Glenn Adamson & Danielle Steers to Lead ‘TOTAL ECLIPSE’ An Evening of Jim Steinman at the London Coliseum

GLENN ADAMSON &

DANIELLE STEERS

TO LEAD

‘TOTAL ECLIPSE’

AN EVENING CELEBRATING THE LEGACY OF

JIM STEINMAN

AT THE LONDON COLISEUM

ON SUNDAY 3 MAY 2026

TICKETS ON SALE 30 JANUARY 2026, 12PM

Producer Tyce Green with Executive Producers Darren Bell and Sam Quested are delighted to present TOTAL ECLIPSE – a one-night gala event celebrating the work of Jim Steinman at the London Coliseum on Sunday 3 May 2026. Guest vocalists will perform alongside the award-winning Orchestra of English National Opera (ENO). Tickets on sale 30 January, 12noon.

Guest vocalists will include Bat Out Of Hell – The Musical alumni Glenn Adamson (UK & International tours; We Will Rock You, London Coliseum) and Danielle Steers (Original Manchester/West End Cast & Off-Broadway; Hot Mess, Southwark Playhouse). Further vocalists to be announced.

Steinman wrote songs built for scale: dramatic, relentless, and unapologetically theatrical. TOTAL ECLIPSE is a new orchestral concert bringing his greatest hits catalogue to the London Coliseum in a full symphonic and rock hybrid, with the Orchestra of ENO on the iconic Coliseum stage, fused with a live rock band for one night only. 

Across the night, the set features Steinman’s most celebrated work, including Bat Out of Hell, Total Eclipse of the Heart, Holding Out for a Hero, I Would Do Anything for Love (But I Won’t Do That), and It’s All Coming Back to Me Now, and many more. Orchestral power meets amplified rock, with guest vocalists drawn from Steinman’s stage world, including several artists connected to Bat Out of Hell. 

Featuring all-new orchestrations, the show is musically directed and conducted by Jack Bennett (Here & Now, Birmingham/UK & Ireland tour) and directed by Chris Clegg (The Diana MixTape, founder of TuckShop).

The concert is produced by Tony Award nominee Tyce Green, who recorded with Steinman and remains closely associated with his work. It is executive produced by Darren Bell and Sam Quested, the team behind the WhatsOnStage Award-winning concert productions of Love Never Dies and Something Rotten!, the filmed concert production of Bonnie and Clyde, and, more recently, Patti LuPone at the London Coliseum

LISTINGS INFORMATION

TOTAL ECLIPSE

Sunday 3 May 2026

London Coliseum

St Martin’s Lane

London

WC2N 4ES

Box Office: 020 3925 2998

Website: www.londoncoliseum.org

Instagram: @londoncoliseum

Full Cast Announced For The World Premiere of R.O.I. (Return On Investment)

FULL CAST ANNOUNCED FOR THE WORLD PREMIERE OF R.O.I. (RETURN ON INVESTMENT) BY AARON LOEB

Hampstead Theatre today announces the full cast for the world premiere of R.O.I. (Return On Investment). Written by Aaron Loeb and directed by Chelsea Walker the production runs from Friday 6 March to Saturday 11 April, with a press night on Monday 16 March.

Sarah Lam (Paradise, National Theatre; The Apology, Arcola), Lloyd Owen (Good People, Hampstead Theatre; The Lord of the Rings: The Rings of Power), Letty Thomas (Titus Andronicus, RSC; Strategic Love Play, Soho Theatre)and Millicent Wong (The King of Hell’s Palace, Hampstead Theatre; Afterlife, National Theatre) make up the cast in Aaron Loeb’s provocative, darkly funny and disturbingly plausible play which questions ethics, ownership and the cost of innovation.

R.O.I. (Return On Investment) marks playwright Aaron Loeb’s UK debut. A resident playwright at San Francisco Playhouse and now London-based, Loeb previously worked briefly as a venture capitalist.

Fresh from her feature in Forbes 40 Under 40, venture capitalist May Lee is on the hunt for her first unicorn – the rarest of beasts, in the form of a start-up with a $1bn valuation. It would skyrocket both her career and net worth, guarantee promotion to partner and cement her legacy as one of the best in the business. Enter Willa McGovern, a hungry young entrepreneur with an idea that could be life-changing not only for May, but the entire human race…

With her mentor Paul keen for results and the potential of saving countless lives, May quickly discovers that ambition, ego and cold hard cash can twist even the purest of intentions. As technology hurtles toward making science fiction into reality, the question becomes not whether we can change the world, but what it will cost us when we do.

Director Chelsea Walker, who returns to Hampstead following Visit From An Unknown WomanThis Much I Know and Yous Two said: “R.O.I. (Return On Investment) is a play about our addiction to profit – about human bodies, technology and what it means to truly stand up for what you believe in. Prescient, savagely entertaining and terrifying, Aaron’s play takes us inside the quick-talking world of venture capital and asks urgent questions about the world we’re living in: what do we do as wealth becomes more concentrated into the hands of fewer and fewer people, and can the search for profit ever create something good? I’m thrilled to be working with such a brilliant company of actors to bring this play to life and we’re looking forward to sharing it with you.”

The full creative team comprises director Chelsea Walker, designer Rosie Elnile, lighting designer Alex Fernandes, sound designer Russell Ditchfield, video designer Hayley Egan and movement director Michela Meazza.

Tickets for R.O.I (Return On Investment) are on sale at hampsteadtheatre.com

REGENT’S PARK OPEN AIR THEATRE ANNOUNCES 2026 SEASON

REGENT’S PARK OPEN AIR THEATRE
ANNOUNCES 2026 SEASON

  • WORLD PREMIERE OF SHERLOCK HOLMES, A NEW MYSTERY BY JOEL HORWOOD, DIRECTED BY SEAN HOLMES AND STARRING JOSHUA JAMES AS SHERLOCK HOLMES
  • A LIFE IN FOUR SEASONS: VIVALDI’S MASTERPIECE REIMAGINED IN AN ELECTRIC NEW DANCE WORK, CREATED BY TINUKE CRAIG AND CHOREOGRAPHED BY ALEXZANDRA SARMIENTO
  • WILLIAM SHAKESPEARE’S A MIDSUMMER NIGHT’S DREAM, DIRECTED BY ATRI BANERJEE
  • CREATIVES JOINING DREW McONIE IN THE PREVIOUSLY ANNOUNCED NEW PRODUCTION OF ANDREW LLOYD WEBBER’S CATS
  • ANANSI THE SPIDER BY JUSTIN AUDIBERT, DIRECTED BY ROBIN BELFIELD, IN A UNICORN THEATRE AND REGENT’S PARK OPEN AIR THEATRE PRODUCTION
  • THE RETURN OF FAMILY TAKEOVER DAY, LIVE MUSIC WEEK AND VARIOUS ARTIST DEVELOPMENT PROGRAMMES

Regent’s Park Open Air Theatre today announce Drew McOnie’s second season, opening with the world premiere of Sherlock Holmes, a new mystery by Joel Horwood, directed by Sean Holmes, with Joshua James (Cyrano) as Sherlock Holmes (2 May – 6 June).

In A Life in Four Seasons, Vivaldi’s masterpiece is reimagined in an electric new contemporary dance work created by Tinuke Craig with choreography by Alexzandra Sarmiento and a recorded musical score by composer DJ Walde (11 – 14 June).

This is followed by the return of an Open Air Theatre favourite in William Shakespeare’s A Midsummer Night’s Dream (20 June – 18 July), in a new production directed by Atri Banerjee and composed by Maimuna Memon.

The season continues with the previously announced brand-new production of Andrew Lloyd Webber’s global sensation, CATS (25 July – 12 September), produced with Michael Harrison for Lloyd Webber Harrison Musicals. The musical will leap into the magical outdoor setting of Regent’s Park Open Air Theatre, directed and choreographed by Drew McOnie.Lead creatives alongside McOnie include Casting Director Will Burton; Makeup Designer and Supervisor Guy Common; Set, Costume and Wigs Designer Sami Fendall; Sound Designer Adam Fisher; Lighting Designer Jessica Hung Han Yun and Musical Supervisor Alex Parker.

In August, Anansi the Spider by Justin Audibert, directed by Robin Belfield, will play on the Theatre Lawn for ages 4+ and their families, in a Unicorn Theatre and Regent’s Park Open Air Theatre production.

The 2026 season also sees the return of the Live Music Week presented in partnership with Communion ONE and Family Takeover Day, as well as a series of one-off Sunday night events. Further details to be announced in the spring.

This year, as part of the theatre’s adaptation plans to help improve its long-term resilience in response to the impacts of climate change, midweek and Saturday matinee performances in June and July, for A Life in Four Seasons and A Midsummer Night’s Dream, will move from 2pm to the earlier start time of 12.30pm. The theatre’s hope is that this trial will help reduce exposure to peak afternoon temperatures for the comfort of audiences, performers and staff alike.

Following the success of their inaugural year in 2025, Regent’s Park Open Air Theatre’s artist development programmes will run for a second year. These include Open Room, an entry-level observership programme for aspiring creatives, Theatre Dance Lab, an artist development programme that offers early-career musical theatre choreographers a paid residency at Regent’s Park Open Air Theatre culminating in a showcase performance of their work on our main stage; and the Treehouse Project which offers up to six early-career creatives space to develop their craft and shape their practice.

Applications for Open Room are now open. To apply visit: www.openairtheatre.com/open-room. Further details on how to apply for this year’s Theatre Dance Lab and Treehouse Project will be announced later this spring.

Beyond Regent’s ParkCATS will embark on a major UK tour through to May 2027, opening in Plymouth following its run at the Open Air Theatre. The award-winning Regent’s Park Open Air Theatre production of Jesus Christ Superstarwill play at the iconic London Palladium from June, starring Sam Ryder as Jesus. At the same time, the production will continue its international tour, visiting Manila in May and Singapore in August, with further dates to be announced. Originally produced by Roald Dahl Story Company, Regent’s Park Open Air Theatre and Leeds Playhouse, Roald Dahl’s The Enormous Crocodile will complete its tour of the US in February before embarking on a further UK tour through to August 2026, including a run at the Lyric Hammersmith from the 28 July – 22 August.

Drew McOnie, Artistic Director said today “I’m hugely excited to announce the full 2026 season and to share the brilliant shows that will be joining our new production of CATS this summer. I can’t wait to work with these talented creative teams and see their visions come to life on our beautiful open air theatre stage. I’m also immensely proud of our inaugural season of artist development programmes and thrilled that these initiatives will continue for a second year, providing support and platforms for early-career creatives across a variety of disciplines.”

James Pidgeon, Executive Director said today, “Following the success of our 2025 season which played to just under 177,000 people, together with our record-breaking UK & Ireland tour of Fiddler on the Roof which closed earlier this month, we are so looking forward to welcoming both new and returning audiences to the Open Air Theatre this summer. I am particularly delighted that for the third year running we’re maintaining our accessibly priced Monday performances where tickets do not exceed ?35, and that across this year’s season over 46,000 tickets – 24% of total available capacity – are priced at ?25 or under.

Further creative teams and casting for all productions to be announced.

Regent’s Park Open Air Theatre Memberships are now on sale, and Members’ priority booking for the 2026 summer season opens at 12 noon today, with public booking opening at 12 noon on Thursday 5 February 2026.

Visit openairtheatre.com for more information.

A Regent’s Park Open Air Theatre production

SHERLOCK HOLMES
A new mystery by Joel Horwood

Creatives include Lisa Aitken (Co-Costume Designer & Supervisor); Jherek Bischoff (Composer); Charlotte Broom (Movement Director); Stuart Burt CDG, CSA (Casting Director); Ryan Day (Lighting Designer); Carole Hancock (Wigs, Hair & Make Up Designer & Supervisor); Sean Holmes (Director); Elena Pe?a (Sound Designer) and Grace Smart (Set & Co-Costume Designer).

Saturday 2 May – Saturday 6 June 2026

‘Solve this, Sherlock. It may be a game to you; it isn’t to me.’

London, 1890, a city rapidly expanding, devouring all in its path. Fresh off the success of his first big case, Sherlock Holmes misuses his time, until an unknown woman and a mysterious jewel arrive at 221b Baker Street.

As the chase begins, and with lives on the line, can Holmes and Watson pull back the curtain on the big show and reveal the mastermind behind this deadly conspiracy.

From writer Joel Horwood (The Ocean at the End of the Lane, National Theatre, West End & Tour) and directed by Sean Holmes(PinocchioThe Merry Wives of Windsor, Shakespeare’s Globe), comes a thrilling new adventure, hurtling through the streets of London and down the River Thames to the heart of Regent’s Park.

Cast includes Joshua James as Sherlock Holmes.

Supported by Cockayne Grants for the Arts, a Donor Advised Fund, held at The Prism Charitable Trust.

By agreement with the Conan Doyle Estate.

Joel Horwood | Writer

Theatre includes: Gatsby (Uppsala Stadsteater); The Ocean At The End of the Lane (National Theatre/West End/UK Tour); The Great Elephant Chase (Burgtheater, Vienna); Berberian Sound Studio (Donmar Warehouse); The Little Match Girl Other Happier Tales (Shakespeare’s Globe/Bristol Old Vic); I Want my Hat Back (National Theatre);  Wolves Are Coming For You (Pentabus Theatre); This Changes Everything (Tonic Theatre); A Series of Increasingly Impossible Acts (Secret Theatre at the Lyric, Hammersmith).

Sean Holmes | Director

Theatre includes: PinocchioMerry Wives of WindsorRomeo & JulietMuch Ado About NothingComedy of ErrorsThe Winter’s Tale, The TempestHamletTwelfth NightMetamorphosesA Midsummer Night’s DreamHenry VI (Globe); The SeagullTerrorShopping and FuckingBugsy MaloneHeronsSecret Theatre Shows 1, 2, 3, 5 and 7CinderellaDesire Under the ElmsMorningHave I NoneSavedBlastedA Thousand Stars Explode in the SkyThree SistersComedians (Lyric Hammersmith); Ghost Stories (Lyric Hammersmith/Duke of York’s/Liverpool Playhouse/Panasonic Theatre, Toronto/Arts Theatre); A Midsummer Night’s Dream (Lyric Hammersmith/UK Tour/Manchester Royal Exchange/Brisbane Festival/Dublin International Festival); The Plough and the Stars (Abbey Theatre, Dublin/Ireland and US Tour).

Sean was an Associate Director of the Oxford Stage Company (2001 – 2006) and has also worked at the National Theatre, RSC, Tricycle, Royal Court, Donmar Warehouse, Chichester Festival Theatre and the Abbey Theatre, Dublin. Sean is currently Associate Artistic Director of Shakespeare’s Globe. Prior to this, he was the Artistic Director of the Lyric Hammersmith.

Joshua James | Sherlock Holmes

Training: Royal Academy of Dramatic Art.

Theatre includes: Titus AndronicusBringing Up The BodiesWolf Hall (RSC); Stranger Things: The First Shadow (Phoenix Theatre); Some Demon (Arcola); Shooting Hedda Gabler (Rose Theatre Kingston); The VortexPlatonov/The Seagull (Chichester Festival Theatre); The Glass Menagerie (Royal Exchange); Yellowfin (Southwark Playhouse); Anna X (The Vaults); Wife (Kiln Theatre); Lady Windmere’s Fan (Vaudeville Theatre); King LearGabrielThe Tempest (Globe); Life of Galileo (Young Vic); The War Has Not Started Yet (Theatre Royal Plymouth); Here We Go, Light Shining in BuckinghamshireTreasure Island (National Theatre); Fathers and Sons (Donmar Warehouse); The Ritual Slaughter of Gorge MastromasNo QuarterLove and Information (Royal Court).

TV includes: Down Cemetery Road (60Forty/Apple TV+); The New Look (Apple); Black Mirror: Demon 79Black Mirror (Netflix); Andor (Disney+); Why Didn’t They Ask Evans? (Birdbox); The Ipcress FileIdentity (ITV); IndustryRaised By Wolves (HBO); Life (Drama Republic/BBC); Absentia 2 (Sony); McMafia (BBC/AMC); Utopia (Channel Four); WhitesSilent Witness (BBC).

Film includes: CyranoDarkest HourCriminalSummer in February.

A Regent’s Park Open Air Theatre production

A LIFE IN FOUR SEASONS

Vivaldi’s masterpiece reimagined in an electric new dance work

Creatives include Will Burton (Casting Director);Tinuke Craig (Created by); Ryan Dawson Laight (Set & Costume Designer); Alexzandra Sarmiento (Choreographer) and DJ Walde (Composition & Arrangements, based on Vivaldi’s original work).

Thursday 11 June – Sunday 14 June 2026

Everyone is made to forget their cares and to sing and dance
By the air which is tempered with pleasure.

Three Friends. One Life. Four Seasons.

Three friends spring across a vibrant city, life is new, exciting and undiscovered. As summer speeds towards them they grasp the metropolis and push, push, push through to autumn. What will be discovered and what will life bring as they reach the depths of winter?

This pulsating new version of Vivaldi’s The Four Seasons is created by Regent’s Park Open Air Theatre Associate Artistic Director Tinuke Craig (Noughts & Crosses; A Raisin in the Sun, UK Tour) with choreography by Alexzandra Sarmiento (Scissorhandz, Southwark Playhouse; 42 Balloons, West End) and a recorded musical score by award-winning composer DJ Walde (The Importance of Being Earnest, National Theatre & West End; Sylvia, Old Vic).

An audacious evening of contemporary dance set to an electric re-working of one of the world’s musical masterpieces.

Supported by The Thistle Trust.

Tinuke Craig | Created by

Training: LAMDA; National Theatre Studio.

For Regent’s Park: Noughts & Crosses (2025).

As DirectorA Raisin in the Sun (Headlong Tour); The School for Scandal (Royal Shakespeare Company); The Big Life (Theatre Royal Stratford East); Blue (ENO, London Coliseum); Trouble in Butetown (Donmar Warehouse); Jitney (Leeds Playhouse, Old Vic); Last Easter (Orange Tree Theatre); Crave, random/generations (Chichester Festival Theatre); Hamlet For Young Audiences (Dorfman/National Theatre Tour 2020 and 2022); Cinderella (Lyric Hammersmith); Vassa (Almeida Theatre); The Color Purple (Leicester Curve/Birmingham Hippodrome and UK Tour); I Call My Brothers (Gate Theatre); dirty butterfly (Young Vic).

In 2014, Tinuke won the Genesis Future Director Award. She was the Gate’s Associate Director 2015-2016. From 2021-2023 She was Baylis Director at the Old Vic. Tinuke works extensively with Young People and with emerging artists.

A Regent’s Park Open Air Theatre production

A MIDSUMMER NIGHT’S DREAM
By William Shakespeare

Creatives include Atri Banerjee (Director); Naomi Dawson (Set Designer); Anjali Mehra (Movement Director); Maimuna Memon (Composer); T?mas Palmer (Costume Designer); Joshua Pharo (Lighting Designer); Max Pappenheim (Sound Designer) and Jacob Sparrow (Casting Director).

Saturday 20 June – Saturday 18 July 2026

‘Are you sure
That we are awake? It seems to me
That yet we sleep, we dream.’

When a bitter dispute erupts in the fairy kingdom, four fleeing lovers and an unsuspecting weaver called Bottom find themselves adrift in an enchanted forest, down a path of chaos and delusion conjured by the mischievous Puck. 

With desire turned upside down, hearts are won, lost, and won again in a realm of dreams where worlds intertwine and the impossible becomes a distant memory.   

In a blissful new production directed by Atri Banerjee (The Glass Menagerie, Royal Exchange; Julius Caesar, RSC), underscored with folk-infused melodies composed by Maimuna Memon (Portia Coughlan, Almeida; The Grapes of Wrath, National Theatre), experience Shakespeare’s most spellbinding comedy as it blossoms once again in our magical outdoor setting.  

Atri Banerjee | Director
Training: University of Cambridge (BA in English, MPhil in Medieval & Renaissance Literature); Birkbeck, University of London (MFA in Theatre Directing); National Theatre Directors’ Course.

As Director credits include: Julius Caesar (RSC); Look Back in Anger (Almeida); The Glass Menagerie (Royal Exchange/Rose, Kingston/UK Tour); SHED: EXPLODED VIEWHobson’s Choice (Royal Exchange); Britannicus (Lyric Hammersmith); Kes (Octagon, Bolton/Theatre by the Lake); HARM (Bush); Scenes from the Climate Era (Gate); Into the Woods (Bristol Old Vic Theatre School); Europe (LAMDA).

Film includesHARM (Bush/BBC/Angelica Films); This Room, Now (Gate).

Play translations includeAntigone PowerCarbonAll Saints.

Atri is Artistic Lead at the Gate Theatre. He won The Stage Debut Award for Best Director and was nominated for the UK Theatre Award for Best Director in 2019 for Hobson’s Choice (Royal Exchange), and was awarded a 2022-24 Peter Hall Bursary from the National Theatre. Atri sits on the Boards of the Marlowe Theatre, Canterbury and the Regional Theatre Young Directors’ Scheme and was formerly Trainee Director at the Royal Exchange and a Resident Director at the Almeida.

Regent’s Park Open Air Theatre

with Michael Harrison for Lloyd Webber Harrison Musicals presents

CATS

Music by Andrew Lloyd Webber

Based on Old Possum’s Book of Practical Cats by T.S. Eliot

Creatives include Will Burton (Casting Director); Guy Common (Makeup Designer & Supervisor); Sami Fendall (Set, Costume and Wigs Designer); Adam Fisher (Sound Designer); Jessica Hung Han Yun (Lighting Designer); Drew McOnie (Director & Choreographer) and Alex Parker (Musical Supervisor).

Saturday 25 July – Saturday 12 September 2026

‘Another day is dawning.’

From Euston station to Victoria Grove, the strays and rebels of London gather under the Jellicle moon in the hope they’ll be the chosen one. And each of them asks, because each of them dares, who will it be?

With a legendary score featuring Old DeuteronomyMacavity: The Mystery CatThe Jellicle Ball and the chart-topping hit Memory, this brand new production of CATS, directed and choreographed by Regent’s Park Open Air Theatre Artistic Director Drew McOnie (Brigadoon, Jesus Christ Superstar), is sure to be one of the theatrical events of 2026.

By arrangement with LW Entertainment.

Andrew Lloyd Webber | Music

Andrew Lloyd Webber has composed the scores of some of the world’s most famous musicals. His shows have run continuously in London’s West End for 50 years and ran for 43 uninterrupted years on Broadway.

When the original Sunset Boulevard joined School of RockCATS, and The Phantom of the Opera he equalled Rodgers & Hammerstein’s record of four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar, and Tony Awards.

Lloyd Webber owns six London theatres including the iconic London Palladium and Theatre Royal Drury Lane. Reopened in July 2021, the latter was completely restored and renovated at a cost of over ?60 million. This was one of the biggest projects ever undertaken by a private theatre owner in recent times. His mantra is that every penny of profit made from his theatres is ploughed back into the buildings for their conservation and development.

Lloyd Webber is passionate about the importance of musical education and diversity in the arts. Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need, and supports a range of projects such as the Music In Secondary Schools Trust (MiSST).

In academic year September 2025 – 2026, 14,885 children are being given free musical tuition and instruments as part of MiSST’s Andrew Lloyd Webber Programme. The Foundation also commissions research into diversity in theatre.

Andrew Lloyd Webber has composed music for globally significant moments. Most recently, he was asked to compose “Make a Joyful Noise”, the anthem for the Coronation of King Charles III.

Andrew Lloyd Webber was knighted in 1992, created an honorary life peer in 1997, and made a Knight Companion of the Most Noble Order of the Garter by King Charles III in 2024. He is the only person in the arts ever granted this personal honour by a monarch.

Drew McOnie | Director & Choreographer

For Regent’s Park as Director/Choreographer: Brigadoon, On The Town (Director & Choreographer); Jesus Christ SuperstarCarousel (Choreographer).

For McOnie Company: The Artist (Theatre Royal Plymouth – UK Theatre Award Winner for Best Direction); Nutcracker (Southbank Centre – National Dance Award Winner for Best Independent Company); Jekyll and Hyde (Old Vic Theatre – Broadway World Award Winner for Outstanding Achievement in Dance); DRUNK (Bridewell Theatre); Making Midnight (Jermyn Street Theatre/Latitude Festival).

As Director/Choreographer: King Kong (Broadway Theatre – Broadway); Strictly Ballroom (Piccadilly Theatre – West End – What’s On Stage Award Nominee, Best Theatre Choreography); The Wild Party (The Other Palace); Torch Song Trilogy (Turbine Theatre).

As Choreographer: In the Heights (Southwark Playhouse/Kings Cross Theatre – Olivier Award and Offie Award Winner for Best Theatre Choreography); Hairspray (Broadway World Award Winner for Best Theatre Choreography); Oklahoma (UK National Tour); Bugsy Malone (Lyric Hammersmith/UK National Tour); The Lorax (Old Vic Theatre); Sound of MusicChicago (Curve Leicester).

Film includes: Greatest Days – The Official Take That Movie (Choreographer).

Ballet includes: Merlin (Northern Ballet – National Tour); XYZ (Classical Creative Project); Little Red (NYB, Hackney Empire); Old Man of Lochnagar (NYB, Sadler’s Wells).

Drew McOnie became the Artistic Director and Joint Chief Executive of Regent’s Park Open Air Theatre in January 2024. He is also the Artistic Director of The McOnie Company and a proud Associate Artist of The Old Vic Theatre.

A Unicorn Theatre and Regent’s Park Open Air Theatre production 

ANANSI THE SPIDER 
By Justin Audibert 

Creatives include Robin Belfield (Director).

Saturday 15 August – Sunday 6 September 2026

The Greatest Tales Ever Spun.


People say that in a time long, long ago, animals walked on two feet and spoke with words, like we do. And back then, everyone knew that the cleverest of all the animals in the kingdom was a spider – the infamous Anansi – the original trickster and the master spinner of yarns.

But sometimes Anansi could be a little too clever for his own good… 

Following sold-out runs at the Unicorn Theatre in 2023 and 2025, these classic West African and Caribbean folk tales about the mischievous spider who triumphs over larger foes are brought vividly to life by Unicorn Associate Director Robin Belfield. 

Originally produced by the Unicorn Theatre and Birmingham Rep in 2025/2026 

BOX OFFICE INFORMATION

Box Office 0333 400 3562* | openairtheatre.com                              

Inner Circle, Regent’s Park, London, NW1 4NU

* Lines open Monday – Sunday, 10am – 4pm. A ?2.50 per transaction booking fee applies. 0333 numbers are charged at the same rate as calls to 01 and 02 numbers as regulated by Ofcom. Please check with your provider for further details.

Visit openairtheatre.com for latest ticket prices, concessions and discounts.

#OAT2026

Claire Sweeney to play Miss Hannigan in the UK and Ireland Tour of ANNIE

CLAIRE SWEENEY

TO PLAY MISS HANNIGAN

IN THE

UK AND IRELAND TOUR

OF THE MUSICAL

FURTHER CASTING ALSO ANNOUNCED TODAY

Michael Harrison and David Ian are delighted to announce that Claire Sweeney will star as Miss Hannigan in the UK and Irelandtour of the musical ANNIE. Claire will perform from Tuesday 7 July 2026 at the Wales Millenium Centre in Cardiff before playing Milton Keynes, Blackpool, Newcastle, Dublin, Bristol, Nottingham, Hull, Edinburgh, Liverpool, Truro, Cheltenham, Stoke, Crawley, Belfast, Aberdeen, Woking, Bradford, Oxford, Sunderland, Southampton, Norwich, Wolverhampton, Sheffield, Glasgow and Leicester. Tour schedule and on sale details below. www.anniethemusicaltour.uk

Claire will star alongside the previously announced Alex Bourne as Oliver Warbucks, and the newly announced Tanisha-Mae Brown as Grace Farrell, Christian Cooper as Rooster, and Amber Kennedy as Lily St. Regis.

Also joining the company are Jack Buchanan, Harrison Burley, Zoë Canham, Sophie Elmes, Belle Kizzy Green, Issy Khogali, Yujin Park, Elliot David Parkes, Carl Sanderson, Michaela Stern, Matthew Sweet and Jessica Wright.

La Voix will play Miss Hannigan in Wimbledon, Birmingham, Manchester, Plymouth and Canterbury.

Claire Sweeney is an actress, singer and TV presenter. She can currently be seen as series regular Cassie Plummer in Coronation Street and is well known for her role as Lindsay Corkhill in Brookside. Her other credits include roles in Clocking Off, Holby City, Merseybeat, Candy Cabs, Scarborough, The Good Ship Murder and Benidorm.

Claire’s many West End credits include playing Roxie Hart in Chicago at the Adelphi Theatre, and Miss Adelaide in Guys and Dolls, playing opposite Patrick Swayze, at The Piccadilly Theatre. Claire’s other stage credits include starring roles in national tours of 9 to 5 the Musical, Crazy For You, Chitty Chitty Bang Bang, Legally Blonde, Hairspray and September in the Rain. She has played the title role in Educating Rita alongside Matthew Kelly and in 2011, she starred in a new production of Andrew Lloyd-Webber and Don Black’s one-woman show Tell Me on a Sunday. Claire has also toured in the hit show Sex In Suburbia, which she co-wrote, following its hugely successful run at the Royal Court Liverpool. Other theatre credits include Willy Russell’s classic Shirley Valentine, White Christmas, Shout!, a world tour of Fosse, and The Play What I Wrote.

Tanisha-Mae Brown’s theatre credits include Singin’ in the Rain at the Royal Exchange Theatre, Brigadoon at Regent’s Park Open Air Theatre, Guys and Dolls at The Bridge Theatre, Evita at Curve, Leicester, UK and Ireland Tours of The Lion King and Chicago, A Mother’s Song at the Lowry, and Pippin at the Garden Theatre.

Christian Cooper most recently played Rolf Gruber in The Sound of Music at Curve, Leicester, directed by Nikolai Foster. His credits whilst training include The Little Mermaid, The Addams Family, A Little Night Music and Spring Awakening. His film credits include The Radleys for Sky Cinema, opposite Damian Lewis.

Amber Kennedy’s theatre credits include the UK Tour of Sister Act the Musical, UK and International Tours of Joseph and the Amazing Technicolor Dreamcoat, the International Tour of West Side Story, Dick Whittington and Sleeping Beauty, both at Theatre Royal Windsor.

Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Her luck soon changes when she’s chosen to spend a fairytale Christmas with famous billionaire, Oliver Warbucks. Meanwhile, spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search for her true family…

With its Tony award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.

ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.

ANNIE is produced by Michael Harrison and David Ian. This tour was licensed by Music Theatre International (MTI)

ANNIE UK TOUR 2026-27

LISTINGS

SATURDAY 23 – SATURDAY 30 MAY 2026

NEW WIMBLEDON THEATRE

www.atgtickets.com/venues/new-wimbledon-theatre/

ON SALE NOW

La Voix starring as Miss Hannigan

TUESDAY 2 – SATURDAY 6 JUNE 2026

THE ALEXANDRA, BIRMINGHAM

ON SALE NOW

La Voix starring as Miss Hannigan

TUESDAY 9 – SATURDAY 20 JUNE 2026

PALACE THEATRE MANCHESTER

www.atgtickets.com/venues/palace-theatre-manchester/

ON SALE NOW

La Voix starring as Miss Hannigan

MONDAY 22 – SATURDAY 27 JUNE 2026

THEATRE ROYAL PLYMOUTH

https://theatreroyal.com

ON SALE NOW

La Voix starring as Miss Hannigan

TUESDAY 30 – SATURDAY 4 JULY 2026

MARLOWE THEATRE, CANTERBURY

ON SALE NOW

La Voix starring as Miss Hannigan

TUESDAY 7 – SATURDAY 18 JULY 2026

WALES MILLENIUM CENTRE, CARDIFF

https://www.wmc.org.uk/en

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 21 – SUNDAY 26 JULY 2026

MILTON KEYNES THEATRE

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

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 28 – SATURDAY 1 AUGUST 2026

BLACKPOOL OPERA HOUSE

www.wintergardensblackpool.co.uk/our-venues/large-venues/opera-house/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 4 – SATURDAY 8 AUGUST 2026

THEATRE ROYAL, NEWCASTLE

https://www.theatreroyal.co.uk

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 11 – SUNDAY 16 AUGUST 2026

BORD GAIS ENERGY THEATRE, DUBLIN

www.bordgaisenergytheatre.ie/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 18 – SUNDAY 23 AUGUST 2026

BRISTOL HIPPODROME

www.atgtickets.com/venues/bristol-hippodrome/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 1 – SUNDAY 6 SEPTEMBER 2026

CONCERT HALL, NOTTINGHAM

https://trch.co.uk

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 8 – SUNDAY 13 SEPTEMBER 2026

HULL NEW THEATRE

https://www.hulltheatres.co.uk/hull-new-theatres

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 15 – SUNDAY 20 SEPTEMBER 2026

EDINBURGH PLAYHOUSE

www.atgtickets.com/venues/edinburgh-playhouse/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 22 – SATURDAY 26 SEPTEMBER 2026

LIVERPOOL EMPIRE

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

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 29 – SUNDAY 4 OCTOBER 2026

HALL FOR CORNWALL, TRURO

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 6 – SUNDAY 11 OCTOBER 2026

THE EVERYMAN THEATRE, CHELTENHAM

https://www.everymantheatre.org.uk

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 13 – SUNDAY 18 OCTOBER 2026

REGENT THEATRE, STOKE-ON-TENT

www.atgtickets.com/venues/regent-theatre/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 20 – SATURDAY 24 OCTOBER 2026

THE HAWTH THEATRE, CRAWLEY

www.parkwoodtheatres.co.uk/the-hawth

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 27 – SATURDAY 31 OCTOBER 2026

GRAND OPERA HOUSE, BELFAST

https://www.goh.co.uk

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 3 – SUNDAY 8 NOVEMBER 2026

HIS MAJESTY’S THEATRE, ABERDEEN

www.aberdeenperformingarts.com/his-majestys-theatre/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

MONDAY 16 – SATURDAY 21 NOVEMBER 2026

NEW VICTORIA THEATRE, WOKING

www.atgtickets.com/woking/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

MONDAY 23 – SATURDAY 28 NOVEMBER 2026

ALHAMBRA THEATRE, BRADFORD

www.bradford-theatres.co.uk/alhambra-theatre

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 15 DECEMBER 2026 – SUNDAY 3 JANUARY 2027

NEW THEATRE OXFORD

www.atgtickets.com/venues/new-theatre-oxford/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

MONDAY 18 – SATURDAY 23 JANUARY 2027

THE SUNDERLAND EMPIRE

www.atgtickets.com/venues/sunderland-empire/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

MONDAY 25 – SATURDAY 30 JANUARY 2027

MAYFLOWER THEATRE, SOUTHAMPTON

www.mayflower.org.uk/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 2 – SUNDAY 7 FEBRUARY 2027

NORWICH THEATRE ROYAL

https://norwichtheatre.org/your-visit/norwich-theatre-royal

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 16 – SUNDAY 21 FEBRUARY 2027

GRAND THEATRE, WOLVERHAMPTON

https://www.grandtheatre.co.uk

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 23 – SATURDAY 27 FEBRUARY 2027

LYCEUM THEATRE, SHEFFIELD

https://www.sheffieldtheatres.co.uk

ON SALE SOON

Claire Sweeney starring as Miss Hannigan

TUESDAY 2 – SUNDAY 7 MARCH 2027

KING’S THEATRE, GLASGOW

www.atgtickets.com/venues/kings-theatre-glasgow/

ON SALE NOW

Claire Sweeney starring as Miss Hannigan

TUESDAY 9 – SUNDAY 14 MARCH 2027

CURVE THEATRE, LEICESTER

ON SALE SOON

Claire Sweeney starring as Miss Hannigan

To Kill a Mockingbird Review

Lyceum Theatre, Sheffield – until 7th February 2026 

Reviewed by Lauren Fordham

5*****

‘To Kill a Mockingbird’ is Harper Lee’s timeless tale of racism, poverty and inequality in 1930s’ Alabama, where a black disabled man, Tom Robinson, (Aaron Shosanya) is falsely accused of raping a white woman, Mayella Ewell (Evie Hargreaves). He is defended by upstanding white lawyer Atticus Finch (Richard Coyle.) It is a story that feels familiar to many people around the world, whether from Lee’s 1960 novel or Robert Mulligan’s 1962 film starring Gregory Peck. 

But in this play, writer Aaron Sorkin has torn up the novel and scattered common notions and emotions of the story – the idea of Finch as benevolent white saviour and Robinson and his fellow people of colour as grateful serfs – and tossed them away. This idea is physically represented in the structure of the play, as unlike the book, the telling of the story is not linear, for example it starts at the end of the story with Scout Finch, Atticus’s daughter (Anna Munden) proclaiming the conclusion that ‘Bob Ewell fell on his knife,’ and proceeds to tell the story via flashbacks. This is my only criticism of the play, to anyone unfamiliar with the plot, like my companion, it made the story somewhat more difficult to follow than if it had progressed chronologically. 

Sorkin deserves praise for deliberately re-centring the principal characters of colour, Tom Robinson (Aaron Shosanya) and the Finch family’s maid, Calpurnia (Andrea Davy.) Gone is Reverend Sykes and his command of Scout, Jem and the people of colour at the trial to ‘stand up, [Atticus] is coming’ in grateful deference. Davy’s Calpurnia is a spitfire ready to ignite when her boss decides she isn’t sufficiently grateful for his work with her community, and Shosanya’s despairing dignity evokes John Coffey from Stephen King’s ‘The Green Mile’ as he relates his attempt to resist Mayella Ewell’s advances without ‘being ugly to her.’

Miriam Buether’s set effectively gives a strong sense of place, from the porch of the Finches’ house to the crowded courtroom, but I think the most powerful scenes are those when there is very little set at all, such as the scene when Atticus keeps vigil for Tom Robinson outside the Maycomb County jail, the stage almost empty save for his reading lamp. The stage being empty except for some bars at the top also effectively evokes Robinson’s bleak jail, and also Scout’s friend Dill’s. 

I want to give praise here to Sorkin’s decision to expand and foreground the role of Dill, and to Dylan Malyn, who plays him. Malyn highlights his comic aspects but also his vulnerability when he weeps at the unfairness of Robinson’s fate, and tells Atticus how his mother  locks him in his bedroom at home in Louisiana. He has a tender chemistry both with Coyle’s Atticus and also Simon Hepworth’s Link Deas, whose wife and mixed race child died as a consequence of segregated,racist and inferior healthcare. This was an aspect of the novel (in which it happens to town drunk Dolphus Raymond, rather than Link Deas) was one I had almost forgotten. It deserved more emphasis in the novel and subsequent adaptations as it is profoundly shocking and sobering, so I am pleased Sorkin’s play emphasises it. It also makes the audience reflect that perhaps Robinson and Boo Radley are not the only mockingbirds of the story. 

The loss of Link Deas’ wife and mixed-race child to segregated, inferior healthcare strikes an emotional chord because even today despite the abandonment of segregation, or perhaps dispelling the White-washed illusion of racial equity, such deaths are not sad relics confined to the past either. The number of non-Hispanic Black women who die in childbirth today is 69.9 deaths per 100000 live births compared with 26.6 deaths per 100,000 live births for non-Hispanic White people.*

Far from the characters of colour being one-dimensional figures of passivity or pity, Calpurnia cannot restrain her anger at the ferociously disproportionate reaction when Robinson is shot trying to flee jail. She bemoans: ‘they shot a one-armed man 17 times.’ The resonance with the current and ongoing extra-judicial shooting of innocent people by USA Immigration and Customs Enforcement today is undeniable. The instruction by Judge Taylor to ‘All Rise,’ literally but also morally against injustices like that perpetrated against not only Tom Robinson, but real people like Keith Porter, Breonna Taylor and Alex Pretti, is a call to arms that we all must heed.

*https://pubmed.ncbi.nlm.nih.gov/38267121/

The Talented Mr Ripley Review

Waterside Theatre, Aylesbury – until Saturday 31st January 2026

Reviewed by Rachel Clark

4****

Do you ever feeling you are being watched?

I have never seen the film or read the book. I can now say the film will be watched in the next few days!

The set is dark and minimal, one thing you have to do is use your imagination to where you are and what is around you, BUT the surprising thing is before you know it you are transported away from New York to Italy, see can see the blue skies and see the sea and the bars etc, smell the atmosphere, from the very minimal set!

Let’s start at the beginning, this is a psychological thriller originally written by Patrica Highsmith and adapted and directed by Mark Leipacher.

Set in the 1950’s conman Tom Ripley struggling in New York, happens to meet Hebert Greenleaf a successful Business man. Herbert finding out that Tom knows his son – Richard Greenleaf – known as Dickie. Herbert offers to pay for Tom to go to Italy and persuade his son to come back to New York to join the family business and the fact that Dickie’s mother in unwell.

Tom Ripley arrives in Italy and soon stays with Dickie for the summer along with Dickies friend Marge. Marge starts to feel left out but gets on with writing her book. They also get a visit from a friend of Dickies – Freddie, whom Tom dislikes. Tom goes away just with Dickie, but then a murder takes place and possibly more to follow……….

From the moment the play starts Ed McVey who plays Tom Ripley is amazing, he speaks so fast you don’t hear him take a breath and is word perfect and in an American accent, he must zone out – truly incredible. Ed McVey came to our screens making his debut in Netflix – The Crown as Prince William, another one I haven’t seen but now feel I have to watch to see Ed McVey, it really was an outstanding performance and this was throughout the play, a full 60 mins the first half and 75 mins the second.

Alongside Ed McVey were Bruce Herbelin-Earle who played Dickie very well and Marge Sherwood played Maisie Smith. Maisie is well known for her part in Eastenders as Tiffany and she has come along way and played the part with the slight American accent very well. On this performance Freddie Miles was played by Lachlan McCall.

The Curious Incident of the Dog in the Night-Time Review

The Little Theatre Leicester – until 31 January 2026

Reviewed by Leanne W

3***

Mark Haddon’s much-loved novel is brought to life in a simple yet effective production at the Little Theatre Leicester. The play follows Christopher Boone, played with precision by Tristan Olesiak, a 15-year-old whose exceptional mathematical ability is matched by his logical and literal view of the world. When Christopher discovers his neighbour’s dog, Wellington, has been mysteriously killed—and is swiftly blamed—he sets out to uncover the truth. His investigation leads him far beyond the initial mystery, unearthing painful revelations within his own family and exposing the secrets his father has long concealed.

Gemma Greaves’ scenic design, constructed by Master Carpenter Dave Towers, cleverly evokes the feel of old-school graph paper. The white, blue-lined surfaces rise to different levels to form walls and doors, creating a visual environment that mirrors Christopher’s structured mindset.

Under the direction of Paul Beasley, a cast of ten brings the story to life. Four performers remain in fixed roles, while the others seamlessly take on multiple characters who populate Christopher’s world. Despite the absence of one cast member in this performance, the overall quality remained impressively unaffected.

The narrative is framed through Christopher’s own words, delivered with clarity and by Karen Sales in the role of his teacher, Siobhan. Making his stage debut, Chris Merricks offers a thoughtful, if not a little empty, portrayal of Ed, Christopher’s father, while Caitlin Mottram brings depth and nuance to the role of his mother.

While this is a solid and commendable amateur production, several roles feel underdeveloped, resulting in missed opportunities for humour and emotional resonance. As a result, the audience is not always given the chance to fully grasp the complexity of Christopher’s relationships or the subtleties of his inner world. Additionally, the inventive set—full of potential for dynamic storytelling—could be utilised more boldly. Props and items hidden within the walls are handled too subtly to be fully appreciated, raising questions about their intended impact. Several moments, unfortunately, slipped into noticeably amateur territory. The overly squeaky rat, the absence of any actual money when characters paid for items, and the use of both a toy dog and an invisible dog all detracted from the production’s realism. The “Swiss Army knife”—which was little more than a basic penknife—also felt inconsistent with the script’s detail. Most challenging to accept, however, was the knocking on invisible doors, a choice that undermined the otherwise thoughtful staging.

Beasley had a golden opportunity with this material, and while the production has many strengths, it ultimately falls short of achieving its full potential

The Constant Wife Review

Theatre Royal, York – until 31st January 2026

Reviewed by Katie Brewerton

4****

The Royal Shakespeare Company‘s adaption of The Constant Wife comes to York Theatre Royal for one week only and is one not to be missed. Starring the fantastic Kara Tointon, best known for her role as Dawn in over 300 episodes of Eastenders. This version of The Constant Wife has been adapted from W Somerset Maugham’s original play by Olivier award winner Laura Wade to bring the play in to the modern world.

The play opens with Bentley (Philip Rham) the Middleton family butler showing Constance’s (Tointon) mother and sister in to the house. They soon begin arguing about whether or not to tell Constance about her husband’s affair with her best friend Marie-Louise. Constance’s sister Martha (Amy Vicary-Smith) is determined to tell Constance the truth, so she can confront her husband, but her old fashioned mother (at this performance played by understudy Jane Lambert) is determined Constance doesn’t find out. It’s just part of a marriage and men are not expected to be monogamous.

After a confrontation involving Marie-Louise’s husband Mortimer (Jules Brown) the inevitable showdown occurs between Constance, husband John (Tim Delap) and Marie-Louise (Gloria Onitiri), with Constance having to decide whether to forgive the betrayal of those closest to her, ask for a divorce or plot her own method of revenge. Poor Bernard Kersal (Alex Mugnaioni) is also a witness to the drama, having arrived to take Constance to the theatre at precisely the wrong time, although could this be his opportunity to finally win Constance’s affection for himself after years of pining. 

The set is cleverly designed, with a mesh backdrop revealing stairs to give the illusion of a large house behind the scenes, set only in one room small alterations are made for flashback scenes.

A great job is done of making it easy and clear for the audience to follow along and understand who’s who and what’s going on, with a recap written in to the story at the beginning of the second act to make sure everyone is up to speed. 

The Constant Wife is funny, set in the 1920s it is still able to resonate today and is a joyous and upbeat night out despite the themes of infidelity and betrayal. Kara Tointon gives a standout 5 start performance and is wonderful as are the rest of the cast, delivering their lines and creating a dramatic environment with ease. 

If you get the chance this feel good play is one not to be missed and is great for women’s empowerment, showing being around for a few more years doesn’t make you more knowledgeable in matters of the heart. 

YENTL, THE AWARD-WINNING AUSTRALIAN PRODUCTION ANNOUNCES FINAL CASTING FOR INTERNATIONAL LONDON PREMIERE

WILD YAK PRESENTS
A KADIMAH YIDDISH THEATRE PRODUCTION

YENTL

BASED ON THE ORIGINAL YIDDISH SHORT STORY BY ISAAC BASHEVIS SINGER

THE AWARD-WINNING AUSTRALIAN PRODUCTION ANNOUNCES FINAL CASTING FOR INTERNATIONAL LONDON PREMIERE

MARYLEBONE THEATRE

6 MARCH – 12 APRIL 2026

TICKETS ON SALE NOW HERE

After a series of triumphant, award-winning, sold-out Australian seasons — including a five-star run at the Sydney Opera House — YentlKadimah Yiddish Theatre’s bold and acclaimed new adaptation of Isaac Bashevis Singer’s story today announces its final casting for its international premiere at Marylebone Theatre from 6 March 2026 for a strictly limited run until 12 April with a press night on 11 March.

Ashley Margolis will play ‘Avigdor’, with Claire Morrissey joining the company as understudy ‘The Figure’, and Michali Dantes as understudy ‘Avigdor’. They join previously announced cast members Amy Hack (After The TrialTen Pound PomsThe Secret She Keepsas ‘Yentl’, Genevieve Kingsford (LeoChopper: The Untold Story) as ‘Hodes’, and Evelyn Krape (BabeBlue HeelersFlying Doctors) as ‘The Figure’, with Kandice Joy (UtopiaFat Tony & Co) as understudy ‘Yentl/Hodes’.

Ashley Margolis’s theatre credits include ‘Darwin’ in Anna Ledwich’s production of The Billionaire Inside Your Head (Hampstead Theatre), Richard Dreyfuss in The Shark Is Broken (UK & Ireland Tour), ‘Telephone Guy’ in Michael Longhurst’s Olivier-nominated production of The Band’s Visit (Donmar Warehouse), Liam in Bad Jews (Arts Theatre, West End), and ‘Chip’ in Disney’s Beauty and the Beast (Original UK Tour). Television credits include Silent WitnessBrassic (Series 6), Father BrownThe City & The CityComedy PlayhouseSome GirlsAnne Frank: A Life in Hiding and Disney’s Vikingskool. Film credits include A Christmas Number OneMoon RockThe Doll’s House and the Audience Award–winning short film Two Minutes (BFI London Film Festival 2024). Radio credits include Almonds and Raisins (Series 2), Stormy ApplauseFranz and FeliceTrustGhost KitchenLenin Forever!Chicken Soup with BarleyZola: Blood, Sex and MoneyParadise LostMarcovaldo and Women in Love.

Claire Morrissey trained at the Royal Academy of Music, London. Theatre credits include ‘Elizabeth’ in Gaslight (English Theatre Hamburg), understudy ‘Winnie’ in Beckett’s Happy Days (Riverside Studios), directed by Sir Trevor Nunn, understudy ‘Mrs Elton’ in The Deep Blue Sea (Haymarket Theatre), various roles in the long-running NewsRevue (Canal Café Theatre), ‘Clarissa’ in Sin & Salvation by the Heather Brothers (Realto Theatre, Brighton), ‘Hermione’ in A Winter’s Tale (Tabard Theatre), Soloist/Group Singer in An Enchanted Evening (Theatre Royal Drury Lane), and ‘Oolie’ in City of Angels (Royal Academy of Music). Television and film credits include ‘Eva’ in Inflicted Kindness (short film), a schoolteacher in three episodes of Doc Martin (ITV), ‘Marsha’ in Bona Vacantia (short film, runner-up for Best Emerging Talent at the Renaissance Film Festival), and Sara Forster in Casualty (BBC One).

Michali Dantes is a British actor and actor-musician of Jewish-Greek descent, trained at the Royal Conservatoire of Scotland. Credits include Jesus Christ Superstar (Watermill Theatre), Cable Street (Marylebone Theatre), Dick Whittington (Queen’s Theatre Hornchurch), First Date (Old Joint Stock Theatre), Not Even the Dogs (Old Red Lion Theatre), Go (Upstairs at the Gatehouse), and The Jungle Book (S4K International).

Yentl is a bold and contemporary reimagining of Singer’s revolutionary tale, staged bilingually in Yiddish and English. Set in an 1870s Polish shtetl, it follows a young woman who, forbidden by Orthodox law from studying Jewish scripture, disguises herself as a man and steps into a world of learning, love and moral conflict. As her pursuit of knowledge deepens, faith, gender, desire and tradition collide, propelling her toward a destiny that challenges every boundary.

The production is directed and co-written by Gary Abrahams with co-writers Galit Klas and Elise Hearst, with set and costume design by Dann Barber, lighting design by Rachel Burke, and original composition and sound design by Max Lyandvert. Yiddish translation is by Professor Rivke Margolis.

Gary Abrahams said, “This isn’t Yentl as you know it. This production reclaims Isaac Bashevis Singer’s original Yiddish short story and reconnects it with its darker and more transgressive roots.  Singer’s spirituality sings throughout, conjuring a world full of dybbuks, demons and ghosts. We are thrilled to have our international premiere in London, a city whose artists, playwrights and directors have been hugely influential to my own work.”

Under the leadership of award-winning directors Evelyn Krape (Artistic Director) and Gary Abrahams (Executive Director), Kadimah Yiddish Theatre (KYT) has re-emerged as one of Melbourne’s most courageous and thought-provoking theatre companies. As the only contemporary bilingual Yiddish-English theatre company in Australia and one of only a handful worldwide, KYT is known for telling urgent, universal stories through a distinctly Yiddish lens.

The Kadimah has championed Yiddish language, culture and theatre since its establishment in Melbourne in 1911 and staged its first in-house production in October 1925, making Kadimah Yiddish Theatre the oldest theatre company in Australia. The London international premiere of Yentl is a major highlight of its 100th anniversary year.

Yentl is presented and managed in the UK by award-winning international production company Wild Yak Productions (The Mongol Khan, London Coliseum; Slava’s SnowShow, West End & UK Tour; What We Talk About When We Talk About Anne Frank, Marylebone Theatre) in association with Counterminers CIC, a younger production company focused on artistic development and industry outreach.

David Copperfield Review

Windsor Theatre Royal – until 24 January 2026

Reviewed by Joanna Huggett

5*****

“I never knew Charles Dickens could be so much fun.”

We had the absolute delight of watching the opening night of Charles Dickens’ “David Copperfield” at the Theatre Royal Windsor, adapted and directed by Abigail Pickard Price to be portrayed by an exceptional cast of 3!

The play successfully re-tells the story of David Copperfield, a boy born into unlucky circumstances and passed between family and friends, and fiends, through the decades of his life. And it achieves this beautifully using only the 3 actors and a simplistic stage set.

The story takes place across many locations, across the ages, using the same simple stage set, but with tiny adaptations and furniture moves, manipulated by the cast “in-flight” during the play itself. Suitcases become tables and chairs, and then a staircase and then occasionally even suitcases. Storage chests become dining tables and then rocks on a sea coastline. It is remarkable how everything on stage is used repeatedly for more new and imaginative purposes.

Which brings me to the exceptional cast.

Eddy Payne plays the part of David Copperfield, probably the easiest part of the show given he only plays the one part, but to his credit – he does narrate the entire story from start to finish, seemingly reproducing most of the 370,000 word original book. Louise Beresford plays many many roles, including David’s mother, his eccentric aunt, his loves and not forgetting Uriah Heep. Luke Barton again plays many many roles, including Pegotty, Ham, and Mr Micawber.

With only the 3 cast, you would have assumed the adaption would ensure only 3 characters appeared on stage at any one time, but there were scenes with as many as 5, all conversing with each other and adding to the humour delivered by the bucket loads.

I won’t give away how the actors change roles, nor how they portray more than one character at a time, that in itself is a wonderful part of the fun and humour of the whole play.

But I will say that, even though I’m not that familiar with the original Charles Dicken’s book, I’m pretty sure it was never as funny and delightful as the version created by Abigail tonight. Indeed, I never knew Charles Dickens could be so much fun.

This is a must-see play, it closes in Windsor on Jan 24th, do not miss it.