Darlington Hippodrome – until Saturday 22nd August 2026

Reviewed by Adam Craddock

5*****

Last night I had the pleasure of being invited along to the always wonderful Darlington Hippodrome to watch the latest leg of the UK and Ireland tour of Paul Hendy’s “The Last Laugh”. This is a play I’ve been looking forward to come up for review for a good while now and (spoiler alert) it did not disappoint! The play follows an imagined pre show backstage chat between the legendary comedians Tommy Cooper, Eric Morecambe and Bob Monkhouse as they prepare in their dressing room to go on for a show. We see a brilliant combination of familiar gags and quirks, but also a lovely imagined interaction between three of comedy’s greats. 

Damian Williams is out of this world as Tommy Cooper. Williams just oozes funny, he has that knack of being funny funny without doing a thing at all, which somehow makes him even more funny. His delivery of the gags was second to none and I deeply admire his performance. Bravo! Simon Cartwright is fabulous as Bob Monkhouse. Cartwright is an accomplished impressionist and that is evident in his portrayal of Monkhouse, but you can also really feel the personal connection he had with the legend he portrays, which we were very lucky to find out about in the very interesting post show question and answer session. Steve Royle delivers an impeccable comedic performance as Eric Morecambe. Royle is a veteran of the comedy circuit and yet it is so endearing to see him take on this role that so obviously inspired him, and may I say he has brilliant ukelele skills for a newbie! 

In terms of production values I rate this play very highly. The set was full off comedic props and Easter eggs, but was also very real to what an 80’s dressing room was like. The lighting and sound design were both spot on and the costume and props department must be commended for their work, particularly the birds feet! 

Overall I could not recommend this play more highly. This is a show where three masters of their craft pay a beautiful homage to those that came before. I think this is a true must see for a comedy fan of any age. 

The Winter Gardens Blackpool – until 22 August 2026

Reviewed by Debra Skelton

5*****

‘Visually stunning and expertly crafted, Mean Girls impresses throughout’

Following a highly successful run in London’s West End, Mean Girls: The Musical, inspired by the hit 2004 film starring Lindsay Lohan, has embarked on a major tour across the UK and Ireland for 2026 and this week, the production arrives in Blackpool. Written by acclaimed actress, comedian and screenwriter Tina Fey, who also penned the original movie, the musical brings plenty of sharp humour and wit to the stage.

The story closely follows the plot of the beloved film. Cady Heron (Emily Lane) arrives at North Shore High School as a newcomer after spending her childhood being home-schooled in Africa. Suddenly immersed in the complex social world of high school, she encounters a range of student groups, from ambitious Mathletes and studious academics to popular athletes and the feared Plastics. As Cady quickly learns, navigating teenage social hierarchies can be both exciting and perilous.

Along the way, she forms a friendship with outsiders Damian (Michael Dean-Wilson) and Janis (Georgie Buckland), who introduce her to the unwritten rules of school life and fill her in on the personalities who dominate the social scene. In particular, they caution her about Regina George (Vivian Panka), the powerful and ruthless leader of the Plastics. However, when Regina unexpectedly welcomes Cady into her inner circle, Janis sees an opportunity and devises a scheme aimed at dismantling the school’s most notorious clique.

Mean Girls is an entertaining and energetic production packed with humour and memorable moments. Tina Fey’s writing sparkles with sharp one-liners, clever observations and biting social commentary, creating a cast of characters that are both distinctive and instantly recognisable.

Much of the show’s appeal comes from its outstanding supporting cast. Regina George’s fellow Plastics, the sweet but dim-witted Karen and the anxious, approval-seeking Gretchen Wieners, are brought vividly to life by Sophie Pourret and Kiara Dario. Both performers deliver strong comic performances that capture the essence of their characters while making them feel fresh and engaging. Equally impressive is Karim Zeroual, whose portrayal of science enthusiast Kevin Ganatra is full of enthusiasm, charm and comic timing.

Faye Tozer, best known as a member of pop group Steps, demonstrates remarkable versatility by taking on three adult roles: Cady’s mother, Mrs Heron; teacher Ms Norbury; and the flamboyant and over-the-top Mrs George. Despite the challenge of multiple rapid costume and character changes, Tozer delivers each performance with confidence, energy and plenty of personality.

Mean Girls boasts a strong collection of musical numbers, from the energetic “Revenge Party” to Karen’s amusing Halloween-themed song “Sexy” and Regina George’s fiery villain anthem “World Burn”. The standout performance, however, comes from Georgie Buckland, whose powerful rendition of “I’d Rather Be Me” delivers an uplifting message of self-confidence and individuality, earning some of the loudest applause of the night.

Beyond the performances, the production excels in every technical department. The slick choreography (Casey Nicholaw) keeps the energy high throughout, while the lighting (Kenneth Posner), sound (Brian Ronan) and inventive set design (Scott Pask) ensure the show remains visually engaging from start to finish.

Whether you’re a fan of the film or completely new to the story, Mean Girls delivers an evening of pure entertainment.

Charing Cross Theatre, London – until 6th September 2026

Reviewed by Phil Brown

4****

If I were to write a one line review, Jeeves Takes Charge is one of the most blissful marriages of richly humourous writing and uninhibited comic acting you are likely to see on the West End stage at any time.  The marvellously dextrous Sam Harrison, playing Jeeves, Wooster, Gussie Fink-Nottle and a host of other characters (22 apparently), is on stage for the entire 1 hour 40 minutes and pulls off a stellar solo performance.  It’s nothing less than a tour de force and a model of infectious light entertainment.

Actually, Jeeves Takes Charge on stage has been around for a while.  The original one-man theatre production with Edward Duke was co-devised by James and Edward Duke with Hugh Wooldridge (the current director) as far back as 1980.  The brand new production with Sam Harrison, opened at the Theatre Royal Bath, in December 2024.  This deep immersion in the role shows through in Harrison’s faultless delivery of copious comic content, effortless switching between characters and the polished smoothness of the production.  

From his own long involvement with the show, Hugh Wooldridge knows the material intimately and has brought his A game to the direction.  It moves at pace, pays careful attention to detail and many of the laugh out loud moments are the result of Harrison’s malleable countenance, vocal gymnastics and physical antics, turning essentially ordinary situations into pure comedy.

It is interesting that writing from and about a bygone age (Jeeves Takes Charge was published in 1916) should still be so popular – Agatha Christie is another example.  Wodehouse certainly created memorable characters including Gussie Fink-Nottle, Pongo Twistleton and Biscuit Biskerton who “has the appearance of someone looking for the leak in life’s gas pipe with a lighted candle”.   Whilst the basic plots seem unremarkable and farcical in nature, they cover timeless themes of endearing folly, romantic complication and friendship. The resulting stories are turbo-charged by brilliant use of language and sheer inventiveness of description. 

Although he was from a privileged background, Wodehouse himself did not live a pampered lifestyle and never employed a personal valet.  In fact, he seems to have been something of a workaholic (over 70 novels and 300 short stories), basing them on real life encounters, and subverting the master/servant dynamic for comedic purposes.  (Not too far removed from reality though – NCOs were generally much more experienced than young officers in the armed forces back then, and how is it very much different from current day government ministers and their departments ?)  Jeeves – “employers are like horses, they require managing”…

The James and Edward Duke’s adaptation of Jeeves Takes Charge for the stage takes the original short story in which Bertie Wooster engages Jeeves as the replacement for the light fingered Meadowes, and adds material from multiple Wodehouse stories to feature 22 different characters – at least two of which are Aunt Agatha and Aunt Dahlia.  Inspired no doubt by Wodehouse’s own experience of being looked after by up to 20 ‘aunts’ whilst a colonial orphan.  

The end result is three separate tales – his short lived engagement to Lady Florence Craye, his encounter with Peggy Mainwairing, Miss Tomlinson and the school for young ladies near Brighton (both pre-interval) and Gussie Fink-Nottle’s prize giving speech at Market Snodsbury Grammar School (post interval).  

Jeeves ‘takes charge’ in subtly different ways in each situation – sabotaging Bertie’s engagement to Florence Craye (“when the wife comes in at the front door, the valet of bachelor days goes out at the back”), setting Bertie up for a pratfall at the young girls school, and spiking Gussie Fink-Nottle’s drink at the prize giving with Harrison excelling as the tipsy toff. 

The stage set (Caite Hevner) is relatively sparse but cleverly designed – a grandish room with multiple picture frames, a chesterfield sofa and a supertitle display showing the exact location of each scene in art deco script.  It starts off as a sitting room in Berkeley Mansions, Wooster’s flat in Mayfair, but is cunningly transformed into clubs, Easeby Hall, various country piles, and halls by different video projections in the picture frames (Caite Hevner) and the use of sound (Paul Groothuis) and lighting (Tim Mitchell).  Particularly effective is its use to create a railway compartment with moving scenery via the picture frames including typical posters that could be found in trains in those days.  And again, in a car journey through projection of moving countryside..

This is a meticulously staged production with stagecraft ingenuity to match the originality of Wodehouse’s writing.  Sam Harrison is so good in an extremely demanding role.  A most charming, amusing and delightful escape from the outside world.

FULL CAST ANNOUNCED FOR DANIEL EVANS’ AS YOU LIKE IT, STARRING JONATHAN GROFF AS ROSALIND 

• RSC CO-ARTISTIC DIRECTOR DANIEL EVANS DIRECTS AN ALL-MALE COMPANY IN SHAKESPEARE’S JOYFUL COMEDY
• ELLIOT BARNS-WORRELL PLAYS ORLANDO, JOINING THE PREVIOUSLY ANNOUNCED JONATHAN GROFF AS ROSALIND AND FISAYO AKINADE AS CELIA 
• GARY WILMOT PLAYS BOTH DUKE FREDERICK AND DUKE SENIOR
• TONY AWARD WINNER RICHARD McCABE PLAYS JAQUES, WITH GREG HAISTE AS TOUCHSTONE
• AS YOU LIKE IT PLAYS IN THE ROYAL SHAKESPEARE THEATRE FROM SATURDAY 26 SEPTEMBER – SATURDAY 7 NOVEMBER 2026

The Royal Shakespeare Company (RSC) today announces the full cast for Daniel Evans’ production of William Shakespeare’s As You Like It, playing in the Royal Shakespeare Theatre, Stratford-upon-Avon, from Saturday 26 September – Saturday 7 November 2026. 

Elliot Barnes-Worrell will play Orlando, joining the previously announced Tony Award-winning Broadway actor Jonathan Groff as Rosalind and Fisayo Akinade as Celia. Gary Wilmot will play the dual roles of Duke Frederick and Duke Senior, with Richard McCabe as Jaques and Greg Haiste as Touchstone. 

The full company includes Fisayo Akinade (Celia), Elliot Barnes-Worrell (Orlando), Giles Cooper (Le Beau), Jamal Franklin (Ensemble), Jonathan Groff (Rosalind), Greg Haiste (Touchstone), Steffan Harri (Gwilym/Syr Osian), Steffan Hughes (Ensemble/Vocal Captain), Rhys Parry Jones (Corin/Hymen/a Lord at Court/a Lord in Arden), Edward Judge (Charles the Wrestler/Silvius), Gareth Kennerley (First Lord in Arden/Ensemble), Luke McCall (Amiens), Richard McCabe (Jaques), Tim Preston (Phoebe/a Lord at Court), Caleb Roberts (Oliver), Gareth Snook (Adam/Audrey) and Gary Wilmot (Duke Frederick/Duke Senior). 

Director Daniel Evans said, “As You Like It asks for a company of actors who can embrace wit, singing and wrestling! I’m over the moon with our cast and can’t wait to revel in their generosity, curiosity and talent. Soon, we’ll be inviting audiences into our Forest of Arden to experience the transformational power of love!” 

‘If I were a woman…’ 

Rosalind is banished from the court of Duke Frederick – but not before she and young Orlando fall for each other. Seeking out her exiled father in the Forest of Arden with her devoted cousin Celia, Rosalind disguises herself as a young man, Ganymede. 

In fear of his own life, Orlando also escapes to the forest and soon runs into Ganymede, who pledges to cure his lovesickness. But in order to do so, Orlando has to woo her… or rather, he has to woo ‘him’. Then the games commence. 

Daniel Evans directs an all-male company in Shakespeare’s most sweet-natured comedy, where love is love – no matter where it falls. 

The creative team includes Director Daniel Evans, Set Designer Anisha Fields, Costume Designer Colin Richmond, Lighting Designer Ryan Day, Composer, Arranger and Music Supervisor Theo Jamieson, Sound Designer Paul Groothuis, Movement Director Michela Meazza, Fight Director Kev McCurdy, Dramaturg Dr Will Tosh and Casting Director Charlotte Sutton CDG. 

As You Like It plays in the Royal Shakespeare Theatre from Saturday 26 September – Saturday 7 November 2026.

Jonathan Groff makes his RSC debut as Rosalind. He most recently starred on Broadway as Bobby Darin in Just in Time, for which he also served as a producer and received Tony Award, Drama Desk Award and Drama League Award nominations. He previously won the Tony Award for his portrayal of Franklin Shephard in the celebrated revival of Merrily We Roll Along. The production was filmed by RadicalMedia, acquired by Sony Pictures Classics and released theatrically. 

Groff’s additional Broadway credits include Hamilton, for which he received a Tony Award nomination and won a Grammy Award as part of the original cast recording, Spring Awakening, for which he also received a Tony Award nomination, and In My Life. His Off-Broadway credits include Merrily We Roll Along, Little Shop of Horrors, Hamilton, The Submission, The Bacchae, The Singing Forest, Prayer for My Enemy, Hair and Spring Awakening. His screen credits include Mindhunter, Looking, Glee, Hamilton, Frozen, Frozen II, The Matrix Resurrections and A Nice Indian Boy. 

Fisayo Akinade makes his RSC debut as Celia. On screen, he is best known for playing Dean Monroe in Russell T Davies’ Channel 4 series Cucumber and Banana and Mr Ajayi in the Netflix series Heartstopper. His theatre credits include Slave Play (Noël Coward Theatre), The Crucible (National Theatre), The Glow (Royal Court Theatre) and Shipwreck (Almeida Theatre). 

Elliot Barnes-Worrell returns to the RSC to play Orlando, having previously appeared in Richard II. His theatre credits include The Lover and The Collection (Ustinov Studio, Theatre Royal Bath), Small Island and Man and Superman (National Theatre), winning the Ian Charleson Award for his performances in Man and Superman and Richard II. His television credits include Black Mirror, The Killing Kind, Van der Valk, Jericho and Doctor Who. His film credits include VS., The Voyage of Doctor Dolittle and Ready Player One. He has also filmed a leading role in the forthcoming Channel 4 series The Academy. 

Richard McCabe returns to the RSC to play Jaques. His previous work for the Company includes A Tender Thing, King John, Othello, The Imperium Plays, The School of Night, Three Hours After Marriage, Timon of Athens, Troilus and Cressida, Twelfth Night and The White Devil. He won both Tony and Olivier Awards for his performance as Harold Wilson in The Audience and was Olivier Award-nominated for playing Autolycus in The Winter’s Tale. His further theatre credits include The Yeomen of the Guard (London Coliseum), A Little Hotel on the Side (Theatre Royal Bath), Bingo (Chichester Festival Theatre/Young Vic), Doctor Faustus (Young Vic), Fortune’s Fool (Old Vic), Scapino (Chichester Festival Theatre) and Yes, Prime Minister (West End and UK tour). His screen credits include Grantchester, Anatomy of a Scandal, A Very British Scandal, Death in Paradise, The English Game, Collateral, Harlots, Peaky Blinders, Poldark, Gladiator II, 1917, The Duke, Master and Commander, Notting Hill and The Constant Gardener. 

Greg Haiste returns to the RSC to play Touchstone, having previously appeared in The Comedy of Errors, Troy Story and Festive Tales. His theatre credits include Fawlty Towers (West End and UK tour), Guy Fawkes (York Theatre Royal), Quiz (Chichester Festival Theatre and West End), Nell Gwynn and Richard II (Shakespeare’s Globe), The 39 Steps (West End), Peter and the Starcatcher and A Christmas Carol (Royal & Derngate), Relatively Speaking and Black Comedy (Watermill Theatre), Love’s Labour’s Lost (Peter Hall Company/Rose Theatre), The Play What I Wrote (UK tour), Low Pay? Don’t Pay! (Salisbury Playhouse/Told by an Idiot), The Madness of George III (Birmingham Rep/West Yorkshire Playhouse) and The Tempest (Southwark Playhouse). His television credits include Ghosts, Miss Scarlet and the Duke, This England, Pennyworth, Timewasters, Home Fires, Emmerdale and EastEnders. His film credits include The Fantastic Four: First Steps, The Current War, The Time of Our Lives and Starfish. 

Gary Wilmot plays Duke Frederick and Duke Senior. His extensive theatre credits include Cats (Regent’s Park Open Air Theatre), A Man for All Seasons (UK tour and West End), The Wizard of Oz (London Palladium and UK tour), Old Friends (Gielgud Theatre), Wicked (Apollo Victoria Theatre), Anything Goes (Barbican), The Prince of Egypt (Dominion Theatre), Mr Gum and the Dancing Bear (National Theatre), Flowers for Mrs Harris (Chichester Festival Theatre), Dirty Rotten Scoundrels (Savoy Theatre and UK tour), The Pajama Game (Shaftesbury Theatre), Chitty Chitty Bang Bang and Me and My Girl (Adelphi Theatre). His screen credits include Death in Paradise, Midsomer Murders, House of Games, Would I Lie to You? and Never Mind the Buzzcocks. 

FLORAL PAVILION THEATRE NEW BRIGHTON

ANNOUNCES DETAILS OF WHAT’S ON THIS AUTUM

INCLUDING THE HILARIOUS SMASH-HIT WEST END PLAY  
THE LAST LAUGH (6–10 OCTOBER) 

THE 75th ANNIVERSARY TOUR OF AGATHA CHRISTIE’S ICONIC THRILLER THE MOUSETRAP (19–24 OCTOBER)

AND CHRISTMAS PANTOMIME FAMILY-FAVOURITE 
ALADDIN (5 DECEMBER–3 JANUARY)

FURTHER INFORMATION HERE

[Friday 14 August 2026, New Brighton] The Floral Pavilion has unveiled a packed autumn and winter season, bringing some of the biggest names in touring theatre, comedy, music and family entertainment to New Brighton. Leading the line-up are the smash-hit West End comedy The Last Laugh; Agatha Christie’s legendary thriller The Mousetrap, arriving as part of its landmark 75th anniversary tour; and the Floral’s much-loved Christmas pantomime, Aladdin.

At the heart of New Brighton, the 814-seat Floral Pavilion is one of the Wirral’s leading live entertainment venues, welcoming a wide-ranging programme of national touring theatre, comedy, music, dance, family entertainment and its hugely popular annual pantomime. The autumn and winter months ahead reflect that breadth, with major touring productions sitting alongside household names, one-night shows and family favourites.

Fresh from hit runs in the West End and New York, The Last Laugh (6–10 October) brings three of Britain’s best-loved comedy legends back to life, with Britain’s Got Talent finalist Steve Royle as ‘Eric Morecambe’, Damian Williams as ‘Tommy Cooper’ and Simon Cartwright as ‘Bob Monkhouse’. Written and directed by Paul Hendy, the critically acclaimed comedy imagines the three icons sharing one very unusual dressing room and swapping thoughts on life, death, comedy and what it really means to be funny. Warm, sharply observed and packed with nostalgia, the show arrives in New Brighton following its acclaimed international success.

Theatre’s most famous murder mystery comes to New Brighton as Agatha Christie’s The Mousetrap plays the Floral Pavilion from 19–24 October. The 75th anniversary tour stars Nicholas Bailey – best known to millions as Dr Anthony Trueman in BBC’s EastEnders – as ‘Major Metcalf’, alongside Susan Penhaligon, whose celebrated screen career includes Bouquet of Barbed Wire and A Fine Romance, as ‘Mrs Boyle’. After more than seven decades of keeping audiences guessing, the record-breaking thriller remains one of British theatre’s great institutions, with further casting for the anniversary tour to be announced. 

Christmas at the Floral Pavilion gets an extra dose of magic this year with Aladdin (5 December–3 January), starring BAFTA-winning Raven host and Molly and Mack actor James Mackenzie as the gloriously wicked ‘Abanazar’, alongside Floral Pavilion favourite Sean Jones, returning for his seventh year as ‘Wishee Washee’. Packed with big laughs, larger-than-life characters, spectacular staging and all the festive fun audiences have come to expect from the venue’s annual pantomime, Aladdin promises a joyful Christmas adventure for the whole family.

Elsewhere, theatre highlights range from Diane’s Deli (4 September) and Emmeline Pankhurst: Angel or Anarchist? (23 October) to Cue Murder! Halloween Special Murder Mystery (31 October), Thunder Road Theatre Presents: The Void (6–7 November) and festive whodunnit Murder at the Manor – A Murder Mystery Christmas Special (12 December).

Music highlights include John Barrowman – My Life in Musicals (10 September), The Mersey Beatles (12 September), The Opera Boys – The Farewell Tour Starring Paul Potts (19 September), The Illegal Eagles – ‘Take it Easy‘ (4 October), The Overtones – Jivin’ Home for Christmas (9 November), Hugh Cornwell – Never Say Goodbye – The Final Solo Acoustic Tour (12 November), China Crisis – Warped Tour 2026 (14 November) and The Glenn Miller and Big Band Spectacular (21 November).

Comedy and entertainment across the season includes John Cleese & The Holy Grail (7 September), Psychic Sally (9 September), an evening Up Close and Personal with Carl Froch and Dave Allen (18 September), Hal Cruttenden: Can Dish It Out But Can’t Take It (3 October), Simon Evans (10 October), Russell Watson (16 October), Paul Smith – Happy (28 October) and Gary Delaney (10 November), alongside seasonal variety and cabaret.

Families are also well catered for, with All Star Superslam Wrestling (26 September), Science Museum: Space Explorers (28 October), Fireman Sam Live! – The Lost Pirate Treasure (30 October), There’s a Monster in Your Show (3–4 November) and Storytime with Santa (11–24 December), alongside Aladdin.

The programme also features Imperial Classical Ballet – Swan Lake (18 October) and Sing the Musicals (29 October). 

Pauline Campbell, Floral Pavilion’s Venue Manager, said, “We’ve got so much to look forward to at the Floral Pavilion this autumn and winter, with a brilliant mix of theatre, comedy, live music and family entertainment coming to New Brighton. From major touring productions such as The Last Laugh and the 75th anniversary tour of The Mousetrap, through to some fantastic one-night shows and, of course, our Christmas pantomime Aladdin, there’s a huge amount happening over the months ahead.

“One of the things we’re most proud of at the Floral is the sheer variety of what we’re able to offer our audiences. Whether you’re joining us for a much-loved classic, a great night of live music, a family show or your annual trip to the panto, we can’t wait to welcome everyone through our doors.” 

SUBMISSIONS NOW OPEN

FOR MTFestUK 2027!

MTFESTUK RETURNS TO THE OTHER PALACE IN 2027!

The Other Palace is thrilled to announce that submissions are now open for the 8th annual MTFestUK 2027, which will showcase up to six (6) new musicals in January – February 2027 at The Other Palace Studio.

MTFestUK is a unique festival that provides a platform to showcase and celebrate musical theatre. Up to six (6) pieces at different stages of development will be selected following an open submission process, giving their creative teams the opportunity to develop, workshop and share their work with audiences. 

We welcome writing teams from all backgrounds, across the UK and internationally, to bring their fresh, bold and imaginative pieces to the festival. MTFestUK is committed to championing original musical theatre and shining a light on voices and stories that are often underrepresented. Audiences are invited to be part of the journey, to discover, explore, engage, and support new musicals in their earliest stages of development. Each piece will be cast and rehearsed before holding four sharing performances in workshop format, open to audiences. 

Musicals previously showcased at MTFestUK that have gone on to have a future life include:

REDCLIFFE by Jordan Luke Gage

Legendary by Cheeyang Ng

Nerds by Hal Goldberg, Jordan Allen-Dutton and Erik Weiner; 

ROMY AND MICHELE The Musical by Robin Schiff, Gwendolyn Sanford and Brandon Jay;

Tit Swingers by Abey Bradbury and Sam Kearney-Edwardes;

Bling by Elliot Clay and Tori Allen-Martin;

A Jaffa Cake Musical by Sam Cochrane and Rob Gathercole;

Come Dine With Me by Aaron King, Sam Norman, Nell Butler and Genevieve Welch;

The Government Inspector by Jodie Prenger, Neil Hurst, Cat Gisby and Maxwell Tyler;

Sherlock Holmes and the Poisonwood by P Burton-Morgan and Ben Glasstone;

Cake: The Marie Antoinette Playlist by Jack McManus, Tasha Taylor Johnson and Morgan Lloyd Malcolm; 

Millennials by Elliot Clay; 

Eurobeat: Pride of Europe by Craig Christie; 

But I’m a Cheerleader by Bill Augustin and Andrew Abrams; 

First Date by Austin Winsberg, Alan Zachary and Michael Weiner.

Paul Taylor Mills, Artistic Director for The Other Palace, said: “Supporting new work is vital to the future of musical theatre. Creatives need the space, time and encouragement to take risks, experiment and discover what their work can become. That’s exactly what makes MTFestUK so important. It creates a platform for new voices and stories and gives new pieces the opportunity to be seen, heard and explored.

Over the years, MTFestUK has helped shine a spotlight on some truly exciting and ambitious new musicals. And it’s incredible to see just how many of them have gone on to be further developed and find lives beyond the festival. Now, as the submissions are open for the 8th MTFestUK, I’m thrilled to invite creatives from all backgrounds to share their new work with us. Who knows what the next big hit might be?”

To submit your show for consideration, please follow the link: https://theotherpalace.co.uk/mtfestuk/. 

Submissions close on Sunday 27 September 2026, 11.59pm.

LISTINGS

Submissions close on Sunday 27 September 2026, 11.59pm.

MTFestUK 2026 dates: January – February 2027

Venue:            The Other Palace Studio 

Address:          The Other Palace, 12 Palace Street, London, SW1E 5JA, 

Website:         https://theotherpalace.co.uk/mtfestuk/

Instagram:

@mtfestuk

@theotherpalace

#MTFestUK

Twitter:
@Fest_MT 
@TheOtherPalace

#MTFestUK 

Birmingham Hippodrome- until 15th August 2026

Reviewed by Emma Millward

4****

Every summer, Birmingham Hippodrome plays host to National Youth Music Theatre, giving its young performers the opportunity to take to the stage of one of the UK’s major theatres. This year’s programme features West Side Story, Just So and Everyday. Under the direction of Georgie Rankcom, Just So, with music by George Stiles and lyrics by Anthony Drewe, brings Rudyard Kipling’s much-loved animal stories to life, following Elephant’s Child on a journey of discovery as he encounters a colourful collection of creatures. In the hands of NYMT’s young company, it becomes an entertaining celebration of curiosity, individuality and finding your place in the world.

The three central performances are definite standouts. Daniel Lee captures Elephant’s Child’s insatiable curiosity and awe as he discovers the world around him. Sophie Ellis-Kemp gives Kolokolo Bird a wonderfully distinctive personality, as a straight-talking Scouser with plenty of attitude and humour. Stanley Searl brings a sassy presence to the Eldest Magician, proving an engaging narrator throughout.

Around the central trio, the wider cast bring their own personalities to the animal kingdom. Millie Henderson’s Giraffe and Daisy Winbolt-Robertson’s Zebra find themselves pursued by Kit Barnes’ Jaguar and Samuel Palliser Kehoe’s Leopard in an amusingly flirtatious dynamic. Archie Elliot is suitably menacing as the Crocodile who attempts to capture the oblivious Elephant’s Child. Joshua Simango gives a wonderfully blustering performance as the Rhino, while Lucas Theodorou’s Kangaroo and Florence Swann’s Dingo Dog bring a zany energy to the stage as they race each other. Sam Darcy and Victoria Mokumo give entertaining performances as the Parsee Man and his perpetually frustrated Cooking Stove.

The catchy score gives the main characters their moments to shine, while Sam Wilson-Freeman’s choreography covers a broad range of styles. The ensemble move confidently between the numbers. There is even room for a few gloriously well-placed jazz hands!

The stripped-back set by Libby Todd is very effective. Rather than disguising the theatre’s mechanics behind elaborate scenery, the stairs and gantry are left exposed, creating an intentionally undressed backdrop. Backstage flight cases, storage boxes and clothes rails are cleverly incorporated into the action. A large red case bearing the NYMT logo becomes the boat carrying Elephant’s Child and Kolokolo Bird, while smaller flight cases are transformed into individual tap-dancing platforms for a memorable tap routine. It is a wonderfully inventive approach, proving how a little imagination can turn functional backstage objects into something entirely different on stage.

Costumes by Claire Thomas adopt a similarly imaginative approach. Clever details and embellishments identify the animals without resorting to elaborate costumes. A sparkly jacket and top hat give the Rhino plenty of personality, while animal-print tops distinguish the Giraffe and Zebra, as well as the Leopard and Jaguar. Kolokolo Bird’s outfit features subtle feathers running down the arms. The Kangaroo’s sporty orange tracksuit with added pom-poms representing his growing leg muscles is a particularly clever design.

As with any live performance, there were a few moments when lines slipped up, but the performers recovered quickly. Some of the faster passages of dialogue were occasionally difficult to catch, but these were minor moments in an otherwise confident performance. What shines through most strongly is the enthusiasm of the young company. Just So may have a simple visual aesthetic, but it is bursting with ambition and creativity. With its catchy score, clever staging, and fully committed young cast, it is an enjoyable showcase of what NYMT’s performers can achieve.

Just so joyful!

G Live, Guildford – until Saturday 15 August 2025

Reviewed by Rebecca Scott

4****

Well this production brought by the G Live Youth Project 2026 was full of family fun, and you certainly didn’t leave feeling green!

The original 2001 classic alternative fairytale from DreamWorks is vibrantly brought to the stage by a wonderful cast, ensemble and crew. For those who need a refresher, Shrek is a Scottish Ogre who is content living alone in his swamp. That is until he wakes up to find his home has been overtaken by a lot of fairytale characters, due to Lord Farquaad evicting them from his kingdom of Duloc.

To get his swamp back Shrek strikes a deal with Lord Farquaad. He must complete a hero’s quest, alongside the very chatty Donkey to rescue Princess Fiona from a tower…but just like any fairytale it isn’t plain sailing and there’s a few hiccups along the way!

The stage adaptation remains true to the film’s scenes and scripts, ensuring to keep the brilliant one liners audience know and love. I must praise the staging, costume, orchestra, set design and lighting. They really brought the scenes to life and gave the stage that magical feel.

The show incorporated all the characters we know and love. Ethan Kethero who played Shrek was the perfect choice for the role, and his side kick Donkey (Naru Sivaganeshamoorthy) was as animated as you’d expect! I must give a shout out to the brilliant Lord Farquaad (Jessie Scothern) who had brilliant comedic timing and stage presence, and Eliza Edworthy’s singing voice as Dragon was stunning!

There were times the scenes lacked a little energy, and at first, I didn’t think Shrek and Fiona (Olivia-Mai Stevens) had much chemistry, but this did change after they sang ‘I Think I Got You Beat’. Also, some of the transitions between scenes were a little slow. But this did not spoil the overall production at all. Some of the songs were so fun (especially This Is Our Story) where it teaches you that you are perfect the way you are, but some songs were a little lacklustre and not that memorable. My family loved when they sang ‘I’m a believer’ at the end, and you got to see the cast and ensemble have a little party.

I must point out that this is a youth production, of which the cast, crew and ensemble had two weeks to put together the musical – you would not have known! And even with the hiccup of the national emergency alert setting off phones, and the musical having to restart after 5 minutes in. The whole team handled it professionally, and I want to praise them for this.

You could tell every cast member loved being on that stage, and their dedication shone through, which in the end brought some wonderful fairy tale magic!

This is the moment you’ve waited for…

THE GREATEST SHOWMAN

TO OPEN AT THEATRE ROYAL DRURY LANE

IN LONDON’S WEST END IN SPRING 2027

OLIVER TOMPSETT AND SAMANTHA BARKS LEAD THE COMPANY

AS P.T. BARNUM AND CHARITY BARNUM

FEATURING THE GRAMMY® AWARD-WINNING AND ACADEMY AWARD® NOMINATED MUSIC AND NEW SONGS BY BENJ PASEK AND JUSTIN PAUL

BOOK BY TIM FEDERLE

DIRECTED AND CHOREOGRAPHED BY CASEY NICHOLAW

Disney Theatrical Group today announces that, following its sell-out run at The Bristol Hippodrome earlier this year, their brand-new stage adaptation of The Greatest Showman, based on the 2017 smash-hit film, with songs by Benj Pasek and Justin Paul,book by Tim Federle and direction and choreography by Casey Nicholaw, will premiere at Theatre Royal Drury Lane in Spring 2027. The Greatest Showman continues DTG’s longstanding association with LW Theatres’ historic venue since it reopened following its extensive restoration completed in 2021.

The Greatest Showman stars Oliver Tompsett (P.T. Barnum), Samantha Barks (Charity Barnum), Ben Joyce (Phillip Carlyle), Vajèn van den Bosch (Jenny Lind) and Malinda Parris (Lettie Lutz). Further casting to be announced.

The musical will feature the GRAMMY® Award-winning and Academy Award®-nominated songs by EGOT winners Pasek and Paul(La La Land, Dear Evan Hansen), including “The Greatest Show,” “A Million Dreams,” “Come Alive,” “Rewrite the Stars,” “Never Enough” and the Golden Globe® Award-winning “This Is Me,” together with their brand-new songs written especially for the musical.

Based on the 20th Century Studios motion picture with story by Jenny Bicks, The Greatest Showman is the first 20th Century Studios (formerly 20th Century Fox) title to be adapted for the stage by Disney Theatrical Group. The Seelig Group, a producer of the original film, is also a producer of the musical.

Audiences are invited to learn more about The Greatest Showman and to sign-up for priority booking at www.thegreatestshowman.co.uk. Performance schedule and on sale dates will be announced in due course.

Anne Quart and Andrew Flatt forDisney Theatrical Group said today, “It’s rare for a new film musical to capture the world’s imagination in the way The Greatest Showman has – both for its story and record-breaking soundtrack. The piece is fearless in its emotion: open-hearted, exuberant, and unapologetically joyous, celebrating those considered outsiders and dreamers. While its storytelling draws on classic traditions, its score is unmistakably of today — bold, infectious songs that feel they were always destined for the stage.

“The show is born of a collaboration with an incredible group of artists. Benj Pasek and Justin Paul return with the songs audiences will know and love, alongside exhilarating new numbers created especially for the stage; Tim Federle’s book captures a heartfelt love of theatre and show business; and two-time Tony® Award-winning Casey Nicholaw directs an extraordinary cast led by the incomparable Oliver Tompsett and Samantha Barks.

“We’re thrilled to begin this next chapter in our long association with Theatre Royal Drury Lane – this feels like a very special homecoming.”

Completing the creative team are Alex Lacamoire (Music Supervision, Incidental & Dance Music Arrangements and Orchestrations), David Korins (Scenic Design), Gregg Barnes and Sky Switser (Costume Design); Natasha Katz (Lighting Design); Peter Hylenski (Sound Design), George Reeve (Video Design), Lorenzo Pisoni (Circus Creation & Design), Josh Marquette (Hair & Wig Design), Milagros Medina-Cerdeira (Make-Up Design), Jeremy Chernick (Special Effects Design), Skylar Fox (Illusions Design), Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting (Casting Director) and Keston & Keston (Children’s Casting Director & General Manager). Acrobat Casting by The 7 Fingers. Justin Paul is also providing Vocal and Incidental Music Arrangements.

Instagram: @thegreatestshowmanuk

Facebook: @greatestshowman

www.thegreatestshowman.co.uk

THE GREATEST SHOWMAN

Songs by Benj Pasek and Justin Paul

Book by Tim Federle

Based on the 20th Century Studios motion picture The Greatest Showman, with story by Jenny Bicks

Cast includes: Oliver Tompsett (P.T. Barnum), Samantha Barks (Charity Barnum), Ben Joyce (Phillip Carlyle), Vajèn van den Bosch (Jenny Lind) and Malinda Parris (Lettie Lutz)

Directed and Choreographed by: Casey Nicholaw; Music Supervision, Incidental & Dance Music Arrangements and Orchestrations: Alex Lacamoire; Vocal and Incidental Music Arrangements: Justin Paul; Scenic Design: David Korins; Costume Design: Gregg Barnes and Sky Switser; Lighting Design: Natasha Katz; Sound Design: Peter Hylenski; Video Design: George Reeve;  Circus Creation & Design: Lorenzo Pisoni; Hair & Wig Design: Josh Marquette;  Make-Up Design: Milagros Medina-Cerdeira; Special Effects Design: Jeremy Chernick; Illusions Design: Skylar Fox; Casting Director:  Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting; Children’s Casting Director & General Manager: Keston & Keston; Acrobat Casting: The 7 Fingers. 

Welcome to The Greatest Showman, where the ordinary is left behind and dreamers, outsiders, and trailblazers take centre stage.

A restless maverick refuses the life everyone expects of him. Determined to build the greatest show on earth, he brings together those the world never expected to shine, creating something far bigger than he ever imagined.

Featuring the songs that defined a generation and the story that captivated audiences around the world, this bold stage adaptation of The Greatest Showman invites you in to enjoy the pure joy of the live theatrical experience, where the unimaginable feels within reach.

From Spring 2027 London becomes home to The Greatest Showman. Featuring an acclaimed score by Benj Pasek and Justin Paul (La La Land, Dear Evan Hansen), including “This Is Me”, “Rewrite the Stars”, “The Greatest Show” and “Never Enough”, and direction and choreography by Tony Award winner Casey Nicholaw (Book of Mormon, Mean Girls), experience the story you know like never before. 

Oliver Tompsett plays P.T. Barnum. His theatre work includes A Knight’s Tale (Opera House Manchester), Ghost (Adelphi Theatre – concert), & Juliet (Broadway and Shaftesbury Theatre), Wild About You (Theatre Royal Drury Lane), In Dreams (Leeds Playhouse), Pretty Woman (Savoy Theatre), Kinky Boots (Adelphi Theatre), Starlight Express (The Other Palace), Guys and Dolls (Phoenix Theatre), The World Goes Round (St James Theatre), White Christmas (West Yorkshire Playhouse), We Will Rock You (Dominion Theatre), Rock of Ages (Shaftesbury Theatre), Wicked (Apollo Victoria), The Royal Hunt of the Sun (National Theatre), Mamma Mia! (Prince of Wales Theatre), Kismet (Arcola Theatre), Over My Shoulder (Wyndhams’ Theatre), Our House (Cambridge Theatre), and West Side Story (Cannizaro Park). His film work includes Show Dogs and The Hard Way.

Samantha Barks plays Charity Barnum. For theatre, her work includes Les Misérables (Arena Tour, Queen’s Theatre), Live at the London Palladium (London Palladium), Frozen (Theatre Royal Drury Lane, and also filmed for Disney+), Chess (Umeda Arts Theater Main Hall / Tokyo International Forum Hall), Pretty Woman (Chicago and Broadway), The Last Five Years (St James Theatre), Amelie (Berkley Rep), City of Angels (Donmar Warehouse), Chicago (Hollywood Bowl), 24 Hour Plays (The BroadStage, California) Oliver! (UK tour), and Cabaret (Birmingham Rep). She was one of the participants on the BBC series I’d Do Anything and won the 2025 series of The Masked Singer. She was a judge on Mamma Mia! – I Have a Dream. For film, her credits include Tomorrow Morning, For Love or Money, Bitter Harvest, Interlude in Prague, The Christmas Candle and as Eponine in Les Misérables (recipient of Empire Award for Best Female Newcomer; and nomination for Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture). She also reprised her performance as Eponine for Les Misérables in Concert: The 25^th Anniversary.

Ben Joyce plays Phillip Carlyle. His theatre work includes The Hunchback of Notre Dame (Prince Edward Theatre – concert), Shucked (Regent’s Park Open Air Theatre), Back to the Future (Adelphi Theatre – nominated for Best Takeover at the 2023 WhatsOnStage Awards), and Jersey Boys (Trafalgar Theatre – nominated for Best Performer in a Musical and Best West End Debut at the 2022 The Stage Debut). His television work includes The Power.

Vajèn van den Bosch plays Jenny Lind. Her theatre credits include Disney’s Frozen (AFAS Circustheater, Scheveningen – 2025 Dutch Musical Award for Best Leading Actress), Disney Musical TARZAN® (Stage Palladium Theater, Stuttgart), Les Misérables, Murder Ballad, Kinky Boots, Grease, The Sound of Music, Shrek (Dutch national tours), Wicked (Stage Theater Neue Flora, Hamburg), Cirque du Soleil Musical Paramour (Stage Theater Neue Flora, Hamburg), On Your Feet!, Joseph and the Amazing Technicolor Dreamcoat (Beatrix Theater, Utrecht), Droomvlucht (Efteling Theater, Kaatsheuvel), and Disney’s Mary Poppins (AFAS Circustheater, Scheveningen). Her television work includes The Passion 2025, Nieuwe Tijden, Ghostrockers, Spangas, and The Voice Kids. She received the Nickelodeon Kids’ Choice Award for ‘Favourite TV Star’ in 2017 (NL). For film, her work includes Eb, Bledders, Onze Jongens 3, First Kiss, Hart Beat, Spangas in Actie; and voice work includes Wicked: For Good, Wicked, Disney’s Moana 2, Disney’s Encanto, The Super Mario Bros. Movie, The Addams Family, Disney’s Moana, and Maya the Bee.

Malinda Parris plays Lettie Lutz. Her theatre credits include Hadestown (Lyric Theatre), Hercules (Theatre Royal Drury Lane), The Enormous Crocodile (Regent’s Park Open Air Theatre), The Little Big Things (sohoplace), & Juliet (Shaftesbury Theatre), Mary Poppins (Prince Edward Theatre), Matilda (Cambridge Theatre, RSC), Aladdin (Lyric Hammersmith Theatre), Caroline, Or Change, The Light Princess (National Theatre), Anansi Trades Places (Shaw Theatre), Little Shop Of Horrors (New Wolsey Theatre), Parade (Donmar Warehouse). Her film credits include Wicked and Everybody’s Talking About Jamie.

Benj Pasek and Justin Paul are known for their Oscar, Grammy, and Tony-winning work on La La Land, The Greatest Showman and Dear Evan Hansen, each of which spawned albums that landed in the Top 10 on the Billboard 200, including multiple weeks at #1 for The Greatest Showman, which in 2018 was the world’s best-selling album. In 2024, they achieved EGOT status with their first Emmy Award win for Outstanding Original Music and Lyrics for the song “Which of the Pickwick Triplets Did It”, co-written with Marc Shaiman and Scott Wittman, for Hulu’s musical-themed third season of Only Murders in the Building, on which they also served as consulting producers. Their song “City of Stars” (co-written with Justin Hurwitz) from La La Land won the Academy Award and Golden Globe for Best Original Song, with “Audition (The Fools Who Dream)” from the film also nominated for the Academy Award in the same category. They won their second Golden Globe for “This Is Me” (Academy Award and Grammy Award nominations) from The Greatest Showman, for which they also won the Grammy Award for Best Compilation Soundtrack for Visual Media. For their original musical Dear Evan Hansen — which won six Tony Awards including Best Musical — the duo received an Obie Award, a Drama Desk Award, an Olivier Award, a Grammy Award, and the Tony Award for Best Score. Their recent film and television credits include writing Sesame Street‘s heartwarming anthem “That’s Why We Love Nature”, performed by Brandi Carlile (2025 Children’s and Family Emmy Award), Apple’s original live-action musical Spirited, for which their song “Good Afternoon” was shortlisted for the Oscar for Best Original Song; a full song score for Sony’s live-action hybrid musical Lyle, Lyle Crocodile, with songs performed by Shawn Mendes; Disney’s live-action Aladdin, featuring the Oscar-shortlisted song “Speechless”, and Snow White; Dreamworks Animation’s Trolls; Amazon’s comedy series Harlem; Apple TV+’s Dear Edward; NBC’s Smash; The CW’s musical episode of The Flash; the Amazon concert documentary Pink: All I Know So Far (Grammy nomination for “All I Know So Far” co-written with Pink); and FX’s sports documentary television series, Welcome to Wrexham. Pasek and Paul also co-founded Ampersand, a media production company through which they produce theatrical, immersive, film, television and digital content, including the two-time Webby award-winning digital show Celebrity Substitute. Their other theatre work includes as co-producers for A Strange Loop (Tony Award for Best Musical, Pulitzer Prize for Drama), their Tony-nominated score for A Christmas Story, Dogfight (Lucille Lortel Award for Best New Musical), the children’s musical James and the Giant Peach and the popular song cycle Edges. Among their numerous honours, they became the youngest winners ever of the Jonathan Larson Award and the first writers for stage or screen to be honoured with the ASCAP Vanguard Award.

Tim Federle is an award-winning writer, director and producer whose career spans television, film, stage and publishing. He created and served as the showrunner of High School Musical: The Musical: The Series on Disney+, which earned fourteen Emmy® nominations, including Outstanding Teen Series. Federle wrote and directed the feature film Better Nate Than Ever, adapted from his debut novel, which brought him Emmy nominations for Outstanding Feature and Outstanding Screenplay, in addition to a Directors Guild of America nomination. He co-wrote both Ferdinand (Oscar® and Golden Globe nominations for Best Animated Feature, Humanitas Prize winner) and the libretto for Tuck Everlasting on Broadway. He began his career as a dancer, appearing in the original Broadway casts of Gypsy, directed by Sam Mendes, and Disney’s The Little Mermaid. As an author, he has published the best-selling cocktail recipe book of all time, Tequila Mockingbird, and a series of award-winning novels for young readers, which garnered New York Times Notable Book and Lambda Literary Award accolades. Federle is the creator of the forthcoming Disney+ series Coven Academy.

Casey Nicholaw is the Director and Choreographer. His production of Hercules is currently running at Theatre Royal Drury Lane, and his production of Mean Girls is on UK tour following a run at the Savoy Theatre and previously was on Broadway for which he received Tony Award® nominations for Direction and Choreography. His other work in the West End includes Dreamgirls, The Book of Mormon (Olivier Award winner for Best Choreography), Aladdin and The Drowsy Chaperone. On Broadway, his productions include Some Like It Hot (2023 Tony Award and Drama Desk Award for Best Choreography), Disney’s Aladdin (2014 Tony, Drama Desk and Outer Critics Circle award nominations for Best Choreography) and co-director and choreographer of The Book of Mormon (2011 Tony, Drama Desk and Outer Critics Circle awards for co-director and nominations in the same categories for choreography). His other Broadway credits include The Prom (2019 Tony nomination for Best Direction), Tuck Everlasting; Something Rotten! (2015 Tony nomination for Best Direction), Elf: The Musical, The Drowsy Chaperone (2006 Tony, Drama Desk and Outer Critics Circle nominations), Monty Python’s Spamalot directed by Mike Nichols (2005 Tony, Drama Desk and Outer Critics Circle nominations for Best Choreography). Additional New York credits: for City Center Encores!, the highly acclaimed productions of The Most Happy Fella, Anyone Can Whistle and Follies (direction/choreography).

Royal Albert Hall, London – 11th August 2026

Reviewed by Celia Armand Smith

4****

The BBC Proms are such a special thing, but there is something about the Late Night Proms that feels extra exciting. Crowds of people heading into the Royal Albert Hall at 10:15 on a Tuesday Night buzzing with excitement. The programme for the evening featured 7 living composers and 2 living arrangers, and included a Tam-Tam solo and a beautiful excerpt from Morton Feldman’s Rothko Chapel. Conductor Tom Fetherstonhaugh guides us through the theme of “Listening” which may sound obvious for a Prom however we are taken on an unconventional mixtape adventure of sounds, music and movement.

Percussionist Evelyn Glennie and the Fantasia Orchestra are joined by the always amazing BBC Singers. John Coltrane’s Welcome kicks off proceedings followed by an upbeat and jazzy It Don’t Mean a Thing by Duke Ellington. Then it’s the turn of Héloïse Werner and a new piece called The Wood Pigeon commissioned by the BBC – a performance within a performance featuring Werner’s voice as if she was giving feedback at a rehearsal. I found this piece hardest to get on with but it was charming and different, and did in fact make you listen. It is then the turn of the Tam-Tam solo played by Evelyn Glennie. An unexpected and frankly gorgeous work of rattles, taps, and vibrations by Vincent Ho.

A beautifully intense excerpt from Morton Feldman’s otherworldly Rothko Chapel and a compelling acapella piece called Partita by Caroline Shaw sung by the BBC singers create an otherworldliness that is in contrast to the more classic Dvořák and Vaughan Williams that followed. What it demonstrated was the incredible range of the Fantasia Orchestra and the BBC Singers.

Surprisingly one of my favourite moments of the night was the rhythmic and melodic handpan piece by Evelyn Glennie called Orologeria aureola created with Philip Sheppard. Followed by an elegant and mesmerising arrangement Radiohead’s Pyramid Song and then finally Panda Chant II by Meredith Monk. The orchestra, the BSL interpreter, the singers and Evelyn Glennie were on their feet chanting and using their bodies for sound and movement to great effect. Special mention should go to BSL signer Sean Chandler who added another dimension to this listening project with his characterful and joyous interpretation of the music.

If listening is what they wanted, listening is what they got. Every piece was a surprise and each whimsical direction and decision was a delight and it is always so special to see and hear Evelyn Glennie perform. A peculiar and wonderful way to spend an evening.

Available to listen again on BBC Sounds.