Melting Pot and Birmingham Rep present

FULL CASTING ANNOUNCED FOR

Written by

John Niven

Directed by

Matthew Dunster

the battle that rocked the nation

New company members join previously announced Mathew Horne

Birmingham Rep, Feb ‘26

World Premiere – Prior to the West End

www.thebattleplay.com

Melting Pot and Birmingham Rep co-present The Battle – a new comedy based (mostly) on real events – and today announce full casting for its upcoming Birmingham Rep (Wednesday 11 February – Saturday 7 March) and Manchester Opera House (Tuesday 17 – Saturday 21 March) dates, as rehearsals begin.

Mathew Horne (star of the beloved BBC comedy Gavin and Stacey, The Catherine Tate Show and in the West End, productions of The Tempest and Noises Off) was previously confirmed to play influential Britpop music executive, Andy Ross, caught in the crossfire of one of the most notorious rivalries in British music history.

He is joined by an exciting cast of emergent and established talent including Brandon Bendell (The Lord of The Rings: The Rings of Power, Amazon Prime) as ‘Alex’, Iona Champain (Falling, Falling Falling Falling and Earthquakes in London, Richard Burton Theatre Company ) as ‘Jo’, Harriet Cains (‘Philippa Featherington’ in Netflix’s Bridgerton) as ‘Justine’, Billy Dunmore (Surface, Apple TV) as ‘Guigsy’, Tommy Garside (Sexy Beast, Paramount+; Bodies, Netflix) as ‘Bonehead’, George Greenland (Generation Z,Channel 4, Empire of Light Neal Street) as ‘Alan White’, Oscar Lloyd (Stranger Things: The First Shadow, West End ) as ‘Damon’, Louisa Lytton (‘Ruby Allen’ in BBC 1’s Eastenders; The Girl on the Train, UK Tour) as ‘Meg’, James Oates (Waterloo Road; The Other One, BBC) as ‘Alan McGee’,

Paddy Stafford (Mojo, Redbrick) as ‘Noel’, Will Taylor (The Play That Goes Wrong, UK Tour) as ‘Graham’ and George Usher (a recent Bristol Old Vic Theatre School graduate who makes his professional debut in The Battle) as ‘Liam’,

Opening at The Rep on Wednesday 11 February, The Battle is a blistering and darkly funny exploration of fame, ego, and the cultural clashes of 1990s Britain. The Battle offers an electrifying window into a moment that defined a generation – and changed the face of British music forever. After its World Premiere at The Rep, The Battle then plays Manchester’s Opera House Tuesday 17 – Saturday 21 March.

Reliving the heady summer of 1995 when heavyweights of Britpop, Blur and Oasis, went head-to-head in the greatest chart battle of all time, The Battle is the first stage play by screenwriter and Sunday Times best-selling novelist John Niven Best known for his razor-sharp novels including Kill Your Friends and The Second Coming, John Niven brings his uncompromising voice to the stage for the first time. The Battle draws on his deep insider knowledge of the music industry, shining a satirical light on the chaos behind the cool Britannia façade. The Battle is directed by Matthew Dunster (2:22 A Ghost Story, The Pillowman).

London, 1995. Two of the country’s biggest bands release singles on the same day, commencing the battle of Britpop. On one side, clean-cut, art-school intellectuals from the South. On the other: raw and unapologetic lads from the North. Rivalries flare, friendships fracture and at the centre of it all a mania that would define an era – were you Blur or Oasis?

From the chaos of the Brit Awards to the infamous chart war, The Battle is a wickedly funny dive into one of the greatest rivalries in rock history. Featuring legendary personalities and unforgettable clashes, it was never just about the music, but power, pride, and uncontrollable competitiveness. Expect filthy language and razor-sharp dialogue in this cut-throat new comedy that puts you right at the heart of the feuding, the fame, and the fallout. Get ready to roll with it.

The creative team also includes Fly Davis as Set and Costume Designer, Jessica Hung Han Yun as Lighting Designer, Ian Dickinson as Sound Designer, Tal Rosner as Video Designer and Casting Director, Claire Bleasdale.

The Battle is produced by Melting Pot, Birmingham Rep and Gavin Kalin.

FULL CASTING ANNOUNCED FOR
JEROME KILTY’S DEAR LIAR AT
JERMYN STREET THEATRE

With their revival of Orphans starting performances this week, Jermyn Street Theatre today announces full casting for Jerome Kilty’s Dear Liar – adapted from the correspondence of George Bernard Shaw and Mrs Patrick Campbell. Artistic Director Stella Powell-Jones directs Rachel Pickup and Alan Turkington.

The production opens on Tuesday 10 February, with previews from 5 February, and runs until 7 March 2026 at Jermyn Street Theatre.

Director Stella Powell-Jones today said, “Dear Liar is both an epic forty-year journey – from the fin-de-siècle mood of the late nineteenth century to the German invasion of Paris – and an intensely close-up portrait of two great artists. In their own words, we see how this relationship shaped their art and their lives, revealed through letters filled with love, wit, longing, and bitter recrimination. Jermyn Street Theatre is the perfect home for this intimate epic, and it’s a rare joy to welcome Alan Turkington and Rachel Pickup back to the building—two extraordinary actors who understand the particular pleasures and demands of telling big stories on our bijoux stage. I can’t wait to get started.”

Jermyn Street Theatre presents

DEAR LIAR

Adapted for the stage by Jerome Kilty

from the correspondence of Bernard Shaw and Mrs Patrick Campbell

5 February – 7 March 2026

Press performance: Tuesday 10 February at 7:30pm

Cast: Rachel Pickup (Mrs Patrick Campbell), Alan Turkington (George Bernard Shaw)

Director: Stella Powell-Jones; Set and Costume Designer: Tom Paris;

Lighting Designer: Chris McDonnell; Composer and Sound Designer: Harry Blake;

Associate Director and Movement Director: Elliot Pritchard

1940. The Germans advance on Paris. A case stuffed with letters is smuggled to London.

Inside, a remarkable story about – and by – two remarkable people: the brilliant actress ‘Mrs Pat’ and George Bernard Shaw. They met in 1899. They made Pygmalion. World Wars started and stopped, and started again. They fell in love. They fell apart. And through it all… they wrote.

Jerome Kilty’s play reveals the extraordinary bond between these two theatrical titans. In their witty, unfiltered words, attraction collides with ambition as the world transforms around them. A play about how we change — and what we hold on to.

Jerome Kilty (1922 – 2012)was an actor and playwright whose work spans stage and screen across the US and internationally. As a playwright, his other notable works include Dear Love, The Ideas of March, The Little Black Book, and Look Away. As an actor, he appeared with companies including the American Repertory Theater and the Opera Company of Boston.

Rachel Pickup plays Mrs Patrick Campbell – she returns to Jermyn Street Theatre following her performances in The Tempest, The Odyssey, For Services Rendered, and Barefoot in the Park. Her other theatre credits include The Daughter of Time (Charing Cross Theatre), Twelfth Night, Still Life (The Mill at Sonning), Present Laughter (St James Theatre, NYC), The Merchant of Venice (Lincoln Center Festival, New York City/Shakespeare’s Globe/international tour), London Assurance, The Home Place, Breath, Play, Act Without Words, Dancing at Lughnasa, Airswimming (Irish Repertory Theatre, NYC), Intelligence (New York Theatre Workshop), and Private Lives (Hartford Stage). Her television credits include The Gilded Age, Madam Secretary, Grantchester, Dietland, Elementary; and for film, Wonder Woman, Chronic, and The Merchant of Venice.

Alan Turkington plays George Bernard Shaw – he returns to Jermyn Street Theatre following his performances in The First Man and Beowulf. His other theatre credits include Hamlet (Donmar West End), The Tempest, The Winter’s Tale, Pericles (RSC), Spook (London Performance Studios), The Lieutenant of Inishmore (Liverpool Everyman), From Here to Eternity, In the Bar of a Tokyo Hotel (Charing Cross Theatre), Very Special Guest Star (Omnibus Theatre), My Night with Reg (Turbine Theatre), Antony and Cleopatra (National Theatre), John Ferguson, Gates of Hold (Finborough Theatre), Angelic Tales – Three (Theatre Royal Stratford East), Stars in the Morning Sky (Belgrade Theatre), A Cry from Heaven (Abbey Theatre), and John Bull’s Other Island (Tricycle Theatre). His television credits include Heartstopper, Dead Hot, Gangs of London, Hollyoaks, and X Company.

Stella Powell-Jones directs. She is the Artistic Director of Jermyn Street Theatre, a role she has held since 2022 – with her tenure being marked by major milestones, including record-breaking audience numbers, a West End transfer, the theatre’s 30th anniversary, and the launch of the inaugural Women in Theatre Lab. Her directing credits for Jermyn Street Theatre include Eurydice, Little Brother, Owners, Orlando, Parents Evening, The Play About My Dad, and Tomorrow at Noon. Further directing credits include This Is Our Youth (Playground Theatre), The Healing (Theater Breaking Through Barriers, New York), The Mystery of Love and Sex (Signature Theatre, Washington DC), and Trevor (Circle X Theatre, Los Angeles); and as Associate Director, Escaped Alone (Royal Court and International tour), and The Father (Duke of York’s Theatre and UK tour).

FULL CAST ANNOUNCED FOR

 UNFORTUNATE:

THE UNTOLD STORY OF URSULA THE SEA WITCH

AT THE OTHER PALACE, LONDON

RUNNING FROM FRIDAY 6 FEBRUARY 2026  

Book and Lyrics by Robyn Grant & Daniel Foxx
Music by Tim Gilvin

The producers of the critically acclaimed musical parody Unfortunate: The Untold Story of Ursula the Sea Witchare delighted to announce the full cast performing atLondon’s The Other Palace from Friday 6 February for a strictly limited season until Sunday 5 April 2026. 

Unfortunate opened at Lowry for a Christmas season on Friday 5 December, running until Sunday 11 January.

Returning to the show are Sam Buttery (The Voice, BBC; Wreck, BBC; Kaos, Netflix; Little Shop of Horrors, Sheffield Crucible Theatre; The Addams Family Concert, London Palladium) as Ursula, Allie Dart (Homo Alone, The Other Palace; 2:22 A Ghost Story, Apollo Theatre) as Sebastian & others, Blair Robertson (Mamma Mia!, UK & International Tour) as King Triton & others, James Spence (Unfortunate, UK Tour) as Eric & Others and Freya McMahon (Hairspray, UK Tour) as Ensemble.

Joining the cast are Julie Yammanee (Young Frankenstein, Hope Mill Theatre and Liverpool Playhouse; Jerry’s Girls, Menier Chocolate Factory) as Ariel plus ensemble members Jacob Whawell (Cilla the Musical, UK tour; Cats, Royal Caribbean) and Kelly Sweeney (Heathers, West End & UK tour; SIX, USA, Mexico and Caribbean).

Bigger, better, ruder and shorter, the 2026 transfer marks the musical’s fourth incarnation following two previous sold-out runs and a successful Christmas season. It will feature a brand-new set and costumes, new jokes, new characters and will play to a new running time of 2 hours and 15 minutes including one interval. Tickets are on sale now.

When Disney released The Little Mermaid in 1989, they had no idea they were giving birth to an icon. Ursula the Sea Witch quickly took her place as the queen of Disney villains: a pop culture legend and a feminist badass. She’s loud. She’s clever. She’s sexy and unapologetically plus-sized. She’s not defined by slipper-sized feet, or enchanted blonde hair, or snow-white skin. Ursula is plump, purple and proud. A queer icon with a message for us ‘poor unfortunate souls’: love the skin you’re in, value your voice over your body, and don’t be afraid to be a little bit nasty.

Cruella told her side, and Maleficent’s had her moment… Now the legendary sea witch is ready to spill in this tell-all tale of sex, sorcery and suckers – a laugh-a-minute dive through Ursula’s backstory filled with a filthy pop soundtrack, much-loved characters as you’ve never seen them before and enough (eco-friendly) glitter to keep you sparkling all the way home. Gather up your merfriends; it’s going to be one hell of a beach party.

Unfortunate first premiered with a sold out run at the Edinburgh Fringe in summer 2019, before heading to Birmingham Hippodrome’s Patrick Studio that Christmas. The show then transferred to Underbelly Earls Court in London and returned for a second sell-out Edinburgh run in 2022. In December 2023 the production returned to London for an 11-week run at Southwark Playhouse Elephant prior to a six-month UK tour in 2024. A Swedish-language production recently finished a 12-week season at Östögtateatern.

Unfortunate the musical parody has book and lyrics by Robyn Grant and Daniel Foxx, with music by award-winning composer Tim Gilvin, direction by Robyn Grant, set and costume design by Jasmine Swan, choreography by Melody Sinclair-Marsh, puppetry and movement direction by Laura Cubitt, orchestration, music production, and music supervision by Nikki Davison & Joe Davison for Auburn Jam, sound design by Ian Dickinson for Autograph, lighting design by Adam King, puppet design by Mikayla Teodoro & Jasmine Swan, puppet makes by Mikayla Teodoro, casting direction by Will Burton CDG, production management by James Anderton and associate direction by Eliza Beth Stevens. The creative associate is Allie Dart, theatrical magic consultant is Chris Cox, intimacy director is Maisie Carter, costume supervisor is Beth Qualter Buncall and props are by Props by Eve.

Unfortunate is produced by Wildpark Entertainment (Lovestuck: A New Musical, Footballers’ Wives the Musical), Runaway Entertainment (The Hunger Games on Stage, Newsies), The Vaults (Stranger Sings), Stoddart Entertainment (Heathers the Musical Australia) and Dianne Roberts (Girl From The North Country, Kathy & Stella Solve a Murder).

Website: Unfortunatemusical.com 

Instagram/TikTok/Facebook @UnfortunateMusical

LISTINGS INFORMATION

Unfortunate: The Untold Story of Ursula the Sea Witch

6 February – 5 April 2026

The Other Palace

12 Palace St, 

London 

SW1E 5JA

Box Office: 020 7592 0302 

theotherpalace.co.uk

Tickets: from £20

Performance times: 

Tue – Sat eves 7:30pm

Fri, Sat & Sun matinees 3pm

Age guidance: 16+

Running time: 2.15 hours including one interval

JILL HALFPENNY TO RETURN TO THE ROYAL EXCHANGE THEATRE IN NOEL COWARD’S PRIVATE LIVES

A Royal Exchange Theatre Production

Noël Coward’s

PRIVATE LIVES 

Director: Blanche McIntyre 

27 March – 2 May 2026

Olivier-winning stage and screen actor Jill Halfpenny will return to the Royal Exchange Theatre in Noël Coward’s PRIVATE LIVES, playing the role of Amanda Prynne. This is Halfpenny’s second time performing at the Manchester venue, following her critically acclaimed performance in A TASTE OF HONEY in 2024. PRIVATE LIVES, Coward’s 14th production at the Royal Exchange, runs from 27 March to 2 May 2026 as part of the theatre’s 50th anniversary programme ‘A Homecoming’, which invites artistic alumni to return ‘home’ to share stories that resonate and celebrate the unique connection between artists and audiences.

This new production of Coward’s vitriol-laced classic is directed by award-winning director Blanche McIntyre, who also makes a welcome return to the Royal Exchange following her production of THE BIRTHDAY PARTY in 2013. 

Halfpenny’s extensive stage credits include Paulette Bonafonté in LEGALLY BLONDE, for which she won an Olivier award, CHICAGO (West End), ABIGAIL’S PARTY (West End), WAY UPSTREAM (Chichester Theatre), IN A WORD (Young Vic) and A TASTE OF HONEY (Royal Exchange). She is also a renowned TV actress and known for her most recent roles in THE FEUD (Channel 5), DADDY ISSUES S2 (BBC), AFTER THE FLOOD S2 (Quay Street Productions / ITV), THE LONG SHADOW (New Pictures / ITV) and EVERYTHING I KNOW ABOUT LOVE (BBC 1). Most recently Halfpenny starred in the new Paramount+ psychological thriller GIRL TAKEN, released in January 2026. 

Jill Halfpenny said: ‘The Royal Exchange has always had a special place in my heart, so I am delighted to be returning to the theatre to celebrate its 50th anniversary season. Private Lives perfectly showcases Noël Coward’s genius, and I can’t wait to step into Amanda’s feisty shoes to bring this classic comedy caper to life.’

The creative team includes Designer, Dick Bird; Lighting Designer, Johanna Town; Sound Designer, Gregory Clarke; Fight Director, Philip d’Orleans and Casting Director, Annelie Powell CDG, who will bring this Coward classic to life on the Royal Exchange’s iconic stage. 

In Noël Coward’s savage comedy, there’s nothing a cocktail can’t cure as lovers battle to get the upper hand. Wit has never been so razor sharp and passion has never looked so brutal. 

In PRIVATE LIVES, sparks fly on a honeymoon from hell and sexual chemistry is always only a heartbeat away from an explosion. Loved for their sparkling dialogue and art deco glamour, Noël Coward’s plays remain as funny and insightful as when they were written.

Further casting will be announced in due course. 

LISTINGS 

ROYAL EXCHANGE THEATRE  
St Ann’s Square, Manchester, M2 7DH  
Box Office: 0161 833 9833 / royalexchange.co.uk     

A HOMECOMING  
2026 – 2027 
Tickets from £12 

A Royal Exchange Theatre Production   

Noël Coward’s
PRIVATE LIVES 
Director: Blanche McIntyre  
Designer: Dick Bird 
Lighting Designer: Johanna Town 
Sound Designer: Gregory Clarke  

Fight Director: Philip d’Orleans
Casting: Annelie Powell CDG 

Tickets from £12  
27 March – 2 May 2026  

Access Performances  
Captioned (C) Performances: 18 April, 2.30pm and 7.30pm

Sensory Adapted (SA) Performance: 28 April, 6.00pm  
Audio Described (AD) Performance: 29 April, 2.30pm  
BSL-Interpreted (BSL) Performance: TBC  

Box Office: 0161 833 9833  
Online: www.royalexchange.co.uk 

Sheffield Lyceum – until Saturday 10 January 2026

Reviewed by Sharon Farley

5*****

Carlos Acosta’s Nutcracker in Havana is an inspired fusion of Latin and European culture, but also of traditional and modern theatrical technique. From the outset, we are transported to La Habana via the use of video and projections as part of the set created by award-winning designer Nina Dunn (Lazuli Sky, The Damned United, Don Quixote). Blending contemporary presentation with classical performances works to embellish well-established stage productions with a vibrant and compelling visual feast that is truly mesmerising, and this example is an astounding display of what can be achieved. The capacity to present otherwise unobtainable perspectives as well as the scope and variety of landscapes is fully exploited here by Dunn, bringing everything from the deepest jungle to snow in La Habana.

In addition, the familiar score has been re-arranged by composer Pepe Gavilondo Peón to include Cuban rhythms, which brilliantly turns up the energy without diminishing the beauty of Tchaikovsky’s original work. Its tempo is a fitting accompaniment to the phenomenal athleticism of the performers; Acosta Danza are joined by several guest artists in this performance and not only provide a level of energy to compete with any cinematic event, but also veil their obvious strength with all the supreme grace and elegance a night at the ballet has ever promised. There is a dizzying range of technique and style throughout, perfectly creating the mood and narrative for every scene, be it the raucous joy of a family reunion or the cultivated refinement of a palace ball. Particularly memorable performances are given by the dolls Oshun, Chango and Soldadito, played respectively by Carolina Monteagudo, Paul Brando and Alexander Arias with masterful control of movement. Also notable throughout was the performance of Brandy Martinez, whose energetic interpretations of both Fritz and the Russian dancer are breathtaking. Of course, the combination of strength and featherlight grace are embodied by the performance of the piece’s Sugar Plum Fairy, here performed flawlessly by Annette Delgado.

A thoroughly dignified performance of the magician, Tío Elías Drosselmeyer, is given by Alexander Verona (Push, Still Current, Flux), as his character orchestrates the myriad of events. His costume brings all the sparkle of the Christmas season, setting the bar for the spectacular variety of costume design across all the characters; undoubtedly a feather in the cap for costume designer Angelo Alberto.

On reading the programme, we learn how the whole production is infused with symbolism honouring the history and life of Acosta’s native Cuba; the performance is truly an homage to the resilience of the island’s population, where Christmas has been quite a recent addition to their calendar, added thanks to the visit from Pope Jean Paul II in 1998. Other curious elements revolve around the use of the maypole, which Acosta tells us was introduced to Cuba by the British in 1880 and enjoyed by enslaved people on the rare occasion they were allowed opportunities to dance. Also, the design of the hats worn by the Mambises in the ‘battle scene’ are representative of those worn by those who fought for independence from the Spanish for 30 years.

All in all, this production is a thrilling kaleidoscope of colour, magic and joy underpinned by an outstanding creative edge. Although some might question the jarring imagery of a white prince in the midst of such a fabulously diverse cast, it is a minor point that cannot be permitted to detract from an absolutely spectacular performance. Definitely one not to be missed on its current UK tour.

Mayflower Theatre, Southampton – until Saturday 10th January 2026 

Reviewed by Emma Barnes

4****

Could it BE any more nostalgic? From the start, Friends! The Musical Parody at the Mayflower Theatre proves it is far more than a cheap impersonation. It is a well-researched, celebratory tribute that unapologetically embraces the ridiculous, bonkers joy that made the original sitcom a global phenomenon, and we loved every moment . For anyone who spent the 90’s onwards obsessing over the lives of six New Yorkers, this show is a fast-track into pure joy and 90s nostalgia.

From the moment you enter, the production sets a clever tone by casting the theatre audience as a live studio audience in LA, immediately creating high energy and excitement. The cast have clearly put in the hours studying the iconic six; their mannerisms were parodied to perfection. Whether it’s the specific tilt of a head or a nasal catchphrase, the attention to detail was fantastic. This is not a deep meaningful look into friendship,  the parody successfully leans into the most outlandish elements of the sitcom, ensuring the humor lands with comedic authenticity rather than just surface-level mimicry.

Ronnie Burden captures Joey Tribbiani’s dim-witted charm with ease, and Amelia Atherton is wonderful as Phoebe Buffay, nailing the eccentric vocal inflections and guitar-strumming whimsy of the character. The physical comedy is top-tier—Ross’s infamous tight leather pants scene had the entire theatre laughing. It’s those specific, nuanced details that prove the creators really know the show.

Produced by the team behind Hairspray and directed by Michael Gyngell (The Full Monty), the score, although lacking in original tv soundtrack, featuring witty pastiches of Broadway classics. A particular highlight was the “Central Perk Tango,” a sharp and hilarious nod to Chicago’s “Cell Block Tango.”

The attention to props and costumes is on point, adding to a vibrant aesthetic that feels like a 90s time capsule. As a teenager of the 90’s myself , including the full Rachel hair do, I adored the step back in time.  

With 10 series and 236 episodes to pull from, the show is rammed full of content. At times, the pace is so frantic it feels slightly content-heavy, but the die-hard fans in the room clearly lapped up every obscure reference.

Be warned: a reasonable knowledge of the TV series is required. If you don’t know why Monica is wearing a turkey on her head or the significance of a “moo point,” some of the lightning-fast gags might fly over your head. However, the show moves with such momentum that it hardly matters if you miss the occasional beat.  If, like me,  you watched and rewatched most of the episodes at it’s peak 20+ years ago, this is a loving piss-take that hits the mark. A night of feel-good nostalgia where the jokes land, the cameos surprise, and the heart is as big as a cup of coffee at Central Perk.

“So now you know, that I know, that they know”— this show is a total joy that no Friends fan should miss.

Warning: May cause spontaneous pivot-ing!

Leeds Grand Theatre – until Saturday 10 January 2026

Reviewed by Adam Craddock

5*****

Tonight I had the pleasure to be invited along to my first review of the year, Fawlty Towers: The Play at Leeds Grand Theatre. John Cleese is one of my absolute favourite performers of all time and, whilst I am more expert on Month Python, I have a great fondness for Fawlty Towers. After reading the program and the director’s notes I was pleasantly surprised by the premise of the play. Rather than taking an easy route and just doing a compilation of the greatest hits, Cleese has sat down with the 10 episodes and picked 3 of his personal favourites, adapting them as if they were all happening simultaneously over one weekend.

Danny Bayne starred as the iconic Basil Fawlty. As well as having more than a passing resemblance to a younger Cleese, Bayne has the brilliant energy and physicality needed to pull off this iconic character. Whether it be his goose stepping or his charades game for dragonfly, Bayne really does embody this character and delivers on the most dangerous risk of this show, someone else playing Basil! Mia Austen was great as Sybil Fawlty, with a cracking laugh and again, a very respectful nod to the source material. Whilst not having much to do in Act 2, she still was extremely strong when required. Joanne Clifton was brilliant as Polly Sherman, with her apparent mastery of the Spanish language being mightily impressive and some brilliant delivery to her dialogue.

Greg Haiste was fabulous as Mr Hutchinson, the highly irritating spoon seller. His pompous manner was excellent and delivered exactly on this part what was needed. Adam Elliott was fair as Mr Walt, again he really gave a brilliant physical performance, in particular during the chaotic dinner scene. Jemma Churchill was brilliantly awful as Mrs Richards, the deaf and pompous visitor who finds fault in everything. Neil Stewart was hilarious as “The Major”, another slightly senile older character who distrusts all Germans and pursues a rat with his Lee Enfield, what’s not to love! The absolute highlight of the show for myself and my partner however was Hemi Yeroham as Manuel, the constantly put down but ever cheerful waiter from Barcelona. Yeroham was absolutely fantastic and had my partner bent over in stitches with his frenetic physical comedy and flawless delivery of the dialogue. This for me was quintessentially perfect casting! Bravo!

The set was absolutely fabulous, split over two floors and showing off various rooms weighing the hotel. Most of our action takes place in the reception as you would expect, but the whole set was used very effectively. The sound and lighting were both fine to me, no real noteworthy events either way. The costume and hair/makeup teams need to be congratulated for their efforts too, there for me is no chance this happens to be this close to the original without them!

Overall, I would highly recommend you check yourself in to a trip to Leeds Grand to pick this fabulous show up while it is in town. For nostalgic laughter then this is definitely the show for you.

Darlington Hippodrome – until Saturday 10 January 2026

Reviewed by Andrew Bramfitt

4****

If you think you’re safe in the theatre, The Woman in Black is here to prove you very, very wrong.

Opening at Darlington Hippodrome, this latest touring production of the classic ghost story reminds us why it has terrified audiences for over three decades. Stripped-back, shadow-soaked and deliciously unsettling, it proves that when it comes to horror, less really is more — and the theatre remains one of the most thrilling places to be scared witless. Under the assured direction of Robin Herford, this PW Production stays fiercely true to the essence of Susan Hill’s original tale. There are no cheap tricks here — instead, fear creeps in quietly, building through atmosphere, sound and the uncomfortable feeling that something is watching you from just beyond the light.

John Mackay delivers a gripping performance as Arthur Kipps, a man desperate to confront a past that refuses to stay buried. Mackay, well known for his extensive stage work and screen appearances, brings a haunting intensity to the role, drawing the audience into Kipps’ psychological unravelling with unnerving ease. Alongside him, Daniel Burke is superb as The Actor — initially playful and sceptical, before being pulled into the same chilling reality. Burke’s background across theatre and television shines through in a performance that balances wit, precision and mounting dread.

What makes The Woman in Black so effective is its trust in the audience’s imagination. Sparse staging, clever lighting and perfectly timed silences allow fear to bloom in your own mind — often far more terrifying than anything explicitly shown.  The Hippodrome itself becomes part of the experience, its creaks, corners and cavernous space lending themselves beautifully to this classic chiller. It’s a reminder that live theatre can offer thrills no screen ever could.

So, if you’re in the mood for a night of elegant terror, jump scares earned the hard way, and a ghost that refuses to be forgotten — take your seat… if you dare.

LUCIE JONES RETURNS TO THE ROLE OF FANTINE IN

THE WEST END PRODUCTION OF

LES MISÉRABLES

Cameron Mackintosh is delighted to announce that actress, singer and presenter Lucie Jones will return to Boublil and Schönberg’s musical sensation Les Misérables at the Sondheim Theatre in London’s West End.

Jones will play Fantine, a role she has already performed to great acclaim in the West End and more recently on the World Tour Arena Spectacular, for a limited season from Monday 19 January to Saturday 11 April 2026. She joins Ian McIntosh as ‘Jean Valjean’, Sam Oladeinde as ‘Javert’, Adam Gillen as ‘Thénardier’, Claire Machin as ‘Madame Thénardier’, Thiago Phillip Felizardo as ‘Marius’, Amena El-kindy as ‘Éponine’, Joe Griffiths-Brown as ‘Enjolras’ and Izzi Levine as ‘Cosette’.

The company is completed by Hollie Aires, Aidan Banyard, Ella May Carter, Nicholas Carter, Matthew Dale, Irfan Damani, Lily De-La-Haye, Lila Falce-Bass, Sophie-May Feek, Jessica Johns-Parsons, Seán Keany, Chris Kiely, Sam Kipling, Mia Lamb, Sarah Lark, Ollie Llewelyn-Williams, Matthew McConnell, Aaron-Jade Morgan, Adam Pearce, William Pennington, Jordan Simon Pollard, Lewis Renninson, Danielle Rose, Georgia Tapp, Noah Thallon, Imaan Victoria, and Danny Whelan.

Further casting for performances from 2 February 2026 will be announced soon.

Boublil and Schönberg’s magnificent iconic score of Les Misérables with lyrics by Herbert Kretzmerincludes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom.

Les Misérables, which celebrated its record-breaking 40^th Birthday in the West End last October, has been seen by over 150 million people worldwide in 55 countries, 452 cities, and has been translated into 22 languages. It has won over 270 major awards around the world, among which 5 Olivier Awards (including a special recognition award in April 2025), 8 Tony Awards and 5 Helpmann Awards, and the movie won 3 Oscars.

Les Misérables is the longest running and indisputably one of the most popular musicals in the world.

LES MISÉRABLES

Sondheim Theatre, Shaftesbury Avenue, London W1D 6BA

Now booking until 3 October 2026

Prices: Tickets from £25 – No booking fee applies

Box Office: 0344 482 5151

Website: www.lesmis.com

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

HANNAH LOWTHER, GEORGE CRAWFORD,

KAREN MAVUNDUKURE, & ADAM COOPER

TO STAR ALONGSIDE

AMBER DAVIES IN  

LEGALLY BLONDE THE MUSICAL

UK AND IRELAND TOUR

FROM 7 FEBRUARY 2026

FULL CAST ANNOUNCED

Producers ROYO and Curve are delighted to announce that musical theatre and Tik Tok star, Hannah Lowther (SIX, West End; Heathers: The Musical, The Other Palace) will play Margot and Alternate Elle Woods in brand-new Made at Curve production of the West End and Broadway smash-hit LEGALLY BLONDE THE MUSICAL.  Hannah will play the role of Elle Woods when the musical’s star Amber Davies (Strictly Come Dancing, BBC1; The Great Gatsby, London Coliseum; Pretty Woman, UK Tour) is not performing*. The musical will tour the UK and Ireland in 2026, opening at Leicester’s Curve theatre on 7 February and running until 2 January 2027.

They star alongside George Crawford (The Great Gatsby, London Coliseum; Newsies, Troubadour Wembley Park) as Emmett, Karen Mavundukure (Stranger Things, West End, The Colour Purple, Birmingham Hippodrome & UK Tour; Dreamgirls, West End) as Paulette, Adam Cooper (A Chorus Line, Curve/Sadler’s Wells; Matthew Bourne’s Swan Lake, Sadler’s Wells; Billy Elliot, Universal) as Callahan, Jamie Chatterton (The Little Big Things, Soho Place; The Osmonds: A New Musical,UK & Ireland Tour) as Warner, Annabelle Terry (Scissorhandz, Southwark Playhouse Elephant; Hamlet, National Theatre) as Vivienne, Jocasta Almgill (A Chorus Line, Curve/Sadler’s Wells/UK Tour; Grease, Dominion Theatre) as Brooke, Rosanna Harris (Grease, UK Tour; The War of the Worlds: Spirit of Man, Arena Tour) as Serena and Remi Ferdinand (Hamilton, West End; Grease, West End) as Pilar. With Ty-Reece Stewart (Footballer’s Wives, Assembly Rooms Edinburgh; Charlie and the Chocolate Factory, UK & Ireland Tour) as Kyle and Bradley Delarosbel (A Chorus Line, Sadler’s Wells/Curve/Japan; Matilda the Musical, Netflix) as Carlos.

The cast is completed by Keanna Bloomfield (The Sound of Music; My Fair Lady, Curve), James Lim (Disney’s Aladdin, UK Tour; Clueless, West End), Aaron Shales (&Juliet, West End/UK & Ireland Tour; Fantasies Come True, The Other Palace), Jaime Tait (Beautiful: The Carole King Musical, West End; Motown the Musical, West End), Daisy Twells (Muriel’s Wedding, Curve; Heathers, Soho Place/The Other Palace/UK Tour), Louie Wood (Billy Elliot; A Chorus Line, Curve), Raiaz Fisher (TINA: The Tina Turner Musical, West End; Save The Cinema, Sky Cinema), Dylan Gordon-Jones (Freaky Friday The Musical, Home Manchester), Lauren Hampton (Half a Sixpence; Hello Dolly, Bristol Hippodrome) and Ollie Hart-Bradford (Legally Blonde, Curve; Elf, UK Tour).

The multi-award winning LEGALLY BLONDE THE MUSICAL features original music and lyrics by Laurence O’Keefe and Nell Benjamin and a book by Heather Hach, based on the novel LEGALLY BLONDE by Amanda Browning and the iconic 2001 Metro-Goldwyn-Mayer film of the same name starring Reese Witherspoon and Jennifer Coolidge. It is presented by arrangement with Music Theatre International.

LEGALLY BLONDE THE MUSICAL will be directed by Curve’s Artistic Director Nikolai Foster (Kinky Boots; The Wizard of Oz; A Chorus Line) and choreographed by Leah Hill (Kinky Boots, UK and Ireland tour; Beautiful: The Carole King Musical, Curve & UK Tour; The Wiz, Hope Mill Theatre)with musical supervision & additional arrangements by Matt Spencer-Smith (Here & Now, Birmingham Alexandra & UK and Ireland tour; Dear Evan Hansen, UK tour), set design by Colin Richmond (The Little Big Things, Soho Place; The Wizard of Oz, UK tour), costume design by Tom Rogers (Here & Now, Birmingham Alexandra & UK and Ireland tour; A Knight’s Tale The Musical, Manchester Opera House), wigs, hair & make-up design by Sam Cox (Moulin Rouge, West End, Broadway and International Tour; 13 Going On 30 The Musical, Manchester Opera House),lighting design by Ben Cracknell (Clueless, Trafalgar Theatre, The Wizard of Oz, London Palladium), sound design by Adam Fisher (Here & Now, UK & Ireland tour, Evita, London Palladium) and casting by Harry Blumenau CDG CDA (Kinky Boots, UK & Ireland Tour/West End; Ride the Cyclone, Southwark Playhouse Elephant).

LEGALLY BLONDE THE MUSICAL comes hot off the heels of the sell-out tour of KINKY BOOTS, also directed by Foster and co-produced by Curve and ROYO.

“Whoever said orange is the new pink was seriously disturbed”

This ultimate feel-good rom-com, based on the award-winning film starring Reese Witherspoon, follows Elle Woods on her transformation from ‘It Girl’ fashionista to legal ace at Harvard Law School, all in the name of love. Elle must prove she is more than blonde ambition, swap the changing rooms for the courtroom and learn that ‘being true to yourself never goes out of style.’

LEGALLY BLONDE is produced by ROYO and CURVE.

*Please check the website for Amber and Hannah’s performance dates.

Website: www.legallyblondeshow.com

Instagram, Bluesky, TikTok, Facebook: @legallyblondeshow

X: @legallyshow

2026 TOUR SCHEDULE

7 – 21 February                                 Leicester, Curve                                      0116 242 3595

                                                           curveonline.co.uk                                     

24 – 28 February                               Southampton, Mayflower Theatre          02380 711 811

                                                           mayflower.org.uk                                      

3 – 7 March                                        Sheffield, Lyceum                                    0114 249 6000

                                                           sheffieldtheatres.co.uk                             

10 – 14 March                                    Milton Keynes Theatre

                                                           atgtickets.com/miltonkeynes                    

17 – 21 March                                    Southend, Cliffs Pavilion                          0343 310 0030

                                                           thecliffspavilion.co.uk                               

24 – 28 March                                    Canterbury, Marlowe                               01227 787787

                                                           marlowetheatre.com                                 

31 March – 4 April                             Birmingham, The Alexandra

                                                           atgtickets.com/Birmingham                      

7 – 11 April                                         Glasgow, King’s Theatre

                                                           atgtickets.com/Glasgow                           

14 – 18 April                                       Liverpool, Empire Theatre

                                                           atgtickets.com/liverpool                            

21 – 25 April                                       York, Grand Opera House

                                                           atgtickets.com/York                                  

5 – 9 May                                           Truro, Hall for Cornwall                            01872 262 466

                                                           hallforcornwall.co.uk                                 

12 – 17 May                                       Newcastle, Theatre Royal                       0191 232 7010

                                                           theatreroyal.co.uk                                     

19 – 23 May                                       Nottingham, Theatre Royal                     0115 989 5555

                                                           trch.co.uk                                                  

26 – 30 May                                       Oxford, New Theatre

                                                           atgtickets.com/oxford

2 – 6 June                                          Plymouth, Theatre Royal                         01752 267222

                                                           theatreroyal.com

9 – 13 June                                        Leeds, Grand Theatre                              0113 243 0808

                                                           leedsheritagetheatres.com                       

16 – 20 June                                      Cardiff, Wales Millennium Centre

                                                           wmc.org.uk                                               

23 – 27 June                                      Aberdeen, His Majesty’s Theatre

                                                           aberdeenperformingarts.com                   

30 June – 4 July                                Bristol, Hippodrome                                

                                                           atgtickets.com/venues/Bristol                   

7 – 18 July                                         Dublin, Bord Gais Energy Theatre           0818719377 (ROI)

                                                           bordgaisenergytheatre.ie                         08442485101 (UK)

`                                                                                                                           

21 – 25 July                                       Belfast, Grand Opera House

                                                           goh.co.uk                                                  

22 – 26 September                            Norwich, Theatre Royal                           01603 630 000

                                                          norwichtheatre.org                                   

29 September – 3 October                Edinburgh Playhouse

                                                           atgtickets.com/edinburgh                         

6 – 10 October                                   Aylesbury, Waterside

                                                           atgtickets.com/Aylesbury                         

13 – 17 October                                 Wolverhampton, Grand Theatre

                                                           grandtheatre.co.uk                                   

20 – 24 October                                 Wimbledon, New Theatre

                                                           atgtickets.com/Wimbledon                       

27 – 31 October                                 Hull, New Theatre                                    01482 300 306

                                                           hulltheatres.co.uk                                     

3 – 14 November                               Manchester, Opera House

                                                           atgtickets.com/Manchester                      

17 – 21 November                             Stoke, Regents Theatre

                                                           atgtickets.com/stoke                                 

24 – 28 November                             Woking, New Victoria Theatre

                                                           atgtickets.com/new-victoria-theatre          

1 – 5 December                                 Sunderland, Empire

                                                           atgtickets.com/sunderland-empire           

15 December – 2 January 2027        Brighton, Theatre Royal

                                                           atgtickets.com/brighton