Theatre Royal, Nottingham – until 24th October 2026 (then touring)

Reviewed by Lauren Fordham 

5*****

Northern Ballet’s ‘Cinderella’ is based on the tale authored by Charles Perrault. Its music and libretto were composed by Sergei Prokofiev, and it is choreographed by Michael Pink.

This production differs from Perrault’s tale (and the Disney adaptation) by having the fairy godmother role replaced by the Spirit of Cinderella’s Mother (played by Heather Lehan), who has died at the start of the production but watches over her daughter and the familiar magic unfold from above. 

This production also gives Cinderella (Saeka Shirai) a friend and ally called Jack (Harris Beattie) an impish, playful figure reminiscent of Peter Pan, who acts as a conduit for Cinderella between her humble home and the world of spirits, who together with her mother, will pave her pathway to the Palace and the Prince, just as Peter Pan guides Wendy to Neverland. 

Beattie is so fleet of foot it is easy to imagine him flying across the stage and self-assuredly sparring with Captain Hook. It also tickled me that the frenetic ticking of the Palace clock (brilliantly captured by the winning combination of David Grill’s dramatic lighting design drawing the audience’s attention to the fateful hour and Prokofiev’s stirring strings with a Psycho-esque urgency) echoed the ticking of the clock swallowed by the alligator who stalks Hook in J M Barrie’s classic tale. That too would make a beautiful ballet.

Bruce Brockman’s set design is instrumental in creating a world that is at once fantastical yet deeply grounded and natural – Cinderella’s house is built out of a tree, her mother watches from a hide above as if she herself is but a bird, her kind, omniscient omnipresence recalling the character of Silkie from Enid Blyton’s ‘The Faraway Tree.’ 

 Brockman uses deep, autumnal colours of red and brown and gold to not only mirror the world outside the theatre, but to create a warm setting that is familiar from many different fairytales, this reviewer almost expected Goldilocks and The Three Bears to come marching through the front door and the witch from Hansel and Gretel to be swallowed in the flames from Cinderella’s hearth. The innovation surrounding Cinderella’s mother guiding her through the fireplace struck a modern chord with this reviewer,  à la Harry Potter fireplace transportation using Floo Powder. Yet the tree cleaving apart and revealing a woodland full of spiritual creatures was reminiscent of Lucy walking through C.S Lewis’s wardrobe into Narnia. In this way both traditional fairytales and modern influences dovetail beautifully to appeal to young and old.

Peter Cazalet’s costumes also use colour to cleverly set moods and make moral judgements, Alessia Petrosino’s Stepmother cuts a malevolent, Maleficent-esque figure as she dominates Cinderella’s father (Harry Skoupas) with sharp, jab-like, quick steps to bring him to heel – like a raven, moreover a cuckoo. His hesitant moves and failure to defend himself or his daughter cements his status as ‘hen-pecked’ husband (if you’ll forgive the mixed avian metaphors.) In this way, Michael Pink’s choreography really adds depth to the characters and demonstrates their personalities, even in more minor scenes, as well as in the technically terrific ballroo sequences.

Yu Wakizuka and Andrew Tomlinson, playing stepsisters Lucretia and Prunella respectively, cast their own comic spell over the audience with their  salacious, stage-stealing acting and hilarious movement, galloping across the stage à la Miranda Hart. Their gauche behaviour, pinching princes’ bottoms is paralleled by their garish, over-frilly dresses.

Saeka Shirai’s Cinderella and Jonathan Hanks’ Prince are perfectly matched, with a youthful, hopeful love that is truly believable. It was poignant that in the last scene before they marry, the Prince dances with Cinderella her old rustic clothing, symbolising that despite all the fantasy, finery and fripperies that surround them, she is perfect, just as she is. Isn’t that how we all should see ourselves?

At once a familiar folktale yet fizzing with wonder and whimsy, you must go to this ball!

The Questors Theatre, Ealing until 31st October 2026

Reviewed by Mike Linane

4****

Audience members of Romeo and Juliet at the Questors Theatre, Ealing, may be forgiven if at times they think they have somehow stumbled into an episode of tv’s The Traitors for the play begins with the stage filled with actors all dressed in large dark cloaks that envelop them totally with extra large hoods that come down and cover their faces so all we see are these mannequin type cloaks moving about the stage ominously. They foreshadow the doom that lays all around and the ultimate devastation that is to play out before the evening ends. There is also a lot of play on the word ‘banished’ and even a mention or two of people being ‘traitors’. But who are the traitors and who are the faithful? Is it the Montague family whose son Romeo is a bit of a hothead and very randy to boot, or is it their rivals the Capulet family whose daughter Juliet is not yet fourteen but is already being thought about to be put onto the marriage market? And does Romeo not espy Juliet not from a balcony but from a turret window?

But for all this nodding to today’s tv phenomenon the play before us is still very much true to the most popular play that William Shakespeare ever wrote. Why is it his most popular? Because it is very accessible and deals with a subject that most people know about and have experienced at some point in their life – falling in love. We don’t choose our families but we certainly do decide who to fall in love with even if it is someone that you know your family won’t approve of.

This is the dilemma at the centre of this story and it is well played out by a cast led by Luke Baverstock as Romeo and Nerea Idigoras as Juliet. David Mestecky and Wanda Duszynska also impress as Lord Capulet and Juliet’s nurse but this is very much an ensemble piece of theatre with everyone in the cast putting in good performances.

Juliette Demoulin’s simple set works very well, reinforcing the divide between the two warring families and it is ably supported by both John Green’s lighting plan and Mike Wyer’s sound design. Federica Romano’s costume designs are just fabulous as there is never doubt which family each character is attached to, but it is to director Patrick Wilde that most of the plaudits must go to as he keeps the play moving along at a fair pace (even though he chooses to make the first act much longer than the second). Wilde makes us want the young lovers to succeed in their quest for happiness together (even though the cloaked spirits around them hint at the devastation that is to come.

The final twenty minutes of the play is some of the most compelling theatre you will see anywhere this year. We feel the pain of all of the characters as they have to come to terms with what has played out before us and the realisation that hate is not the cure for anything but is the cause of so much pain to so many people.

The Questors Theatre has an excellent reputation for staging drama of the highest quality and this production adds to their already impressive cannon of work.

THE UK PREMIERE OF THE NOTEBOOK – A NEW MUSICAL

BASED ON THE BOOK BY NICHOLAS SPARKS

AT THE NEWLY RENAMED

JUDI DENCH THEATRE

WITH MUSIC AND LYRICS BY 

INGRID MICHAELSON & BOOK BY BEKAH BRUNSTETTER 

TO OPEN IN LONDON

TICKETS ON SALE FROM 10AM TODAY

As the much-loved publishing phenomenon The Notebook, the debut novel from Nicholas Sparks celebrates 30 years since publication, the musical adaptation with music and lyrics by Ingrid Michaelson and book by Bekah Brunstetter receives its UK premiere in London’s West End – the first production to open at the newly renamed Judi Dench Theatre, currently the Shaftesbury Theatre. 

Directed by Michael Greif and Schele Williams, and choreography by Katie Spelman, the production opens on 13 April 2027, with previews from 10 March, and booking until 11 December. 

Tickets are on sale today from £20, with 50,000 tickets available at £50 or under.

Nicholas Sparks said today, “I couldn’t have predicted when I published The Notebook 30 years ago that this story would have such a lasting impact around the globe. The worldwide response has been incredible, and I’m thrilled to share this latest evolution of the story with audiences in London.”

Ingrid Michaelson commented, “The thing that makes a musical so special for me is the collaborative nature of it, and I can’t imagine a better team of people to have built The Notebook. Getting to revisit and revitalise the piece with Bekah, Michael, Schele and the rest of the team for this new production in London is such an honour, and for our musical to be the first at the newly named Judi Dench Theatre is beyond thrilling.”  

Bekah Brunstetter added, “It’s been such a joy to adapt The Notebook for the stage – it’s such a timeless, universal love story that speaks to so many aspects of life. Ingrid and I have loved expanding the story so that it truly sings and reaches even more people. We can’t wait to get back in the room with our brilliant creative team and discover this musical all over again for the London audience.”

Joining Greif, Williams and Spelman to complete the creative team – Music Supervision & Arrangements by Carmel Dean; Scenic Design by David Zinn & Brett J. Banakis; Costume Design by Paloma Young; Lighting Design by Ben Stanton; Sound Design by Nevin Steinberg; Hair & Wig Design by Mia Neal; Orchestrations by John Clancy & Carmel Dean; Co-Vocal Arrangements by Ingrid Michaelson & Carmel Dean; Music Direction by Jim Henson; Casting by Jill Green Casting.

Casting will be announced shortly. 

@notebookmusicaluk

www.notebookmusical.co.uk

KEVIN McCOLLUM, KURT DEUTSCH AND JAMIE WILSON PRODUCTIONS present

THE NOTEBOOK – A NEW MUSICAL

Based on the book by Nicholas Sparks

Music and Lyrics by Ingrid Michaelson Book by Bekah Brunstetter

Directed by Michael Greif & Schele Williams; Choreographed by Katie Spelman; Music Supervision & Arrangements by Carmel Dean; Scenic Design by David Zinn & Brett J. Banakis; Costume Design by Paloma Young; Lighting Design by Ben Stanton; Sound Design by Nevin Steinberg; Hair & Wig Design by Mia Neal; Orchestrations by John Clancy & Carmel Dean; Co-Vocal Arrangements by Ingrid Michaelson & Carmel Dean; Music Direction by Jim Henson; Casting by Jill Green Casting

Some love stories stay with us forever

Based on the best-selling novel by Nicholas Sparks and the iconic film loved by millions, The Notebook is a joyous, funny and deeply moving new musical about the power of enduring love and what we’ll do to keep it.

Directed by Michael Greif (Dear Evan Hansen, Next to Normal, RENT) and Schele Williams (The Wiz, Aida) with music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson, book by Bekah Brunstetter (NBC’s This Is Us), and choreography by Katie Spelman (Moulin Rouge).

Meet Allie and Noah. Born into two different worlds. Pulled apart, but always finding a way back. Theirs is a love story that lasts a lifetime. A story of dancing in the rain, the almost kiss and keeping the faith every single day.

Don’t miss this beautifully romantic and life-affirming new show.

Nicholas Sparks is one of the world’s most beloved storytellers. All of his books have been New York Times bestsellers, with over 130 million copies sold worldwide, in more than 50 languages, including over 92 million copies in the United States alone. Eleven of Nicholas Sparks’s novels—The Choice, The Longest Ride, The Best of Me, Safe Haven, The Lucky One, The Last Song, Dear John, Nights in Rodanthe, The Notebook, A Walk to Remember, and Message in a Bottle—have been adapted into major motion pictures. His latest book, Remain, was published in 2025 by LBUK, becoming a #1 New York Times bestseller and a debuted as #1 on the Publisher’s Weekly Hardcover Frontlist Fiction Chart – the film adaptation will be released in February 2027 starring Jake Gyllenhaal and Phoebe Dynevor, and is a genre-bending, supernatural romantic-thriller for which Sparks teamed up with M. Night Shyamalan to create.

An accomplished Emmy and Grammy nominated singer/songwriter, Ingrid Michaelson has released nine studio albums, including multiple gold and platinum singles over her extensive career. Michaelson has also scored, served as executive music supervisor, and had her songs used in multiple film and television projects. She made her Broadway on stage debut in Natasha, Pierre and The Great Comet of 1812. The Notebook marked her Broadway debut as composer & lyricist for which she received a Grammy Nomination for Best Musical Theater Album.

Bekah Brunstetter’s play The Cake has been produced over 100 times worldwide, as ran off Broadway at Manhattan Theater Club. Her musical A.D. 16, about teen Jesus and Mary Magdalene, written with Schmigadoon’s Cinco Paul, premiered at the Olney theater center. Her work has been staged and developed by The O’Neill Playwright’s conference, the Atlantic Theater, Portland Center Stage, The Old Globe, the La Jolla Playhouse, South Coast Repertory, The Echo theater, Playmaker’s Rep, and Ojai Playwright’s conference.  As a television writer and producer, she has written for Switched at Birth, American Gods, This is Us, and Maid – the latter for which she won a WGA Award. Her show The Five-Star Weekend, starring Jennifer Garner, is also streaming on Peacock. She is an alumni of the CTG Writers Group, Primary Stages writes group, Ars Nova Play Group, The Playwright’s Realm, and the Women’s Project Lab, and the Echo Playwright’s Group. BA UNC Chapel Hill; MFA in Dramatic Writing from the New School for Drama.

Michael Greif is a five-time Tony Award® nominee for Best Direction of a Musical for RENT, Grey Gardens, Next to Normal, Dear Evan Hansen, and Hell’s Kitchen. Additional Broadway credits include Never Gonna Dance, War Paint, and Days of Wine and Roses. He made Broadway history in 2024 by directing three musicals in a single season. Other notable productions include The Low Road, Fucking A, Dogeaters, Giant, The Intelligent Homosexual’s Guide (The Public), Our Lady of Kibeho, Landscape of the Body, Angels in America (Signature Theater), A Parallelogram, Make Believe (Second Stage), and Far From Heaven, and Spatter Pattern (Playwrights Horizons).

Schele Williams is committed to cultivating work with authentic representation on stage and off. Her credits include The Wiz (2024 Broadway revival) and Aida (Disney Theatrical Group). She will aIso be helming Hidden Figures (Disney Theatrical Group). Williams has a long history of work on Broadway including RENT, Aida, and Motown: The Musical. She is a founding member of Black Theatre United and is the author of the children’s book Your Legacy: A Bold Reclaiming of Our Enslaved History, recipient of the 2022 Boston Globe-Horn Book Award Honor. Her more recent book Your Legacy Begins was published in 2024. 

Katie Spelman’s selected US regional credits include Huzzah! (Old Globe, world premiere), Natasha, Pierre and the Great Comet of 1812 (Writers Theatre), Waitress (Paramount), The Music Man (Marriott Theatre), Cabaret (Barrington Stage), An American Tail (CTC, world premiere), Once (Writers Theatre), Swearing in English (Ars Nova), AD 16 (Olney Theater), The Beautiful Game (Tokyo), The Who’s Tommy (DCPA), and Oklahoma! (Goodspeed). Her television work includes School Spirits, Jessica Jones, and RENT! Live. Associate Choreographer credits include Moulin Rouge, Amélie, American Psycho, and Once (Broadway).

Producer – Kevin McCollum received the Tony Award for Best Musical for Rent, Avenue Q, and In the Heights. Current: SIX (Broadway, North American tour); Oh Mary! (Broadway and West End); The Devil Wears Prada (West End); The Play That Goes Wrong (Broadway, US Tour, Off-Broadway). Additional past credits Include: Two Strangers (Carry a Cake Across New York) (Broadway); The Notebook (Broadway); Days of Wine and Roses (Broadway); Peter Pan Goes Wrong (Broadway); Mrs. Doubtfire (Broadway, West End, and Europe); Motown: The Musical (Broadway, West End, U.K. and U.S. tours); The Drowsy Chaperone (Broadway, UK and US Tours); Something Rotten! (Broadway, U.S. tour); Hand to God (Broadway, West End); Baz Luhrmann’s La Bohème; [title of show] (Broadway). West Side Story (2021) film directed by Steven Spielberg. Upcoming: Black Swan, Night At The Museum, 42 Balloons, Something Rotten (UK).

Producer – Kurt Deutsch is a Grammy and Tony Award-winning producer. His theatre producing credits include The Notebook, Beetlejuice, David Byrne’s American Utopia, Here Lies Love, Alice By Heart, The Wrong Man, and numerous other Broadway and Off-Broadway productions. Deutsch also founded Ghostlight/Sh-K-Boom Records and has produced and overseen more than 200 Broadway and Off-Broadway cast recordings, including The Notebook, The Book of Mormon, In the Heights, The Band’s Visit, and Beautiful. A former senior executive at Warner Music Group, Deutsch has spent over three decades championing groundbreaking musical theatre and developing new voices for the stage.

Producer – Jamie Wilson Productions

Founded in 2008, Jamie Wilson Productions (JWP) is one of the world’s leading independent theatre producers, headquartered in London, operating across the West End, Broadway, Australia, and Europe. With over 100 productions, the company has established a reputation for ambitious award-winning work of the highest calibre. Jamie Wilson ranks in The Stage 100’s top 20 most influential figures in the industry and was awarded the Variety Club Silver Heart Award for Outstanding Contribution to Musical Theatre. JWP and Alchemation hold a 10-year agreement with the Shaftesbury Theatre, programming and producing work in the West End. JWP is led by CEO Oliver Mackwood, recent productions include: The Devil Wears Prada (West End), Avenue Q (West End), Into The Woods (West End), Two Strangers Carry a Cake across New York (Broadway), The Last Laugh (UK Tour), Mrs Doubtfire (West End), Sister Act (UK Tour), Just for One Day, The Live Aid Musical (West End and The Old Vic).

LISTINGS

THE NOTEBOOK

JUDI DENCH THEATRE

210 Shaftesbury Avenue, London, WC2H 8DP

Tickets from £20, with standing at £15

www.notebookmusical.co.uk

Box Office: 020 7379 5399

PREVIEW SCHEDULE:

Wednesday 10 March, 7pm

Thursday 11 March, 7.30pm

Friday 12 March, 7.30pm

Saturday 13 March, 2.30pm and 7.30pm

Tuesday 16 March, 7pm

Wednesday 17 March, 7pm

Thursday 18 March, 7.30pm

Friday 19 March, 7.30pm

Saturday 20 March, 2.30pm and 7.30pm

Monday 22 March, 7pm

Tuesday 23 March, 7pm

Wednesday 24 March, 7pm

Thursday 25 March, 2.30pm and 7.30pm

Friday 26 March, 7.30pm

Saturday 27 March, 2.30pm and 7.30pm

Monday 29 March, 7pm

Tuesday 30 March, 7pm

Wednesday 31 March, 2pm and 7pm

Thursday 1 April, 7.30pm

Friday 2 April, 7.30pm

Saturday 3 April, 2.30pm and 7.30pm

Monday 5 April, 7pm

Tuesday 6 April, 7pm

Wednesday 7 April, 2pm and 7pm

Thursday 8 April, 7.30pm

Friday 9th April, 7.30pm

Saturday 10 April, 2.30pm and 7.30pm

Monday 12 April, 7pm

Tuesday 13th April, 7pm – OPENING NIGHT 

POST OPENING NIGHT:

Monday to Wednesday at 7pm

Thursday to Saturday at 7.30pm

Wednesday matinees at 2pm

Saturday matinees at 2.30pm

ACCESS PERFORMANCES:                    

Thursday 9 September, 7.30pm Captioned

Saturday 18 September, 2.30pm Audio Described

Thursday 23 September, 7.30pm Signed

@notebookmusicaluk

www.notebookmusical.co.uk

Hull Truck Theatre – until 14th November 2026

Reviewed by Dawn Bennett

5*****

Hull Truck Theatre and Derby Theatre present The 39 Steps: A Comedy Thriller, adapted from John Buchan’s novel and Alfred Hitchcock’s film, and directed by Cal McCrystal.

Oh my goodness, what an absolute treat The 39 Steps was at Hull Truck Theatre last night. Fast-paced, cleverly staged, and genuinely hilarious, it was a joy from beginning to end.

The cast Sophie Bloor (Annabella/Pamela/Crofter’s Wife), James Keningale (Clown), Kathryn Perkins (Clown), Tom Mitchell (Understudy/Chief Inspector Albright) all played numerous parts and Ryan Starling (Richard Hannay) were exceptional. Their comic timing was amazing. It was very well rehearsed and beautifully executed.

The 39 Steps is an iconic novel and film. The story begins when Richard Hannay visits a theatre and meets a distressed woman named Annabella, who claims to be a spy caught up in a conspiracy. He takes her back to his flat, only to discover her dead on his living-room floor the following morning. Fearing that he will be blamed, Hannay flees to Scotland in search of Professor Jordan, a man Annabella had mentioned. Will Hannay be caught, or will justice prevail? Only time will tell!

This production broadly follows the plot, but that is where the similarity ends. It is difficult to describe the action without spoiling the surprises, but the staging is wonderfully inventive and delightfully unpredictable. From my seat in the second row, I even had two small “dogs” rush past my legs before the lead character landed at my feet!

This is a show not to be missed. Hull Truck Theatre has once again delivered an excellent production: refreshingly different, brilliantly performed and so funny it will leave your face aching from laughter.

Glasgow Citizens Theatre – until 24th October 2026

Reviewed by Marcus Richardson

5*****

With the many shows I have seen in my life, the wonder of theatre never fades. However, every once in a while I witness something so incredible, that this wonder reaches new heights. The Prime of Miss Jean Brodie is one of those shows, the acting, costumes, and staging, everything is a masterpiece to behold. The novel published in 1961, by Muriel Spark, is often regarded as one of the most influential books of all time. It has been adapted for film, TV, and theatre before this collaboration between The National Theatre of Scotland, The Royal Lyceum Edinburgh, and Pitlochry Festival Theatre. This play truly is the epitome of Scottish talent, and what my favourite country has to offer.

Inspired by Miss Jean Brodie, I’m going to change my regular review style and talk about the costumes first. Anna Orton has an eye for such beauty, the moment Jean Brodie walks on stage, I instantly fell in love, a dramatic flare unmatched by anyone on stage, she exists in a world of her own. Her aesthetic seems out of place to all the costumes on stage, where all the other characters are in blacks, and browns, Miss Brodie refuses to assimilate to those around her. The school girls wear a uniform that eludes to childlike innocence, but with a dangerous length, which then in Act 2, we see these same uniforms, but with a sheer fabric. I kid you not, my mouth was agape when I saw the girls walk out on stage, Miss Brodie has made her mark on these girls, that’s for sure. Thank you Anna for the gift you gave me at the theatre.

Miss Jean Brodie, Miss Brodie, Jean Brodie, I cannot get enough. Played by Gayle Rankin, the titular character is both charming, alarming, and disarming. Rankin performed with such power that I myself would love to join the ‘Brodie set’, she gave us something more than life. Her ability to allow her charisma to exude and draw us in is truly commendable, but then equally the show of fire seen in fascist iconography. The Character isn’t simple, she’s complex, and Rankin takes us through those complexities with skill. Miss Brodie school girls, made up of Sandy (Bobby Rainsbury), Jenny (Shreya Khaund Marshall), Mary (Liberty Black), Monica (Tallulah Greive), and Joyce Emily (Sohpie Fortune). Each performer understood the importance of the collective relationship they have with each other, and their own relationship with Brodie. I very much enjoyed watching how each performer interacted with the story, from a lens of childhood naivety, to seeing them mature into teenage years. The other 3 performers in this play are, Maureen Beattie playing Miss Mackay, Dyfan Dwyfor playing Mr Lloyd, and Brian Ferguson playing Mr Lowther. Mackay in
the story is a grounded character, she’s detached from the world of Jean Brodie, and Beattie provides a humour in the mundane. Mr Lloyd, and Mr Lowther, are unfortunately involved with Brodie, and Dwyfor and Ferguson give us performances that show the control and power these characters are under.

This phenomenal play was adapted by David Harrower, while there have been some changes from the original novel, I think this is one of the best adaptations I’ve ever seen. Vicky Featherstone directed this show, I think it’s clear from this review that I am in awe of what I witnessed, it felt complete, everything worked together in harmony, and had purpose. This will be a show I’ll never forget. It is touring across Scotland until the 7th November, although the only location not sold out is Aberdeen, I fully support you traveling however far you need to see this show, it truly is something you do not want to Miss (Jean Brodie)

Website: http://thehistoryboysplay.com/

Instagram / TikTok / Facebook: thehistoryboysplay

Brian & Dayna Lee and Nicholas Hytner present

The National Theatre production of
THE HISTORY BOYS
Written by Alan Bennett

Directed by Nicholas Hytner  

●       NICHOLAS HYTNER’S OLIVIER AND TONY AWARD-WINNING PRODUCTION OF THE HISTORY BOYS RETURNS TO THE WEST END FOR THE FIRST TIME IN TWO DECADES.

●       ONE OF THE DEFINING PLAYS OF THE 21ST CENTURY, ALAN BENNETT’S POIGNANT, PROVOCATIVE AND HISTORY-MAKING COMEDY, SET IN A BOYS’ GRAMMAR SCHOOL EXPLORES THE VALUE AND MEANING OF EDUCATION, THE ANARCHY OF ADOLESCENCE AND ULTIMATELY THE NATURE OF HISTORY ITSELF.

●       NICHOLAS HYTNER DIRECTS THIS REWORKING OF HIS SEMINAL PRODUCTION WHICH ORIGINALLY OPENED AT THE NATIONAL THEATRE IN 2004, WITH BOB CROWLEY RETURNING TO DESIGN THE SET.

●       THE HISTORY BOYS WILL RUN FOR 16 WEEKS  FROM 10 APRIL – 24 JULY 2027 AT THE THEATRE ROYAL HAYMARKET. TICKETS GO ON GENERAL SALE FROM 9AM, FRIDAY 23 OCTOBER WITH 20,000 TICKETS PRICED AT £25.

●       BRIAN & DAYNA LEE, PRODUCERS OF GIANT IN THE WEST END AND ON BROADWAY, AND NICHOLAS HYTNER WILL PRODUCE THE PRODUCTION, FOLLOWING THE SUCCESS OF THEIR RECENT COLLABORATION ON THE STANDARD OF LIVING.

“HISTORY, IT’S JUST ONE F**KING THING AFTER ANOTHER”

Rudge – The History Boys

Producers Brian & Dayna Lee and Nicholas Hytner have today announced that the original, multi-award-winning production of Alan Bennett’s The History Boys will return to London’s West End next year for the first time in 20 years.

Considered one of the best plays of the 21st Century, The History Boys received its World Premiere at the National Theatre in 2004 before transferring to the West End and Broadway, winning three Olivier Awards and six Tony Awards and launching the careers of its young cast. Originally directed by multi-award winner Nicholas Hytner (The Standard of Living, One Man, Two Guvnors, GIANT) and designed by Olivier Award winner Bob Crowley (The Standard of Living, GIANT, The Inheritance), the two will reunite to bring this seminal production to the Theatre Royal Haymarket for a 16 week engagement from Saturday 10 April – Sunday 24 July with opening night on Monday 19 April. Casting for the production will be announced in January 2027.

Set against a backdrop of 1980s Britain, Alan Bennett’s history-making play tracks the course of eight schoolboys at an all-boys Grammar School in Sheffield, as they navigate sex, school politics and their teachers’ intellectual battle of wills. Poignant, subversive and deeply funny, The History Boys explores sexuality, adolescence and the nature of history, challenging the purpose of education whilst reflecting the changing face of England.

Brian and Dayna Lee said: “When Nicholas Hytner’s production of The History Boys first arrived on the London stage, it was an era-defining moment in contemporary British theatre. It was a cultural phenomenon that enthralled audiences on both sides of the Atlantic and introduced a new generation to the power of theatre. It’s a privilege to bring Alan Bennett’s landmark production back to the West End for the first time in 20 years, with the incomparable Nicholas Hytner once again at the helm, as we continue our partnership that began with GIANT and continued more recently with The Standard of Living.

Bennett’s sharp, funny and deeply moving exploration of institutional culture, class and education feels as timely as ever. We can’t wait to share this remarkable production with a whole new generation.”

Nicholas Hytner commented: “More than 20 years after it opened at the National Theatre, it’s the right time to be bringing this great and much loved play back to the London stage. I can’t wait to take another look at it, and to introduce it to a new generation of theatre goers. My collaboration with Alan Bennett has been central to my creative life, and it’s a delight to be back in the theatre with him again.”

Alan Bennett said: “The History Boys is one of the happiest plays I’ve written. Or rather, it was one of the happiest of my plays to write.

It was also one of the quickest to set down, taking far less than my usual five years. So, something of a record for me.

The play is full of quotes and has itself become eminently quotable. A joy for any playwright.

I welcome its return under Nicholas Hytner.”

The original National Theatre production of The History Boys will be produced in the West End by Brian & Dayna Lee and Nicholas Hytner with Len Blavatnik & Danny Cohen for Access Entertainment. Mark Rubinstein is Executive Producer and General Management is by Short Street Productions Ltd.

Tickets for The History Boys will go on general sale from 9am on Friday 23 October, with 20,000 tickets priced at £25 available throughout the run.

OLIVIER AND TONY AWARD-WINNER

JANE KRAKOWSKI

TO REPRISE HER ROLE AS MARY TODD LINCOLN

IN

THE OLIVIER AWARD-WINNING SMASH HIT COMEDY

WRITTEN BY TONY^® AWARD-WINNER

COLE ESCOLA

DIRECTED BY TONY^® AWARD-WINNER

SAM PINKLETON

FOR 6 WEEKS ONLY

FROM 7 DECEMBER 2026 TO 16 JANUARY 2027

OH, MARY! EXTENDS BOOKING UNTIL 5 JUNE 2027

Producers Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia are delighted to announce that Olivier and Tony Award-winner Jane Krakowski will reprise her role as Mary Todd Lincoln in OH, MARY!. Jane returns to the role having performed it on Broadway, where her celebrated 8-week run was extended by a further 4 weeks. Jane will play a strictly limited 6-week season at Trafalgar Theatre, from 7 December 2026 until 16 January 2027.

The Olivier and Tony Award-winning smash hit comedy OH, MARY! has also extended its West End run and is now booking until 5 June 2027.

Jane Krakowski (she/her) is an award-winning triple threat actress best known for her role as Jenna Maroney on the Emmy Award-winning network comedy 30 Rock, for which she received four Emmy nominations, as well as a collective 2009 Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Comedy Series. In addition to hosting FOX’s reboot of the classic game show Name That Tune, she was most recently seen in Elsbeth and as the showstopping Bobbie Flanagan in Apple’s musical series Schmicago, a follow up to the critical and popular hit Schmigadoon! in which she also starred. She will also soon appear in Prime Video’s Man with the Bag. Other performances include her Golden Globe-nominated portrayal of Elaine Vassal on the award-winning Ally McBeal; her Critics Choice Award-winning, Emmy-nominated role of Jacqueline White on Unbreakable Kimmy Schmidt; Mrs. Dickinson in Apple’s hit series Dickinson; and Miss Shields on FOX’s A Christmas Story LIVE, as well as guest-starring roles on Modern Family, Curb Your Enthusiasm, At Home with Amy Sedaris, The Simpsons, American Dad, Drunk History, Younger and even Sesame Street.  

In addition to Oh, Mary! on Broadway, Jane’s other theatre credits include the 2025 production of Here We Are at London’s National Theatre for which she was nominated for the Olivier Award for Best Actress in a Musical. In 2016, she starred on Broadway in Roundabout Theatre Company’s production of She Loves Me, earning an Outer Critics Circle Award, an Astaire Award, a Drama Desk Award and a Tony Award nomination. She received a Tony Award, a Drama Desk Award and an Outer Critics Circle Award for her portrayal of Carla in the Broadway musical Nine, as well as a Tony Award nomination for Grand Hotel. Other Broadway credits include Company, Once Upon a Mattress, Tartuffe and Starlight Express. She won an Olivier Award for her performance in the West End production of Guys and Dolls and starred in the Encores! revival of Damn Yankees. She also portrayed Mrs. Potts in the Hollywood Bowl’s 2018 production of Beauty and the Beast.   

In 2012, Krakowski released her solo debut album, The Laziest Gal in Town, a CD recording captured during her cabaret nightclub debut at the Park Avenue hotspot, Feinstein’s at Loews Regency. In 2012, she performed a one-woman cabaret act to a sold-out crowd at NYC’s legendary Town Hall Theater. 

OH, MARY! currently stars Lolly Adefope as Mary Todd Lincoln, Lucy Frederick as Mary’s Chaperone, J.R. Ballantyne as Mary’s Husband’s Assistant, with Vinnie Heaven as Mary’s Teacher and Syrus Lowe as Mary’s Husband.

Lolly Adefope’s final performance as Mary Todd Lincoln will be Saturday 5 December. Casting for the role of Mary Todd Lincoln from 18 January 2027 onwards is to be announced.

OH, MARY! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this 80-minute one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln, through the lens of an idiot (playwright Cole Escola).

Declared “one of the best comedies in years” by The New York Times, OH, MARY! received Tony^® Awards for Best Leading Actor in a Play (Cole Escola) and Best Direction of a Play (Sam Pinkleton), Drama League Awards for Outstanding Play and Outstanding Direction of a Play, as well as a special citation from the New York Drama Critics’ Circle. It was named a finalist for the Pulitzer Prize for Drama.

OH, MARY! premiered off-Broadway at the Lucille Lortel Theatre in January 2024, before a Broadway transfer to the Lyceum Theatre in July 2024, where it broke box office records and continues to play to sold out audiences. It had its West End premiere at Trafalgar Theatre on 3 December 2025, where it has also broken many Box Office records, and won Best Entertainment or Comedy Play at this year’s Olivier Awards. This Autumn, OH, MARY! will also launch a US National Tour.

In addition to Cole Escola (Writer) and Sam Pinkleton (Director), the full creative team includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), David Dabbon (Arrangements) with Casting by Stuart Burt CDG and US Casting by Henry Russell Bergstein. Associate creatives include Georgie Rankcom (Associate Director), Zoë Hurwitz (Scenic), Debo Andrews (Costume), Tom Turner (Lighting), Chris Reid (Sound), Kim Kasim (Wigs), Caitlin Morgan (Music Direction), Eleanor Dolan (Costume Supervisor),and Marcus Hall (Props Supervisor).

OH, MARY! is produced in the West End by Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia with Bob Boyett, The Council, Jean Doumanian Productions, Nicole Eisenberg, Jay Marcus & George Strus, Irony Point, Richard Batchelder/Bradley Reynolds, Tyler Mount/Tommy Doyle, Nelson & Tao, Palomares Miller & Rosenberg, ShowTown Productions, Jamie Wilson Productions and Wessex Grove.

The Executive producers of OH, MARY! at Trafalgar Theatre are Wessex Grove.

THE MOUSETRAP

ENTERS ITS 75TH YEAR IN THE WEST END

Anniversary highlights include:

• Director Hannah Chissick takes the helm of the West End classic, starring a new cast
• Interiors of historic St Martin’s Theatre restored and reimagined by Studio Shayne Brady 
• Gala performance set for 25 November 2026 to mark the production entering its 75th year

As Agatha Christie’s The Mousetrap approaches 75 years in the West End, and its UK and Ireland tour continues to bring the iconic production to audiences nationwide, producer Brian Fenty announces plans to mark the anniversary of the longest-running show in the world. The plans include Hannah Chissick taking the reins as director of the West End classic, with a new company of actors joining the production as well as revitalised set, lighting and sound redesign, and a refurbishment of its historic home, St Martin’s Theatre. The milestone will be celebrated with a Gala Performance at St Martin’s Theatre on 25 November 2026.

With Chissick’s production of The Mousetrap on its UK and Ireland tour, she will now direct the new West End cast. The new cast is Marcus Adolphy as Major Metcalf, Jonathan Cobb as Detective Sergeant Trotter, Rosa Coduri-Fulford as Miss Casewell, Dean Graham as Mr Paravicini, Dan Nicholson as Giles Ralston, Jake Rory as Christopher Wren, Gay Soper as Mrs Boyle, andSarah Twomey as Mollie Ralston. The new cast begin performances on 11 November 2026.

The new production features set design by Walt Spangler, lighting design by Nic Farman and sound design by Max Perryment.

Inspired by Christie’s radio play Three Blind Mice, first broadcast on 30 May 1947, The Mousetrap was first staged in the West End on 25 November 1952 and has firmly established itself as one of British theatre’s most enduring institutions. This anniversary will bring a new look and feel to the production, while honouring Christie’s original text with its masterful storytelling that has captivated generations of audiences. The play is currently one of only two plays in the West End written by women, while for the majority of its historic run it was the only one.

The celebrations will extend beyond the stage, with redesigned bars and decorative details inspired by the world of Agatha Christie to feature across the Stalls, Dress Circle and Upper Circle. Studio Shayne Brady will refresh the interiors of St Martin’s Theatre, while Mr Lyan Studio will craft a bespoke cocktail menu created exclusively for the venue.

Brian Fenty, producer of The Mousetrap, today said, “As we approach the extraordinary 75th year of The Mousetrap, we have made a substantial investment in the production, its historic home at St Martin’s Theatre and the entire audience experience, ensuring this theatrical treasure shines with all the brilliance of its opening night in 1952.

“To be entrusted with this remarkable piece of theatre history is both a privilege and a responsibility. Agatha Christie’s genius lies in the extraordinary detail of her storytelling: the wit, the atmosphere and the suspense that have kept generations of audiences guessing. Every element of our investment – from the loving refurbishment of the theatre to the care devoted to the set, lighting, effects and direction – serves her storytelling.

“As we welcome our wonderful new cast, our ambition is simple: to honour everything that makes The Mousetrap iconic and ensure it feels as thrilling for audiences today as it did when the curtain first rose.”

Hannah Chissick added, “I am so honoured to be joining The Mousetrap as director, especially as the show enters its incredible 75th year in the West End.

“Agatha Christie’s storytelling remains as vibrant, entertaining and engaging as it was when the play first came to the stage. Now, working with this exceptional new cast and creative team to bring it to life is a joy. Every detail, from the set to the lighting and sound, has been given the thought and devotion this play inspires, so that it can continue to be enjoyed for generations to come, and I can’t wait to share it with audiences at St Martin’s Theatre.”

www.themousetrap.com

Instagram, X and Facebook: @TheMousetrapOfficial

Brian Fenty presents

THE MOUSETRAP

By Agatha Christie

Cast: Marcus Adolphy (Major Metcalf), Jonathan Cobb (Detective Sergeant Trotter), Rosa Coduri-Fulford (Miss Casewell), Dean Graham (Mr Paravicini), Dan Nicholson (Giles Ralston), Jake Rory (Christopher Wren), Gay Soper (Mrs Boyle), Sarah Twomey (Mollie Ralston)

Director: Hannah Chissick; Set Designer: Walt Spangler; Lighting Designer: Nic Farman; Sound Designer: Max Perryment; Casting Director: Marc Frankum; Fight and Intimacy Director: Maisie Carter; Costume Supervisor: Caroline Hannam; Associate Lighting Designer: Nicola Crawford;

Resident Director: Myles Brown

A thrilling slice of British tradition since 1952. Agatha Christie’s genre-defining murder mystery is now entering its 75th year.

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?

Agatha Christie (1890 – 1976) is the best-selling novelist of all time, with more than two billion books sold worldwide in English and translation. The undisputed queen of crime, she created some of literature’s most enduring detectives and mysteries, writing 66 detective novels, including The Murder on the Orient Express, And Then There Were None, and The Murder of Roger Ackroyd, alongside 14 collections of short stories. Her work has had a lasting influence on crime fiction, with her novels and plays continuing to reach new generations of readers and audiences around the world.

Marcus Adolphy plays Major Metcalf. His theatre credits include Romeo and Juliet (Shakespeare’s Globe), The Wife of Willesden (Kiln Theatre and American Repertory Theater), One Man, Two Guvnors (New Wolsey Theatre), The Convert (Gate Theatre), The Suicide, The Comedy of Errors, War Horse (National Theatre), Macbeth (Atrix Bromsgrove), Keeler (Charing Cross Theatre), Macbeth (The Last Refuge Theatre), The Chicago Cowboy (RosemaryBranch Theatre), Twelfth Night (The Nursery Theatre), Keeping Mum, 1867, A Christmas Carol (The Brockley Jack Theatre), and The Children of Salt (Alma Theatre Bristol). His television credits include Hikack, Scott and Bailey and Father Figure.

Jonathan Cobb plays Detective Sergeant Trotter. His theatre credits include Othello (Theatre Royal Haymarket), Here There Are Blueberries (Stratford East), The Waiting Game (Hampstead Theatre), Moonlight Revelry: My Oxygen (Shakespeare’s Globe), WHODUNNIT (Unrehearsed) 3 (Park Theatre),

Stick Man (Leicester Square Theatre), The School for Scandal, Love’s Labour’s Lost (Changeling Theatre), Bedknobs and Broomsticks, The Wind in the Willows (UK tours), War Horse (National Theatre and International tour), and The Grinning Man (Trafalgar Theatre). His television credits include Murder Before Evensong; and for film, The Shamrock Spitfire, Mates, War Blade, and Current Affairs.

Rosa Coduri-Fulford plays Miss Casewell. Her theatre credits include The Syndicate (UK tour), Cinderella (The Vaults), On The Night (Arcola Theatre), And Their Finest Hour (Leicester Square Theatre). Her television credits include Sexy Beast, The Tower and Sky’s Funny Woman, Lucky Man, Pennyworth, Cradle to Grave, Silent Witness and The Dumping Ground; and for film, Rare Beasts.

Dean Graham plays Mr Paravicini. His theatre credits include Waiting for Godot (Theatre Royal Haymarket), Quiz (Chichester Festival Theatre and UK tour), The Great Gatsby (Gatsby’s Mansion), Romeo + Juliet (Secret Cinema), Electra (The Bunker), We Raise Our Hands in the Sanctuary (The Albany), and A Boy Named Sue (King’s Head Theatre). His television credits include Liar, We Are Lady Parts and Confessions of a Hitman.

Dan Nicholson plays Giles Ralston. His theatre credits include Breeding (King’s Head Theatre), Sleep No More (International tour), The Man Who Would Be King, and The Wonderful Discovery of Witches in the Country of Lancaster (UK tours); and for television, Nightsleeper and Ghosts.

Jake Rory plays Christopher Wren. His theatre credits include Oedipus (Wyndham’s Theatre). He recently graduated from Arts Ed.

Gay Soper plays Mrs Boyle. Her most recent West End credits include This Is My Family (Southwark Playhouse Elephant), Funny Girl (Savoy Theatre, transferred from Menier Chocolate Factory), The Curious Incident of the Dog in the Night-Time (Apollo Theatre and Gielgud Theatre), Sunday in the Park with George (Wyndham’s Theatre). Other West End Credits include Jorrocks (Noël Coward Theatre), The Canterbury Tales, The Ratepayers Iolanthe (Phoenix Theatre), Godspell (Roundhouse and Wyndham’s Theatre), Billy (Theatre Royal Drury Lane), Side By Side (Wyndham’s Theatre and Garrick Theatre), Good (Aldwych Theatre), Mother Courage and Her Children (National Theatre), Which Witch (Piccadilly Theatre), The Mitford Girls (Gielgud Theatre, transferred from Chichester Festival Theatre), Salad Days (Vaudeville Theatre), Les Misérables (Palace Theatre), Lend Me A Tenor (Gielgud Theatre), and Marguerite (Theatre Royal Haymarket). Other theatre credits include A Little Night Music, The Crucible (Storyhouse Theatre, Chester), Pirates of Penzance (Regent’s Park Open Air Theatre), Saving Grace (Riverside Studios), Crazy for You (Chichester Festival Theatre), Death Takes A Holiday (Charing Cross Theatre), Maurice’s Jubilee, Star Quality (UK tours), The Busy Body (Southwark Playhouse), Cabaret (English Theatre Frankfurt), Killing Rasputin (Bridewell), The Rink (Orange Tree Theatre), The Sister Wendy Musical (Hackney Empire Studio), Pippin, The Secret Diary of Adrian Mole Aged 13 ¾ (Menier Chocolate Factory), Nude With Violin (Royal Exchange Theatre, Manchester), Peter Pan (Birmingham Rep), Cole (Leatherhead and Hong Kong), Betjemania (Southwark Cathedral Shaw Theatre, and New York), Blithe Spirit (Stockholm), My Fair Lady (Danish tour and Kilworth House). Her television credits include Moonflower Murders, Unforgotten, A Christmas Carol: The Musical, Romany Jones, Father Dear Father, Barbara, Bless This House, Rude Health, The Needle Match, The History of Mr Polly, The Ups and Downs of a Handyman, A Christmas Carol, and The Agatha Christie Hour; and for film, Lace and Rupture.

Sarah Twomey plays Mollie Ralston. Her theatre credits include Fallen Angels (Menier Chocolate Factory), Parklife (Birmingham Rep), Filumena (Theatre Royal Windsor), Accolade (UK tour), The Pocket Dream (Litchfield Garrick), The Southbury Child (Chichester Festival Theatre and Bridge Theatre), Young Chekhov Trilogy (Chichester Festival Theatre and National Theatre), Venice Preserved, The Provoked Wife, A Christmas Carol, and Twelfth Night (Royal Shakespeare Company), and Mermaid (Shared Experience). Her television credits include True Horror – The Witches Prison, The Mind of Herbert Clunderdunk, The Sandman, Call the Midwife, Katie and Koji, and Nightmares; and for film, Paddington in Peru and Men.

Hannah Chissick is an award-winning director and Artistic Director of National Youth Music Theatre. Her directing credits include, Pack of Lies (Menier Chocolate Factory), Eugenius (Turbine Theatre – Best Director, The Offies), Treason the Musical (West End, Alexandra Palace Theatre), The Boy Who Sailed the Ocean in an Armchair (National Youth Music Theatre), Mother Courage and Her Children and the UK professional première of the musical Side Show (Southwark Playhouse), Down the Dock Road (Liverpool Royal Court), for the NYMT – Brass (Hackney Empire) and Sunday in the ParkWith George (The Other Palace), Rags, Amour (Royal Academy of Music), Marry Me a Little (St James Studio) and Teechers (John Godber Theatre Company). She was Assistant Director to Matthew Warchus on the play Art in London and New York and was Associate Director on his acclaimed production of Boeing Boeing, directing casts in London, on Broadway and in Melbourne. In 2003, she became the youngest woman to become an Artistic Director in the UK, when Harrogate Theatre appointed her at the age of 25. Other credits include the critically-acclaimed revival of Side by Side by Sondheim (The Venue, London), Abigail’s Party (Exeter Northcott Theatre), a tour of Grumpy Old Women Live, the world première of Horrid Henry – Live (tour and West End), and the world premiere of Pushing Up Poppies (Theatre503).

LISTINGS                                                                                                                                

THE MOUSETRAP
ST MARTIN’S THEATRE
West Street, London, WC2H 9NZ

Box Office: 020 7836 1443 / enquiries@stmartinstheatre.co.uk

Tickets from £25

Monday – 7.30pm

Tuesday- 3pm & 7pm

Wednesday – 7.30pm

Thursday – 7.30pm

Friday – 3pm & 7.30pm

Saturday – 3pm & 7.30pm

Christmas performance schedule will vary, for more details go to:

www.themousetrap.com

MICHAEL MAROULI, BLU HYDRANGEA, VANITY MILAN
AND NINE OTHER FAVORITES

SHARE THE ROLE OF
‘THE GIANT’

IN TUCKSHOP’S ALL-DRAG PANTOMIME
‘JACK AND THE BEANSTALK’

AT THE EMERALD THEATRE
FROM 2 DECEMBER 2026

TuckShop, the UK’s only specialist production company devoted to all things drag, are delighted to announce the twelve artists playing the role of The Giant in the sixth edition of their all-drag pantomime: JACK AND THE BEANSTALK. The panto will play the Emerald Theatre from Wednesday 2 December 2026 for a strictly limited 6-week season ending on Sunday 10 January 2027, with a press performance on Wednesday 9 December.

The role of the Giant will be shared by a rotating line-up of high-profile performers across the six-week run, including Black Peppa (finalist on RuPaul’s Drag Race UK Series 4; TRAVESTY, Dublin), Blu Hydrangea (winner of RuPaul’s Drag Race: UK vs. the World), Blu Romantic (contestant on the current series of The Great British Bake Off), Choriza May (RuPaul’s Drag Race UK Series 3; Snow White & the Seven Drag Queens, UK Tour; Sinderella), HERR (Shrektacular, Clapham Grand), KY Kelly (Everybody’s Talking About Jamie, UK Tour; The Pied Piper of Hamelin, Manchester; RuPaul’s Drag Race UK Series 8), Michael Marouli (recent winner of Drag Race Down Under vs. the World), Mocha (RuPaul’s Drag Race UK Series 8), Nyongbella (RuPaul’s Drag Race UK Series 7), Tayris Mongardi (Snow White, Emerald Theatre; RuPaul’s Drag Race UK Series 7), Tiana Biscuit (Snow White; Everybody’s Talking About Tiana; Sinderella) and Vanity Milan (finalist on RuPaul’s Drag Race UK Series 3 and Canada’s Drag Race: Canada vs. the World).

The complete cast for the six-week run comprises of Bones (Drag Race UK Season 7 winner) as Jack, Kitty Scott-Claus (Drag Race UK Season 3 & Global All Stars runner up, Gals Aloud, The Diana Mixtape) as Princess Jill, Rosé (Drag Race US Season 13, Titanique, iCarlY, America’s Got Talent, and The Voice) & Kyran Thrax (Drag Race UK Season 6 winner; Big Mood, Channel 4) as Fleshcreep*, Kate Butch (Drag Race UK Season 5, Celebrity Mastermind winner BBC, If You Wanna Go Butcher, Choose Your Own Cabaret) as Jack’s Mother, Yshee Black (JOY, Sleeping Beauty, Peter Pan, Snow White, Late Night Lycett) as Fairy Liquid, Drag king Dairy King as The Milkman, Cheryl Hole (Drag Race UK  season 1, Runner-Up on MTV’s Celebs on The Farm, Canada’s Drag Race Canada Verse The World Season 2) as Cheryl The Cow and Ophelia Love (Gals Aloud, Peter Pan, The Real HAUSwives of London, Snow White)as Villager no.4.

We’re full of beans and ready to go for the 6th annual, all-drag, West End Panto: JACK AND THE BEANSTALK!

JACK AND THE BEANSTALK tells the infamous and beloved story of a boy whose best friend is a cow, yet he decides to sell him for some beans. TuckShop bring their raucous, chaotic story telling for their longest run ever.

Rude, crude and not for prudes (or children!!), this is the very adult, very hilarious, very demure pantomime from the team who brought you The Diana Mixtape, Death Drop, Cool Rider and Gals Aloud.

JACK AND THE BEANSTALK, the outrageous all-drag panto is written by Kate Butch, Crudi Dench, and Eleanor Mason, choreographed by Taz Hoesli, production management by Production Solutions Group, associate director Frazer Meakin, directed and created by Christopher D. Clegg and produced by TuckShop.

*Please note Rosé will play Fleshcreep until Wednesday 23 December & Kyran Thrax will take over the role from Sunday 27 December*

LISTINGS INFORMATION

Wednesday 2 December 2026 – Sunday 10 January 2027

EMERALD THEATRE                                     

8 Victoria Embankment,
London
WC2R 2AB

Website: tuckshopuk.com
Twitter: @TuckShopUK
Instagram: @tuckShopuk

Booking link: tuckshopuk.com 

Performance Schedule:

Wednesday, Thursday & Friday – 7:30PM

Saturday – 3:00PM & 7:30PM

Sunday – 2:00PM & 6:00PM

Please note that on Saturday 5 December matinee will be at 2pm, Saturday 2 January matinee and Saturday 9 January will be at 4pm.

Please note there are no performances on Sunday 6 December, Tuesday 8 December, Thursday 10 December, Tuesday 15 December, Tuesday 22 December, Wednesday 23 December, Thursday 24 December, Friday 25 December, Saturday 26 December, Thursday 31 December & Friday 1 January.

Running time: 2hours including interval
Age guidance: 18+

Hull New Theatre – until 24th October 2026

Reviewed by Dawn Bennett

5*****

First performed in 1981, Cats has undoubtedly stood the test of time. Inspired by T. S. Eliot’s Old Possum’s Book of Practical Cats, Lord Andrew Lloyd Webber’s fabulous music was brought vividly to life by the outstanding cast at Hull New Theatre last night. This production was directed and choreographed by Drew McOnie, and it was different to other production of Cats that I have seen but it was so good, the chorography was darker, more balletic in places and had brilliant individual and group dances.

The story follows the Jellicle Cats, who gather once a year for the Jellicle Ball to celebrate their unique identities. Their leader, Old Deuteronomy (Kalisha Amaris), must choose one cat to be reborn into a new life. Along the way, the cats share their individual stories, revealing how they live and where each of them belongs within the Jellicle family.

The entire cast was outstanding, making it difficult to single out any one performer. Each actor fully embodied their feline character, using expressive movement and accomplished dancing to bring the cats vividly to life. Sami Fendall’s brilliant costumes—along with the set and wigs—enhanced this transformation beautifully. Every design was distinctive, carefully crafted and perfectly fitted to its character.

The production excelled beyond its dancing: the singing and acting were equally first-rate, featuring superb solos and beautifully performed harmonies.

Led by Musical Director Geraint Owen, the orchestra performed the show’s instantly recognisable score with skill. Highlights included “Memory,” “Macavity: The Mystery Cat” and “Mr Mistoffelees.”

Last night’s audience gave the cast a richly deserved standing ovation. Cats remains well worth seeing, whether you are experiencing it for the first time or returning after many previous visits.