Pilar (Remi Ferdinand).

Elle secures a place in Professor Callahan’s (Adam Cooper) class, but her classmates dismiss her as a frivolous party girl with little chance of completing the course. Only the professor’s assistant, Emmett (George Crawford), believes in her.

Elle’s ex-boyfriend, Warner, now has a new girlfriend: Vivienne (Annabelle Terry), a serious brunette. Hoping a change of hair colour will help her win him back, Elle visits local hairdresser Paulette (Keanna Bloomfield). Paulette soon persuades her otherwise.

We follow Elle through the trials and tribulations of studying at Harvard. When Professor Callahan sacks her after she rejects his advances, her confidence is shaken. Can she overcome her doubts, prove she belongs and achieve success?

Amber Davies was outstanding as Elle Woods. A true triple threat, she was a joy to watch. Keanna Bloomfield was equally brilliant as Paulette, fully embracing the character and delivering spot-on comic timing. A special mention goes to the show’s canine stars: Sprout as Bruiser Woods and Rocco as Rufus. Both were delightful, drawing the biggest “aww” from the audience whenever they appeared on stage!

Legally Blonde is musical theatre at its best. With an engaging storyline, memorable songs, and a brilliant cast, it’s a must-see—even if you’ve never seen the musical or the film. You’ll be singing the tunes long after you leave the auditorium.

DATES AND ON-SALE ANNOUNCED FOR

THE WORLD PREMIERE OF

THE GREATEST SHOWMAN THE MUSICAL

Disney Theatrical Group today announces that their brand-new stage adaptation of The Greatest Showman, based on the 2017 smash-hit film, with songs by Benj Pasek and Justin Paul,book by Tim Federle and direction and choreography by Casey Nicholaw, will open at Theatre Royal Drury Lane on 5 May 2027, with previews from 14 April, and booking to 2 October 2027.

Priority booking opens on 3 November, with public booking opening on 18 November at 12pm GMT. The priority access booking list is now closed.

The Greatest Showman The Musical stars Oliver Tompsett (P.T. Barnum), Samantha Barks (Charity Barnum), Ben Joyce (Phillip Carlyle), Vajèn van den Bosch (Jenny Lind) and Malinda Parris (Lettie Lutz). Further casting to be announced. 

The musical will feature the GRAMMY® Award-winning and Academy Award®-nominated songs by EGOT winners Pasek and Paul (La La Land, Dear Evan Hansen), including “The Greatest Show,” “A Million Dreams,” “Come Alive,” “Rewrite the Stars,” “Never Enough” and the Golden Globe® Award-winning “This Is Me,” together with their brand-new songs written especially for the musical.

Based on the 20th Century Studios motion picture with story by Jenny Bicks, The Greatest Showman is the first 20th Century Studios (formerly 20th Century Fox) title to be adapted for the stage by Disney Theatrical Group. The Seelig Group, a producer of the original film, is also a producer of the musical.

Completing the creative team are Alex Lacamoire (Music Supervision, Incidental & Dance Music Arrangements and Orchestrations), David Korins (Scenic Design), Gregg Barnes and Sky Switser (Costume Design); Natasha Katz (Lighting Design); Peter Hylenski (Sound Design), George Reeve (Video Design), Lorenzo Pisoni (Circus Creation & Design), Josh Marquette (Hair & Wig Design), Milagros Medina-Cerdeira (Make-Up Design), Jeremy Chernick (Special Effects Design), Skylar Fox (Illusions & Magic Design), Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting (Casting Director) and Keston & Keston (Children’s Casting Director & General Manager). Acrobat Casting by The 7 Fingers. Justin Paul is also providing Vocal and Incidental Music Arrangements.

Instagram: @thegreatestshowmanuk

Facebook: @greatestshowman

www.thegreatestshowman.co.uk

THE GREATEST SHOWMAN

Songs by Benj Pasek and Justin Paul

Book by Tim Federle

Based on the 20th Century Studios motion picture The Greatest Showman, with story by Jenny Bicks

From 14 April 2027

Cast includes: Oliver Tompsett (P.T. Barnum), Samantha Barks (Charity Barnum), Ben Joyce (Phillip Carlyle), Vajèn van den Bosch (Jenny Lind) and Malinda Parris (Lettie Lutz).

Directed and Choreographed by: Casey Nicholaw; Music Supervision, Incidental & Dance Music Arrangements and Orchestrations: Alex Lacamoire; Vocal and Incidental Music Arrangements: Justin Paul; Scenic Design: David Korins; Costume Design: Gregg Barnes and Sky Switser; Lighting Design: Natasha Katz; Sound Design: Peter Hylenski; Video Design: George Reeve;  Circus Creation & Design: Lorenzo Pisoni; Hair & Wig Design: Josh Marquette;  Make-Up Design: Milagros Medina-Cerdeira; Special Effects Design: Jeremy Chernick; Illusions & Magic Design: Skylar Fox; Casting Director:  Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting; Children’s Casting Director & General Manager: Keston & Keston; Acrobat Casting: The 7 Fingers.

This is the moment you’ve waited for… The Greatest Showman The Musical comes to London from 14 April.

Welcome to The Greatest Showman The Musical, where the ordinary is left behind and dreamers, outsiders, and trailblazers take centre stage.

A restless maverick refuses the life everyone expects of him. Determined to build the greatest show on earth, he brings together the people the world tried to ignore and creates something far bigger than he ever imagined.

Featuring the songs that defined a generation and the story that captivated audiences around the world, this bold stage adaptation of The Greatest Showman invites you into an experience where the impossible feels within reach.

With an acclaimed score by EGOT-winners Benj Pasek and Justin Paul, including “This Is Me”, “Rewrite the Stars”, “The Greatest Show” and “Never Enough”, a book by stage and screen writer Tim Federle, and direction and choreography by two-time Tony Award®-winner Casey Nicholaw, discover the story you know like never before at Theatre Royal Drury Lane, home to The Greatest Showman from 14 April.

Based on the 20th Century Studios motion picture, The Greatest Showman, with story by Jenny Bicks.

LISTINGS

THE GREATEST SHOWMAN

Theatre Royal Drury Lane

Catherine Street, Covent Garden, London WC2B 5JF

Instagram: @thegreatestshowmanuk

Facebook: @greatestshowman

www.thegreatestshowman.co.uk

PREVIEW SCHEDULE:

Wed 14 April                  7pm

Thurs 15 April                7pm

Sat 17 April                     7pm

Mon 19 April                  7pm

Wed 21 April                  7pm

Thurs 22 April                7pm

Sat 24 April                     7pm

Tues 27 April                  7pm

Wed 28 April                  7pm

Thurs 29 April                7pm

Sat 1 May                        7pm

Mon 3 May                     2pm

Tues 4 May                     7pm

Wed 5 May                     7pm – OPENING NIGHT

Oliver Tompsett will not play Monday performances from 10 May 2027.

Vajèn van den Bosch will not be playing alternating Mondays from 10 May 2027.

PERFORMANCE SCHEDULE AFTER OPENING:

Monday to Saturday at 7pm

Wednesday and Saturday at 2pm

Leeds Playhouse – until November 2026

Reviewed by Sal E Marino

4**** 

There is something wonderfully ordinary about the beginnings of love: an unexpected conversation, a shared joke, the discovery of a surprising common ground. In Peanut Butter & Blueberries, playwright Suhaiymah Manzoor-Khan takes these small moments and transforms them into a tender, funny and deeply affecting story about growing up, finding your place in the world and allowing someone else into it.

Following its sell-out world premiere at London’s Kiln Theatre, this performance piece arrives at Leeds Playhouse with a story that feels both intimate and universal. At its heart are Hafsah (Humera Syed) and Bilal (Kashif Ghole), two university students living away from home, navigating the uncertainties of adulthood and discovering, somewhat unexpectedly, that they might be falling in love.

Hafsah is thoughtful, ambitious and fiercely independent, with her books and writing close to her heart. Bilal is more laid-back, cheeky and seemingly content to muddle through university life. Their differences provide plenty of comic opportunities, but it is the gradual discovery of what lies beneath their contrasting personalities that gives the play its emotional depth. And, of course, there is the wonderfully unconventional sandwich that brings them together. Peanut butter and blueberries might not sound like the most obvious recipe for romance, but here it becomes a delicious reminder that the best connections can arrive when we least expect them.

What makes this production so engaging is its ability to balance lightness with complexity. Manzoor-Khan explores faith, family expectations, personal ambition and the difficult choices that come with growing up, without allowing these weightier themes to overwhelm the joy of the story. The characters are figuring out not only how they feel about each other, but also who they want to become. Love, here, is not a simple escape from life’s complications; it is something that must find its way through them.

Hussain’s direction gives the piece an appealing closeness, allowing the relationship to develop through conversation, glances, awkward pauses and the smallest shifts in body language. The storytelling moves between direct address and scenes between the two characters, inviting us into their private thoughts while letting us witness the sometimes hilarious, sometimes painful reality of their connection.

Syed gives Hafsah a lovely combination of intelligence, vulnerability and quiet determination. She captures the tension between a young woman who knows her own mind and someone still discovering just how much life can surprise her. Ghole brings warmth and comic energy to Bilal, making his easygoing manner both endearing and, at times, revealing. Together, they establish a convincing rapport that makes you want to see their relationship flourish. Their performances find the tenderness beneath the teasing, and the uncertainty beneath the laughter.

At times, however, I felt the audience could have benefited from a little more breathing space. The dialogue is rich with ideas, emotions and observations, and there are moments when a pause would have allowed us to absorb what had just been said before moving on to the next exchange. Giving certain lines and revelations room to settle could have added even greater emotional weight to an already thoughtful piece. Similarly, while the stripped-back staging keeps the focus on the performers, I would have welcomed more music and multimedia to enrich the storytelling. For example, Hafsah’s time in New York is mentioned in dialogue, but we are given little visual or aural sense of the place itself. Carefully chosen images, changes in sound or a subtle musical shift could have transported us there, created a stronger contrast with her university life and helped bring that part of her experience to life. These additions would not need to be elaborate; used sensitively, they could support the narrative without distracting from its intimacy.

What stays with you is the play’s generosity of spirit. It recognises that people can carry complicated feelings, responsibilities and worries while still being funny, hopeful, occasionally ridiculous and wonderfully human. The humour never feels at odds with the more serious moments; instead, it makes the emotional turns all the more affecting. There is real pleasure in watching two people gradually learn to understand one another, even when the path ahead is far from straightforward.

For Leeds audiences, there is an added pleasure in welcoming this work by Leeds-born writer Manzoor-Khan back to the city. Peanut Butter & Blueberries is a refreshing, heartfelt piece of theatre that finds the extraordinary in everyday encounters. Warm, witty and quietly moving, it offers a love story with both its feet on the ground and its heart wide open. Like its unlikely sandwich combination, it proves that the most unexpected ingredients can make something rather special.

Victoria Theatre, Halifax – until 31st October 2026

Reviewed by Lauren Fordham

5*****

Operation Mincemeat: The Musical chronicles the eponymous World War II mission by British Intelligence Officers to divert the Nazi German army’s attention away from the upcoming Allied invasion of Sicily. 

This was to be achieved by obtaining a male corpse (christened by the officers as Bill), dressing it as a British soldier who had drowned at sea, planting documents on it ‘revealing’ Allied plans to invade Sardinia instead, and placing it off the coast of neutral Spain, where Nazi spies would discover it and be guided by the misinformation to move their troops away from Sicily, enabling Allied forces to decisively attack it, as it was undefended. 

Ben Macintyre’s book brought the story into the public consciousness when it was published in 2010 and it gained further attention in 2021 when it was adapted into a film, directed by John Madden and starring Colin Firth.

Operation Mincemeat: A New Musical was created by comedy troupe SpitLip (consisting of David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts) and premiered on 14th May 2019 at the New Diorama Theatre in London.

The cast consists of just 5 actors, playing over 80 historical characters across all genders because of the show’s ensemble cast and the troupe’s intention to avoid cheap, pantomime-dame-style gags and risk distracting the audience from what is at heart a profoundly poignant narrative.

The musical shines a harsh light on the classist, misogynistic and arrogant attitudes of many of the Intelligence officers, insulated as they are by their wealth and lofty positions which prevent them from conscription, with which the ‘common people’ are forced to comply. ‘We were made to give the orders, while lesser men take heed, some were born to follow, but we were born to lead.’

Even within MI5, Ewan Montagu (played by Holly Sumpton) and his Eton pals assert their superiority to and push in front of Charles Cholmondeley (Morgan Phillips) to meet with Johnny Bevan (Jamie-Rose Monk), even though Cholmondeley is the only person with a credible idea. 

As other reviewers have also noted, ‘Operation Mincemeat’ has been clearly influenced by the style several other popular musicals, the most obvious being ‘Hamilton’ as many of the songs are delivered as a rap, but to this reviewer the character of Charles Cholmondeley closely parallels Miss Honey in ‘Matilda the Musical’ (and not only because he says I wish I was a maggot.’) Like Miss Honey, who calls herself pathetic for refusing to stand up to Miss Trunchbull, Cholmondeley laments his own lack of self-esteem and initiative, ‘it’s part of my biology to start with an apology, I wish that I could change my life,’ and like Matilda’s magic, his plans quietly come to fruition. Christian Andrews, the imposing but buttoned-up Hester Legatt, would also make an excellent Miss Trunchbull, quiet, but deadly.

Phillips’ physicality and comic timing is impressive especially when he is trying to get Montagu’s briefcase and jumps dramatically every time someone walks through the door. He and every member of the cast is incredibly versatile, seamlessly switching between Received Pronunciation, cockney and Spanish accents as their characters require.

Ben Stones’ set design is just as versatile as the cast is, even though at first it seems deceptively simple; a military office with a strategy chart as a backdrop, a couple of desks and a wheeled staircase. But behind the strategy chart, the wall has hidden doors and entrances which facilitate much of the physical comedy, particularly when Cholmondeley, suspecting Montagu of espionage, is trying to locate his briefcase to see if he has stolen confidential papers to pass to his brother. 

But as the show progresses, with a flick of a switch, those benches and desks transform into a pub, a nightclub (aided by Mark Henderson’s disco lighting) a harbour and a submarine (thanks to Mike Walker’s sound design including seagulls and waves, which was so successful I could almost smell the salty breeze. 

Lighting was also used effectively to evoke nationalism, such as the colours of the American flag lighting the stage when a second, real Allied pilot is actually forced to land in the ocean near Spain, and impressively, Stones produced an actual plane housing that the pilot (Christian Andrews) sits in, perhaps influenced by Miss Saigon.

Stones also designed Operation Mincemeat’s costumes, which once again appear simple as they are often just caps or headbands to denote different characters, with the glaring exception of pathologist Bernard Spilsbury (Jamie-Rose Monk) whose suit and gloves drip with glittery blood. Rose-Monk also demonstrates great versatility as the uptight authoritarian head of MI5 Johnny Bevan,  as well as the flamboyant fraud, Spilsbury. 

As well as inducing laughter as the American pilot, Christian Andrews also took the audience’s collective breath away as Hester Leggat, dictating the imaginary letter from their corpse, Bill, to his girlfriend, from which which Leggat segues into talking to her husband, Tom, who died in WWI. The pressure to pretend to others that everything was ok was palpable, as was Legatt’s frustration at their separation, and the simplistic imagery of the neglected roses was as powerful and tear-jerking as any poem by Owen or Sassoon.

Similarly, Sail on Boys, sung when the MI5 turned navy lads set out for Sicily, vowing to live or die together, whether they die or survive, ‘If it’s down, it’s down together, if it’s up, it’s up as one’ is hugely poignant, and evokes ‘Billy Elliot The Musical’s ‘Once We Were Kings, when the pitmen descend into the mine for the last time: ‘All together we will go as one, the ground is empty and cold as hell, but we’ll all go together when we go.’

In his role as administrative assistant Legatt, Andrews also had great chemistry with Jean Leslie (Charlotte Hanna-Williams) who longs to make her mark on the world and not be seen as ‘the woman who makes the tea’, a mantle she eagerly throws off in the Six-esque anthem ‘All the Ladies’, where they fantasise about going into the exciting jobs that the conscripted British men have vacated.

I hesitate to call it a criticism, but the only warning I have to anyone new to the show, is that like Hamilton, if you go in unprepared some of the songs, such as Das Übermensch, are quite difficult to discern the lyrics of, and I enjoyed the show more after my second viewing, when I had learnt them. 

As a uniquely challenging ensemble production Operation Mincemeat doesn’t just have one star, it has 5 (and a whole lot of geniuses backstage too), but Holly Sumpton dazzles, her smug, self-centred Montagu is magnetic and I predict her career will soar (with or without a wire.)

But one of the most poignant parts of the show doesn’t involve wires, or glaring lights, or elaborate set pieces at all. When the officers gather to lay a marker for and pay tribute to Glyndwr Michael, the drifter who became ‘Bill’ Martin. It showed that everyone has a purpose and makes an imprint on the world, and no one should ever forget that or feel anyone is beneath them, least of all those in lofty positions of power.

Operation Mincemeat is a show that has something for everyone, to learn, to feel, to laugh, and to reflect on, and its themes of courage, of cooperation and community, and the fact that everyone makes an imprint on the world, whether it’s celebrated or not, resonate even today. Catch it before it sails on by on Saturday, or you’ll miss more than a new breed of trout!

Leeds Grand Theatre – On Tour until 20th November 2026

Reviewed by Dawn Smallwood

4****

To coincide with World Opera Day, Rigoletto is on at the Leeds Grand Theatre. The production made its premiere in 2022 and returns for the season. The music is composed by Giuseppe Verdi; the libretto is written by Francesco Maria Piave and set to Victor Hugo’s Le Roi s’amuse. The three-act opera is a tragedy triggered by curse. It explores the self-serving themes including corruption, power, relationships, and the selfish urge to protect one and avenge another.

This production is re-imagined by Femi Elufowoju jr who examines Rigoletto’s paranoid state of mind as he is subconsciously aware that he, as a jester, is different to the Duke and his serving society. This can be resonated in today’s society how some members of society feel marginalised from the ruling and powerful elite due to race and other attributes.

It is set in Duke of Mantua’s Kingdom and focuses on three characters; the womanising Duke (Leonard Sánchez), Rigoletto (Blake Denson) and his daughter, Gilda (Raven McMillon), and the powerful presence of Count Monterone (Sir Willard White) who puts a curse on Rigoletto after his behaviour at the Duke’s party. From that point forward the opera unravels a wide range of themes ranging from secrecy to revenge and eventually tragedy.

Rigoletto protects Gilda from the Duke who has his eyes on her and she in turns falls in love with him even if he was mysterious at the beginning. His protection doesn’t last as he discovers that Gilda is abducted and is delivered to the Duke. Rigoletto puts together a revengeful plan of action but only for it to go tragically wrong, combined with Monterone’s curse, and make him a vulnerable and powerless victim among the ruling and powerful elite.

Excellent portrayals from Denson, McMillon, Sánchez and White as the lead characters and are supported by members of the cast that reimagine the story and themes under the choreographic direction of Jackie Kibuka. All set to Verdi’s melodramatic music and each character and their plights is set to its unique music and numbers. The well-known and famous La donne è mobile is sung condescendingly by the Duke.

The modern staging and costumes are done by Rae Smith and there are reminders of tradition which depict the characters’ lives and how they matter contextually then and in situations today with regards to power, race, gender and equality. The staging is complimented with Howard Hudson’s lighting.

Rigoletto is an excellent modern production that goes from strength to strength from when it was premiered in 2022.

The Old Vic – until October 31st 2026

Reviewed by Mike Linane

5*****

Composers Alain Boublil and Claude-Michel Schönberg’s Olivier Award-winning musical is reimagined for the London stage with new music, new lyrics (by Annabel Mutale Reed and Paul Hodge), new folk-inflected orchestrations and a thrilling new In The Round staging.

Whilst this is still the same basic story as the previous iterations it is told in a completely new way with some major changes along the way. You think you know Martin Guerre? Think again.

It begins quite simply with young Martin Guerre being forced by his uncle into an arranged marriage with the beautiful young Bertrande de Rois who is the most sort after bride in the village of Artigat. Reluctantly, Martin does what he regards as being his family duty but when it comes to the wedding night Martin is not ready to consummate the marriage and runs away to fight in the war. There he meets and befriends Arnaud du Thil in whom he confides his story and what brought him to fight in the army. From there their story takes a major u-turn that no one would see coming and is the basis for this musical which is partly based on a real-life character and happening.

The music is lush, swerving from emotional ballad to songs of hatred and vengeance in a heartbeat – it is almost symphonic as befits a story of such passion. Only a couple of songs remain from the original version, the others being replaced with equally as good heartrending ballads.

The musical this time is played in the round which I’m not sure entirely works as the performances need a larger stage on which to reach their full potential, but at other times the intimacy of the smaller space works well.

The company is led by Shane O’Riordan as Martin, Liv Andrusier as Bertrande, Colin Ryan as Benoit and Barney Wilkinson as Guillaume (Martin’s rival for the love of Bertrande and who is determined to bring Martin down at any cost). They all are excellent in their roles and are ably supported by the rest of the cast. The vocals are superb throughout with some very strong performances from the entire ensemble.

Directed by Matthew Warchus this show deserves a much longer run in a bigger theatre where the majesty of it all can properly express itself.

This is truly a magnificent show. Musicals of this calibre don’t come along very often so do try to catch it before its run ends if you can – you won’t be disappointed.

2027-2028 UK AND IRELAND TOUR

ANNOUNCED OF

J B PRIESTLEY’S CLASSIC THRILLER

AN INSPECTOR CALLS

OPENING

ON 3 SEPTEMBER 2027

AT ALEXANDRA PALACE THEATRE, LONDON

BEFORE TOURING ACROSS THE UK AND IRELAND

UNTIL MAY 2028

PW Productions is delighted to announce that following a hugely successful tour in 2024-25, Stephen Daldry’s multi award-winning National Theatre production of JB Priestley’s AN INSPECTOR CALLS will embark on a UK and Ireland Tour for 2027-28.

Opening on 3 September 2027 at Alexandra Palace Theatre, where it will play for 3 weeks, the tour will then visit Aylesbury, Belfast, Dublin, Edinburgh, Blackpool, Cardiff, Eastbourne, Malvern, Salford, Norwich, Birmingham, Darlington, Milton Keynes, Nottingham, Southampton, Tunbridge Wells, Shrewsbury, Liverpool, Hull, Sunderland, Wolverhampton and Leeds. Further venues and casting for the tour to be announced.

When Inspector Goole arrives unexpectedly at the prosperous Birling family home, their peaceful dinner party is shattered by his investigations into the death of a young woman. His startling revelations shake the very foundations of their lives and challenge us all to examine our consciences. More relevant now than ever, this is a must-see for a whole new generation.

Since 1992, Daldry’s seminal production of An Inspector Calls has won a total of 19 major awards, including four Tony Awards and three Olivier Awards, and has played to more than 6 million theatregoers worldwide.

Director Stephen Daldry said: “When we first created An Inspector Calls at the National Theatre in 1992, none of us could have imagined that we would still be touring the production 35 years later. It’s extraordinary that Priestley’s play continues to resonate so strongly with audiences, and perhaps more importantly, that its message remains as relevant today as ever. I’m delighted that a new generation of audiences will have the opportunity to experience it on this latest tour.”

Stephen Daldry is a multi-award-winning Theatre, Film and Television Director & Producer. During his career he has directed theatre for London’s West End & New York’s Broadway winning multiple Olivier & Tony awards.

Stephen has directed 6 major feature films which have all been nominated for major industry awards. He served as Producer & Director on THE CROWN which won 16 Emmy & Golden Globe Awards.

Stephen produced the opening & closing ceremonies for the LONDON 2012 OLYMPICS. Stephen is the Chairman of refugee arts charity GOOD CHANCE. He serves on the board of THE PERLMAN PERFORMING ARTS CENTER NYC.

AN INSPECTOR CALLS UK TOUR – 2024/2025 TOUR LISTINGS

https://aninspectorcalls.com

FRIDAY 3 – SATURDAY 25 SEPTEMBER 2027

ALEXANDRA PALACE THEATRE

www.alexandrapalace.com/theatre/whats-on/

ON SALE NOW

FRIDAY 1 – SATURDAY 9 OCTOBER 2027

AYLESBURY WATERSIDE THEATRE

https://www.atgtickets.com/venues/aylesbury-waterside-theatre

ON SALE NOW

TUESDAY 12 – SATURDAY 16 OCTOBER 2027

GRAND OPERA HOUSE, BELFAST

www.goh.co.uk

ON SALE NOW

TUESDAY 19 – SATURDAY 23 OCTOBER 2027

THE GAIETY THEATRE, DUBLIN

https://www.gaietytheatre.ie

ON SALE 30 OCTOBER 2026

TUESDAY 2 – SATURDAY 6 NOVEMBER 2027

KING’S THEATRE, EDINBURGH

https://www.capitaltheatres.com/our-venues/kings-theatre/

ON SALE NOW

TUESDAY 9 – SATURDAY 13 NOVEMBER 2027

BLACKPOOL GRAND THEATRE

www.blackpoolgrand.co.uk

ON SALE NOW

TUESDAY 16 – SATURDAY 20 NOVEMBER 2027

WALES MILLENIUM CENTRE

https://www.wmc.org.uk

ON SALE SOON

TUESDAY 23 – SATURDAY 27 NOVEMBER 2027

EASTBOURNE CONGRESS THEATRE

www.eastbournetheatres.co.uk/venue/congress-theatre

ON SALE NOW

TUESDAY 30 NOVEMBER – SATURDAY 4 DECEMBER 2027

FESTIVAL THEATRE, MALVERN

https://malvern-theatres.co.uk/

ON SALE NOW

TUESDAY 11 – SATURDAY 22 JANUARY 2028

THE LOWRY, SALFORD

www.thelowry.com

ON SALE NOW

TUESDAY 1 – SATURDAY 5 FEBRUARY 2028

THEATRE ROYAL, NORWICH

www.norwichtheatre.org

ON SALE 30 OCTOBER 2026

TUESDAY 8 – SATURDAY 12 FEBRUARY 2028

THE ALEXANDRA, BIRMINGHAM

https://www.atgtickets.com/venues/the-alexandra-theatre-birmingham

ON SALE NOW

TUESDAY 15 – SATURDAY 19 FEBRUARY 2028

DARLINGTON HIPPODROME

www.darlingtonhippodrome.co.uk

ON SALE NOW

TUESDAY 22 – SATURDAY 26 FEBRUARY 2028

MILTON KEYNES THEATRE

https://www.atgtickets.com/venues/milton-keynes-theatre

ON SALE NOW

TUESDAY 29 FEBRUARY – SATURDAY 4 MARCH 2028

THEATRE ROYAL, NOTTINGHAM

https://www.trch.co.uk

ON SALE NOW

TUESDAY 7 – SATURDAY 11 MARCH 2028

MAYFLOWER THEATRE, SOUTHAMPTON

www.mayflower.org.uk

ON SALE NOW

TUESDAY 14 – SATURDAY 18 MARCH 2028

ASSEMBLY HALL THEATRE, TUNBRIDGE WELLS

https://www.assemblyhalltheatre.co.uk

ON SALE NOW

TUESDAY 21 – SATURDAY 25 MARCH 2028

THEATRE SEVERN, SHREWSBURY

www.theatresevern.co.uk

ON SALE SOON

TUESDAY 28 MARCH – SATURDAY 1 APRIL 2028

LIVERPOOL EMPIRE

https://www.atgtickets.com/venues/liverpool-empire

ON SALE NOW

TUESDAY 4 – SATURDAY 8 APRIL 2028

HULL NEW THEATRE

www.hulltheatres.co.uk

ON SALE NOW

TUESDAY 24 – SATURDAY 29 APRIL 2028

SUNDERLAND EMPIRE

https://www.atgtickets.com/venues/sunderland-empire/whats-on

ON SALE SOON

TUESDAY 9 – SATURDAY 13 MAY 2028

WOLVERHAMPTON GRAND THEATRE

www.grandtheatre.co.uk

ON SALE NOW

TUESDAY 23 – SATURDAY 27 MAY 2028

LEEDS GRAND THEATRE

https://leedsheritagetheatres.com

ON SALE SOON

POPSTAR PETER ANDRE RETURNS TO LONDON’S PREMIER THEATRICAL DINING EXPERIENCE,  

MAMMA MIA! THE PARTY,

AS INTERNATIONAL EXPANSION PLANS ARE ANNOUNCED

• Mamma Mia! The Party today announces that Peter Andre will be returning to its flagship production at The O2, London, for a limited run (at selected performances only) from 10 January until 18 March 2027. 
• The London production is currently booking until November 2027, with over 120,000 tickets now available. The current cast includes X Factor winner Sam Bailey as Debbie until April 2027.  
• Mamma Mia! The Party also announces today that a new production will open in Sydney, Australia, in March 2027. 
• Since opening in August 2019, Mamma Mia! The Party London has welcomed over 800,000 guests, delivered nearly 2000 performances, and has been visited by guests from 110 countries for a full evening of dancing, dining and singing to some of ABBA’s greatest hits. 

Björn Ulvaeus’ Mamma Mia! The Party today announces the return of popstar Peter Andre in the role of Nikos at the flagship production at The O2, London. Mamma Mia! The Party is also delighted to announce the global expansion of the premier theatrical dining experience, which will be opening in Sydney in March 2027.

Peter Andre, best known for his 1990s pop hits such as “Mysterious Girl” and “Flava”, will return to star in the experience for a limited run (at selected performances only) from 10 January until 18 March 2027.

Peter will be joining the current cast, which includes X-Factor winner Sam Bailey in the role of Debbie until April 2027, alongside Kelly Aaron as Sue/Swing, Constantine Andronikou as Robin/Swing, Marianne Benedict as Kate (at certain performances), AJ Bentley as Adam, Claudia Bradley as Tia/Swing, Inês Fernandez as Konstantina, Tom Fothergill as Carlos/Swing, Elena Gibson as Bella (at certain performances), Deschenes Graham as Joyce/Swing, Allie Ho Chee as Bella (at certain performances), Sophie Holdsworth as Loretta/Swing, Gabriella-Rose Merchant as Nina (Maternity Cover), James Mark McLoughlin as Ruben/Swing, Kimberly Powell as Kate (at certain performances), Andy Rose as Host/Fernando, Dawn Spence as Grandma, and Rebecca Stenhouse as Nina (at certain performances), until May 2027.

Peter Andre said: 

“I’m back! I’m thrilled to be returning to Mamma Mia! The Party at The O2 in London in 2027. Being part of the production earlier this year was an incredible experience, and from the moment I stepped into Nikos Taverna, I felt a real connection to the character and the show. The energy, the music, the atmosphere and, of course, the amazing Greek food make Mamma Mia! The Party a unique night out. I can’t wait to share the magic with you all once again. See you there!”

Mamma Mia! The Party is London’s premier theatrical dining experience, bringing ABBA’s hits to life more vividly than ever before. As the sun sets in Skopelos, guests take their seats at Nikos’ family-run taverna where they enjoy a delicious four-course Greek feast, while a romantic and heartwarming story unfolds all around them. Following the performance, which is filled with timeless ABBA anthems such as Mamma Mia, Dancing Queen and Waterloo, guests are encouraged to sing and dance the night away at a glittering ABBA disco.

Alongside the flagship London production, Mamma Mia! The Party‘s Australian premiere is scheduled to open in Sydney in March 2027 at Sydney Event Center at The Star and general tickets on sale from 12 November 2026. The newly announced site joins the existing productions running at The O2, London and in Stockholm.

Sophie Arendt, Managing Director of Mamma Mia! The Party for Pophouse Entertainment said:  

“Mamma Mia! The Party has become one of the world’s most distinctive live entertainment experiences — a joyful mix of theatre, music, dining and celebration that audiences have embraced from Stockholm to London. The opening of a new site in Sydney next year marks a major moment in the show’s international growth and reflects the huge appetite for experiences that bring people together in unforgettable ways.  I can’t think of a better way to kick off 2027 than with international popstar Peter Andre returning to the London production after a brilliant run of performances earlier this year, and we are all incredibly excited for this next chapter.”

The Sydney production is in co-production with TEG Dainty and will open in March 2027, with pre-sales starting on 9 November and general tickets on sale from 12 November 2026 and fans able to sign up to the waitlist from today. Further information can be found at mammamiatheparty.com.au

Mamma Mia! The Party is executive produced by Björn Ulvaeus and Pophouse. Tickets for the London production can be booked here.

Soho Theatre – until 31 October 2026

Reviewed by Claire Roderick

4****

If you’re looking for inanity and camp chaos this spooky season, then Dina Martina: Halloweena! is the show for you.

Creepy sounds play as the audience settles in and then Dina launches into an off-key, off-kilter performance of Thriller. Dina’s singing is unique – for those that remember the last century, imagine Les Dawson’s piano playing as a voice – and her energy s incredible… for the first minute of the song. When the Vincent Price voiceover begins, she needs a rest and a little refreshment – taken in her own inimitable style. Singing I Want Candy, Dina wanders around the audience distributing tasty goodies from her trick or treat bag – whilst making them jump when she gets to the shouty bits.

Between the gloriously bad songs: mumbled and mispronounced lyrics, mistiming and excessive volume all work together to create a cacophony that has the audience howling with laughter, Dina tells heartfelt and surreal stories. The baffling layout of Boots shops, the traumatic journey to the theatre using her acrobatic skills, and her strategy to save the planet all have the audience in hysterics as Dina’s consistent mispronunciation of certain letters create magic.

Dina’s outfits are as bizarre as her stories: a Maleficent headdress that doesn’t quite fit, a giant skull that adds jeopardy to her journey around the audience giving out severed fingers and rubber rats, and a pumpkin outfit with an anatomical detail that brings tears to the eyes.

Videos play while costume changes are made, and these are simply brilliant. Her song about Bela Lugosi is just topped by Science Fiction/Double Feature with Dina’s face inserted in various classic sci-fi films.

It takes a lot of skill to create such chaos on stage, and Halloweena! is an hour of non-stop bizarre surprises and hilarity. You never know what Dina will do next, and that is scarier and more exciting than any Halloween ghoul. Fantastic fun – grab a ticket while you can.