Hull Truck Theatre presents The Little Mermaid written and directed by Tom Saunders. This is an ideal introduction to the world of theatre it is aimed at three- to six-year-olds and is a really lovely show. It’s an hour long and it kept the young audience around me enthralled from beginning to end. We had a brightly coloured set and costumes (designed by Alexandrea Hopkin-Spratt), some fantastic puppets (design and direction by John Barber) and very effective music (composed by Joe Roper) and very atmospheric lighting (Adam Foley) and sound (Mathew Clowes). Along with the fabulous actors all these parts came together to make an excellent show.
The show is set in the bottom of the sea and it’s there we meet Coral (Elizabeth Green) a Mermaid and also a Princess who really doesn’t want to sing at her parents’ party. She’s got a beautiful singing voice but we find out that she’s also very shy. Fin, the fish, tries to persuade her to sing at the palace party for the King and Queen but she won’t and decides to do what she not supposed to do and go to the surface and onto dry land. It’s there she meets Charlie (Alex Fairweather), a young boy who is getting a Christmas present for his Nan. Coral sees Charlie and realises that he can’t hear, because of his headphones, that there is a storm coming and poor Charlie manages to be swept out to sea, Coral swims down to rescue Charlie and when she finds him she is shocked to remember that land dwellers can’t breathe under water. It is then that Coral meets The Sea Witch (Alex Fairweather) who is really not very nice and he wants something that Coral has, her beautiful voice, and if she gives it to him only then will he save Charlie. What happens next shows how brave Coral really is but will this help Charlie and what will happen to the horrid Sea Witch…only time will tell.
This show is well worth a visit; the two actors are very talented and played their parts beautifully, there is audience participation and a fabulous story that will keep children and adults alike entertained. This production is definitely worth every one of the five stars I have given it.
Starting with our good and evil leads introducing the show, this production then opens with a big number – a rewrite of ‘Welcome to the 60s’ (City) from Hairspray. With nearly the full cast on stage to set the scene. We are quickly introduced to the lead characters and the story set. Alderman Fitzwarren (Richie Anderson) has rats in the town and his shop and needs some help to remove them. Step up Dick Whittington (Jarred Christmas) and his cat Boots (Jack ‘Hobbit’ Hobbs).
The story doesn’t really evolve or develop. There is a suggestion that the niece of the Alderman, Alice (Rebecca Keatly) will fall in love with Dick, but it is lost, the relationship is never really suggested beyond the occasional coy exchange. Somewhere within the story is Fairy Bow Bells (Suzanne Shaw) and her enemy Queen Rat (Djalenga Scott) attempt to steer it in some direction but it doesn’t really begin or conclude. We see a whole dream scene for Bow Bells to suggest to Dick that he should become Mayor of London, but he didn’t – or at least I didn’t notice that he did. There are some good songs and dance numbers, but the story never really happens. I enjoyed the exchange between Bow Bells and Queen Rat making use of the film of the moment a rendition of ‘Loathing’. An adaptation of the Cell Block Tango provided Djalenga Scott an opportunity to showcase her vocal ability.
Richie Anderson is a newcomer to the world of panto and here on opening night it showed, perhaps as the run progresses, he will relax into the role and be able to land the jokes he has. The jokes for the entire production are amusing but fall short. Sarah The Cook (Jack Ballard) had many smutty jokes, but at times the actions to accompany them became a little too much and unnecessary.
Jarred Christmas does a suitable job of Whittington with some good jokes landing well but the character never really becomes a hero we root for. The absolute standout aspect of the performance is the casting of beat box artist Hobbit as Boots the Cat. He brings an entirely new slant to the role and completely lifts the performance – the only real talking point post show.
In all, its pantomime. It has all the ingredients and sparkle, it just lacks and story and soul.
This year Richmond brings you Cinderella the fairy godmother of all pantos! Written by Harry Michaels and Alan McHugh and directed by Gary Wilmot
It tells the classic story of Cinderella (Hope Dawe) A kind lovely girl who desperately wants to go to the Royal Ball and Buttons (Charlie Stemp) her loyal, best friend who is totally in love with her, but he just can’t get the words out to tell her, he would do anything for her and he manages to get her a ticket to the ball! When her wicked stepsisters Verruca Hardup (Stephen Guarino) and Hernia Hardup (Jak Allen-Andersom) find out they decide that they have other plans for Cinderella and must make her miss the ball so that they can have more of a chance of winning over Prince Charming (Tom Major). With everything now falling apart for Cinderella, in steps her magical Fairy Godmother (Helen George) providing her with everything she needs to go to the ball including those spectacular glass slippers. She meets the Prince Charming, love is in the air but she must leave by midnight before the magic disappears. She succeeds only to leave one slipper behind, will the Prince find the Princess that fits the shoe?
The show was magical to watch and definitely put everyone in the christmas spirit, Hope Dawe gave a spectacular performance that was so enjoyable to watch.
Tom Major as Prince Charming played the playful prince and was entertaining for all.
Basil Brush well what an entrance he had, the audience joining in with BOOM BOOM BOOM let me hear you say wayo
Charlie Stemp as Buttons was hilarious throughout the evening entertaining all and keeping a smile on everyone’s face.
Helen George as the Fairy Godmother was sparkling and beautiful and her vocals were fabulous she played her part with ease.
Then there was the Ugly Sisters, Stephen Guarino and Jak Allen-Andersom who were sarcastic and rude and always delivered in sync with a pout their saying “shut your faces” – just brilliant
This was a fantastic and enjoyable panto for all that got you into the christmas spirit definitely one to watch as a family. Get yourself to Richmond It’s well worth it!
The producers of the multi award-winning, critically acclaimed West End production of CABARET at the KIT KAT CLUB are delighted to announce new casting.
From 26 January 2026, West End star Katie Hall will play Sally Bowles and actor, presenter and Brit Award winner Matt Willis will play Emcee.
They join Baker Mukasa as Clifford Bradshaw, Ruthie Henshall as Fraulein Schneider, Robert Hands as Herr Schultz, Lucas Koch as Ernst Ludwig and Jessica Kirton as Fraulein Kost/Fritzie, Joe Atkinson, Xavion Campbell-Brown, Olivia-Rose Deer, Anya Ferdinand, Danny Fogarty, Adrian Grove, Ela Lisondra, Hícaro Nicolai, Andy Rees, Alexandra Regan, Manu Sarswat, Tom Scanlon, Eva-Rose Tanaka, Marina Tavolieri and Lucy Young.
Katie Hall and Matt Willis’ final performance will be Saturday 23 May 2026.
Katie Hall most recently starred as Fantine in Les Misérables for the 40th Anniversary at the Sondheim Theatre, as well as its UK and Ireland tour and Les Misérables: The Arena Concert Spectacular world tour. She previously played Cosette at the Queen’s Theatre, on the national tour, as well as in Les Misérables in Concert – The 25th Anniversary at The O2 Arena. Katie’s other theatre credits include Christine in The Phantom of the Opera’s national tour, as well as alternating the role in the West End at Her Majesty’s Theatre, Johanna in Sweeney Todd for English National Opera, starring alongside Emma Thompson and Bryn Terfel, Laurey Williams in Oklahoma!, and Hodel in Fiddler on the Roof, both at Grange Park Opera, and Maria in the national tour of West Side Story.
Matt Willis is an actor, television presenter and performer with a career spanning television, theatre and music. He rose to fame as a founding member of the multi-platinum, chart-topping pop-rock band Busted, before establishing a career onstage playing the role of Fiyero in Wicked at the Apollo Victoria, Orin Scrivello in Little Shop of Horrors at Regent’s Park Open Air Theatre, Nick Hurley in Flashdance at the Shaftesbury Theatre, Chuck Cranston in Footloose and Dr. Pomatter in Waitress, both on tour. His screen credits include Birds of a Feather and EastEnders, as well as winning I’m a Celebrity… Get Me Out of Here! and more recently co-hosting Netflix’s Love is Blind UK, alongside his wife, Emma Willis. His self-authored, NTA-nominated documentary Matt Willis: Fighting Addiction earned wide acclaim, and he also hosts the hit podcast On the Mend, speaking with guests about resilience, healing and personal growth.
CABARET will also be welcoming new members into their Prologue Company from 9 February 2026, with Isobel Bates, Jonathan Charles, Shanelle Clemenson, Zara Liu, Brian James O’Sullivan and Shiho Yokoyama joining the cast.
They join existing company members Rachel Benson, Ami Benton, Andrew Linnie, Dak Mashava and Jack William Parry who are continuing with the Prologue Company.
Matt Willis is not scheduled to perform on Wednesday 18th March at 2.00pm and 7.30pm, Thursday 26th March at 7.30pm, Friday 27th March at 7.30pm and Saturday 28th March at 2.00pm and 7.30pm.
At these performances, the role of Emcee will be played by Joe Atkinson.
CABARET is currently booking until Saturday 26 September 2026. The production has surpassed its 1,500th performance, making it the longest running production of Cabaret in West End history. kitkat.club
This unique production of CABARET opened in December 2021 to critical and audience acclaim, widely praised as the ultimate theatrical experience. In April 2022 it won a record-breaking seven Olivier Awards. The production has also won three prestigious Critics Circle Awards as well as the Evening Standard Theatre Award for Best Design for designer Tom Scutt.
Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a ‘club entry time’ to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…
One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.
CABARET is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision is by Jennifer Whyte and musical direction is by Ben van Tienen with lighting design by Isabella Byrd, sound design by Nick Lidster, Wigs and Hair design by Sam Cox and Make-Up design by Guy Common. The casting director is Stuart Burt and the original associate director and prologue director is Jordan Fein. The prologue composer and musical director is Angus MacRae.
CABARET at the KIT KAT CLUB is produced by ATG Productions and Underbelly.
STEP RIGHT UP! AS FULL CASTING IS REVEALED FOR BARNUM
TOURING THE UK AND IRELAND FROM FEBRUARY 2026
“A DAZZLING, ALL-SINGING, ALL-JUGGLING MUSICAL” The Observer
Roll up, roll up for the greatest show on earth!
Bill Kenwright Ltd is delighted to announce that it will present Barnum, the classic Broadway musical by Cy Coleman (music), Michael Stewart (lyrics) and Mark Bramble (book) that celebrates the life of the world’s greatest showman, P.T. Barnum. Originally produced at the Watermill Theatre, this major new touring production will open at Theatre Royal Windsor on Tuesday 3 February 2026 (previews from Friday 30 January).
West End favourite and TV star Lee Mead will take centre stage as the legendary P.T. Barnum. Lee is best known for his breakout win on Any Dream Will Do and acclaimed performances in Joseph and the Amazing Technicolor Dreamcoat, Wicked and Legally Blonde.
The production will also be extending into the autumn of next year, with Matt Rawle(Cabaret; Evita; Les Misérables) reprising his critically acclaimed performance as P.T Barnum, with autumn dates starting at Newcastle Theatre Royal on Tuesday 12 August.
Starring alongside Lee are Monique Young (Mary Poppins) as Charity Barnum, Penny Ashmore (Dr Strangelove)as Jenny Lind, Dominique Planter (The Lion King) as Joice Heth, and Fergus Rattigan (The Wizard of Oz)as General Tom Thumb.
They are joined by Elena Bluck, Gianpaolo Candelaria, Eamonn Cox, James Gill, Jessica Jolleys, Kevin Oliver Jones, Emma Jane Morton, Sophie Precious Muringu, Lennin Nelson-McClure, Emily Odunsi, André Rodrigues, Ben Scott,Laura Sillett, Tom Sowinski, Tom Sterling and Niki Tsonopoulou.
Step right up and enter the dazzling world of P.T. Barnum, where imagination and ambition know no bounds. Hand in hand with wife Charity, Barnum’s life and career twist and turn as he schemes and dreams his way to headier heights.
This spectacular production will feature an extraordinary ensemble cast of actor-musicians, acrobats and amazing circus acts. Audiences are certain to delight at every sight, wonder and miracle that the name Barnum stands for!
Come follow the band with the glorious music of multi-award-winner Cy Coleman, Michael Stewart’s lyrics and Mark Bramble’s book. The show features a whole host of classic show tunes including Join the Circus, Colours of My Life, Come Follow the Band and Love Makes Such Fools of Us All.
This musical classicfirst took the UK by storm when it played the London Palladium, with Michael Crawford making theatrical history with a death-defying nightly tightrope walk across the stage. And now Lee Mead and Matt Rawle step into his shoes and onto the tightrope!
The production is directed by Jonathan O’Boyle (Picture You Dead; The Last Five Years) andchoreographed by Oti Mabuse(Strictly Come Dancing). The creative team alsoincludesGeorge Dyer (Arranger, Orchestrator & Musical Supervisor), Lee Newby (Set & Costume Designer), Matt Nicholson (Co-Choreographer), Jai Morjaria (Lighting Designer),Tom Marshall (Sound Designer), Amy Panter (Circus Director), Kevin Oliver Jones (Musical Director), Jess Ellen Knight (Associate Director), Iona Luvsandorj and Sabrina Joshua (Circus Instructors), Zippos Circus and The National Centre for Circus Arts (Circus Consultants), Mervyn Millar and Tracy Waller for Significant Object (Puppet Designers) and Helen Foan for Significant Object (Puppetry Director).
Barnum was originally produced on the Broadway stage by Judy Gordon, Cy Coleman, Maurice and Lois F. Rosenfield in association with Irwin Feld and Kenneth Feld.
LISTINGS
Bill Kenwright Ltd presents The Watermill Theatre production of
BARNUM
MUSIC BY CY COLEMAN LYRICS BY MICHAEL STEWART BOOK BY MARK BRAMBLE
Director Jonathan O’Boyle
Choreographer Oti Mabuse
Arranger, Orchestrator & Musical Supervisor George Dyer
The full cast joining the already announced Mark Addy as Harold Fry, Jenna Russell as Maureen Fry and Noah Mullins as The Balladeer in the 5-Star “pitch-perfect musical” (The Times) The Unlikely Pilgrimage of Harold Fry at the Theatre Royal Haymarket was revealed today.
Joining Mark, Jenna and Noah are: Craig Armstrong (Rich and Ensemble), Jenna Boyd (Sister Philomena, Farmer’s Wife, Rita and Ensemble), Daniel Crossley (Silver Haired Gentleman, Napier and Ensemble), Nell Martin (Young Maureen, Deliveroo and Ensemble), Nicole Nyarambi (Garage Girl and Ensemble), Peter Polycarpou (Rex, Locum and Ensemble), Gleanne Purcell-Brown (Kate, Betsy, Kind Customer and Ensemble), Ashley Samuels (Wilf, Jim and Ensemble), Maggie Service (Queenie Hennessey, Fairy Assistant, Gorilla and Ensemble), Madeleine Worrall (Martina and Ensemble), Timo Tatzber (Dog, Young Harold, Ensemble and Puppet Captain), with Gemma Atkins (Swing), Olivia Foster -Browne (Swing), Ediz Mahmut (Swing), Edwin Ray (Swing, Trainer Man and Dance Captain).
Orchestra includes Chris Poon (Musical Director, Keys), Lewis Dunmore (Guitar), Hsiao-Ling Huang (Cello), Clodagh Kennedy (Violin), Catrin Meek (Harp), Mike Nichols (Bass Guitar), Mike Parkin (Drums & Percussion).
The Unlikely Pilgrmage of Harold Fry will begin performances at the Theatre Royal Haymarket, London on 29 January and run until 18 April 2026
Funny, profound, deeply moving and uplifting, The Unlikely Pilgrimage of Harold Fryis a joyous new musical adapted by Rachel Joyce from her multi-million selling novel, with “a ravishing score” (The Times) by the chart-topping indie musician, Passenger (Let Her Go) and directed by Katy Rudd(Ballet Shoes, The Ocean at the End of the Lane NT/West End)). Recreating their roles are Mark Addy (The Full Monty, The Rig and Game of Thrones) as Harold andJenna Russell (Sunday in the Park with George, Hello, Dolly) as Maureen.
Rachel Joyce said: ‘ I couldn’t be more thrilled that this joyful show has found a home in the West End. I never imagined, when I first wrote the book, that it would become a musical one day, and never in my wildest dreams did I think it might find a home in one of my favourite theatres – the Theatre Royal Haymarket, which I have known and loved since I was a child. Passenger’s music and lyrics are perfect for this story of hope, as is Katy Rudd’s magical direction.’
From Devon’s quiet lanes to the windswept streets of Berwick-upon-Tweed, his journey becomes a pilgrimage of love, redemption, and second chances. Strangers turn into companions, kindness appears in unexpected places, and the road reveals more than Harold ever imagined. Back home, his wife Maureen begins her own journey, one that might bring them together again.
The Unlikely Pilgrimage of Harold Fry is a moving celebration of the human spirit and a reminder it’s never too late to start again.
The adaptation is co-created by Rachel Joyce, Peter Darling and Katy Rudd. The designer is Samuel Wyer, the choreographer is Tom Jackson Greaves, arrangement orchestration and additional music is by Jeremy Holland-Smith, musical supervision and additional music is by Phil Bateman, the lighting designer is Paule Constable, the sound designers are Ian Dickinson and Gareth Tucker for Autograph, the video designer is Ash J Woodward, illusions are by Chris Fisher, thecasting director is Anna Cooper CDG, the musical director is Chris Poon, the deputy musical director is Caitlin Morgan, the dramaturg is Nick Sidi, the associate directors are Jamie Manton and Nicky Allpress, the associate set and costume designer is Joseph Bisat-Marshall, the associate lighting designers are Hector Murray & Teresa Nagel, the assistant choreographers are Nell Martin & Edwin Ray, production management is by Ammomite Studios, the production consultant is Ben Arkell, the costume supervisors are Laura Rushton & Lisa Aitken with Sophie O’Connor,Wigs Hair & Make-Up Supervisor is Melanie Bouvet, the prop supervisor is Lizzie Frankl forPropworks, Orchestral Management is by Andy Barnwell & Rich Weeden for BW Musicians Ltd and General Management by Chris Harper Productions.
Chris Harper Productions and Nick Sidi, Len Blavatnik & Danny Cohen for Access Entertainment,
Jayne Baron Sherman, Beaver Dam Playhouse, Kevin & Kate McGrath, Drew & Dane Productions, Carolyn Lawson, Laurence Myers, Andrei Cotocu for Seabright Live present The Chichester Festival Theatre production of The Unlikely Pilgrimage of Harold Fry.
STORYHOUSE TO TOUR THE GANGS OF NEW YORK THANKS TO ARTS COUNCIL ENGLAND
Chester cultural venue receives generous grant from ACE’s Incentivising Touring Scheme
Reimagined version of acclaimed Grosvenor Park production will go on the road in 2027
Storyhouse is set to take its acclaimed production of The Gangs of New York on a nationwide tour after receiving funding support from Arts Council England.
The award-winning Chester producing house has been awarded a grant through the ArtsCouncil’s new Incentivising Touring Scheme which aims to give more people across the country the opportunity to enjoy high-quality cultural experiences.
Written by Kieran Lynn and based on Herbert Asbury’s 1928 non-fiction book, The Gangs of New York was a huge hit with both audiences and critics when it was premiered at Grosvenor Park Open Air Theatre in 2024, with praise for its infectious energy, thrilling mixture of raw and gritty historical drama, humour and romance.
Now with the assistance of funding from the Incentivising Touring Scheme it will be reimagined to be staged indoors, opening at Storyhouse itself in autumn 2027 before touring to at least eight locations throughout Britain.
Launched in November 2024, the pilot Arts Council England initiative offers repayable grants to producing companies to enable them to show work through the UK and Ireland, combatting some of the challenges facing regional touring.
It is the first scheme of its kind launched by the Arts Council, presenting an innovative new way to support mid and large-scale productions with commercial potential through reducing financial risk and giving boards and investors increased confidence and incentive to support tours and attract further investment.
Following an initial eight grants earlier this year totalling £1.5million, this latest round announced today sees15 successful applicants – including Storyhouse – share a £2.5m funding pot. It is estimated the new tours receiving awards will reach 1.4 million people across more than 100 venues in the UK and Ireland.
The Gangs of New York is a bold, entertaining and moving drama about immigration, belonging and the cost of progress.
Set in the violent streets of 1850s New York, the story follows Irish immigrants arriving in America in search of a better life. Met with prejudice, violence and institutional discrimination, they fight to rise against the odds.
At the centre is real-life figure John Morrissey, a boxer, entrepreneur and politician who embodies resilience and ambition. Against a backdrop of political corruption, rising gang tensions and cultural opposition, the characters find friendship, love and success – only for tensions to erupt into violence.
The 2027 production will be a deeper, darker, more intimate, passionate and atmospheric reworking of the original Grosvenor Park experience.
Storyhouse Creative Director Suzie Henderson said today:“We’re thrilled that Arts Council England is supporting this next chapter for The Gangs of New York. After extraordinary success in our open-air theatre, bringing this reimagined production indoors gives us the chance to deepen the storytelling and share it with audiences across the country.
“Opening the tour at Storyhouse in 2027 feels especially meaningful, and it reflects a major step in our ambition to make large-scale, original work and share it far beyond our home city.”
Among other successful shows in round 2 of the Incentivising Touring Scheme are Operation Mincemeat and The Curious Incident of the Dog in the Night-time, both of which are set to come to Storyhouse in 2026-27.
Arts Council England Chief Executive Darren Henley said:“This new investment helps people experience world-class theatre and dance close to home. The arts strengthen our economy, build a sense of community, support local growth and jobs and, most important of all, enrich lives and spark creativity. I’m looking forward to seeing these performances in towns and cities across England.”
And Hannah Lake, Director of Touring at the Arts Council, added:“I’m delighted to see the impact the Incentivising Touring Scheme is having as it enables producers to take outstanding shows to more venues and audiences than ever before. By starting to develop a dynamic mixed funding model for touring, incorporating both grant funding and alternative finance, we’re unlocking new investment, building confidence in the sector, and innovating our support for the valuable touring ecology.”
REGENT’S PARK OPEN AIR THEATRE APPOINTS NEW TRUSTEES
Regent’s Park Open Air Theatre today announce that Heather Clark Charrington, Robert Glick OBE and Dame Sue Street will join the organisation’s Board of Trustees, with Tyrone Huntley returning to the Board in January 2026. They join existing Trustees Stuart Griffiths OBE (Chair), Charlotte Aherne (Vice Chair), Partha Bose, Jaya Carrier, Anna Fleischle, Kate Millward, Steve Pennington, Toni Racklin and Dr Philippa Simpson.
Stuart Griffiths OBE, Chair of the Board, said today: “We’ve been truly inspired by the incredibly high standard of applications received (140 in total) from our public recruitment campaign for new Trustees. Following a thorough selection process, we are delighted to welcome three exceptional, highly skilled and dedicated individuals to the Board of Regent’s Park Open Air Theatre. We very much look forward to these new Trustees supporting our next chapter of growth.”
James Pidgeon, Executive Director, and Drew McOnie, Artistic Director, said today: “We are thrilled to be welcoming Heather, Robert and Sue to the Board of Trustees alongside the return of Tyrone. As we make the final preparations for our 2026 season announcement at the end of January (following our recently announced new production of CATS, and our award-winning production of Jesus Christ Superstar playing at the London Palladium next year), and with Fiddler on the Roof opening the final leg of its UK & Ireland tour at The Alexandra in Birmingham this week, it’s an incredibly exciting time to be joining the organisation. We very much look forward to working with our brilliant new and existing Trustees on the strategic development of our not-for-profit company over the coming months and years ahead.”
Heather Clark Charrington
Heather is Director of Audiences at Southbank Centre where, as a member of the Executive Leadership Team, she plays a vital role in shaping the future of Europe’s largest multi-arts centre. Heather oversees the end-to-end relationship with audiences by leading the marketing, digital, brand and design, communications, external affairs, insights, membership, visitor experience and ticketing teams. Prior to this, Heather was Director of Marketing & Communications for English National Ballet, leading the Marketing, Press and Digital teams of this visionary, ground-breaking company, and serving as Executive Producer of English National Ballet’s cinema releases: Akram Khan’s Giselle, Akram Khan’s Creature (directed by Asif Kapadia) and English National Ballet’s acclaimed 2020 Digital Season. Previous posts have included Director of Marketing for the National Theatre, Brand Manager for Wildlife Photographer of the Year at London’s Natural History Museum, Director of Marketing & Sales for Pittsburgh Symphony Orchestra and Director of Marketing & Communications for the August Wilson Center for African American Culture.
As a consultant, Heather has worked with Talawa Theatre Company, the UK’s outstanding Black British theatre company, Unicorn Theatre, the UK’s leading theatre for young audiences; IMG Artists, and Orange, successfully delivering their partnership with the Tour de France. Heather is a Trustee of SportsAid and of Chiswick House and Gardens Trust.
Robert Glick OBE
Robert Glick is Vice President and Head of International Public Affairs at American Express, with a career spanning senior communications and advocacy roles across both the corporate and public sectors. He currently serves as Chair of the Barbican Centre Trust and the Adult Literacy Trust, Vice-President of Save the Children UK, and as a Trustee of Sadler’s Wells Theatre and Open For Business.
His previous non-executive roles include serving as a Trustee of the Victoria & Albert Museum and as Chair of the Terrence Higgins Trust. A graduate of the University of Cambridge, the London School of Economics and Emory University (USA), he is the author of several works of fiction and non-fiction.
Dame Sue Street
Dame Sue reached the top of Whitehall as the Permanent Secretary for Culture, Media and Sport and led that Department for the UK’s winning bid for London 2012. She has extensive experience in the leadership and governance of major public, private and not for profit organisations.
Sue has a reputation for effective strategic leadership, and as a senior board member of organisations ranging from HMRC and the Ministry of Justice to the Royal Opera House, BUPA, an overseas tech start up, and Deloitte. She is an experienced Chair and known to take a constructive approach to major Non Executive roles. She has served on Finance, Audit, Remuneration and Nomination Committees as well as main boards. Dame Sue currently chairs Ballet Rambert and is a member of a charitable trust board. She has been invited to share her thoughts on governance with the Cabinet Office, Henley Management School and with not for profit boards.
Dame Sue is an accredited executive coach with a current extensive practice of clients. She has also conducted major public sector Board governance reviews.
JAMIE ARMITAGE’S A GHOST IN YOUR EAR ANNOUNCES EXTENSION
With the production currently in preview, HFH Productions and Hampstead Theatre today announce that the world premiere of Jamie Armitage’s A Ghost In Your Ear is extending, now running until the 31 January 2026. Also released today are first-look production images.
Writer and Director Jamie Armitage said today, “Hearing the gasps and screams from audiences during previews has been a true thrill! It’s a special reward for all the phenomenal work by our cast and team throughout the process. What makes me especially happy is how both horror fans and non-horror fans have been responding so positively, and I love that the extension means even more people can come see our spooky ghost story!”.
HFH Productions and Hampstead Downstairs presents
A GHOST IN YOUR EAR
Written and Directed by Jamie Armitage
A collaboration with Ben and Max Ringham
Cast: George Blagden (George), Jonathan Livingstone (Sid)
Creatives: Gurnesha Bola (Dramaturg), Anisha Fields (Set and Costume Design), Ben Jacobs (Lighting Designer), Becky ParisCDG (Casting Director), Matt Russell (Associate Sound Designer), Robert Strange (Movement Consultant)
Until 31 January 2026
‘The ghost is not real, it is only in your ear…’
An actor arrives late at a sound studio for a last-minute job that he is yet to see the script for: an audiobook recording of a particularly chilling ghost story. But as the evening progresses, the horrors start to escape the pages of the story, and haunt the studio itself…
A Ghost In Your Ear is the new play from Jamie Armitage, the writer/director of 2024 sell-out hit An Interrogation. Made in collaboration with Ben and Max Ringham (ANNA, National Theatre and Blindness, Donmar Warehouse).
Using binaural sound technology, the audience wears headphones so they are immersed in the terrifying auditory world of the show.
Health warning: this play is intentionally looking to scare its audience. If you are of a nervous disposition, then caution is advised…
Jamie Armitage’s first play, An Interrogation, opened at Summerhall, Edinburgh in August 2023, where it won the Lustrum Award before transferring to Hampstead Theatre in 2025 – enjoying entirely sold-out runs at both venues. As a director, Armitage’s work includes co-directing SIX: The Musical, which is currently playing in the West End, Broadway, and multiple locations worldwide – Tony Award nomination for Best Direction of a Musical. His other directing credit include The Red and The Black (Tokyo Metropolitan Theatre), Straight Line Crazy (The Shed – co-directed with Nicholas Hytner), Southern Belles: A Tennessee Williams Double Bill, And Tell Sad Stories of the Death of Queens (King’s Head Theatre), Spring Awakening, Sweeney Todd (Royal Central School of Speech and Drama) and Love Me Now (Tristan Bates). He is an Associate Director of the Bridge Theatre. He was a Resident Director at the Almeida Theatre from 2019 to 2021, and an Associate Artist at the King’s Head Theatre.
George Blagden plays George. His theatre credits include The Cabinet Minister (Menier Chocolate Factory), White Christmas (Sheffield Theatres), Company (Gielgud Theatre), Tartuffe (Theatre Royal Haymarket), Platinum (Hampstead Theatre), and The Pitchfork Disney (Shoreditch Town Hall). His television credits include Vikings (as series regular Athelstan – Series Lead 1-3), Versailles (as series regular Louis XIV – Series Lead 1-3) and Black Mirror; and for film, Wrath of the Titans, The Run, Blood Moon, Hello Stranger, Les Miserables, No Postage Necessary, The Land of Dreams, The Gallery, Rubikon, After the Dark, and The Three of Us.
Jonathan Livingstone plays Sid. His theatre credits include Troilus and Cressida, After Edward, Edward II, Romeo and Juliet (Shakespeare’s Globe), Hamlet, Twelfth Night, Now We Are Here (Young Vic), CashCow (Hampstead Theatre), Machinal (Almeida Theatre), Pandora (Arcola Theatre), ‘Tis Pity She’s a Whore (Bristol Old Vic), The Caretaker (Bristol Old Vic, Royal and Derngate), Our Country’s Good, Treasure Island (National Theatre), White Hot And Weak (Old Vic New Voices Festival), Superior Donuts (Southwark Playhouse), 7 New Plays by Young Writers (National Theatre Studio), The Taming of the Shrew (RSC), War Horse (National Theatre production at New London Theatre), and Ignition 2 (Royal Court Theatre). His television credits include Entitled, Bridgerton, Criminal Record, Peacock, The Pentaverate, Pls Like and Chewing Gum; and for film, Hard Truths, The Trouble With Jessica, The Witches, and Still Life.
Ben and Max Ringham are multi-award-winning composers, sound designers, and writers. In a career spanning more than two decades, they have created sound designs and scores for over 200 productions in the UK, West End, and Broadway. Notable productions include The Tempest/Much Ado About Nothing (West End), Prima Facie (West End/Broadway), A Doll’s House (Broadway), Cyrano (West End), and Blindness (Donmar and International). They have created a number of original works for, amongst others, the National Theatre – (ANNA, 2019, created in collaboration with Ella Hickson), and the BBC (EXEMPLAR, 2022-24, cowritten with Dan Rebellato). They are the recipients of five Olivier Award and two Tony Award nominations, two Drama Desk Awards, a Critics’ Circle nomination, a BBC Radio Drama Award, two Off West End Awards, and the H100 Award for Innovation in Theatre.
BRAND NEW AWARD FOR BEST CHILD PERFORMANCE ANNOUNCED
SUPPORTED BY GO LIVE THEATRE,
THE OFFICIAL CHARITY PARTNER OF THIS YEAR’S AWARDS
Hana Ichijo, Gabrielle Lewis-Dodson and Gracie McGonigal today announced the nominations for the 26th Annual WhatsOnStage Awards, the only major UK theatre prize-giving decided by the theatregoers themselves. The announcement of the nominations marks the opening of the final voting stage (until 22 January), with winners revealed at the annual awards ceremony held on 8 March 2026 at The London Palladium.
WhatsOnStage’s Darius Thompson and Alex Wood said: “UK theatre really has looked after the bear! It was no shock to see Paddington The Musical break the record for most nominations after the musical and technological marvel captured hearts and audiences after its Savoy Theatre debut.
“More broadly, we’re thrilled to see the awards reflecting a diverse geographic spread, with nominees being recognised in places like Dundee, Cirencester, Mold, and Sheffield. While the West End often captures the spotlight, the unwavering support from local communities for their shows is always heartwarming to witness – and much deserved!”
Credit: Johan Persson
The newly opened critically acclaimed smash-hit Paddington The Musical leads the field with a record-breaking 14 nominations – the most in WhatsOnStage Awards history. They receive nominations for Best New Musical; Best Performer in a Musical for jointly nominated James Hameed and Arti Shah who bring the beloved bear to life; Best Supporting Performer in a Musical for Victoria Hamilton-Barritt; Best Professional Debut Performance for Timi Akinyosade; Best Direction for Luke Sheppard; Best Choreography for Ellen Kane – who is also nominated for the National Theatre’s Ballet Shoes; Best Set Design for Tom Pye; Best Costume Design for Gabriella Slade and Tahra Zafar – the latter, who designed the bear; Best Lighting Design for Neil Austin; Best Sound Design for Gareth Owen; Best Video Design for Ash J Woodward; Best Wigs, Hair and Make-Up Design for Campbell Young Associates; Best Music Supervision/Direction for Matt Brind; and Best Casting Direction for Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting, Nick Hockaday and Annabelle Davis. Other major contenders in the musical categories include Evita with 9 nominations, and The Great Gatsby with 6 nominations.
Leading the straight play categories is The Importance of Being Earnest, currently running at the Noël Coward Theatre having transferred from the National Theatre, receiving 5 nominations – Best Play Revival; Best Supporting Performer in a Play for Stephen Fry; Best Costume Design for Rae Smith; Best Wigs, Hair and Make Up-Design for Rae Smith, with Kate Elizabeth, Campbell Young Associates and Adele Brandman; and Best Casting Direction for Alastair Coomer. Snapping at their heels are Much Ado About Nothing, Clarkston, Born With Teeth, The Seagull and Stereophonic, all with 4 nominations respectively.
In a strong year for Sonia Friedman Productions, the company receive 23 nominations from productions including Paddington The Musical, The Importance of Being Earnest – which they are co-producing in the West End with the National Theatre, and Stereophonic; with Jamie Lloyd Productions receiving 13 nominations and the National Theatre and RSC tying with 10 nominations apiece.
In the Best Performer in a Musical category, Hameed and Shah face stiff competition from Rachel Zegler and Diego Andres Rodriguez both for Evita, Jamie Muscato for The Great Gatsby, Lucie Jones for 13 Going on 30 The Musical, and Lauren Drew for Titanique. In the Best Supporting Performer in a Musical category, Hamilton-Barritt is nominated alongside Strictly favourite Amber Davies for The Great Gatsby, Bella Brown for Evita, Layton Williams for Titanique, Grace Mouat for 13 Going On 30 The Musical, and the mighty Muses from Hercules jointly nominated – Candace Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris, and Robyn Rose-Li.
Completing the gender-free performance categories are Best Performer in a Play, which sees previous WhatsOnStage Award winner Tom Hiddleston nominated for Much Ado About Nothing, facing off against fellow Shakespearean performer Jonathan Bailey for Richard II, and a host of new play nominees with Rosamund Pike for Inter Alia, Maxine Peake for The Last Stand of Mary Whitehouse, Ncuti Gatwa for Born With Teeth, and Joe Locke for Clarkston. For Best Supporting Performer in a Play the nominations are ‘Big Dog’ Stephen Fry for The Importance of Being Earnest, Joe Alwyn for The Lady from the Sea, Emma Corrin for The Seagull, Yerin Ha for The Maids, Sophie Meliville for Clarkston and Mason Alexander Park for Much Ado About Nothing.
The final performance categories are for Best Professional Debut which see Akinyosade compete against Mia Carragher for The Hunger Games on Stage, Hannah Dodd for Cabaret, Ruaridh Mollica for Clarkston and both Jess Foley and Asha Parker-Wallace for Burlesque The Musical; and Best Takeover Performance, which once again features a strong showing from Cabaret with both Rob Madge and Eva Noblezada nominated, alongside Karis Anderson for Moulin Rouge! The Musical, Stevie Doc for The Devil Wears Prada, Emma Kingston for Wicked and Alex Young for Operation Mincemeat.
Best New Musical is always a closely fought category, which sees Paddington The Musical take on Hercules, The Great Gatsby, Here and Now, Shucked and Titanique; and Best Musical Revival features two Lloyd Webber nominees in Evita and Jesus Christ Superstar up against The Producers, My Fair Lady, Little Shop of Horrors and Brigadoon.
The Best New Play category sees an eclectic mix of new work – The Comedy About Spies from WhatsOnStage Awards favourites Mischief Theatre, Inter Alia, Stereophonic, Clarkston, Through It All Together and Born With Teeth. In Best Play Revival, The Importance of Being Earnest faces stiff competition from Much Ado About Nothing, The Seagull, The Lady from the Sea, Richard II, and A Streetcar Named Desire.
In the Best Direction category, Sheppard is up against Tim Sheader for Natasha, Pierre & the Great Comet of 1812, Lynette Linton for Intimate Apparel – both at the Donmar Warehouse, Tamara Harvey for The Constant Wife, Jamie Lloyd for Much Ado About Nothing and Thomas Ostermeier for The Seagull.
Best West End Show sees the fan favourites battle it out – with Wicked, Cabaret, Hadestown, Les Misérables, Oliver! and Operation Mincemeat all in contention. Best Concert Event once again sees Rachel Zegler nominated up against Jeremy Jordan, Songs for a New World, Gravity, The Hunchback of Notre Dame, and The Book Thief.
Best Regional Production nominees are Jesus Christ Superstar, 13 Going On 30 The Musical, Come Fall in Love – The DDLJ Musical, Krapp’s Last Tape which saw Gary Oldman return to the stage after 40 years, Pride and Prejudice and Through It All Together; with Best Studio Production nominees including Be More Chill, Brixton Calling, Cul De Sac, The Frogs, The Last Five Years, and Young Frankenstein.
For the first time this year, in association with Go Live Theatre – a charity that uses the power of theatre to create inspiring experiences and unlock possibilities for children and young people and the official charity partner of this year’s WhatsOnStage Awards – there will be the inaugural Best Child Performance category. Nominees will be announced in January, with the winner chosen by Go Live Theatre.
Now in their 26th year, the WhatsOnStage Awards remain the only major UK theatre awards decided by the theatregoers themselves. WhatsOnStage readers will be able to nominate and vote across a range of categories.
The 2026 ceremony will begin at 6.30pm and will see winners crowned across a wide range of categories. Audiences can expect a spectacular line-up of exclusive live performances from leading stage talent. The event is co-produced with creative directors Alex Parker and Damian Sandys. Tickets are now on sale via LW Theatres: https://lwtheatres.co.uk/.
The 26th Annual WhatsOnStage Awards are supported by a wide range of partners from across the industry and beyond, including AKA Promotions Ltd, AudienceView, Boulevard Events, Brent Carpets, Concord, Dewynters, Disney Theatrical, Go Live Theatre, John Good, London Theatre Direct, Outernet Venues, Preevue, Re:Water, RSVP-ify, SINE Digital, Tandem Marketing Worldwide, Theatrical RightsWorldwide, The Londoner, Ticketmaster, Travelzoo and White Light.
