Leeds Playhouse – 5th March 2025

Reviewed by Sal Marino

3 Stars ***

The Intrusion, a Bric a Brac Theatre and Told by an Idiot production is the perfect piece to explain the issues and consequences around climate change to a younger audience.  Drawing on slapstick action and funny gags throughout the show, a small team of three actors tackle huge themes in a truly unique and dynamic way.

In this tale, humans have gone (or have they?) and an old species is now in charge but rather like the pigs who take over in Orwell’s Animal Farm, instead of learning from past mistakes, power corrupts. Will the same mistakes be made?

The music is original, catchy and stays with you after the performance.  Even though the stage set and props are limited the text and digital media used really helps translate the storyline and keeps a fast-moving pace.  The actors smoothly move between characters and scenes seamlessly giving coherence where it could get lost.

Without giving too much of the plot away, one gets to look at the serious issue of extinction and survival and ponder the question of “what if?”  I do think that a bit more hope and faith is needed towards the end of the play with some updates on the fantastic work that is being done around the globe such as: the discovery of plastic eating fungi and the work being done by very young innovators whose ‘STEM’ ideas are incredible and must be shared.  Just like ‘Ava Carter’s’ little secret in the play, these young, groundbreaking pioneers are our miracle who will save the planet and help engineer a beautiful and bright future if given the opportunity.  The ‘billionaires’ and celebrities in ‘their bunkers’ are the old way and we can choose as sovereign beings and as a collective not to follow or believe them and go down that doomed timeline if we wish.

This play makes you question, think and reflect.  Due to its funny and quirky delivery, The Intrusion, will be well received by a younger student audience as it will help them explore deep issues in a creative form.  Funny in an offbeat way, The Intrusion will entertain you and provide some chuckles in parts.

PLAYWRIGHT LEE HALL HAS BEEN COMMISSIONED TO

TRANSLATE AND ADAPT

BERTOLT BRECHT’S MOTHER COURAGE AND HER CHILDREN

AS THE INAUGURAL PRODUCTION FOR NEW THEATRE COMPANY

ENSEMBLE ’84 IN COLLABORATION WITH SOUTH AFRICA’S ACCLAIMED ISANGO ENSEMBLE

FROM 14-24 MAY

Ensemble ‘84, a pioneering theatre company based in Horden, County Durham, has announced the dates for its debut production, Mother Courage and Her Children by Bertolt Brecht and adapted by award-winning writer Lee Hall. Directed by Ensemble ‘84’s co-founder and Artistic Director, Mark Dornford-May, this bold first production is a culmination of a 24-week, paid training programme for individuals from across County Durham to become professional actors and form its cast, and features an ambitious international collaboration with Isango Ensemble, the acclaimed, multi-award-winning theatre company from Cape Town, South Africa, whose work has served as both a model and inspiration for Ensemble ‘84. Mother Courage will premiere in Horden, East Durham from 14-24 May, with a national press night on Friday 16 May.  Tickets are now on sale.

Written in 1939, Mother Courage and Her Children follows the story of a shrewd canteen wagon owner, Anna Fierling – known as Mother Courage – as she struggles to make a living by profiteering from war while trying to protect her three children. Set against the backdrop of the Thirty Years’ War, Brecht’s play is a powerful exploration of survival, sacrifice, and the devastating cost of conflict. This new adaptation by Lee Hall, known for his award-winning screenplays for Billy Elliot and Rocketman, brings fresh urgency to Brecht’s iconic anti-war drama, offering a contemporary lens on its themes of resilience and moral compromise.

Performed by Ensemble ‘84’s all-County Durham cast, Mother Courage places the voices from the North East at its heart, celebrating the rich talent of the region. South Africa’s acclaimed Isango Ensemblebrings its globally recognised approach to theatre-making and adds a powerful international dimension to this special production. This collaboration bridges histories and geographies, drawing parallels between different struggles for survival and resilience across continents. Through this meeting of artists, cultures and lived experiences, Mother Courage is reimagined as the bold and urgent piece of theatre of our times, resonating with audiences both locally and globally.

Mark Dornford-May said, “Mother Courage is one of the greatest anti-war plays ever written and, in this new adaptation, we explore its relevance to communities who have lived through economic hardship and struggle here in the North East of England. By creating the work in this part of East Durham and through bringing in voices from South Africa’s Isango Ensemble, we have created a production that speaks across borders – one that unearths shared histories of resilience, sacrifice, and endurance.”

Lee Hall said, “Mother Courage is one of the most important plays of the 20th century. Brecht forces us to ask urgent questions about war, capitalism and the price of survival. Combining the North East England context with that of South Africa, where people have endured incredible hardship and fought to preserve their identity, brings a fresh and powerful perspective to the story. It’s a privilege to adapt this play for Ensemble ‘84’s first production, working with such an extraordinary company of artists from County Durham and, of course, one of the great lyrical international theatre companies from South Africa, Isango Ensemble.”

Mandisi Dyantisis, Musical Director for Isango Ensemble, said, “At its core, Mother Courage is a story about survival—about those caught in forces beyond their control, making impossible choices to keep going. This is something that resonates deeply with our own histories in South Africa, and it is a privilege to bring Isango Ensemble’s voice to this production. Working alongside Ensemble ‘84, we are not just telling a historical story, but drawing powerful connections between past and present, between different struggles across the world. This collaboration is a meeting of cultures, experiences and artistic traditions and I believe it will create something truly special for audiences.”

Julia Handelman-Smith, Into the Light Director, said, “This project embodies everything that Into the Light stands for – bringing communities together and strengthening them through bold, socially engaged storytelling. Mother Courage is a play that speaks to the struggles of working people across generations and this adaptation, rooted in East Durham’s mining heritage, makes it all the more powerful. Ensemble ‘84’s collaboration with Isango Ensemble is a testament to the power of international exchange, showing how shared histories of resilience and resistance can be brought to life on stage. We are incredibly proud to support this production and can’t wait for audiences to experience it.”

The cast of Mother Courage and Her Children will be led by Isango Ensemble’s Paulina Malefane in the title role, with Brodie Daniel as Eilif, Ayanda Tikolo as Cook, Wendy Hindmarch as Yvette and Noluthando Boqwana-Page as Katrin.  Also in the cast will be Julie Ainslie, Mo Aleyasin, Eve Booth, Janet Brown, Bryn Chaytor-Wilson, Mia Cummings, Joe Hammal, Keith Irons, Stephen Lister, Sophie Moss, Zoleka Mpotsha, Thandolwethu Mzembe, Willow Pearson and Phil Swinburne.

Mother Courage and Her Children is directed by Mark Dornford-May, with musical direction by Mandisi Dyantisis and choreography by Lungelo Ngamlana.  Executive producer is Sud Basu.

LISTINGS INFORMATION

Mother Courage and Her Children

Horden Methodist Church

Blackhills Road

Horden

Peterlee SR8 4LQ

14-24 May 2025

Performances:  16 May at 7pm, 14, 15, 17, 21, 22, 23 and 24 May at 7.30pm, matinees at 2.30pm on 21 and 24 May

Tickets:  £5 for previews (14 & 15 May); £18 all other performances, with concessions £8

Box office: www.ensemble84.com/mother-courage / 0191 524 2578

Running Time:  90 minutes

Age restriction advised: 12+

Website: ensemble84.com

Facebook: facebook.com/ensemble84theatre

Instagram: instagram.com/ensemble84

X: x.com/ensemble84

YouTube: youtube.com/ensemble84

MISCHIEF PRESENT A NEW GOES WRONG

DISASTER IS THE RIGHT CHOICE THIS CHRISTMAS

By Henry Lewis, Jonathan Sayer and Henry Shields

GOD BLESS HELP US, EVERYONE

WEST END SEASON OPENS AT

THE APOLLO THEATRE

ON SATURDAY 6 DECEMBER 2025

UK TOUR BEGINS NOVEMBER 2025

AND FOLLOWS THE WEST END

SEASON THROUGH MARCH 2026

www.ChristmasCarolGoesWrong.com 

Mischief, the multi-award winning company who have just celebrated 10 successful years of The Play That Goes Wrong at the Duchess Theatre and premiere their new play The Comedy of Spies at the Noël Coward Theatrein April will return to the West End for a predictably chaotic Christmas season with their new festive stage show – Christmas Carol Goes Wrong. 

The show will embark on a short UK Tour from 2 November 2025 at the Lowry in Salford, then tours to the Cheltenham Everyman Theatre, the Wales Millennium Centre in Cardiff and Theatre Royal Bath before heading into the West End.  It will then continue to crash around the UK until March 2026, visiting Nottingham Theatre Royal, the Waterside Theatre in Aylesbury, the Edinburgh Festival Theatre, the King’s Theatre in Glasgow and finally the Marlowe Theatre in Canterbury.

This brand new comedy which brings back the chaos and humour of The Cornley Amateur Drama Society is written by original members of the Mischief team – Henry Lewis, Jonathan Sayer and Henry Shields. 

It  will run at the Apollo Theatre, Shaftesbury Avenue for a limited 7 week season from Saturday 6 December – Sunday 25 January 2026.  There will be a Gala Performance on Sunday 14 December 2025 at 5pm. 

Tickets go on general sale at 10am on Monday 17 March 2025 from www.ChristmasCarolGoesWrong.com.

Mischief fans and Nimax bookers are able to book West End tickets early from 10am on Friday 14 March with priority booking via Mischief Tickets, you can sign up at www.MischiefComedy.com.

Jonathan Sayer said:  ‘We can’t wait to bring a new Goes Wrong title to the stage. It’s been tremendous fun revisiting the Cornely characters and we are looking forward to sharing the show with audiences over the festive period.’  

The Cornley Amateur Drama Society are back with tidings of chaos and joy, ready to tackle the Charles Dickens’ classic, A Christmas Carol.

Do not miss another Christmas catastrophe from Mischief, the multi award-winning company behind The Play That Goes Wrong, Peter Pan Goes Wrong and The Comedy About a Bank Robbery.

The Cornley crew battle miscommunication, delays to their set, actors missing in action and a growing feud over who will play the lead. It’s sure to be a disastrous take on the much-loved classic Christmas story of Ebeneezer Scrooge. Will Cornley finally change their ways, or will their misfortunes wreak havoc yet again?

Enjoy a festive slice of pure escapism at the worst production in Christmas past, present and yet to come! Don’t be a Scrooge, book now.

Christmas Carol Goes Wrong is produced by Kenny Wax and Stage Presence.  The cast and full creative team will be announced in due course.

WEST END LISTINGS INFORMATION

Kenny Wax and Stage Presence present

the Mischief production

CHRISTMAS CAROL GOES WRONG

Apollo Theatre,

Shaftesbury Avenue,

London,

W1D 7EZ.

Dates:

First Performance on Saturday 6 December 2025

Opening Gala Sunday 14 December 2025

Booking Until Sunday 12 January 2026

Performance Times:

Tuesday – Saturday at 7.30pm | Saturday & Sunday at 2.30pm | Sunday at 7pm

Tickets:

TICKETS FROM £20

www.ChristmasCarolGoesWrong.com.

0330 333 4809

GROUPS

Tuesdays – Thursdays at 7.30pm and Sundays at 7pm 

Off Peak Performances (excludes all Friday, Saturday performances and all performances w/c 22 December 2025 and w/c 29 December 2025)

12+ £80 tickets reduced to £65

12+ £70 tickets reduced to £55

12+ £60 tickets reduced to £45

Valid for Term Time, Tuesday Wednesday and Thursday performances only.

ACCESS

Closed Captions – Sunday 21 Dececmber 2025 at 2.30pm

Audio Described – Sunday 4 January 2025 at 2.30pm

British Sign Language – Sunday 12 January 2026 at 2.30pm

THE UK TOUR

Salford, Lowry

Sunday 2 – Saturday 8 November 2025

Sun 1pm, Tue-Sat 7.30pm; Wed, Fri, Sat 2pm

www.Thelowry.com

0161 876 2000

Cheltenham, Everyman Theatre

Tuesday 11 – Sunday 16 November 2025

Tue-Sat 7.30pm; Thu, Sat & Sun 2pm

www.everymantheatre.org.uk

01242 572573

Cardiff, Wales Millennium Centre

Tuesday 18 – Saturday 22 November 2025

Tue-Sat 7.30pm; Thu & Sat 2.30pm; Sun 2pm

www.wmc.org.uk

029 2063 6464

Bath, Theatre Royal

Tuesday 25 – Sunday 30 November 2025

Tue-Sat 7.30pm, Wed & Sat 2.30pm; Sun 2pm

www.theatreroyal.org.uk

01223 448844

Nottingham Theatre Royal

Tuesday 27 – Saturday 31 January 2025

Tue-Sat 7.30pm; Wed & Thu 2pm; Sat 2.30pm

www.trch.co.uk

0115 989 5555

Aylesbury Waterside Theatre

Tuesday 3 – Saturday 7 February 2026

Tue-Sat 7.30pm; Wed, Thu & Sat 2.30pm

www.atgtickets.com/Aylesbury

Edinburgh Festival Theatre

Tuesday 10 – Sunday 15 February 2026

Tue-Sat 7.30pm; Sat & Sun 2.30pm

www.capitaltheatres.com

0131 529 6000

Glasgow King’s Theatre

Tuesday 17 – Sunday 22 February 2026

Tue-Sat 7.30pm; Sat & Sun 2pm

www.atgtickets.com/Glasgow

Canterbury, Marlowe Theatre

Tuesday 24 February – Sunday 1 March

Tue-Sat 7.30pm; Wed, Sat & Sun 2pm

www.marlowetheatre.com

01227 787787

Social Media:

Facebook and Instagram                       @ChristmasGoesWrong

X, TikTok, YouTube                                  @MischiefComedy

ANDREW LLOYD WEBBER’S
STARLIGHT EXPRESS

EXTENDS for the FIFTH time SINCE OPENING
AT Troubadour Wembley Park Theatre

new cast is announced for the show which is NOW BOOKING TO MARCH 2026

www.starlightexpresslondon.com

Michael Harrison for Lloyd Webber Harrison Musicals is delighted to confirm that Andrew Lloyd Webber’s STARLIGHT EXPRESS at the Troubadour Wembley Park Theatre has extended booking for a fifth time, with tickets now on sale through to Sunday 1 March 2026.

The production, which opened to great critical acclaim last June, has recently won 7 Awards at the Whats On Stage Awards, including the prestigious Best Musical Revival, and has been nominated for 3 Olivier Awards.

From Wednesday 11 June 2025, STARLIGHT EXPRESS will introduce Gavin Adams as Rusty, Sophie Naglik as Pearl, Olivia Ringrose as Greaseball, Asher Forth as Electra and Georgia Pemberton as Dinah. They will be joining Jade Marvin as Momma McCoy and Jaydon Vijn as Hydra. 

The STARLIGHT EXPRESS company is completed by Jamie Addison, Jessie Angell, Ollie Augustin,  Evan Taylor Benyacar,  Charles Butcher,  Cletus Chan, Tamara Verhoven Clyde, Jamie Cruttenden, Kelly Downing, Isaac Edwards, Maddy Erzan-Essien, Sam Gallacher, Lucy Glover, Scott Hayward, Dante Hutchinson, Iwan James, Lewis Kidd, Hannah Kiss, Nicole Louise-Lewis, Bethany Rose Lythgoe, Jessica Niles, Temi Olawole, Harrison Peterkin, RED, Ashley Rowe, Nicky Wong Rush, Charlie Russell, Gary Sheridan, Lara Vina Uzcatia and Amber Weston.

As a child’s train set magically comes to life and the engines race to become the fastest in the world, Rusty the steam train has little hope of winning until he is inspired by the legend of the ‘Starlight Express’.

Seen by over 20 million people across the world, STARLIGHT EXPRESS is a true theatrical event, fully immersing audiences of all ages inside a world of speed, song and storytelling, as the incredible cast of 40 whizz around and above, performing some of musical theatre’s most beloved songs, including AC/DC, Make Up My Heart, Light at the End of the Tunnel and the iconic Starlight Express. 

STARLIGHT EXPRESS has music by Andrew Lloyd Webber and lyrics by Richard Stilgoe, is directed by Luke Sheppard, with set designer Tim Hatley, costume designer Gabriella Slade, lighting designer Howard Hudson, sound designer Gareth Owen, video designer Andrzej Goulding, new orchestrations by Matthew Brind with Andrew Lloyd Webber, musical supervision by Matthew Brind & David Wilson, musical direction by Laura Bangay and casting by Pearson Casting.

With thrilling new choreography by Ashley Nottingham, STARLIGHT EXPRESS also sees the return of Arlene Phillips as creative dramaturg.

The highly anticipated cast recording of this new production at Troubadour Wembley Park Theatre was released last November. Recorded at Air Edel Studios in London, the new STARLIGHT EXPRESS album is produced by Andrew Lloyd Webber, Matthew Brind and Andrei Basirov.

The Starlight Auditorium at Troubadour Wembley Park Theatre is a state-of-the-art cultural destination in Wembley Park, London’s most exciting new neighbourhood, only 12 minutes from central London. The venue is a short 5-minute walk from the tube, moments away from the iconic Olympic Way. There are great parking options on site and the theatre is easily accessible via the M25 and M1.

LISTINGS

For Information
www.starlightexpresslondon.com

Social Media
Facebook, Instgram and Tik Tok @starlightexpressldn
X – StarlightLondon

Theatre Royal Windsor

is delighted to announce

their exciting new spring/summer season

Following a host of sale-out shows this year, the Theatre Royal Windsor has an exciting programme of new productions going on sale from this Friday.

Alan Bennett’s The Lady In The Van, returns in the run-up to Easter as part of the Windsor on Air series, with a star-studded cast including Nichola McAuliffe (EastEnders, Coronation Street, Surgical Spirit), Matthew Cottle (Game On, Citizen Khan), Sara Crowe (Four Wedding And A Funeral, Carry On Columbus) and Robert Duncan (Drop the Dead Donkey).

In May a new Bill Kenwright Ltd and Theatre Royal Windsor production of The Anastasia File, inspired by the remarkable true story of Anne Manahan and her battle to be recognised as the last surviving member of the Romanov dynasty will be staged, with an exciting star casting yet to be announced. The play will be directed by Roy Marsden.

June brings the World Premiere of Doubting Thomas, a new work by Catherine O’Reilly and Tim Churchill (the writers behind last year’s premiere of the popular thriller Closure). Produced by Theatre Royal Windsor and Directed by Charlotte Peters, the stellar cast includes soap stars: Lin Blakely (EastEnders), Roxanne McKee (Game of Thrones), Ben Nealon (Soldier, Soldier), Nikki Patel (Coronation Street) and Gary Webster (Minder).

Actor James Bye might have recently shocked EastEnders fans when his character Martin Fowler was killed. But death is set to haunt him further this summer when he plays Mr Darcy in the UK tour of the Mill at Sonning’s new production of Death Comes To Pemberley which opens in Windsor in late July.

Following a sell-out inaugural season in London, once again Windsor will be the launchpad for another new tour, produced by Bill Kenwright Ltd and Paul Taylor-Mills, The Lightning Thief – The Percy Jackson Musical is set to thrill those Millennial and Gen Zers who loved the book and film by the same title when they were growing up. The hit musical promises to be the hottest ticket in town when it opens here this August.

Then as the summer comes to an end, a new tour of the much-loved adaptation of Stephen King’s The Shawshank Redemption will be opening in Windsor in early September. For anyone who loves the film, this production is every bit as poignant and moving.

Ending the year on lighter note: panto fans will be delighted to learn that Windsor’s favourite dame, Steven Blakeley, and calamitous comic, Kevin Cruise, are confirmed as returning to star in this year’s pantomime, Cinderella.

DEMIGODS UP AND DOWN THE COUNTRY ASSEMBLE!

IS SET TO BRING OLYMPIAN ENERGY TO AUDIENCES ACROSS THE UK

THIS AUTUMN AND INTO 2026

“A bolt of stage magic.

A show that whisks you to another dimension.”
The Times

“Catchy songs, original choreography and a quirky spirit brings out the directness and humour of Rick Riordan’s mythical quest.”The Guardian

Get ready, demigods! The Lightning Thief: The Percy Jackson Musical is set to embark on an electrifying UK tour this autumn, bringing the hit stage adaptation of Rick Riordan’s bestselling novel to audiences across the country. The tour will open at Theatre Royal Windsor from 15 – 23 August 2025 and then play Newcastle, Milton Keynes, Liverpool, Brighton, Stoke-on-Trent, Coventry, Bradford, and Wimbledon with many more venues, and casting, to be announced.

Paul Taylor-Mills (Producer) said: “We’re thrilled to bring Percy Jackson’s epic journey to more UK audiences following the success we’ve had in London. This show is full of energy, humour, and heart—whether you’re a long-time fan or new to the world of Camp Half-Blood, you’re in for an unforgettable adventure.”

Based on the beloved book series (with over 180 million copies sold worldwide), Percy Jackson’s story has been adapted into both films and a major hit TV series for Disney+. The musical first premiered off-Broadway in 2014 to rave reviews and went on to have two US tours, another off-Broadway run in 2017 and a 16-week limited run on Broadway in 2019. Since November 2024, The Lightning Thief has been making waves with London audiences, receiving critical acclaim and will continue at The Other Palace until 31 August 2025.

When New York City teenager Percy Jackson discovers that he is the half-blood son of the Greek god, Poseidon, his life takes a dramatic turn as he is plunged into a world much bigger than he could possibly have imagined.

With newly discovered powers he is unable to control, an unwanted destiny and a whole textbook’s worth of mythical monsters on his trail, Percy must learn what it means to be a hero.

The future of the world hangs in the balance as Percy and his friends embark on an epic adventure that will have you on the edge of your seat.

This dynamic musical adaptation of Rick Riordan’s bestselling The Lightning Thief has a book by Joe Tracz (Be More Chill), music and lyrics by Rob Rokicki (Monstersongs) and is directed and choreographed by Lizzi Gee (Groundhog Day).

LISTINGS

BILL KENWRIGHT LTD & PAUL TAYLOR-MILLS PRESENT

THE LIGHTNING THIEF
THE PERCY JACKSON MUSICAL

Book by Joe Tracz
Music & Lyrics by Rob Rokicki
Adapted from the book The Lightning Thief by Rick Riordan
Direction and Choreography by Lizzi Gee

Run Time: approximately 2hrs 10 minutes including interval

UK TOUR 2025

15 – 23 Aug                 Theatre Royal Windsor           01753 853888             On sale 7 Mar

27 – 31 Aug                 Newcastle Theatre Royal        0191 232 7010            On sale 4 Apr

3 – 6 Sep                     Milton Keynes Theatre                                               On sale 4 Apr

16 – 20 Sep                 Liverpool Empire                                                         On sale 4 Apr

30 Sep – 4 Oct             Brighton Theatre Royal                                               On sale 4 Apr

7 – 11 Oct                    Regent Theatre Stoke-on-Trent                                  On sale 4 Apr

14 – 18 Oct                  Coventry Belgrade                  024 7655 3055            On sale 1 Apr

21 – 25 Oct                  Bradford Alhambra Theatre   01274 432000             On sale 14 Apr

28 Oct – 1 Nov            New Wimbledon Theatre                                           On sale 4 Apr

Further dates and cast to be announced

Socials:
Instagram and Tiktok: @percyjacksononstage
Facebook: @peryjacksonlondon
Twitter/X: @PercyOnStage

Marylebone Theatre – until 13 April 2025

Reviewed by Claire Roderick

2**

Seven years ago, I reviewed a wonderful play about The White Rose, and was interested to see how this vital story could be told as a musical. Sadly, the only similarities in my review will be in the next paragraph, as this well-meaning but strangely unengaging musical needs a lot of revision to become a production worthy of the group.

I first heard about The White Rose about 20 years ago in a German pub. Living in Germany, I had seen various Geshwister Scholl schools but had no idea who the Scholls were. That changed when I got pulled into an argument by a drunk student trying to convince his friends to sign a letter of protest – about what I can’t remember – with increasingly incoherent and sweary references to The White Rose. When I asked what The White Rose was, I was met with resigned smiles and sat in awe as the (sober) students told me about their acts of resistance during WW2. I suppose their story didn’t quite fit with the Allies’ narrative about the war in the 20th century, but now it is astounding that a group so admired and revered by the youth of Germany – Alexander Schmorell is now a saint – is largely unknown in the UK. The strangely sterile German films made about the group haven’t helped, but their story has been skilfully told in books over the years.

A rousing opening number soon gives way to stilted exposition, without really making it clear where the action takes place. The cast use their own accents, which is wonderful, but one young audience member was under the illusion that these were English exchange students unlucky enough to be stuck in Munich during WW2! Perhaps some projections to establish a clearer sense of place, time, and the realities of life in Hitler’s Germany would ease the audience into the story more easily.

As Sophie Scholl (Collette Guitart) and her older brother Hans (Tobias Turley) join with fellow students to spread the truth about Hitler’s policies and the reality of war, they clash with older, more cautious resistance groups. The students and their professor continue printing and distributing leaflets, until a final act of boldness brings the Gestapo down on them.

Brian Belding’s book and lyrics are earnest, but the production screams THIS IS IMPORTANT and lacks subtlety, depth, or human connection. A romantic subplot made me expect a riff on a Sound of Music song. A past betrayal could have made for an interesting discussion about duty and protection, but as in so many disagreements in this production, the arguments end abruptly and everyone is on the same page again after a random philosophical or moral soundbite. The bravery shown and the decisions made appear diminished with such cursory treatment. The speed of the group’s downfall – 4 days from being reported by a janitor to their sentencing and execution – is not obvious or urgent, and what could have been a heartbreakingly moving final scene is muted and unaffecting.

Director Will Nunziata overeggs the pudding with Nazis looming silently over the stage as the students plot. Unfortunately, the lighting is reminiscent of the dancing Nazis in Operation Mincemeat, so this did not have the intended sobering effect. Natalie Brice’s music is stirring, but there is too much jarring light and shade. As each character sings, nearly every song has quiet internal thoughts, then a huge crescendo and guitar as they belt their determination or disgust, and it begins to feel repetitive and again diminishes the emotional weight of the story.

Having the characters face the audience as they belt also makes their emotion feel performative and disconnected.

None of this is the fault of the talented cast, who give powerhouse performances, with Collette Guitart and Tobias Turley shining as the Scholls and Owen Arkrow, Danny Whelan, and Mark Wilshire fantastic as their colleagues Willi Graff, Christoph Probst, and Kurt Huber. Alexander Schmorell and Traute Lafrenz do not appear in this production, which is a little puzzling. Charley Robbie impresses as Lila, a Jew inspired by the White Rose to join the resistance movement.

Further work is needed on the book to find an engaging emotional hook rather than what feels like we the audience are being given a rapid-fire rundown of events. This is an important story, with many warnings from history that are extremely relevant today, and this importance may have weighed too heavily on the creative team. In its current form, this musical does not convey the sacrifice and bravery of these people.

Park Theatre – until 22 March 2025

Reviewed by Claire Roderick

3***

A young couple spend their first, and last, night together in a hotel in Bath. Unfortunately for them, it’s the weekend of the Bath Blitz in April 1942, so their romantic night doesn’t end as planned.

Before the bombs, Leonard (Barney White) explains his nightmare to Violet (Cassie Bradley), trapped as he realises an approaching figure isn’t Father Christmas after all, but is a Japanese soldier. With Leonard’s imminent deployment, the couple’s excitement about spending the night together and the little lies they have told their families in preparation are explored in a sweet manner, with many awkward pauses. Leonard’s need to hear Violet promise that she’ll wait for him and their fear of what could happen are portrayed subtly and effectively.

Nick Payne’s gentle and nuanced writing leaves some things unsaid as we see two further meetings between the couple, in the 1960s and the 2000s. James Haddrell directs skilfully, and location changes and the passage of time are marked by Pollyanna Elston’s multipurpose set and slight costume changes.

In a park in Bath in the 1960s, Leonard’s resentment is still simmering as the audience learns that Violet did not wait, and married another man, with whom she had two children. Her life in Bath is full and busy, while Leonard is living with his mother in Luton. It’s not until you hear an almost throwaway line about the telegram that Leonard’s mother received that a darker reason for Leonard’s inability to move on becomes clear.

In the final scene, the actors portray the elderly characters without resorting to caricatures. The pair grapple with modern technology and discuss trivial matters like the Jaffa Cake VAT tribunal. Watching the couple continually fail to connect over the decades is heartbreaking and leaves the audience asking questions, but the characters and their lives are never sketched out enough to truly engage, and the unhurried pace of the play could be off-putting for some.

Barney White and Cassie Bradley are exceptional as the couple. Bradley is wide-eyed and adventurous as a young girl – and portrays the gradual diminishment of hope and energy as she ages throughout the play with naturalistic flair. Barney White portrays Leonard’s struggle sympathetically, keeping this sometimes-taciturn character endearing with a wonderfully nuanced performance.

Theatre Channel to Broadcast Live Red Carpet & Winner’s Room shows at the Offie Awards 2025

Website:  www.thetheatrechannel.com 

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Theatre Channel, the new streaming hub for theatre, is set to revolutionise access to Off West End and Fringe Theatre with an exciting new partnership with the Offies. As a proud sponsor and official media partner, Theatre Channel will bring audiences unprecedented behind-the-scenes access with two live-streamed programmes, making this year’s Offies more accessible than ever.

For the first time, audiences worldwide can experience the excitement of the awards in real time. Theatre Channel’s coverage will include back stage insights, red carpet interviews and first look reactions with industry leaders, finalists and winners. 

Hosting the evenings coverage will be Tobias Turley the winner of ITV’s Mamma Mia! I Have A Dream and star of the new musical White Rose. With his insider perspective, Turley’s energy and insight will bring theatre lovers closer to the magic of Off West End theatre’s biggest night with these special broadcasts.

Coverage will begin live on the Theatre Channel at 5:30 p.m., with the Red Carpet Livestream. Then, just after 7:00 pm, the action moves to the Winners’ Room, where viewers can witness first-look reactions from the night’s winners as they step off stage, sharing their emotions and insights in real time.

Chris Wheeler the Co-Founder and Managing Director of the Theatre Channel said: “Independent theatre is where some of the most exciting, risk-taking work happens, and The Theatre Channel is proud to be shining a spotlight on these incredible artists. Through our broadcast, we are making sure that Off West End and Fringe Theatre is celebrated and accessible to a global audience, proving that great theatre doesn’t just start in the West End or on Broadway – it starts here!”

Denholm Spurr, Managing Director and Executive Producer of the Offies said: “I am delighted to have Theatre Channel on board as our official streaming partners this year. Our sector is so often undiscovered and unseen and the Offies put showcasing that unexplored work centre-stage — being able to live stream parts of the ceremony for the first time is a brilliant step towards giving independent creatives the spotlight they deserve. British theatre depends on the grassroots and I can’t wait to show everyone just how brilliant it is!”

The Offies, now in their 15th year, celebrate the best of Off West End theatre, recognising the groundbreaking productions and performances that set the stage for future West End and international hits. Previous winners include Fleabag, Baby Reindeer, and Operation Mincemeat, highlighting the Off-West End as a crucial launchpad for fresh and innovative talent.

The 2025 ceremony, hosted by drag artist superstar Divina De Campo, will take place on Monday 17 March 2025, at London’s Westminster Hall. The evening will feature performances from Mischief Theatre, London Gay Men’s Chorus, and Tony Award-winner Frances Ruffelle. With a star-studded lineup and a celebration of theatrical excellence, this year’s event is set to be the most spectacular yet.

The UK Pantomime Association announces the nominations for The Pantomime Awards 2025 celebrating a wealth of talent across the UK’s theatre industry

The UK Pantomime Association is delighted to announce the nominees for The Pantomime Awards 2025, which will take place on Sunday 13 April at the New Victoria Theatre, Woking, staged in partnership with sponsors Trafalgar Entertainment and ATG Entertainment (ATGE).

The Pantomime Awards 2025 nominees exemplify the breadth of talent, skill, enthusiasm and hard work from those on and offstage who work tirelessly year-round to deliver top-notch entertainment to theatres across the country.

This year, the Nigel Ellacott Special Recognition Award for Pantomime History, Tradition and Heritage has been introduced in remembrance of the true legend of pantomime, who sadly passed away in 2024. Nigel received the Outstanding Achievement Award at The Pantomime Awards in 2022 in recognition of his huge contribution to pantomime, from performing as Sister and Dame, to designing and making costumes, writing scripts and championing the genre. All of the Special Recognition Awards, which celebrate productions or individuals representing the values that the Association seeks to promote, as well as an award for Outstanding Achievement, will be announced at the ceremony.

The Pantomime Awards 2025 nominees shortlists are:

Best Choreography

● Arran Anzani-Jones: Beauty and the Beast, Grove Theatre, Dunstable (Evolution Productions)

● Ebony Clarke: Cinderella, Royal & Derngate, Northampton (Evolution Productions)

● Joanna Goodwin: Snow White and the Seven Dwarfs, Theatre Royal Plymouth (Crossroads Pantomimes)

● Lauren Stroud: Aladdin, Beck Theatre, Hayes (Imagine Theatre)

● Shay Barclay: Dick Whittington and his Cat, Hackney Empire, London (In-House)

Best Lighting sponsored by Production Light and Sound

● Andy Webb: Sleeping Beauty, Festival Theatre, Malvern (UK Productions)

● Hallam Cleverley: Pinocchio, Theatr Colwyn, Colwyn Bay (Magic Light Productions)

● Jamie Corbidge: Aladdin, Wycombe Swan, High Wycombe (Imagine Theatre)

● John Rainsforth: Mother Goose, The Customs House, South Shields (In-House)

● Oscar Wady: Robin Hood, Pavilion Theatre, Worthing (Paul Holman Associates)

Carmen Silvera Award for Best Magical Being

● Danielle Jam: Jack and the Beanstalk, His Majesty’s Theatre, Aberdeen (Crossroads Pantomimes)

● Darren Brownlie: Peter Pan, King’s Theatre, Glasgow (Crossroads Pantomimes)

● Julie Yammanee: Aladdin, Assembly Hall Theatre, Tunbridge Wells (Little Wolf Entertainment)

● Katy Ashworth: Jack and the Beanstalk, Central Theatre, Chatham (Jordan Productions)

● Mina Anwar: Cinderella, Derby Arena (Little Wolf Entertainment)

Barbara Windsor Award for Best Principal Lead

● Aoife Kenny: Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

● Kitty Harris: Cinderella, Blackpool Grand Theatre (UK Productions)

● Luke Suri: Aladdin, Everyman Theatre, Cheltenham (In-House)

● Mia Overfield: Snow White and the Seven Dwarfs, Fairfield Halls, Croydon (UK Productions)

● Roshani Abbey: Sleeping Beauty, Broadway Theatre, Catford (Joy Productions)

Best Script

● Anthony Spargo: Dick Whittington and his Cat, Greenwich Theatre, London (In-House)

● David Phipps-Davis: The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

● Eric Potts: Goldilocks and the Three Bears, The Big Top at Ayrshire Athletics Arena, Kilmarnock (Imagine Theatre)

● Jo Mawhinney: Treasure Island, Georgian Theatre Royal, Richmond, North Yorkshire (In-House)

● Vikki Stone: Sleeping Beauty, New Wolsey Theatre, Ipswich (In-House)

Best Secondary Lead

● Aaron Dart: Cinderella, Exeter Northcott Theatre (Exeter Northcott Theatre and Le Navet Bete)

● Callum Connolly: Snow White and the Seven Dwarfs, Fairfield Halls, Croydon (UK Productions)

● Durone Stokes: Sleeping Beauty, Broadway Theatre, Catford (Joy Productions)

● Matthew Croke: Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

● Mia Welsh: Dick Whittington, Theatre Royal Windsor (In-House)

Best Villain sponsored by Breckman and Company

● Anthony Spargo: Dick Whittington and his Cat, Greenwich Theatre, London (In-House)

● Cara Dudgeon: Snow White, Loughborough Town Hall (Little Wolf Entertainment)

● Lorraine Stanley: Dick Whittington, King’s Theatre, Portsmouth (In-House)

● Tom Hopcroft: Jack and the Beanstalk, Nottingham Playhouse (In-House)

● Zoe West: Rapunzel, Everyman Theatre, Liverpool (In-House)

Best Comic

● Ben Goffe: Cinderella, Wyvern Theatre, Swindon (Imagine Theatre)

● Celia Cruwys-Finnigan: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

● Johnny Mac: Peter Pan, King’s Theatre, Glasgow (Crossroads Pantomimes)

● Ruby Ablett: Aladdin, Theatre Royal Bury St Edmunds (In-House)

● Steve Royle: Cinderella, Blackpool Grand Theatre (UK Productions)

Best Costume Design

● Emily Stuart: Jack and the Beanstalk: The Theatre, Chipping Norton (In-House)

● Janet Bird: Rapunzel, Everyman Theatre, Liverpool (In-House)

● Jasmine Swan: The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

● Katie Lias: Sleeping Beauty, Salisbury Playhouse (Wiltshire Creative)

● Ryan Dawson Laight: Aladdin, Everyman Theatre, Cheltenham (In-House)

Christopher Biggins Award for Best Dame sponsored by John Good

● Allan Stewart: Cinderella, Festival Theatre, Edinburgh (Crossroads Pantomimes)

● Antony Stuart-Hicks: The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

● Brad Fitt: Sleeping Beauty, Theatre Severn, Shrewsbury (Evolution Productions)

● Matthew Siveter: Snow White, Loughborough Town Hall (Little Wolf Entertainment)

● Phylip Harries: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

Best Direction

● Chantelle Nolan: Snow White and the Seven Dwarfs, Theatre Royal, St Helens (Regal Entertainments)

● Chris Jordan: Snow White, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)

● Daniel Bell: Beauty and the Beast, Lighthouse Theatre, Kettering (KD Theatre Productions)

● James Tobias: Snow White, Kenton Theatre, Henley on Thames (Immersion Theatre)

● Kylie Butler: Cinderella, Blackpool Grand Theatre (UK Productions)

Best Ensemble

● Abi Fullard, Zachary Kirkby, Amy Mcevoy, Bastiaan Van Leeuwen: Snow White, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)

● Alice Olby, Brogan Paris, Phoebe Silver, Daniel Clelland, Ethan Brenchley, Jack Barnato: Dick Whittington, Harlow Playhouse (KD Theatre Productions and Harlow Playhouse)

● Ayron Campbell, Harley Charles, Rebecca Hazel Cunningham, Neve Ellen, Nadine McMahon, Adam Paul Robertson, Luke Stone, Jackson Walker: Jack and the Beanstalk, His Majesty’s Theatre, Aberdeen (Crossroads Pantomimes)

● Jazmin Davis, Anja Gibbs, Megan Hunt, Brooke Kelly, Frankie Lloyd, Grace Perry, Neve Darcy Reading, Arjun Mudahar, Patrick Rosinha: Snow White, Stag Theatre, Sevenoaks (Sevenoaks Panto)

● Nikki Schofield, Alanna Panditaratne, James Everest, Ariel Nyandoro, Jacob Stebbings: Peter Pan, Victoria Theatre, Halifax (Imagine Theatre)

Best Contribution to Music

● Dan De Cruz: Sleeping Beauty, New Wolsey Theatre, Ipswich (In-House)

● James Harrison: Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

● Jamie Noar: Rapunzel, Everyman Theatre, Liverpool (In-House)

● Rick Coates and Andy Pickering: Cinderella, Festival Theatre, Edinburgh (Crossroads Pantomimes)

● Tayo Akinbode: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

Best Set Design sponsored by Blue-i

● Adrian Gee: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

● Andrew Exeter: Aladdin, Everyman Theatre, Cheltenham (In-House)

● Becky Minto: Mother Goose, Perth Theatre (In-House)

● Jasmine Swan: The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

● Katie Lias: Sleeping Beauty, Salisbury Playhouse (Wiltshire Creative)

Best Sisters

● Bob Golding and Ian Kirkby: Cinderella, Alban Arena, St Albans (Evolution Productions)

● Eleanor Burke and Sophie Hirst: Cinderella, Wyvern Theatre, Swindon (Imagine Theatre)

● Gareth Mitchell and Garnon Davies: Cinderella, Fareham Live (Imagine Theatre)

● Harry Howle and Steven Roberts: Cinderella, Cambridge Arts Theatre (In-House)

● Morgan Brind and Roddy Peters: Cinderella, Derby Arena (Little Wolf Entertainment)

Best Sound

● Ben Harrison: Aladdin, Everyman Theatre, Cheltenham (In-House)

● Charlie Tipler: Snow White, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)

● Conrad Kemp: Snow White and the Seven Dwarfs, Theatre Royal, St Helens (Regal Entertainments)

● Kate Harvey: Jack and the Beanstalk, Gatehouse Theatre, Stafford (Imagine Theatre)

● Sam Forbes: Robin Hood, Pavilion Theatre, Worthing (Paul Holman Associates)

Best Supporting Artist

● Charlotte Rutherfoord: Jack and the Beanstalk, Hall for Cornwall, Truro (In-House)

● Jamie McKillop: Mother Goose, Gaiety Theatre, Ayr (In-House)

● Katie Barnett: Peter Panto and the Incredible Stinkerbell, Tron Theatre, Glasgow (In-House)

● Laura-Jayne Woods: The New Adventures of Peter Pan, Castle Theatre, Wellingborough (Parkwood Theatres)

● Marc Pickering: Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

Best Newcomer to Pantomime

● Colum Findlay: Jack and the Beanstalk, Eden Court, Inverness (Imagine Theatre)

● Frankie Thompson: Goldie Frocks and the Bear Mitzvah, JW3, London (In-House)

● Maisie Smith: Beauty and the Beast, Marlowe Theatre, Canterbury (Evolution Productions and the Marlowe Theatre)

● Owain Wyn Evans: Cinderella, New Theatre, Cardiff (Crossroads Pantomimes)

● Rylan: Jack and the Beanstalk, Cliffs Pavilion, Southend (Crossroads Pantomimes)

Best Newcomer to Industry

● Dylan Collymore: Pinocchio, Stratford East, London (In-House)

● Emma Robertson: Snow White, Loughborough Town Hall (Little Wolf Entertainment)

● Imad Eldeen: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

● Lois Brook: Dick Whittington, Belgrade Theatre, Coventry (Imagine Theatre)

● Matthew Hodgkiss: Rumpelstiltskin, The Met, Bury (The Big Tiny)

Best Pantomime (under 500 seats)

● Dick Whittington and his Cat, Greenwich Theatre (In-House)

● Mother Goose, The Customs House, South Shields (In-House)

● Mother Goose, Gaiety Theatre, Ayr (In-House)

● Peter Panto and the Incredible Stinkerbell, Tron Theatre, Glasgow (In-House)

● Rapunzel, Everyman Theatre, Liverpool (In-House)

Best Pantomime (500 – 900 seats)

● Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

● Sleeping Beauty, Salisbury Playhouse (Wiltshire Creative)

● Snow White, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)

● Snow White, Loughborough Town Hall (Little Wolf Entertainment)

● The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

Best Pantomime (Over 900 seats)

● Aladdin, Wycombe Swan Theatre, High Wycombe (Imagine Theatre)

● Cinderella, Blackpool Grand Theatre (UK Productions)

● Cinderella, Festival Theatre, Edinburgh (Crossroads Pantomimes)

● Peter Pan, King’s Theatre, Glasgow (Crossroads Pantomimes)

● Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

The winners will be announced at the star-studded Awards ceremony at the New Victoria Theatre, Woking, on Sunday 13 April 2025. Tickets for the event will go on sale soon, with more details to be announced shortly.

Founded in 2021, the UK Pantomime Association (UKPA) is a charity that explores, shares and celebrates pantomime by investigating the genre’s rich past, engaging with contemporary practice and inspiring the future. During the 2024-25 pantomime season, the fourth year in which the Awards have taken place, The Pantomime Awards’ 52 judges collectively visited 216 venues to see over 496 performances, far and wide across the United Kingdom.

Simon Sladen, Chair of the UK Pantomime Association said: “Congratulations to all the nominees for The Pantomime Awards 2025. These shortlists demonstrate the pantomime industry’s exciting array of talent across the country. We can’t wait to celebrate pantomime excellence in April at the New Victoria Theatre, Woking and to honour all the hard work of everyone who made Panto Season 2024/2025 such a great success.”

Claire Dixon, Business Director for ATG Entertainment said: “ATG Entertainment is proud to support The Pantomime Awards 2025 and celebrate the outstanding talent that brings the magic of pantomime to audiences across the UK. Pantomime is a cherished tradition, and the dedication, creativity, and passion of those both on and off stage make it a truly special experience every year. We look forward to honouring the incredible individuals and productions that make this beloved art form thrive.”

Chris McGuigan, Group Commercial Director for Trafalgar Entertainment said: “Huge congratulations to all the nominees for this year’s Pantomime Awards. The creative talent pool of performers, writers, dancers, musicians, and producers, demonstrates that panto continues to thrive in the UK. It’s without doubt one of our industry’s most important and treasured assets. We’re delighted to be lending our support to the Pantomime Awards through our unique partnership with ATG Entertainment and look forward to celebrating with everyone on awards night.”