Aylesbury Waterside – Wednesday 4th June & Thursday 5th June 2025

Reviewed by Rachel Clark

5*****

Absolutely hilarious – the whole theatre was up in laughter

This play is not to be missed. A production form Say it Again Sorry? The title Earnest? I will say I wasn’t too sure about and never seen the Oscar Wilde play The Importance of being Earnest, but you don’t need to have done. The play the Importance of being Earnest is a play written by Oscar Wilde which revolves around two friends who maintain separate identities in London and in the country to escape social obligations and pursue their romantic interests. This hilarious production was written by Josh King and Simon Paris.

Earnest starts with two actors on the stage Terry – Guido Garcia Lueches – a co-founder of Say it again sorry? And Graham played by Rhys Tees also a co-founder. They start the play and actor playing Earnest doesn’t come on stage on his prompt so the director – Simon Slough who is also the writer (alongside Oscar Wilde), director, Producer, Casting Director plus many more titles too many to list! decides to cast out of the audience.

Simon Slough is brilliant – well saying that the whole of the cast were faultless and funny. Simons picks a member of the audience to play Earnest, so lots of improvisation, with the great help from Terry and Graham. The audience were in tucks of laughter, but it doesn’t stop there as the show goes on there are more members of the audience cast.

I could merrily go and see it again tonight, knowing it will be a different audience with a different cast of theatre goers.

If you get a chance to get tickets, don’t hesitate – you will not regret going for sure!

CAST Theatre, Doncaster -until Saturday 7th June 2025

Reviewed by Adam Craddock

5*****

Tonight it was a pleasure to be invited along to the wonderful CAST Theatre in Doncaster for the first time to review Alan Bleasdale’s “Boys from the Black Stuff” by James Graham. The show follows a group of working class men from the Liverpool 8 postcode in 1982 as they try to keep their cash in hand side hustles quiet from the department of employment and try to navigate the twists and turmoil of their difficult employment situation.

George Caple leads the cast as “Chrissie”. Caple has a brilliant naturalism, something shared by the entire cast really, but his performance was so relatable, particularly in the latter parts of the show with his conflict about what to do. Jurell Carter was good as “Loggo”, with a real physical presence that at first glance made him stand out from the rest of the cast. You would not have thought that this production was his theatrical debut with how he commanded the stage. Ged McKenna was great as “George”, the real heart of the show and the emotional sounding board for the other characters. His unspoken wisdom was evident and it was a performance that was brilliantly subtle.

Mark Womack was exceptional as “Dixie”. He was brilliantly conflicted as a character, with his troubles at the docks played to perfection. Reiss Barber was great as “Snowy”, being extremely likeable and endearing with his socialist lectures feeling perfect for the setting. However, my absolute standout from the cast was Jay Johnson as “Yosser”. Johnson gave a marvellous physical and vocal masterclass in character work, with his dialed up performance never once dropping or feeling slightly unrealistic, despite how frankly ridiculous his character is. His emotional performance really moved me, in particular when it came to his children, and I can wholeheartedly say this is one of the best character performances I have seen live. Bravo!

The set and props for the production were absolutely perfect, with a beige hue to everything and a real industrial feel, welded metal lining the wings and shipping crates used to build set pieces. The set really surprised me for a play in terms of its production value and this really made some moments feel just that bit more immersive. The lighting and sound design were both spot on, nothing to extraordinary but making it feel brilliantly real.

Overall, I would highly recommend that you go and see “Boys from the Black Stuff” while it is in town. This is an absolutely fabulous production that is so relatable to us all in the north and I strongly feel should be seen by all.

Mayflower Theatre, Southampton – until 7 June 2025

Reviewed by Joanna Huggett

5*****

Last night, my daughter and I had the absolute pleasure of attending The Watermill Theatre’s production of Calamity Jane at the Mayflower Theatre—and what a memorable evening it was! From the moment we stepped inside, we were embraced by a wonderfully warm and welcoming atmosphere. The theatre staff were friendly and attentive, helping to set the tone for what would be an uplifting and thoroughly enjoyable night. The venue itself is a gem—beautifully maintained, spacious, and filled with charm. It provided the perfect backdrop for this lively and heartfelt performance.

The show opened with an energetic rendition of “The Deadwood Stage”, and from that very first number, the production had us hooked. The choreography was punchy and dynamic, drawing the audience in with its energy and flair. One of the aspects we particularly admired was the remarkable versatility of the cast. Not only were they impressive actors, but they also doubled as musicians, effortlessly switching between instruments and roles throughout the performance. It was a real showcase of talent and creativity, and it added a unique layer of intimacy and authenticity to the production.

While we found Act One enjoyable, we must admit that there were a few musical numbers we weren’t familiar with, and towards the end of the act, the pacing began to falter slightly. That said, any slight lull was more than made up for in Act Two, which really came alive with renewed energy and emotional depth. From the opening scenes to the curtain call, we were fully engrossed and entertained.

Two standout performances for us came from Vinny Coyle and Carrie Hope Fletcher. Coyle’s rendition of “Higher than a Hawk” was stirring and heartfelt, while Fletcher’s performance of “Secret Love” was nothing short of sublime—sung with such tenderness and control, it was a genuine highlight of the evening. The chemistry between the two was unmistakable and brought a real emotional weight to the characters’ developing relationship. Their connection felt believable and sincere, drawing us even further into the story.

Of course, staging a musical as beloved and iconic as Calamity Jane comes with its challenges. For fans of the classic film starring Doris Day and Howard Keel—ourselves included—it’s hard not to draw comparisons. That film holds a special place in our hearts as a family favourite. However, we can wholeheartedly say that this production more than rose to the occasion. It offered a fresh and spirited interpretation while staying true to the heart of the story.

We left the theatre smiling, humming the tunes, and full of admiration for what we had just seen. The show was a triumph of creativity, energy, and talent. It’s fair to say we’ll be talking about it for quite some time—and we were still singing the songs all the way home!

Lyceum Theatre, Sheffield – until June 7th 2025

Reviewed by Sharon Farley

5*****

“Keeps its secret hidden until the very end”

When Detective Superintendent Roy Grace reopens an old murder case involving an art dealer, we find ourselves along for the ride as two plot lines coil around each other into one winding thread, leading acrobatically to a double twist at the end. Whilst intriguing, this tale avoids being the standard whodunnit by instead becoming a where-is-it; enough clues are liberally scattered to make the villains quite obvious, but this distracts the audience from the actual mystery embedded in this cat and mouse chase to find a missing masterpiece. The drama is periodically lightened with a sprinkling of well timed laughs along the way.

Adapted from the novel of the same name by Peter James, the story has a large dose of truth behind it; not only is the role of the art forger, Dave Hegarty (Mark Oxtoby), based on a real life character – David Henty – but James was introduced to him by the ex-police officer that arrested him! Indeed, Henty, the copyist that inspired the book, has himself become a much sought after name in the art world for his meticulously produced copies of great masterpieces. The story behind the story is almost as captivating as the play itself.

The success of James’ Roy Grace novels having led to sales surpassing 23 million worldwide plus a hit TV series, ‘Grace’, is most likely due to the deep research he is famed for, and the details are not lost in this production. The police work we see on stage is neither flashy nor action packed, instead it is focused and methodical, lending an aspect of realism that underpins but does not overshadow the other elements of the gently unfolding story. In fact, the presence of each of the characters is extremely well balanced throughout, with almost everyone playing a pivotal role; thus all members of this highly accomplished cast have their own opportunity to shine.

In this classic game of hide and seek, we see DSI Roy Grace played by George Rainsford (Casualty, 2.22 A Ghost Story, Bank of Dave 2), who gives the character a quiet, measured charm, though always with his hands firmly on the reigns of the investigation. Jodie Steele (Malory Towers, Filumena, A Merry Royal Christmas) sizzles as Roberta Kilgore, the elegant but despicable art consultant and henchman, in a way reminiscent of Joanna Lumley’s Patsy Stone in Absolutely Fabulous, though with all the comedy surgically removed and the poise and sneer left perfectly intact. She plays alongside Ore Oduba’s (Strictly Come Dancing, Chitty Chitty Bang Bang, Noughts + Crosses) ice-cold portrayal of Stuart Piper, the high flying art dealer who moves freely with neither morals nor conscience. Though Oxtoby (Eastenders, Silence!, Muppets Most Wanted) as Hegarty serves as the lynchpin around which all other characters are joined, he does so more as a facilitator than a protagonist, allowing others their share of the limelight. But for me, his character is the most complex of the entire piece.

Fiona Wade (Emmerdale, 2.22 A Ghost Story, Silent Witness) and Ben Cutler (The Sandman, War Horse, 7 Days in Entebbe) play Freya and Harry Kipling, the couple who make the discovery of a lifetime with a car boot sale purchase, and bring all the naive innocence of passers-by caught in the crossfire. The polished performance of Adam Morris (Sister Boniface, The Best Exotic Marigold Hotel, Nolly) as TV Antiques expert, Oliver De Souza, sits in contrast to their normality, making his cameo appearance stand out as a key moment. Gemma Stroyan (Taggart, Othello, Lockerbie: A Search for Truth) comes back solidly in the role she originated as Grace’s sidekick, DS Bella Moy. Art thief, Archie Goff is convincingly played by Sean Jones (Hollyoaks, Blood Brothers, Wings).

Divided into two halves, the set design by Adrian Linford (L’etoile, The Mirror Crack’d, Dead Man Walking) appears quite complex but has surprisingly few moving parts; it pairs well with lighting (Jason Taylor: Journey’s End, Some Girls, Treason) to allow numerous locations to emerge. The combined impact of scenery and brilliant cast performances permits the audience to engage fully in yet another highly entertaining stage adaptation of a Roy Grace mystery that keeps its secret hidden until the very end.

Birmingham Hippodrome – until 7th June 2025

Reviewed by Emma Millward 

5*****

Based on the 1999 film of the same name, Cruel Intentions is a jukebox musical with a score made up of hit songs from the 1990s. Inspired by the 1782 novel ‘Les Liaisons Dangereuses‘ by Pierre Choderlos de Laclos, the show was created by Jordan Ross, Lindsey Rosin and the film’s writer and director, Roger Kumble. 

Set in New York City’s Upper East Side, it follows the decadent lives of spoilt and immoral step-siblings Kathryn Merteuil (Nic Myers) and Sebastian Valmont (Will Callan). Both are students at the prestigious Manchester Prep, where Sebastian is a relentless womaniser, while Kathryn hides her drug-taking and bed-hopping behind the facade of being a wholesome Christian role model to the other students. They devise a cruel bet with each other. Sebastian must seduce the Headmaster’s daughter Annette (Abbie Budden). If he loses the bet, Kathryn wins his classic car. If he succeeds, Kathryn will sleep with him. Sebastian is surprised to find that Annette is not going to be the willing conquest he expects, as she doesn’t believe in sex before marriage. She also sees through his charming but manipulative ways. Along the way we meet the naïve and clumsy Cecile Caldwell (Lucy Carter), who Kathryn befriends in order to exact revenge as Kathryn’s ex-boyfriend Court Reynolds (Ben Fenwick) dumped her to pursue Cecile.

While following the plot of the film fairly closely, the action is interspersed with songs from such acts as Britney Spears, Ricky Martin and, of course, Bittersweet Symphony by The Verve, which I was so pleased to hear. Some jukebox musicals often shoehorn songs into the narrative and it can become a tad awkward. Cruel Intentions mostly avoids this, possibly because many of the songs featured in the actual film. The production skilfully manages to pack over 24 songs in without overwhelming the storyline. The small but perfectly formed cast is outstanding. Nic Myers and Will Callan were exceptional as Kathryn and Sebastian. Their vocals throughout were amazing. Abbie Budden is great as Annette, who is definitely the most down-to-earth character in an undeniably over-the-top show. For me, two other performances that really stood out were Lucy Carter as Cecile, and Luke Conner Hall as Blaine. Both gave exaggerated comedic performances, particularly during their songs, which the audience loved.

The set and costume design by Polly Sullivan transported us back to the 90s. The backdrop, designed to resemble a lavish mansion, could be quickly transformed into other locations using removable props. The clever lighting design by Nick Riching featured colour-changing panels within the backdrop, further enhancing the scenery changes. Some of the costumes are replicas of outfits the main characters wear in the film and I enjoyed spotting these little touches.

As the show started, we were given a little pep talk via a voice-over by Sarah Michelle Gellar, or, as she calls herself, “The O.G Kathryn’ telling us that “It’s not that difficult. Take out that second-rate phone and hit the silent button!”. This cheeky beginning to the show was a quick reminder that we weren’t in standard musical territory here. This is a show that includes strong, often outdated language, racial discrimination and drug use. The programme warns that the language reflects the 1999 time period. The show still delivers a naughty but nostalgic night out packed with songs that left the audience eager to dance when the curtain call arrived.

NEW MUSICAL

BASED ON NETFLIX MOTION PICTURE

“EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA”

IN DEVELOPMENT

WRITTEN BY WILL FERRELL, HARPER STEELE AND ANTHONY KING

MUSIC BY SAVAN KOTECHA

DIRECTED BY ALEX TIMBERS

Today, on the heels of the Eurovision Song Contest 2025, producer Lia Vollack announced the development of a new musical based on the Netflix motion picture, Eurovision Song Contest: The Story of Fire Saga. The production will feature book by Will Ferrell, Harper Steele and Anthony King, music by Savan Kotecha, and will be directed by Alex Timbers.

“We are more than excited to bring Eurovision to Broadway,” stated Ferrell. “The stage musical is a perfect place to continue our celebration of all the things we love about this amazing and unifying song competition.”

“Will Ferrell and Harper Steele are my comedy heroes,” stated Timbers. “And when I first saw their joyful movie “Eurovision” during the pandemic, it buoyed spirits during a very dark time. With this stage adaptation, I can’t wait to bring that same mix of heart, spectacle, irreverence, and awe to audiences across the world.”

“This is a stellar team for what I am sure will be an equally stellar adaption of a film the world loved. Our aim always is to bring the joy of the Eurovision Song Contest to more people globally – especially as we approach our 70^th edition in 2026,” stated Martin Green CBE Director, Eurovision Song Contest.

The 2020 film starred Ferrell alongside Rachel McAdams and tells the story of aspiring Icelandic musicians Lars Erickssong and Sigrit Ericksdottir as they are given the chance to represent their country at the world’s most famous song competition. The film’s original song “Husavik (My Hometown),” written by Savan Kotecha, Fat Max Gsus, and Rickard Göransson, was nominated for an Academy Award for “Best Original Song” in 2020.

# # # #

The Eurovision Song Contest is the world’s largest live music event and a global superbrand, reaching 166 million viewers around the world on TV and with 19.9 million views on YouTube. It is organized annually by the European Broadcasting Union (EBU), the world’s foremost alliance of public service media (PSM). The competition has taken place every year since 1956 with notable winners such as ABBA and Celine Dion. The Eurovision Song Contest is a celebration of inclusivity, diversity and the power of music to unite.

Netflix is one of the world’s leading entertainment services with over 300 million paid memberships in over 190 countries enjoying TV series, films and games across a wide variety of genres and languages. Members can play, pause and resume watching as much as they want, anytime, anywhere, and can change their plans at any time.

NETWORK THEATRE – UNTIL 7th JUNE 2025

Reviewed by Jackie Thornton

5*****

Who knew that tucked away beneath the railway arches of Waterloo Station lies a little gem of a community theatre bringing contemporary and classic works to the stage?

The Acting Gymnasium’s reimagining of Shakespeare’s Twelfth Night as 1970s disco culture is a delight.

Adapted and directed by Gavin McAlinden, the bard’s well-known romantic comedy is given fresh life with shiny disco balls, a glittering Duke’s Bar backdrop and all the flairs, fluorescence and bling synonymous with the Saturday Night Fever era.

The cast of 14 bring a tremendous sense of fun and are already on stage, boogying to disco classics as the audience take their seats. Acting Gymnasium is a weekly acting workshop and proudly inclusive as witnessed in this current performance, which charms with its diversity, adding new cadences and rhythms to Shakespeare’s text.

Charles Worthington as Orsino oozes John Travolta vibes with his killer dance moves while Prilly Lee’s Olivia is a woman on a mission. Caitlin Plummer as Viola/Cesario artfully conveys the heartache of being torn between two identities while Tom Hilton is hilarious as her twin Sebastian, unable to believe his luck when Olivia makes a play for him. Helen Probert ’s Malvolio brings in the belly laughs and Lina’s Feste steals the show with her flirtatious, cheekiness and unforgettable vocals as she takes the lead in various disco hits which really elevate the show.

It’s not that often that you’ll find yourself tapping, clapping or humming along during a Shakespeare play and I challenge you not to leave the theatre without a spring in your step and a smile on your face. Fun, colourful and full of energy.

STAGE AND SCREEN STAR
BRIAN CONLEY
TO PLAY ‘DOCTOR EMMETT BROWN’

AT THE ADELPHI THEATRE

FROM WEDNESDAY 13 AUGUST 2025

Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that stage and screen star Brian Conley will play Doctor Emmett Brown in BACK TO THE FUTURE The Musical at the Adelphi Theatre from Wednesday 13 August 2025, for a strictly limited 12-week run, until Monday 3 November 2025.

Brian Conley said, “Great Scott! I’m absolutely thrilled to be stepping into the DeLorean as Doc Brown – it’s a gift of a part in such an iconic musical. It’s pure, high-voltage fun, and I can’t wait to bring my own spark to the mad genius!”

Brian Conley’s many West End credits include Franklin Hart in 9 to 5 The Musical at the Savoy Theatre, Edna Turnblad in Hairspray at the Shaftesbury Theatre, Caractacus Potts in Chitty Chitty Bang Bang at the London Palladium, the title role in Jolsonat the Victoria Palace, for which he was nominated for an Olivier Award, and Bill in Me and My Girl at the Adelphi Theatre. His touring credits include the title role in Barnum and Fagin in Oliver!. Brian’s TV credits include An Audience with Brian Conley, The Grimleys and The Brian Conley Show, as well as appearing a record eight times on The Royal Variety Performance. Most recently he was on screen as Tom ‘Rocky’ Cotton in BBC’s EastEnders.

Cory English will return to the role of Doctor Emmett Brown from Wednesday 5 November 2025.

The production currently stars Caden Brauch as Marty McFly, Cory English as Doctor Emmett Brown, Sarah Goggin as Lorraine Baines, Orlando Gibbs as George McFly, C.J. Borger as Goldie Wilson and Marvin Berry, Alex Runicles as Biff Tannen, Talia Palamathanan as Jennifer Parker, Lee Ormsby as Strickland and alternate Doctor Emmett Brown, Liam McHugh as Dave McFly, Patricia Wilkins as Linda McFly, and Ellis Kirk as alternate Marty McFly. The cast is completed by Kofi Aidoo-Appiah, Billie Bowman, Ella Beaumont, Gracie Caine, Charlotte Coggin, Lauren Dawes, Alexander Day, Helen Gulston, Matthew Ives, Connor Lewis, Adam Margilewski, Bryan Mottram, Anna Murray, Samuel Nicholas, Louis Quinn, Zachkiel Smith and Grace Swaby-Moore.

The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical enters its 4^th year in London, having had its opening night on Monday 13 September 2021. This year also marks the 40^th anniversary of the original movie, which was released 3 July 1985 in the US.

Performances also began on Broadway on 30 June 2023, with its final performance on 5 January 2025. The North American tour opened in Cleveland, OH, in June 2024 and is currently running in cities across the US and Canada. In addition to the newly announced German and Royal Caribbean productions, the production is also now open Japan and will open in Australia later this year.

The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available and has had over 20 million streams. It features the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode. 

In celebration of last year’s Back to the Future Day, Sony Masterworks Broadway released a Deluxe Edition of the Original Cast Recording both digitally and as a 2-CD set. Available everywhere now, the Deluxe Edition includes 13 never-before-heard demos, alternate and early versions of many of the show’s major numbers, most performed by Glen Ballard himself.

In July 2023, a brand new behind-the-scenes book documenting the of the show, Creating Back to the Future by Michael Klastorin, was released worldwide, published by abrams&chronicle books.

BACK TO THE FUTURE The Musical won the Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical. The productions in London and Manchester have so far been seen by over 1.6 million people and the musical has broken box office records at the Adelphi Theatre.

Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.

Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown.  But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.

BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod CDG for Grindrod Burton Casting.

Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).

BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.

Website: BackToTheFutureMusical.com  

X: @BTTFmusical

Instagram: @BTTFmusical        

TikTok: @BTTFmusical

LISTINGS INFORMATION

BACK TO THE FUTURE The Musical

Adelphi Theatre, Strand, Covent Garden, London, WC2R 0NS

Currently booking until Saturday 3 January 2026

N.B BACK TO THE FUTURE The Musical has partnered with Gala Pro – a revolutionary app for accessibility and translation to enhance accessible experiences at live performances so you can enjoy any performance of Back to the Future with audio description and closed captioning. 

Tickets: from £19.55

Please book via the website: BackToTheFutureMusical.com – no booking fees  

Booking line: 0203 925 2998

REGENT’S PARK OPEN AIR THEATRE ANNOUNCES

FULL CAST FOR BRIGADOON

Regent’s Park Open Air Theatre today announces the full cast for Brigadoon, book and lyrics by Alan Jay Lerner and music by Frederick Loewe, in a new adaptation by acclaimed Scottish playwright Rona Munro and directed and choreographed by Drew McOnie. The captivating Scottish Highlands come to the magical outdoor setting of Regent’s Park in this major London revival for the first time in over 35 years. The production runs from 2 August – 20 September 2025 (Press Night: Monday 11 August at 7.45pm).

Joining the previously announced Danielle Fiamanya (Fiona MacLaren) and Louis Gaunt (Tommy Albright) are Jasmine Jules Andrews (Jean MacLaren), Elizabeth Armstrong (Ensemble), Edward Baruwa (Andrew MacLaren), Norman Bowman (Archie Beaton), Taylor Bradshaw (Ensemble), Chrissy Brooke (Maggie Anderson & Ensemble), Tanisha-Mae Brown (Ensemble), Cavan Clarke (Jeff Douglas), David Colvin (Ensemble & Piper), Adam Davidson (Ensemble), Tim Hodges (Ensemble), Shoko Ito (Ensemble), Gilli Jones (Charlie Dalrymple), Christian Knight (Ensemble & Dance Co-Captain), Anne Lacey (Lundie), Robin Mackenzie (Ensemble), Owen McHugh (Onstage Swing), Nic Myers (Meg Brockie), Danny Nattrass (Harry Beaton), Jessie Odeleye (Offstage Swing), Eve Parsons (Onstage Swing), Bethany Tennick (Ensemble), Dale White (Offstage Swing & Dance Co-Captain), and Liam Wrate (Ensemble).

Drew McOnie said: “I’m thrilled to be directing this brilliant cast in my first season as Artistic Director of Regent’s Park Open Air Theatre. I can’t wait to work with this talented group of artists to bring Brigadoon back to the London stage after a 35-year absence, transporting audiences from Regent’s Park to the Scottish Highlands.”

A Regent’s Park Open Air Theatre production

Lerner & Loewe’s

BRIGADOON

Book & Lyrics by Alan Jay Lerner

Music by Frederick Loewe

In a new adaptation by Rona Munro

Original dances created by Agnes De Mille

Directed by Drew McOnie

Creatives include Laura Bangay (Musical Director); Basia Bińkowska (Set Designer); Will Burton (Casting Director); Sami Fendall (Costume Designer); Carol Hancock (Associate Wigs, Hair & Makeup Designer & Supervisor); Alessandra Davison (Associate Director); Hazel Holder (Voice Coach); Jessica Hung Han Yun (Lighting Designer); Nick Lidster for Autograph (Sound Designer); Ingrid Mackinnon (Intimacy Director); Drew McOnie (Director & Choreographer); Ebony Molina (Associate Choreographer); Morag Stark (Dialect Coach); Sarah Travis (Music Supervisor & Orchestrator).

Saturday 2 August – Saturday 20 September 2025

‘Brigadoon, Brigadoon,

There my heart forever lies’

From the writers of My Fair Lady, Camelot and Gigi, let the magical outdoor setting of Regent’s Park Open Air Theatre transport you to the captivating Scottish Highlands for this major new production of Lerner & Loewe’s musical classic, Brigadoon.

Crash landed in the Highlands of Scotland, WW2 fighter pilots Tommy and Jeff are searching for a way home, whilst just beyond the hills, sisters Fiona and Jean are preparing for a wedding. Over the course of one chance day in the dreamlike village of Brigadoon, their stories entwine. But can love endure in this enchanting place where everything is not quite as it seems?

Not seen in London for over 35 years, Brigadoon features soaring songs including ‘Almost Like Being in Love’, ‘Waitin’ for My Dearie’ and ‘The Heather on the Hill’. In a new adaptation by leading Scottish playwright Rona Munro (The James Plays (Evening Standard Award), Frankenstein), this revival of a theatrical classic is directed and choreographed by Olivier Award winner Drew McOnie (Jesus Christ Superstar) in his first production as Artistic Director of Regent’s Park Open Air Theatre.

Presented by arrangement with Music Theatre International.

Theatre Royal Nottingham – until Saturday 28 June 2025

Reviewed by Amy Coulson

5*****

If you’re looking for something to do over the next couple of weeks, put The Book of Mormon at the top of your list! This outrageous, clever, and wickedly funny musical has landed at Theatre Royal Nottingham and it’s an unmissable theatrical event.

The Book of Mormon follows a pair of Mormon boys sent on a mission to a place that’s a long way from their home in Salt Lake City.

Created by Trey Parker and Matt Stone, the minds behind the Emmy and Peabody award-winning television series South Park, and Robert Lopez, co-creator of Avenue Q and the Oscar winning songwriter behind Disney’s Frozen and Coco, this musical is a masterstroke of satire, heart, and hilarity. Lopez is also the first person ever to achieve a double EGOT – winning at least two Emmys, Grammys, Oscars, and Tonys – a feat reflected in the calibre of this production.

Co-directed and choreographed by the award-winning Casey Nicholaw (Aladdin, Mean Girls, The Prom), this show bursts with energy from start to finish. Parker and Nicholaw’s direction ensures every beat lands – comedically and musically – while Nicholaw’s choreography keeps the stage electric with inventive and tightly executed movement.

From the infectious opening number “Hello!” to the brilliantly over-the-top finale, the cast deliver non-stop energy, razor-sharp timing, and powerhouse vocals. The comedic chemistry between the leads is exceptional, and their performances manage to balance the show’s outrageous humour with genuine heart.

As we follow the journey of Elder Price (Adam Bailey) and Elder Cunningham (Sam Glen) we encounter hilarious characters and witness remarkable scene’s- from the quick change cabaret by the wonderfully camp ensemble led by Elder McKinley (Tom Bales) to powerful solos, heartfelt yet fun, from the character Nabulungi (Nyah Nish).

Behind the scenes, the creative excellence continues with Scott Pask (Scenic Design), Ann Roth (Costume Design), Brian MacDevitt (Lighting), Brian Ronan (Sound Design), and Larry Hochman (Co-Orchestrator), all of whom contribute to the show’s slick and vibrant presentation.

Irreverent, bold, and completely unfiltered, The Book of Mormon isn’t for the easily offended – but if you’re looking for a night of jaw-dropping laughter and unforgettable musical moments, this is the ticket.

Thank you Theatre Royal Nottingham, for an incredible night!

Audio Described performance 14 June 2025 at 2.30pm Captioned Performance 21 June 2025 at 2.30pm Sign Language Interpreted performance 21 June 2025 at 2.30pm