Birmingham Hippodrome – until 19th September 2026

Reviewed by Emma Millward

5*****

Fresh from a successful West End run, Mrs Doubtfire The Musical began its first UK and Ireland tour last week, and Birmingham Hippodrome is the perfect setting for its tour debut. Based on the much-loved 1993 film, Mrs Doubtfire follows Daniel Hillard, an out-of-work actor whose divorce leaves him struggling to maintain a relationship with his three children. When he can no longer see them as often as he would like, Daniel comes up with an increasingly elaborate solution. He transforms himself into the Scottish nanny Mrs Doubtfire. Gabriel Vick is excellent as Daniel, bringing impeccable comic timing to the role. His performance as Mrs Doubtfire embraces the physical comedy without simply attempting to imitate Robin Williams’ iconic film performance. Vick gives Daniel a genuine vulnerability, ensuring the character has emotional depth beyond the comedy.

Kara Lily Hayworth brings an endearing strength to Miranda, making sure she is never made to feel like the villain, while Aaliya Mai perfectly portrays Lydia’s struggles to keep her family together. The family relationships provide the emotional centre of the production, allowing the story to explore the impact of divorce and separation on both parents and children. The other children, Christopher (Alexander Beaumont) and Natalie (Hattie Leddington Wright), are given plenty to do, with their individual relationships with Daniel and Miranda adding further depth to the story.

The supporting cast bring plenty of energy and laughs. James Darch brings warmth to Miranda’s new boyfriend Stuart, a character who could easily become a stereotypical love rival.  Kiera Haynes brings dry humour to Janet Lundy, Daniel’s deadpan television studio boss, who he must impress to secure his own show. Mrs Sellner (Samuelle Durojaiye) has many comic moments, especially during the famous ‘meringue face-mask’ scene, as Daniel’s deception becomes harder to maintain. Rhianne Alleyne makes a memorable impression as the flamenco singer in the restaurant scene, with her performance of ‘He Lied to Me’ so infectious that the song stayed in my head all the way home.

Carl Patrick is a delight in the dual roles of Mr Jolly and the Judge, with Mr Jolly’s recurring line, “I’m so confused” becoming one of the show’s most memorable moments. Ryan Pidgen and Jairus McClanahan are hilarious as Daniel’s brother Frank and his partner Andre, especially during the disco-infused song ‘Make Me A Woman’. The ensemble work is consistently strong, bringing Lorin Latarro’s choreography to life with precision and enthusiasm.

One of the production’s biggest theatrical strengths is its transformation magic. The speed of the costume changes, particularly during the final restaurant scene, is impressive. Catherine Zuber’s costumes, Sam Cox’s hair and wig design, and Craig Forrest-Thomas’ make-up design work together seamlessly to bring Mrs Doubtfire to life. Watching Daniel repeatedly transform between his two identities is a reminder of exactly what live theatre can achieve.

Wayne Kirkpatrick and Karey Kirkpatrick’s music and lyrics, with a book by Karey Kirkpatrick and John O’Farrell, expand the original story rather than simply recreating it. One of the most enjoyable changes is the looping sequence, which replaces the memorable Dinosaur rapping section from the film.

Jerry Zaks’ direction keeps the production moving at a lively pace, while David Korins’ set design creates a suitably colourful and adaptable world. There is plenty of humour throughout, but importantly, the more emotional moments are given space to breathe. Mrs Doubtfire succeeds because it understands what made the original story so enduring while making full use of the possibilities of the stage. It never relies entirely on nostalgia and avoids becoming too sentimental.

A thoroughly enjoyable production that delivers plenty of laughs alongside a genuinely touching story about family and the lengths we go to for the people we love. Mrs Doubtfire is funny, heartfelt and fabulous.

THE STAGE DEBUT AWARDS 2026, IN ASSOCIATION WITH NETFLIX SHORTLIST IS ANNOUNCED

•  Sadie Sink, Noah Jupe, Brendan Gleeson, Tom Fletcher, Robert Aramayo and Ralph Fiennes among nominees for The Stage Debut Awards 2026 in association with Netflix
• This year’s nominees range from 21 to 71 years old, with some embarking on stage careers at the beginning of their adult lives, and others embracing work on and off stage after a career in other areas of the arts 
• The shortlist celebrates breakthrough theatre talent from across the UK, with nominees recognised for work in the West End, at regional venues from Cardiff and Mold to Bath, Doncaster and Colchester, and on tour
• Previous winners of the awards who have gone on to have glittering careers in theatre include Rob Madge, Jack Wolfe, Rachel Zegler, Sam Tutty and Grace Hodgett Young
• The winners will be announced at the ninth annual awards ceremony on Sunday 27^th September, with the public invited to vote for the Best West End Debut performer by Sunday 13^th September 

The Stage Debut Awards, in association with Netflix, today announces its 2026 shortlist, celebrating the performers and creatives making standout professional and West End debuts across UK theatre.

This year’s nominees includeStranger Things star Sadie Sink and actor Noah Jupe, both shortlisted for their West End debuts in Romeo and Juliet; Oscar-nominated Brendan Gleeson for his West End debut in The Weir; and BAFTA and Tony-winning actor Ralph Fiennes, recognised for his directorial debut with As You Like It at Theatre Royal Bath.

The winners will be revealed at the ninth annual The Stage Debut Awards ceremony at 8 Northumberland Avenue, London, on Sunday, 27th September 2026.

Across eight categories, the shortlist recognises breakthrough talent on stage and off, spanning performance, writing, directing, design, composition, lyrics and book writing. Nominees come from productions staged in the West End, at major regional theatres, on tour and at fringe venues, underlining the breadth of new talent emerging across the UK. 

Several productions received multiple nominations this year. Romeo and Juliet earns nominations for Noah Jupe in both Best Performer in a Play and Best West End Debut Performer, while The Weir sees both Brendan Gleeson and Kate Phillips shortlisted for their West End debuts. New musical Paddington the Musical receives nominations for Arti Shah and composer-lyricist Tom Fletcher, while Sing Street is recognised across performance and composition categories. Elsewhere, Redcliffe, 1536 and The Fifth Step also feature across this year’s shortlist.

The public-voted Best West End Debut Performer category once again showcases an exceptional mix of established screen talent making their first West End appearances alongside exciting newcomers. Contenders include Oscar-nominated Brendan Gleeson, Stranger Things’ Sadie Sink, Noah Jupe, Liv Hill and Kate Phillips, alongside performers Levi Brown, Cormac McAlinden, Ntombizodwa Ndlovu, Alistair Nwachukwu and Arti Shah.

The Best Performer in a Play category, sponsored by Encore, showcases an exceptional range of breakthrough performances, spanning intimate new writing, Shakespeare, classic revivals and landmark productions. This year’s nominees include BAFTA Rising Star Robert Aramayo for his performance in Guess How Much I Love You? at the Royal Court Theatre, London, Zoë Armer for The Virgins at Soho Theatre, Noah Jupe once more for his acclaimed stage debut in Romeo and Juliet at the Harold Pinter Theatre, Assa Kanouté for Much Ado About Nothing at Shakespeare’s Globe, Erin Kellyman for Evening All Afternoon at the Donmar Warehouse, Dylan Malyn for To Kill a Mockingbird at Leeds Playhouse and on tour, Ruaridh Mollica for Clarkston at the Trafalgar Theatre, London and Amber van der Brugge for Vincent in Brixton at the Orange Tree Theatre. 

The Best Performer in a Musical category,sponsored byMichael Harrison Entertainment, celebrates six standout debut performances that have captivated audiences. The nominees are Jess Douglas-Welsh for Redcliffe at Southwark Playhouse Borough, Jess Folley for Burlesque at the Savoy Theatre, Lydia Louise for Chitty Chitty Bang Bang at the Watermill Theatre, Julianne Pundan for Miss Saigon at the Palace Theatre, Manchester and on tour, James Spence for Thespians at the Mercury Theatre, Colchester and on tour, and Sheridan Townsley for Sing Street at the Lyric Hammersmith. Together, they reflect the breadth of musical theatre talent emerging across the UK, from exciting new writing to large-scale commercial productions. 

The creative categories highlight the diversity of artists making their professional theatre debuts. Theatremakers in the running for Best Writer, sponsored by Sonia Friedman Productions, include Georgie Dettmer for Are You Watching?, Danielle Phillips for Children of the Night and Fran Kranz for Mass alongside Chris Ashworth-Bennion, Hannah Doran, Leo Drayton, John Morton and Jack Nicholls.  

BAFTA and Tony-winning actor Ralph Fiennes receives a nomination for his directorial debut for As You Like It, competing alongside Douglas Clarke-Wood for THIS IS NOT ABOUT ME, at Summerhall, Edinburgh, Tommaso Giacomin for The Uncontainable Nausea of Alec Baldwin at the New Diorama Theatre, London and Michelle McTernan for HOP – The Hopeful Hare at Swansea Grand Theatre for Best Director.

The Best Designer category, sponsored by Preevue, celebrates three exceptional creative debuts that demonstrate the transformative power of design in theatre – from Lev Govorovski and Ted Walliker’s inventive set and lighting design for RON to Alex Mullins remarkable costume design for Teeth ‘n’ Smiles, and Natalie Roar’s bold costume design for Les Liaisons Dangereuses.

Original scores and bold storytelling take centre stage in this year’s Best Composer, Lyricist or Book Writer category, sponsored by Theatrical Rights Worldwide. This year’s nominees are John Carney and Gary Clark for Sing Street, Jordan Luke Gage for Redcliffe, Guido García Lueches and Sergio Antonio Maggiolo for Jeezus!,  Ed Zanders for Thespians.

The Best Creative West End Debut category, sponsored by Jamie Wilson Productions, celebrates work from writer Ava Pickett, director Finn den Hertog,McFly star and composer-lyricist Tom Fletcher and the creative team behind The Unlikely Pilgrimage of Harold Fry, Rachel Joyce and Passenger.

Chair of the judges and The Stage reviews editor Sam Marlowe said:

‘It’s never an easy task, narrowing down the wealth of theatrical talent across the UK into a shortlist – but it is an immense pleasure and a privilege. This year’s nominees have made work of stunning breadth and ingenuity – and, as ever, we recognise and salute those flexing their talents in our smallest spaces, on shoestring budgets, as well as those creating on a much larger scale. From the tiniest fringe venues to the West End stage, they all have one thing in common: a palpable passion for the art form, and limitless vision, both of which continue to make our theatre culture vibrant, challenging, thrilling and beautiful. These are artists taking their first steps with their gaze firmly fixed on the future – and the Debuts celebrates not only their achievements so far, but all those still to come.’

Voting for Best West End Debut Performer opens on Thursday 20th August and can be cast online here. Voting closes on Sunday 13th September.

Winners will be announced at the ninth annual awards ceremony, in association with headline sponsor Netflix, on Sunday 27th September at 8 Northumberland Avenue, London.

The ceremony’s host will be announced soon, alongside the line-up of  guest presenters and performers.

THE FULL LIST OF 2026 NOMINEES IS

Best Performer in a Play (sponsored by Encore)

• Robert Aramayo for Guess How Much I Love You? at Royal Court Theatre, London 
• Zoë Armer for The Virgins at Soho Theatre, London 
• Noah Jupe for Romeo and Juliet at Harold Pinter Theatre, London 
• Assa Kanouté for Much Ado About Nothing at Shakespeare’s Globe Theatre, London 
• Erin Kellyman for Evening All Afternoon at Donmar Warehouse, London 
• Dylan Malyn for To Kill a Mockingbird at Leeds Playhouse, and touring 
• Ruaridh Mollica for Clarkston at Trafalgar Theatre, London 
• Amber van der Brugge for Vincent in Brixton at Orange Tree Theatre, London 

Best Performer in a Musical (sponsored by Michael Harrison Entertainment)

• Jess Douglas-Welsh for Redcliffe at Southwark Playhouse Borough, London  
• Jess Folley for Burlesque at Savoy Theatre, London 
• Lydia Louise for Chitty Chitty Bang Bang at Watermill Theatre, Newbury 
• Julianne Pundan for Miss Saigon at Palace Theatre, Manchester, and touring
• James Spence for Thespians at Mercury Theatre, Colchester, and touring
• Sheridan Townsley for Sing Street at Lyric Hammersmith, London 

Best Writer (sponsored by Sonia Friedman Productions)

• Chris Ashworth-Bennion for The Red Rogue of Bala at Theatr Clwyd, Mold 
• Georgie Dettmer for Are You Watching? at Royal Court Theatre, London
• Hannah Doran for The Meat Kings! (Inc.) of Brooklyn Heights at Park Theatre, London 
• Leo Drayton for Dynolwaith at Sherman Theatre, Cardiff 
• Fran Kranz for Mass at Donmar Warehouse, London 
• John Morton for Eclipse at Chichester Festival Theatre
• Jack Nicholls for The Shitheads at Royal Court Theatre, London 
• Danielle Phillips for Children of the Night at Cast, Doncaster 

Best Director 

• Douglas Clarke-Wood for THIS IS NOT ABOUT ME. at Summerhall, Edinburgh 
• Ralph Fiennes for As You Like It at Bath Theatre Royal 
• Tommaso Giacomin for The Uncontainable Nausea of Alec Baldwin at New Diorama Theatre, London 
• Michelle McTernan for HOP – The Hopeful Hare at Swansea Grand Theatre

Best Designer (sponsored by Preevue)

• Lev Govorovski and Ted Walliker (set and lighting design) for RON at Riverside Studios, London 
• Alex Mullins (costume design) for Teeth ‘n’ Smiles at Duke of York’s Theatre, London 
• Natalie Roar (costume design) for Les Liaisons Dangereuses at National Theatre, London

Best Composer, Lyricist or Book Writer (sponsored by Theatrical Rights Worldwide)

• John Carney and Gary Clark (music, lyrics) for Sing Street at Lyric Hammersmith, London
• Jordan Luke Gage (book, music, lyrics) for Redcliffe at Southwark Playhouse Borough, London 
• Guido García Lueches and Sergio Antonio Maggiolo (book, music, lyrics) for Jeezus! at Underbelly Cowgate, Edinburgh and New Diorama Theatre, London 
• Ed Zanders (music, lyrics) for Thespians at Mercury Theatre, Colchester, and touring 

Best Creative West End Debut (sponsored by Jamie Wilson Productions)

• Finn den Hertog (director) for The Fifth Step at @sohoplace 
• Tom Fletcher (composer/lyricist) for Paddington the Musical at Savoy Theatre
• Rachel Joyce (book) and Passenger (composer/lyricist) for The Unlikely Pilgrimage of Harold Fry at Theatre Royal Haymarket 
• Ava Pickett (writer) for 1536 at Ambassadors Theatre 

Best West End Debut Performer 

• Levi Brown for Cyrano de Bergerac at Noël Coward Theatre 
• Brendan Gleeson for The Weir at Harold Pinter Theatre
• Liv Hill for 1536 at Ambassadors Theatre 
• Noah Jupe for Romeo and Juliet at Harold Pinter Theatre 
• Cormac McAlinden for Inter Alia at Wyndham’s Theatre 
• Ntombizodwa Ndlovu for Marie and Rosetta at @sohoplace 
• Alistair Nwachukwu for The Boy Who Harnessed the Wind  at @sohoplace 
• Kate Phillips for The Weir at Harold Pinter Theatre
• Arti Shah for Paddington the Musical at Savoy Theatre
• Sadie Sink for Romeo and Juliet at Harold Pinter Theatre

With thanks to our sponsors Netflix, Encore, Michael Harrison Entertainment, Preevue, Sonia Friedman Productions, Theatrical Rights Worldwide and Jamie Wilson Productions and our supportersTheatre Royal Haymarket, LAMDA and Cameron Mackintosh.

FULL CASTING ANNOUCNED FOR LONDON TRANSFER OF

MILLION DOLLAR QUARTET

WITH CONNOR PAYNE AS ELVIS PRESLEY, CHRISTOPHER ERASMUS AS JOHNNY CASH, JOE BENCE AS JERRY LEE LEWIS AND JOEY BRADICK AS CARL PERKINS 

DARREN DAY RETURNS AS SAM PHILLIPS IN THE BARN THEATRE’S CRITICALLY ACCLAIMED PRODUCTION

FRIDAY 4 SEPTEMBER – SUNDAY 6 DECEMBER 2026

THE ARTS AT MARBLE ARCH: POWERED BY TODAYTIX

DIRECTED BY JONATHAN O’BOYLE

BOOK BY COLIN ESCOTT AND FLOYD MUTRUX

TICKETS ON SALE HERE

Built by Barn and Steve Spiegel for TRW Production are thrilled to announce full casting for the Barn Theatre’s critically acclaimed production of Million Dollar Quartet, which transfers to London this autumn for a strictly limited season at The Arts at Marble Arch: powered: by TodayTix from Friday 4 September to Sunday 6 December 2026

Connor Payne (Ruth The Musical at Wilton’s Music Hall, Assassins and A Man of No Importance) will reprise the role of Elvis Presley, Christopher Erasmus (Winghaven Park, Beauty and the Beast) will play Johnny Cash, Joe Bence (Death Comes to Pemberley UK Tour, The Farm at Mercury Theatre, Colchester) returns as Jerry Lee Lewis and Joey Bradick (Humbug at Waterloo Vaults, The Cavern Club UK Tour) will play Carl Perkins.

They join previously announced stage and screen favourite Darren Day, who returns as Sam Phillips, alongside Jenay Naima (MJ The Musical at Prince Edward Theatre, Silence! The Musical at Turbine Theatre, The Bodyguard Musical at Theatre by the Sea) as Dyanne, Geraint Downing (A Christmas Carol at the Old Vic, The Lord of the Rings at the Watermill Theatre) as Brother Jay and Josh Haberfield (Buddy – The Buddy Holly Story with Awesome Music Ltd, Aladdin at the Lighthouse Poole, Beauty and the Beast with Paul Holman Associates Ltd) as W.S. “Fluke” Holland. 

The full London company will reprise their roles from the Barn Theatre run.

On the night of December 4th 1956, four men walked into a recording studio in Memphis and made musical history. Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley were brought together by pure chance for a jam session which would go on to shape the trajectory of rock ‘n’ roll globally. Now, 70 years after that legendary meeting, celebrate the anniversary of the night the Million Dollar Quartet came together and changed music forever.

In the studio egos collide, promises are broken and dreams take shape. As the men navigate ambition, rivalry and fame they create the soundtrack that will define an era. Experience the classic songs – “Blue Suede Shoes”, “Fever”, “Walk The Line”, “Hound Dog” (and many more) – in the thrilling atmosphere of that once-in-a-lifetime event.

Starring stage and screen favourite, Darren Day (Hollyoaks, Joseph and the Amazing Technicolor Dreamcoat, Chicago) as Sam Phillips, the visionary producer who discovered the sound of rock ‘n’ roll, alongside a sensational cast and live band, don’t miss this exhilarating celebration of legendary artists.

Playing a strictly limited London season at The Arts at Marble Arch: powered by TodayTix, from September 2026. Book now for the greatest rock ‘n’ roll jam session in history!

The production is directed by Jonathan O’Boyle, with choreography by Joanna Goodwin, set and costume design by Libby Watson, lighting design by Alex Musgrave, sound design by Nick Lodge and musical supervision by Lee Freeman.  

The London transfer follows the production’s extended summer season at the Barn Theatre in Cirencester and continues the theatre’s growing record of developing work in the Cotswolds for wider audiences, under its Built By Barn brand, following the recent West End run and UK tour of its 2023 production of I’m Sorry Prime Minister, I Can’t Quite Remember, as well as the forthcoming UK tour of The King’s Speech. 

Recent critical praise for the Barn production includes:

★★★★ “Under O’Boyle’s assured direction, we get the real people, rather than the legends that they became.” The Stage

★★★★ “The high voltage encore to Jonathan O’Boyle’s production gets the audience to their feet.” Daily Mail

★★★★ “Packed with outstanding musicianship, timeless songs and a cast operating at the top of their game.” West End Best Friend

Iwan Lewis, CEO and Artistic Director of the Barn Theatre, said, “I’m incredibly proud to bring the entire Barn company of Million Dollar Quartet from the Cotswolds to London. As more of our productions take on a future life, it means so much to continue that journey with the artists who made them a success. This company has blown away audiences at the Barn. Now it’s London’s turn.”.

Million Dollar Quartet opened on Broadway in 2010, receiving three Tony Award nominations, including Best Musical, and winning Best Featured Actor in a Musical for Levi Kreis’s portrayal of Jerry Lee Lewis. The musical made its West End

 premiere at the Noël Coward Theatre in 2011, before returning to London as part of an extensive UK tour in 2016 and 2017. It has since been produced across the United States and internationally, earning a reputation as “a feel-good musical with a soundtrack to die for” (The Independent).

JANETTE MANRARA, RUPERT YOUNG, JULIET COWAN, AND WALLIS CURRIE-WOOD JOIN NOAH SCHNAPP 

IN THE CAST OF AFFLUENZA, WRITTEN & DIRECTED BY ANDY SANDBERG 

THE FIRST PLAY IN THE MAINSTAGE SEASON 26/27 AT RIVERSIDE STUDIOS

The Strictly Come Dancing, Bridgerton, Broken Glass, and Madam Secretary stars join Stranger Things’ Noah Schnapp in the first of five new plays largely set in contemporary America, and exploring globally relevant themes.

The creative team for Affluenza, announced today, includes Set Designer Charlie Corcoran, Costume Designer Hannah Schmidt, Lighting Designer Jack Weir, and Sound Designer Emily Drohan. The Casting Director is Nicholas Hockaday, and the Associate Director is Cecilie Fray.

 Affluenza, written and directed by Andy Sandberg, runs 26 September to 21 November 2026

Further casting has now been revealed to join the previously announced Stranger Things star Noah Schnapp in Affluenza, the first play in the Mainstage Season 26/27 at Riverside Studios.

Strictly Come Dancing favourite Janette Manrara will appear in the world premiere of the play, which runs 26 September to 21 November (press night 5 October) alongside Juliet Cowan (Broken Glass, Young Vic), Wallis Currie-Wood (CBS TV’s Madam Secretary, Elektra on West End), and Olivier Award nominee Rupert Young (Bridgerton, Dear Evan Hansen).

The creative team, led by writer/director Andy Sandberg, includes Set Designer Charlie Corcoran and Costume Designer Hannah Schmidt. Lighting Design is by Jack Weir and Sound Design is by Emily Drohan. The Casting Director is Nicholas Hockaday, and the Associate Director is Cecilie Fray.

Mainstage Season 26/27, a major season of five new plays directed by Andy Sandberg, will be performed at Riverside Studios from this September, beginning with three world premieres. Affluenza is followed by Sacrilegious, by Tom Schulman, the Oscar-winning writer of the films Dead Poets Society and Honey, I Shrunk the Kids, which runs from 5 December 2026 to 23 January 2026 (press night 15 December). Expecting, by Scott Elmegreen & Drew Fornarola, runs from 30 January to 27 March 2027 (press night 9 February). Further productions and casting will be announced soon. Andy Sandberg, Artistic Director of the Hermitage Artist Retreat in the U.S., serves as the Season Artistic Director for the Mainstage and will direct each production.

Playwright and Director Andy Sandberg said, “This cast is absolutely extraordinary, and I’m beyond grateful to be working with such a gifted company. To see how each of these brilliant actors has responded to the ‘Affluenza’ script and story is inspiring, and I could not be more excited that they are joining our exceptional creative team to debut this play at Riverside Studios.”

Noah Schnapp is recognised for his versatile talent and wide-ranging work on screen and beyond. He most recently starred as Will Byers in Netflix’s global phenomenon Stranger Things, opposite Winona Ryder and Millie Bobby Brown. Since its debut in 2016, the series has become a cultural landmark, earning over 50 Primetime Emmy Award nominations, a Peabody Award, multiple MTV Movie & TV Awards, and a Screen Actors Guild Award for Outstanding Ensemble. The fifth and final season broke major streaming records for Netflix, becoming its biggest English-language debut ever with 59.6 million views in its first five days and reaching 105.7 million total views to become the #9 most-watched English series of all-time within weeks of its finale. For his work, Schnapp has received a 2022 People’s Choice Award for ‘Male TV Star,’ as well as the ‘Most Frightened Performance’ award at the 2018 MTV Movie & TV Awards and ‘Choice Summer TV Star: Male’ at the 2019 Teen Choice Awards. He is also an honoree of Variety’s Youth Impact Award and was recognised as one of their 2023 Power of Young Hollywood recipients. Outside of Stranger Things, Schnapp previously starred in The Tutor alongside Garrett Hedlund and Victoria Justice. His additional film credits include Waiting for Anya with Anjelica Huston, the indie drama Abe which premiered at Sundance, Adam Sandler’s Netflix comedy Hubie Halloween, Steven Spielberg’s Oscar-winning Bridge of Spies, and the animated feature The Peanuts Movie, in which he voiced the iconic Charlie Brown. Schnapp recently graduated from the University of Pennsylvania, where he pursued cinema and media studies.

Janette Manrara was born to a Cuban family in Miami, Florida. She is best known to audiences in the UK and around the world for Strictly Come Dancing and So You Think You Can Dance?  Following extensive training in theatre and dance throughout her youth and notable appearances on Univision TV, Janette auditioned for the fifth season of Fox’s So You Think You Can Dance?, where she was selected as one of the Top 20 dancers and toured with the show across the USA. Janette moved from Miami to Los Angeles, where she performed with Jennifer Lopez, danced at the Academy Awards, and was cast as a principal dancer on Glee. She then returned to Season 8 of So You Think You Can Dance? as an “All Star,” and shortly after was featured in Dancing with the Stars Live in Las Vegas! Janette subsequently joined the Broadway, West End, and international touring show, Burn the Floor, where she performed across the globe for four years. Following this performance, she was cast as a professional dancer on Season 11 of the BBC 1 hit TV series Strictly Come Dancing, where she first partnered with fashion designer Julien Macdonald. Since then, Janette has been partnered with Jake Wood, Peter Andre, Melvin Odoom, Aston Merrygold, Dr Ranj, Will Bailey MBE, and, most recently, HRVY, reaching the final. Janette has won the Strictly Come Dancing Christmas Special twice. In 2021, Janette took on a new challenge as one of the hosts of It Takes Two. She continued to co-host It Takes Two until 2025, alongside co-hosting the Strictly Live tour across the UK. Janette made her musical theatre debut last year as Roxie Hart in Chicago, touring over 20 venues across the UK and Ireland. In 2024, Janette released her debut book, Tiny Dancer, Big World. Other television credits include: co-hosting on BBC Morning Live, appearances on Mary Berry’s Fantastic Feasts (BBC), Celebrity Mastermind (BBC), Jeremy Vine (Channel 5), Big Week at the Zoo (Channel 5), Inside The Ritz (ITV), CelebAbility (ITV2), Blue Peter (BBC) and Glee. Other theatre credits include: Let’s Face The Music and Dance, A Night To Remember, Dancing in a Winter Wonderland, A Christmas to Remember, Remembering Fred, Remembering the Movies, and a streamed version of Remembering the Oscars.

Juliet Cowan’s theatre appearances include: Broken Glass (Young Vic); Sons of the Prophet (Hampstead); The Memory of Water (Nottingham Playhouse); and The Play About My Dad (Jermyn Street). On television she has appeared in Am I Being Unreasonable?; Dirty Business; Big Boys; Brassic; Culprits; Flatshare; I Hate Suzie; Back to Life; Cuckoo; Kiss Me First; Killed by My Debt; The End of the F**ing World; The Trials; Marley’s Ghosts; Hank Zipzer; Utopia; Fresh Meat; Drifters; Pramface; Misfits; EastEnders; Silent Witness; Skins; Pulling and Shameless. Juliet’s film appearances include Lady; Jay Kelly; Members Club; Falling Into Place; Brakes; Magicians; Lady; and Back to Black.

Wallis Currie-Wood is an actor and musician who was born in Texas and now lives in London. Her stage credits include: Our American Queen (The American Vicarious/Bridewell Theatre) and Elektra (West End). Screen credits include: Clayface (DC Studios), series regular Stevie McCord on Madam Secretary (CBS), The Intern (Warner Bros), and Une Saison a la Juilliard School (ARTE). She attended the Juilliard School in New York.

Rupert Young’s theatre appearances include: Flyby (Southwark Playhouse); Dear Evan Hansen (Noel Coward Theatre, Olivier Award nomination); Twelfth Night (Young Vic); While The Sun Shines (Theatre Royal, Bath); High Society (Old Vic); Company (Southwark Playhouse); Much Ado About Nothing (The Globe) and Afterlife (National Theatre).  On television, Rupert has appeared in Buried; Bridgerton; The New Look; The Bisexual; Will; People Just Do Nothing; The White Queen; Shameless; Merlin; Foyles War and Doc Martin. His film appearances include By The Throat; The Secret Garden; Writers Retreat and Dirty Filthy Love.

Andy Sandberg (Playwright / Director / Mainstage Season Artistic Director)is a New York-based director, writer, and Tony Award-winning producer. He is currently Artistic Director and CEO of the Hermitage Artist Retreat, a leading national arts incubator in the United States. Sandberg’s theatrical work has been represented in New York, London, and throughout the U.S. He directed the UK premieres of Alan Brody’s Operation Epsilon and Jeannette Bayardelle’s Shida, earning multiple Off-West End Award nominations, including Best Director and Best Musical. Additional world premieres as director in New York include Straight (NY Times Critics’ Pick); Application Pending (also co-author; BroadwayWorld Award: Best Off-Broadway Play, Drama Desk nom: Outstanding Solo Show, Winner: Book Pipeline Prize); Shida (Ars Nova and A.R.T., four AUDELCO noms., including Best Director, Best Musical), Craving for Travel (also co-author); and the Off-Broadway musicals The Last Smoker in America and Neurosis, among others. In New York, London, and at the Hermitage, he has directed dozens of workshops and readings of new plays and musicals, including works by Pulitzer Prize, Tony Award, Olivier Award, and Academy Award winners and nominees. He has also written the feature-length screenplays for the films Five More Minutes and Haul Out the Holly, two of Hallmark’s most highly rated Christmas movies. In 2009, at the age of 25, Sandberg became the youngest producer to win a Tony Award. Broadway and West End producing credits include the hit revival of Hair (2009 Tony Award, also West End); the Broadway revival of Gore Vidal’s The Best Man, starring James Earl Jones and Angela Lansbury (2012 Tony nom.); and Will Eno’s The Realistic Joneses, starring Toni Collette, Michael C. Hall, Tracy Letts, and Marisa Tomei. In his role as Artistic Director and CEO of the Hermitage, Sandberg has established the organisation as one of the preeminent new works incubators in the United States, celebrating and elevating the voices of diverse and accomplished artists spanning theatre, music, visual art, dance, film, literature, and more. He recently directed a workshop of Chris Bush’s Hermitage-commissioned play Orlando (FL) at London’s National Theatre. Sandberg is a graduate of Yale University, where he managed and performed with the Whiffenpoofs, the Dramat, and the Yale Alley Cats. He is a member of the Stage Directors & Choreographers Society (SDC), Actors Equity Association (AEA), and the Writers Guild of America (WGA).

The Mainstage Season at Riverside Studios is presented by ABS Productions, Whitney Edwards, Flora Major, Judith Manocherian, Sondra Biller, Drew & Dane & Whitney, and Berman-Cohen Productions.

World Premiere

Affluenza

Written and Directed by Andy Sandberg

Set Designer – Charlie Corcoran

Costume Designer & Associate Set Designer – Hannah Schmidt

Lighting Designer – Jack Weir

Sound Designer – Emily Drohan

Casting Director – Nicholas Hockaday

General Manager – DEM Productions

Production Manager – Jack Boissieux / Dan Steward for JBPM

Additional Material – Scott Elmegreen

Associate Director – Cecilie Fray

Assistant Director – Florence Carr-Jones

Cast includes –

Juliet Cowan, Wallis Currie-Wood, Janette Manrara, Noah Schnapp, Rupert Young

26 September – 21 November 2026

Monday – Saturday at 7.30 pm

Thursday and Saturday matinees at 2.30 pm

(No performance 1 October at 7.30 pm or 7 November at 2.30 pm. Extra performances 4 October at 7.30 pm and 3 November at 2.30 pm)

Captioned performance – 14 Nov at 2.30 pm

Privilege is inherited. So are the consequences.

When a teen’s drunken car ride ends in devastation, the verdict comes down to one question – is it possible to be too affluent to know the difference between right and wrong? Inspired by true events surrounding a shocking legal defence, Affluenza explores the ripple effects of power and privilege.

Set against the ultra-wealthy social haven of the Hamptons, Affluenza raises thought-provoking questions about moral accountability, family legacy, and the American justice system. Do any of us truly understand the cost and generational impact of privilege and opulence?

The world premiere of Affluenza is the first of five plays launching the Mainstage 26/27 season at Riverside Studios, each for a limited eight-week run. This biting and darkly funny new play is written and directed by Andy Sandberg.

MainstageSeason.com

Instagram: @MainstageSeason| Facebook: Mainstage Season| X:@MainstageSeason | TikTok: @MainstageSeason

BOX OFFICE INFORMATION

Box Office:  

MainstageSeason.com

Tickets:

Priced from £25

Concessions available.

All seats £25 at the first preview of each production.

Tickets for Affluenza are now on sale.

BIRMINGHAM REP’S PRODUCTION OF SONDHEIM’S “SWEENEY TODD” BREAKS BOX OFFICE RECORDS

Birmingham Rep’s 5-star production of Stephen Sondheim’s musical masterpiece, Sweeney Todd The Demon Barber of Fleet Street, which ended its run on Saturday 15 August, has broken Box Office records at The Rep.  Based on Box Office income generated over the number of performances it ran, it has become the theatre’s most successful musical production ever.

Celebrated by critics and audiences alike, the show – directed by The Rep’s Artistic Director, Joe Murphy – sold 31,283 tickets, playing to 82% capacity, and taking nearly £1.4million at the Box Office during its six-week run. 

It was seen by people from 53 countries from every continent on earth (except Antarctica!). In the UK audiences visited The Rep from all four corners of the country, from Cornwall to Inverness, from Cardiff to Belfast, with 40% of those coming from Birmingham and the West Midlands. 

Over 430 people saw the show more than once, with one person seeing it nineteen times.

The production, which featured West End and Broadway star, Ramin Karimloo in the title role, singing sensation Meow Meow as Mrs Lovett, and three-time Olivier Award-winning actor David Bedella as Judge Turpin, garnered over twenty 5-star reviews.

Sweeney Todd was directed by The Rep’s Artistic Director, Joe Murphy, who said:

“When I decided to include Sweeney Todd in my first season here at The Rep I could never have imagined the reception it would get. That success is down to everyone who helped bring it to the stage, from the extraordinary company – led by Ramin, Meow and David – to the amazing creative team, and everyone at The Rep who works behind the scenes.

“I’m deeply proud that the show was made here in Birmingham.  Everything, from the set, costumes and props, was created by our wonderfully talented craftspeople.  And we rehearsed the production here too.  I think that led to something really special.

“It’s brilliant that the show has been so popular, attracting people from across the globe to come to The Rep and Birmingham.  Audiences truly took Sweeney to their hearts, and I’ve loved seeing how they responded to it with so much enthusiasm and delight.”

AGATHA CHRISTIE’S

ICONIC THRILLER
‘THE MOUSETRAP’

EXTENDS BOOKING AT

ST MARTIN’S THEATRE

THROUGH TO 18 JULY 2027

The producers of Agatha Christie’s iconic thriller, The Mousetrapare delighted to announce that the show will extend booking at St Martin’s Theatre through to 18 July 2027 due to overwhelming demand and as the play approaches its landmark 75^th anniversary. Tickets on sale now.

The world’s longest running play includes current cast (until 7 November) Saranna Parlone as Mollie Ralston, Ben Riddle as Giles Ralston, Stefan Chanyaem as Christopher Wren, Joanne Henry as Mrs Boyle, James Staddon as Major Metcalf, Anna Rawlings as Miss Casewell, Dugald Bruce-Lockhart as Mr Paravicini, and Ben Galvin as Detective Sgt. Trotter. Completing the cast are Nancy Doubledee, Bella Farr, Barnaby Jago, Richard Parnwell and Clive Marlowe.

The genre-defining murder mystery opened in 1952 and continues to enthral audiences at London’s St Martin’s Theatre, more than 74 years on. Last year the play celebrated its 30,000^th performance in the West End and was presented with a Guinness World Records certificate for the record title longest theatrical run.

In November, The Mousetrap enters its landmark 75th year, further cementing its position as the longest running play of all time. This milestone will be celebrated with a series of significant enhancements planned for St Martin’s Theatre, designed to immerse audiences further in the world of the production while elevating the visitor experience and hospitality offering. The refurbishment will include comprehensive redecoration of the theatre’s public-facing interior spaces, alongside the replacement of the existing bars at stalls, dress circle and upper circle levels and the addition of a new foyer bar, supporting the ongoing conservation of the historic building.

As news spreads of a murder in London, a group of seven strangers find themselves snowed in at Monkswell Manor, a remote countryside guesthouse. When a police sergeant arrives, the guests discover – to their horror – that a killer is in their midst. One by one, the suspicious characters reveal their sordid pasts. Which one is the murderer? Who will be their next victim?

The Mousetrap is produced by Brian Fenty, directedby Denise Silvey with casting by Ellie Collyer-Bristow CDG

LISTINGS INFORMATION

The Mousetrap
St Martin’s Theatre,
West St,
London WC2H 9NZ

Website:  www.themousetrap.com
Twitter:  @TheMousetrapOfficial
Facebook:  @TheMousetrapOfficial
Instagram:  @TheMousetrapOfficial

Ticket Prices from: £25
Current Booking Period: until 18 July 2027
Running Time:  2hrs 20mins

Performances:

Monday to Saturday at 7.30pm
Tuesday, Thursday & Saturday at 3.00pm.

In effect from Monday 9 November:
Monday at 7:30 PM
Tuesday & Thursday at 7:00 PM
Wednesday, Friday & Saturday at 3:00 PM & 7:30 PM

*No shows Thursday 24 December, Friday 25 December, Thursday 31 January.

Christmas 2026/27 Performance Schedule

Monday 21 December                                 3.00pm and 7.30pm

Tuesday 22 December                                3.00pm and 7.30pm

Wednesday 23 December                           3.00pm and 7.30pm

Thursday 24 December                               NO PERFORMANCE

Friday 25 December                                    NO PERFORMANCE

Saturday 26 December                                3.00pm and 7.30pm

Sunday 27 December                                  NO PERFORMANCE

Monday 28 December                                 3.00pm and 7.30pm

Tuesday 29 December                                3.00pm and 7.30pm

Wednesday 30 December                           3.00pm and 7.30pm

Thursday 31 December                               NO PERFORMANCE

Friday 1 January 2027                                 7.30pm

Saturday 2 January                                      3.00pm and 7.30pm

Sunday 3 January                                        NO PERFORMANCE

Cambridge Arts Theatre, Cambridge – until Saturday 22nd August 2026

Reviewed by Steph Lott

4****

Walking out of “Barnum the Circus Musical” at the Cambridge Arts Theatre on Tuesday evening, I found myself caught between conflicting emotions. The audience rose to their feet in a standing ovation, and visually, I couldn’t fault what I had seen. Yet for all its theatrical fireworks, this circus musical left me somewhat emotionally unmoved.

Let me start with what genuinely impressed me. The sheer ambition of staging a circus musical in such a confined space is audacious, and the actor-musicians deserve enormous credit. Playing over 150 instruments live, they created a soundscape that was both intricate and infectious, providing the propulsive energy that kept scenes moving when the narrative threatened to stall. Oti Mabuse’s choreography was impeccably crafted—the dance and circus moves performed in that tight venue were extraordinary. How the cast managed genuine acrobatics and aerial work without injuring themselves remains a mystery to me.

Lee Newby’s set and costume design transported us genuinely into a 19th-century circus. Every detail felt authentic and lovingly rendered, from the aged canvas to the period costumes. Even the elephant (yes, a theatrical one, but utterly charming) added warmth that the human leads couldn’t quite manage.

And here’s the puzzle: surrounded by such technical brilliance, why did I care so little about P.T. and Charity Barnum? Matt Rawle and Monique Young are clearly talented performers, yet their characters felt like ornaments rather than people. The razzmatazz—which should have enhanced their story—instead suffocated it. There’s so much to look at, so much spectacle, that quiet character moments are drowned out. We see P.T. perform success, but we never understand what drives him. What does he truly want? What does he fear losing? Without answers, he remains a performer playing a performer, never quite becoming a person.

The narrative itself lacks tension and pace, which compounds the problem. There are big traumatic events within the story but Barnum shrugs and moves on. However, I did really enjoy Penny Ashmore’s charming performance as Jenny Lind, the Swedish Nightingale. In a supporting role, she sang beautifully and she really looked the part.

Barnum is undoubtedly a technical triumph—a production that showcases genuine theatrical artistry and ambition. But spectacle alone cannot sustain a two-hour musical.

Great theatre balances the dazzle with genuine human emotion. Here, the razzmatazz gets in the way of the story rather than serving it. You leave impressed by what you’ve seen, but unmoved by why you should care.

However, this does not mean you shouldn’t go and see it. Barnum is absolutely worth experiencing for its sheer theatrical ambition and the brilliance of the ensemble. If you love spectacle, technical mastery and circus artistry, this production will dazzle you. And that alone makes it splendid entertainment.

Everyman Theatre, Cheltenham – until 22nd August 2026

Reviewed by Jacqui Radford

4****

This adaptation of Graham Greene’s novel, ‘Our Man in Havana’, is Clive Francis’ cheeky interpretation of a novel that has plenty of black humour and satire for inspiration. The play is an unnerving blend of political jitters and absurd espionage techniques brought to life by a small cast of four playing more than thirty characters. As an audience member, you need all your powers of observation about you but that adds to the experience.

We follow Jim Wormold (Jack Ashton), a vacuum-cleaner salesman, surprisingly recruited by MI6 agent Hawthorne (Bob Barrett) as a spy in Cuba. As a widower, he is persuaded to sign himself up by his determination to provide everything imaginable for his daughter, Milly (Jodie Steele). Following a chat with a German friend, he is drawn to the idea of inventing agents and providing increasingly absurd profiles to MI6 to build his income. In today’s terms that might be considered money laundering. His absurd ideas and stories feed the comedy moments in the production that have the audience enraptured. Jack Ashton nailed the art of portraying a rabbit in the headlights.

The many other characters around Wormold, Hawthorne and Milly are deftly played by just three other performers (Bob Barrett, Jodie Steele, Leon Ockenden). Bob Barrett brings wit to every character he plays; his most noteworthy being that of Teresa, a night club worker. Leon Ockenden adds to the comedy with his flamboyant expression; be that handyman, bank manager or pillar of the community. Jodie steals the show with her costume changes, exaggerated comedic expression and portrayal of ridiculous enthusiasm for the high life.

Our Man in Havana celebrates imagination, invention and the mess that ensues when an ordinary man tells one little lie. Woven through all the laughter is a nod to Greene’s own experience with MI5 during the Second World War; the absurdity of intelligence gathering, political bluster and the ease of it almost becoming fact.

This production cleverly highlights the dangers of a political situation becoming a farce, which feels highly relevant in the present climate. In all honesty, the overriding feeling at the end of the show is a sense of wonder at the interpretation of a 1950s novel that bears such relevance to our current political climate. The applause and appreciation from the audience at the end of this production spoke volumes and for me, it reminded me that literature classics are not always as stuffy as you’d imagine.

STORYHOUSE, CHESTER – UNTIL SATURDAY 22 AUGUST 2026

REVIEWED BY MIA BOWEN

5*****

I went into The Choir of Man knowing almost nothing about it. I left wondering why on earth it had taken me so long to discover it.

As someone who has always loved the rich, spine-tingling sound of a male voice choir, I thought I knew what I was in for. I couldn’t have been more wrong—in the very best way.

Before the show even began, Storyhouse had transformed its theatre into The Dragon, a warm, bustling British/Irish pub. The friendly theatre volunteers encouraged us to head onto the stage itself, buy a drink from the fully working bar and soak up the atmosphere. Naturally, I wasn’t going to turn down the chance to have a pint on stage!

The place was already buzzing. The stage bar was packed with people chatting, laughing and clinking glasses. Then I realised something rather brilliant—the actors were already there amongst us, happily talking to audience members as though we’d all been regulars for years. It immediately broke down that invisible wall between audience and performer, making everyone feel like they’d wandered into their favourite local rather than a theatre.

As everyone returned to their seats, the show’s narrator, the wonderfully charismatic Poet, Oluwalonimi Owoyemi, introduced us to the other eight men who call The Dragon home. There’s the Bore, the Romantic, the Barman, the Maestro, the Joker, the Handyman, the Beast and the Hard Man—each recognisable from almost every pub in Britain. (If you don’t know one of them, you probably are one.)

There’s no traditional plot, and honestly, it doesn’t need one. Instead, each character tells their own story through music, humour and beautifully written spoken word, creating something that feels incredibly personal.

What follows is one hundred and twenty minutes of astonishing musicianship. Every cast member sings. Every cast member plays instruments. Every cast member dances—and I mean really dances. The choreography is exhilarating; the harmonies are flawless and the sheer energy on stage is infectious. One moment you’re laughing at perfectly timed comedy, the next you’re wiping away a tear before bursting into applause after another breathtaking vocal arrangement.

The soundtrack is packed with familiar songs, cleverly reinvented with powerful harmonies and inventive arrangements that had the audience singing along, clapping and cheering throughout. It’s impossible not to get swept up in it.

But beneath all the fun, The Choir of Man quietly delivers something much deeper. It’s a celebration of friendship, community and the importance of looking out for one another. It also explores men’s mental health with honesty and sensitivity, reminding us that strength isn’t about hiding your feelings—it’s about knowing there will always be someone to share a pint, a laugh or a conversation with.

The entire cast is exceptional, and together they create something truly special. You don’t simply watch The Choir of Man; you’re welcomed into it. I laughed. I sang. I applauded until my hands hurt. I even found myself getting a little emotional. Raise a glass to The Choir of Man—it’s heartfelt, hilarious, uplifting and quite simply one of the most joyous evenings I’ve ever spent in a theatre.

Theatre Royal Windsor – until Saturday 22nd August 2026

Review by Mike Linane

3***

We Will Rock You is a jukebox musical based on the songs of British rock band Queen with a book by Ben Elton. The musical tells the story of a renegade group known as the Bohemians who struggle to restore the free exchange of thought and culture in a vaguely Orwellian society.

The plot is honestly quite naff but to coin a phrase ‘nothing really matters’ about it as it is just a vehicle to hang the songs of Queen around and it is to see and hear these songs performed that audiences will come for.

This is a community production of the former West End musical with the cast all from the local area and for the most part amateur and with little previous stage experience. Sometimes during this production it showed. It’s very brave of the producers to tackle this show as the songs written by Queen are not easy ones to sing live and some are performed better than others. The stand out song and performance of the night is delivered by Ella Murphy playing Oz when she sings No One But You (Only The Good Die Young).

Credit must be given to this mostly young and inexperienced cast for having the guts to put themselves out there and perform one iconic song after another knowing full well that they can’t compete with the incomparable Freddie Mercury.

There are lots of opportunities for the audience to sing along to their favourites songs, to clap their hands in time to the music and to wave their hands in the air declaring they are the champions.

The audience that attended the opening night performance clearly thoroughly enjoyed themselves judging from the rapturous applause they gave at the end.

This show will appeal to fans of the rock group Queen (obviously), but also to afficionados of jukebox musicals and tribute acts (although at no time do any of the cast pretend to be Queen).