Leeds Grand Theatre – until Saturday 10 January 2026
Reviewed by Adam Craddock
5*****
Tonight I had the pleasure to be invited along to my first review of the year, Fawlty Towers: The Play at Leeds Grand Theatre. John Cleese is one of my absolute favourite performers of all time and, whilst I am more expert on Month Python, I have a great fondness for Fawlty Towers. After reading the program and the director’s notes I was pleasantly surprised by the premise of the play. Rather than taking an easy route and just doing a compilation of the greatest hits, Cleese has sat down with the 10 episodes and picked 3 of his personal favourites, adapting them as if they were all happening simultaneously over one weekend.
Danny Bayne starred as the iconic Basil Fawlty. As well as having more than a passing resemblance to a younger Cleese, Bayne has the brilliant energy and physicality needed to pull off this iconic character. Whether it be his goose stepping or his charades game for dragonfly, Bayne really does embody this character and delivers on the most dangerous risk of this show, someone else playing Basil! Mia Austen was great as Sybil Fawlty, with a cracking laugh and again, a very respectful nod to the source material. Whilst not having much to do in Act 2, she still was extremely strong when required. Joanne Clifton was brilliant as Polly Sherman, with her apparent mastery of the Spanish language being mightily impressive and some brilliant delivery to her dialogue.
Greg Haiste was fabulous as Mr Hutchinson, the highly irritating spoon seller. His pompous manner was excellent and delivered exactly on this part what was needed. Adam Elliott was fair as Mr Walt, again he really gave a brilliant physical performance, in particular during the chaotic dinner scene. Jemma Churchill was brilliantly awful as Mrs Richards, the deaf and pompous visitor who finds fault in everything. Neil Stewart was hilarious as “The Major”, another slightly senile older character who distrusts all Germans and pursues a rat with his Lee Enfield, what’s not to love! The absolute highlight of the show for myself and my partner however was Hemi Yeroham as Manuel, the constantly put down but ever cheerful waiter from Barcelona. Yeroham was absolutely fantastic and had my partner bent over in stitches with his frenetic physical comedy and flawless delivery of the dialogue. This for me was quintessentially perfect casting! Bravo!
The set was absolutely fabulous, split over two floors and showing off various rooms weighing the hotel. Most of our action takes place in the reception as you would expect, but the whole set was used very effectively. The sound and lighting were both fine to me, no real noteworthy events either way. The costume and hair/makeup teams need to be congratulated for their efforts too, there for me is no chance this happens to be this close to the original without them!
Overall, I would highly recommend you check yourself in to a trip to Leeds Grand to pick this fabulous show up while it is in town. For nostalgic laughter then this is definitely the show for you.
Darlington Hippodrome – until Saturday 10 January 2026
Reviewed by Andrew Bramfitt
4****
If you think you’re safe in the theatre, The Woman in Black is here to prove you very, very wrong.
Opening at Darlington Hippodrome, this latest touring production of the classic ghost story reminds us why it has terrified audiences for over three decades. Stripped-back, shadow-soaked and deliciously unsettling, it proves that when it comes to horror, less really is more — and the theatre remains one of the most thrilling places to be scared witless. Under the assured direction of Robin Herford, this PW Production stays fiercely true to the essence of Susan Hill’s original tale. There are no cheap tricks here — instead, fear creeps in quietly, building through atmosphere, sound and the uncomfortable feeling that something is watching you from just beyond the light.
John Mackay delivers a gripping performance as Arthur Kipps, a man desperate to confront a past that refuses to stay buried. Mackay, well known for his extensive stage work and screen appearances, brings a haunting intensity to the role, drawing the audience into Kipps’ psychological unravelling with unnerving ease. Alongside him, Daniel Burke is superb as The Actor — initially playful and sceptical, before being pulled into the same chilling reality. Burke’s background across theatre and television shines through in a performance that balances wit, precision and mounting dread.
What makes The Woman in Black so effective is its trust in the audience’s imagination. Sparse staging, clever lighting and perfectly timed silences allow fear to bloom in your own mind — often far more terrifying than anything explicitly shown. The Hippodrome itself becomes part of the experience, its creaks, corners and cavernous space lending themselves beautifully to this classic chiller. It’s a reminder that live theatre can offer thrills no screen ever could.
So, if you’re in the mood for a night of elegant terror, jump scares earned the hard way, and a ghost that refuses to be forgotten — take your seat… if you dare.
Cameron Mackintosh is delighted to announce that actress, singer and presenter Lucie Jones will return to Boublil and Schönberg’s musical sensation Les Misérables at the Sondheim Theatre in London’s West End.
Credit: Johan Persson
Jones will play Fantine, a role she has already performed to great acclaim in the West End and more recently on the World Tour Arena Spectacular, for a limited season from Monday 19 January to Saturday 11 April 2026. She joins Ian McIntosh as ‘Jean Valjean’, Sam Oladeinde as ‘Javert’, Adam Gillen as ‘Thénardier’, ClaireMachin as ‘Madame Thénardier’, Thiago Phillip Felizardo as ‘Marius’, Amena El-kindy as ‘Éponine’, Joe Griffiths-Brown as ‘Enjolras’ and Izzi Levine as ‘Cosette’.
The company is completed by Hollie Aires, Aidan Banyard, Ella May Carter, Nicholas Carter, Matthew Dale, Irfan Damani, Lily De-La-Haye, Lila Falce-Bass, Sophie-May Feek, Jessica Johns-Parsons, Seán Keany, Chris Kiely, Sam Kipling, Mia Lamb, Sarah Lark, Ollie Llewelyn-Williams, Matthew McConnell, Aaron-Jade Morgan, Adam Pearce, William Pennington, Jordan Simon Pollard, Lewis Renninson, Danielle Rose, Georgia Tapp, Noah Thallon, Imaan Victoria, and Danny Whelan.
Further casting for performances from 2 February 2026 will be announced soon.
Boublil and Schönberg’s magnificent iconic score of Les Misérables with lyrics by Herbert Kretzmerincludes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom.
Les Misérables, which celebrated its record-breaking 40th Birthday in the West End last October, has been seen by over 150 million people worldwide in 55 countries, 452 cities, and has been translated into 22 languages. It has won over 270 major awards around the world, among which 5 Olivier Awards (including a special recognition award in April 2025), 8 Tony Awards and 5 Helpmann Awards, and the movie won 3 Oscars.
Les Misérables is the longest running and indisputably one of the most popular musicals in the world.
LES MISÉRABLES
Sondheim Theatre, Shaftesbury Avenue, London W1D 6BA
Producers ROYO and Curve are delighted to announce that musical theatre and Tik Tok star, Hannah Lowther (SIX, West End; Heathers: The Musical, The Other Palace) will play Margot and Alternate Elle Woods in brand-new Made at Curve production of the West End and Broadway smash-hit LEGALLY BLONDE THE MUSICAL. Hannah will play the role of Elle Woods when the musical’s star Amber Davies (Strictly Come Dancing, BBC1; The Great Gatsby, London Coliseum; Pretty Woman, UK Tour) is not performing*. The musicalwill tour the UK and Ireland in 2026, opening at Leicester’s Curve theatre on 7 February and running until 2 January 2027.
They star alongside George Crawford (The Great Gatsby, London Coliseum; Newsies, Troubadour Wembley Park) as Emmett, Karen Mavundukure (Stranger Things, West End, The Colour Purple, Birmingham Hippodrome & UK Tour; Dreamgirls, West End) as Paulette, Adam Cooper (A Chorus Line, Curve/Sadler’s Wells; Matthew Bourne’s Swan Lake, Sadler’s Wells; Billy Elliot, Universal) as Callahan, Jamie Chatterton (The Little Big Things, Soho Place; The Osmonds: A New Musical,UK & Ireland Tour) as Warner, Annabelle Terry (Scissorhandz, Southwark Playhouse Elephant; Hamlet, National Theatre) as Vivienne, Jocasta Almgill (A Chorus Line, Curve/Sadler’s Wells/UK Tour; Grease, Dominion Theatre) as Brooke, Rosanna Harris (Grease, UK Tour; The War of the Worlds: Spirit of Man, Arena Tour) as Serena and Remi Ferdinand (Hamilton, West End; Grease, West End) as Pilar. With Ty-Reece Stewart (Footballer’s Wives, Assembly Rooms Edinburgh; Charlie and the Chocolate Factory, UK & Ireland Tour) as Kyle and Bradley Delarosbel (A Chorus Line, Sadler’s Wells/Curve/Japan; Matilda the Musical, Netflix) as Carlos.
The cast is completed by Keanna Bloomfield (The Sound of Music; My Fair Lady, Curve), James Lim (Disney’s Aladdin, UK Tour; Clueless, West End), Aaron Shales (&Juliet, West End/UK & Ireland Tour; Fantasies Come True, The Other Palace), Jaime Tait (Beautiful: The Carole King Musical, West End; Motown the Musical, West End), Daisy Twells (Muriel’s Wedding, Curve; Heathers, Soho Place/The Other Palace/UK Tour), Louie Wood (Billy Elliot; A Chorus Line, Curve), Raiaz Fisher (TINA: The Tina Turner Musical, West End; Save The Cinema, Sky Cinema), Dylan Gordon-Jones (Freaky Friday The Musical, Home Manchester), Lauren Hampton (Half a Sixpence; Hello Dolly, Bristol Hippodrome) and Ollie Hart-Bradford (Legally Blonde, Curve; Elf, UK Tour).
The multi-award winning LEGALLY BLONDE THE MUSICAL features original music and lyrics by Laurence O’Keefe and Nell Benjamin and a book by Heather Hach, based on the novel LEGALLY BLONDE by Amanda Browning and the iconic 2001 Metro-Goldwyn-Mayer film of the same name starring Reese Witherspoon and Jennifer Coolidge. It is presented by arrangement with Music Theatre International.
LEGALLY BLONDE THE MUSICAL will be directed by Curve’s Artistic Director Nikolai Foster (Kinky Boots; The Wizard of Oz; A Chorus Line) and choreographed by Leah Hill(Kinky Boots, UK and Ireland tour; Beautiful: The Carole King Musical, Curve & UK Tour; The Wiz, Hope Mill Theatre)with musical supervision & additional arrangements by Matt Spencer-Smith (Here & Now, Birmingham Alexandra & UK and Ireland tour; Dear Evan Hansen, UK tour), set design by Colin Richmond (The Little Big Things, Soho Place; The Wizard of Oz, UK tour), costume design by Tom Rogers (Here & Now, Birmingham Alexandra & UK and Ireland tour; A Knight’s Tale The Musical, Manchester Opera House), wigs, hair & make-up design by Sam Cox (Moulin Rouge, West End, Broadway and International Tour; 13 Going On 30 The Musical, Manchester Opera House),lighting design by Ben Cracknell (Clueless, Trafalgar Theatre, The Wizard of Oz, London Palladium), sound design by Adam Fisher (Here & Now, UK & Ireland tour, Evita, London Palladium) and casting by Harry Blumenau CDG CDA (Kinky Boots, UK & Ireland Tour/West End; Ride the Cyclone, Southwark Playhouse Elephant).
LEGALLY BLONDE THE MUSICAL comes hot off the heels of the sell-out tour of KINKY BOOTS, also directed by Foster and co-produced by Curve and ROYO.
“Whoever said orange is the new pink was seriously disturbed”
This ultimate feel-good rom-com, based on the award-winning film starring Reese Witherspoon, follows Elle Woods on her transformation from ‘It Girl’ fashionista to legal ace at Harvard Law School, all in the name of love. Elle must prove she is more than blonde ambition, swap the changing rooms for the courtroom and learn that ‘being true to yourself never goes out of style.’
LEGALLY BLONDE is produced by ROYO and CURVE.
*Please check the website for Amber and Hannah’s performance dates.
Stephen Sondheim remembered: close friends and family share untold stories
in a groundbreaking new twelve-part podcast
Loving You: The Untold Sondheim
On general release March 2026
In personal celebration of Stephen Sondheim, an unprecedented tribute podcast will be released by Sondheim’s chums Martin Milnes and Peter E. Jones, in association with Jason Caffrey of Creative Kin Ltd, on all streaming platforms on Thursday 5 March 2026.
Loving You: The Untold Sondheim shares exclusive heartfelt recollections from the composer’s longtime close friends, family and esteemed colleagues. Hosts Milnes and Jones have spent two years creating the twelve-part documentary series, gathering Sondheim’s amigos together from Broadway, West End, Hollywood and beyond.
The podcast is an intimate, affectionate and candid portrait of the man behind the myth; each episode exploring different aspects of Sondheim’s life, personality and private passions. It marks the first time in over 25 years that Jones has spoken publicly about his romantic relationship with Sondheim – the composer’s first official partnership – and their subsequent decades-long friendship. Milnes bonded with Sondheim over a shared passion for obscure old movies; Sondheim’s unexpected love of camp glittered in a revealing cross-generational friendship described by Jones as ‘unique’.
The series features informal personal chats with Sondheim’s friends, collaborators and interpreters including Dame Julie Andrews, Jamie Bernstein, Dame Judi Dench, Mia Farrow, Ronan Farrow, Maria Friedman, Adam Guettel, John Kander, James Lapine, Patti LuPone, Maltby & Shire, Lin-Manuel Miranda, Bernadette Peters, Jonathan Tunick, John Weidman and Maury Yeston. Family memories are recalled by Stephen’s half-brother, Walter E. Sondheim.
Many further names are yet to be announced, ranging from Tony-winning original cast members and creatives, through to Sondheim’s personal friends, longtime protégées, household staff, and surprise artistes in guest cameo appearances.
Loving You: The Untold Sondheim is written, devised, directed and co-produced by Martin Milnes. Co-producer Peter E. Jones composed the podcast’s original score. Executive Producer is Jason Caffrey of Creative Kin Ltd.
Martin Milnes said: ‘Our podcast is a valentine to Steve produced by – and made with – those good and crazy people, his friends. In his lifetime, it was often said that ‘Steve’s got his story and he’s sticking to it.’ But in this series, we lovingly portray surprisingly different sides to our friend – shared by those with whom Steve chose to spend time away from the spotlight. Their intimate memories humanise a giant of theatre, highlighting his great sense of fun. Simultaneously, they express how deeply and profoundly Steve’s love transformed so many lives.
‘I am extremely proud to collaborate with my faithful friend Peter E. Jones, whom Steve himself brought into my life. We invite our listeners to discover the untold Sondheim through romantic love, platonic love, his love of children, movies, puzzles, games, mentorship and other passions; and of course, love of his work and the legacy he has left us. We hope our intriguing little social item will entertain you. We’re sure it will make you smile.’
Peter E. Jones said: ‘Yeah. What he said.’
Loving You: The Untold Sondheim will be available on all streaming platforms.
The first two podcast episodes will be released on Thursday 5 March 2026, with the next two on Thursday 12 March, and thereafter one episode released per week.
We are absolutely delighted to announce the joint winners of the Aurora Award 2025 are Sydnie Isitt-Ager and Jess Daley, both of whom starred in Military Wives the Musical.
“Sydney Isitt-Ager, as Sarah, delivered an absolutely incredible portrayal, balancing vulnerability and strength in a way that was both captivating and heartfelt. Her performance felt so true to life that I often forgot I was watching an actress at all“
“Jess Daley, as Jenny, meanwhile, brought endless comic energy to her role. Her timing was impeccable, and she gave the audience much-needed bursts of laughter in between the more poignant moments. Both women anchored the production beautifully, each showcasing different sides of the choir’s story.”
They join the long list of previous winners which started in 2018 with Marlow and Moss the writers of Six, and winners since Kristian Lavercombe, Oscar Conlon-Morrey, Rob Madge, Chloe Hart, SplitLip, Ian Watson and Awkward Productions
Based on the hit Sky TV show, Brainiac Live! arrived in Birmingham this weekend for a short festive run at Birmingham Town Hall, before embarking on a UK tour next year. The show was conceived by producer Dan Colman and has been touring for over 17 years, including shows in Australia and Dubai. This year it also received an Olivier Award for ‘Best Family Show’ following a successful run at London’s Marylebone Theatre.
From the moment Brainiac Ned (Andy Joyce) and his trusty gang of fellow Brainiacs Ed (Rik Warren), Raz (Katie Santhouse) and Dave (Ian Plimley) took to the stage, it was clear this was not a conventional educational show. Birmingham Town Hall’s formal, historic interior provided a striking contrast to the controlled chaos unfolding on stage. Fire, smoke and explosions were used with theatrical precision, capturing the attention of younger audience members, while keeping the adults entertained through sharp comedic timing and a few jokes that went over the children’s heads. Experiments included airzookas blowing smoke rings, launching socks with rockets into the audience, running at speed through plasterboard-covered doorways and plenty of explosions. The show features numerous noise warnings throughout, as it is very loud. The audience are reminded to cover their ears frequently, so this may be something to consider for noise-sensitive audience members.
My favourite experiment was the ‘Best Way to Spin a Chair Challenge’, in which Brainiac Ned was spun round in an office chair using both a fire extinguisher and jet-propelled rockets with flames bursting out. This was quite a sight to behold, and proved that the cast (especially Writer/Director Andy Joyce) really throw themselves into the spirit of the show. The cast worked well together and ensured they kept the crowd as hyped up about the experiments as they were. Special mention must be given to Rik Warren as Brainiac Ed, his deadpan delivery of certain phrases really added to the comedy. I never expected to laugh so much at the words ‘hot water bottle’.
The show was not without a few minor flaws. The pace became relentless at times, and some explanations felt a little rushed. Spectacle also occasionally overshadowed substance. That said, younger audience members were clearly delighted throughout and enjoyed the continual mayhem, which is exactly the point of this kind of show.
Technically, the production was slick and professional. The ‘Hazard Warning’ sign-filled set design by Damien Stanton definitely built up the audience’s expectations of what was to come. Lighting and sound cues were tightly coordinated with the experiments and added to the audience’s anticipation. The sound occasionally became a little echoey and muffled, though this may have been due to the size of the venue. The sound issues were mostly noticeable during the otherwise hilarious ‘Misheard Lyrics’ section. I may be nit-picking, but in a very loud show, if “O Fortuna” is being played, I want it played loud!
Brainiac Live! at Birmingham Town Hall delivered an energetic, hilarious and frequently loud afternoon of science-based entertainment that largely lived up to its reputation. It was a noisy, chaotic, and highly enjoyable reminder that science, when presented with imagination, can be both accessible and exhilarating.
Old Joint Stock Theatre, Birmingham – until 30th December 2025
Reviewed by Emma Millward
5*****
The Old Joint Stock Theatre’s festive production of Pinocchio is an inventive and warmly delivered reimagining of Carlo Collodi’s classic tale of the little wooden boy. The production is perfectly suited to the venue’s intimate setting and immediately benefits from the close proximity between performers and audience. In a space as compact as the Old Joint Stock, this could easily feel limiting, but instead it enhances the sense of involvement and playfulness. Before the show even began, the five performers appeared and interacted with the audience, showing the children the various musical instruments they would use during the show. This added a lovely informal start to proceedings.
The show follows Pinocchio’s (Jasmine Metcalfe) familiar journey as an impulsive and inquisitive puppet that comes to life after being carved from a wooden log by Geppetto (Miyu Potin-Sawada). As Pinocchio prepares to attend his first day at School he meets many characters along the way. He comes across a cat (Caoimhe De Brun) and a Fox (Morwenna Brown) who trick him into meeting the Puppetmaster (Miyu Potin-Sawada) who locks Pinocchio in a cage. Pinocchio is helped by The Girl with Azure Hair (Caoimhe De Brun) who discovers Pinocchio’s nose grows when he tells a lie, which he then uses to unlock the cage. Throughout the show, a mysterious storyteller called Jim (Edie Milton Williams) offers guidance to Pinocchio, as well as telling others about the wooden boy.
The cast of five performers is small, but perfectly formed. They portray multiple roles without any confusion. Their performances are confident and full of charm. Pinocchio himself is portrayed with a naive and gentle nature, while the other characters bring lots of humour. The cast’s evident enjoyment creates a lively and engaging experience for the audience. Writer/Composer Holly Mallett’s intention to connect the story to nature is evident throughout, from the recurring wooden imagery to the beautifully crafted wooden stage area, which also serves as the backdrop for the Old Joint Stock Theatre’s other Christmas show It’s A Wonderful Knife- Christmas Dundee. Musical elements add a magical edge to the production. The folk-inspired songs are lively and played by the performers on a variety of instruments.
George P Martin’s set design choices are imaginative and well-judged. Without elaborate sets, the show uses props and physical storytelling to take us into Pinocchio’s world, particularly in the more fantastical sequences. This approach encourages audience imagination to fill in the gaps. Martin’s costumes are also exquisite, and really add to the whole feel of the story. The puppets (directed by Ellie Begley) used throughout are inventive. Ranging from tiny marionette puppets, shadow puppets and a beautifully crafted donkey that the children in the front row especially enjoyed getting to meet up-close. Pinocchio is depicted as a traditional wood-carved puppet, with visible wood grain and movable limbs. Jasmine Metcalfe’s puppetry skills are outstanding at portraying how Pinocchio is feeling as he moves about the whole theatre, interacting with the cast and audience alike. The only flaw I could possibly point out, is that the puppet was initially a little unsettling for the very young children sitting near me, but they were soon captivated by the performance.
Overall, Pinocchio at the Old Joint Stock Theatre is a heart-warming and joyous festive offering. With humour, imagination, and warmth at its core, Director Emily Susanne Lloyd and Writer Holly Mallett have succeeded in capturing the magic of a beloved story without relying on spectacle. For audiences seeking a thoughtfully staged, engaging, and thoroughly enjoyable Christmas experience in Birmingham, Pinocchio is worth a visit this Christmas season.
