Theatre Royal Brighton – until October 3rd 2026

Reviewed by Mike Linane

4****

Mark Haddon’s book The Curious Incident of the Dog in the Night-Time was first published in 2003 and immediately became an award-winning international bestseller loved by millions. It is told from the point of view of a neurodivergent young man who finds a neighbour’s dog dead on the lawn. It has been murdered by having a garden fork plunged through its body.

In 2012 it was adapted into a stage play by Simon Stephens and during its premiere run it tied the record for winning the most Olivier Awards (seven), including Best New Play.

This is a new re-worked production where the main protagonist, previously Christopher, is now a young girl named Chris. It is the same story as before but now seen through the eyes of a female autistic lens and some of the other characters have also been given a gender swap.

Now, instead of being seen through the eyes of Chris, her story is told as if a play within a play with one of her school mentors Siobhan reading from Chris’s personal account of her life. We still fully understand the turmoil, stress and confusion that Chris experiences daily as her account is so vividly written and performed.

Once Chris discovers the dead body of Wellington, the dog, she determines to find out who killed him and why. It seems to her to be a perfectly natural thing to do. Little does she realise the can of worms she is about to open and the repercussions that are set to follow. She encounters resistance from many neighbours, but mostly from her widowed father, Ed. Chris argues to herself that many rules are made to be broken, so she continues to search for an answer oblivious to the trauma she is causing some pf the people around her.

Chris also experiences trauma of her own in the face of the opposition she faces and we witness how she tries to cope with this and simple everyday living by chanting numbers to herself – but not just any old numbers – she chants complicated square roots numbers that are well above the knowledge of ‘normal’ people, but then Chris is also a maths genius capable of solving mathematical problems well above her years and also a massive Sherlock Holmes fan (hence the title of the play).

Alex Keenan who is making her professional stage debut in this production is neurodivergent herself and gives a tremendous performance as the troubled teenager trying to live a normal life in a world that is a daily challenge to her. To help us understand what is going on in her head the use of screen graphics is used, though I was expecting to see more than I actually did. Alex’s performance really helps the audience to understand a little bit about what it must be like to live on the autistic spectrum.

Latest research suggests that between 15-20 per cent of the British population have some form of neurodivergence and yet it is often remains misunderstood. There is still a lot of stigma around autism and there are still stereotypes in people’s minds. This play, and Alex’s performance in particular, will go some way to correcting this.

Alex’s alternate Chris, Imi Price, is also neurodivergent.

Joe McFadden and Charlie Brooks (both more famous for tv roles) play Chris’s parents. One dead and one alive. These are not easy roles to portray as being loving parents they only want the best for their child and to protect her from the harsh realities of life but also have to sometimes do things which they think is right which their daughter is totally opposed to and they manage to convey the anguish they have had to go through on a daily basis since their child was diagnosed sympathetically.

Bridgette Amofah plays Siobhan, the narrator of the play, and it is through her reading of the journal that we follow Chris’s journey to finding out what really happened to the dead dog and, most importantly, what happens next when Chris has to cope with the discovery of who the murderer actually is.

This might sound like a depressing subject for a play, but it really isn’t. It has its moments of humour as well and is also an opportunity for the audience to spend a couple of hours in the mind of Chris and experience what it is like to be her. Whilst we might not always agree with the course of action she is taking, we are always willing her on to succeed and surmount the challenges she faces around her. When she hurts, we hurt. When she is happy, so are we. When she triumphs, we cheer her on!

Audiences will leave the theatre with a lot to think about concerning how they treat people who are different to the rest of us in future, no matter how small or large that difference is.

This really is a life-affirming play and one I suggest will appeal to audiences of all ages. The performance I attended had many schoolchildren there and they were all as quiet as a church mouse throughout so gripped and absorbed were they by what they were seeing before them.

A must-see play that hopefully will help to make the world a tiny bit more of a better place.

Everyman Theatre, Cheltenham – until 3rd October 2026

Reviewed by Jacqui Radford

4****

If you are wondering how a Noël Coward classic farce can be refreshed for today’s audience, this production of Present Laughter is a perfect example of what is possible and how far things can be taken. Director Lindsay Posner has taken the original 1939 farce, dropped it into 1970s New York and filled it with glamour, glitter, and garish lapels.

The boldest twist is the gender flip at the heart of the show. At the centre of the chaos is Geri Essendine. Noël Coward’s famously self-absorbed leading man, now transformed into a leading lady. By flipping the gender, the show transforms a mid-life crisis comedy into something more modern. It gives the story a fresh lens on fame, ageing and women in the spotlight.

Tracy-Ann Oberman’s Geri is a force of nature: fierce, funny and fabulously sequin-clad. She sweeps through her Manhattan apartment like a tornado. We meet her juggling her preparations for an upcoming theatre tour to Australia with the competing demands of an entourage of admirers, ex-lovers, opportunists and eccentrics. Her personality, wit and charm either endear or entrap those around her, and it’s this eclectic mix that delivers the farce we are waiting for.

James Dreyfus plays Monty, Geri’s long-suffering secretary. Originally Monica in Coward’s script, Monty becomes a dry, deadpan counterweight to Geri’s flamboyance. His eye-rolls, sighs, and perfectly timed pauses land with comic precision.

The whole production is peppered with bold 1970s New York details. Geri’s apartment feels like the kind of place where parties could be never-ending and where self-indulgence is a house rule. The supporting cast add plenty of sparkle to the chaos, each bringing their own dynamic to Geri’s increasingly crowded world and strengthening the farcical elements.

There are moments in the production that feel a little slow when compared to the more rapid scenes that include door slamming, lovers hiding in spare rooms and secrets unravelling but ultimately, this production of Present Laughter is witty and theatrical. It is a dazzling reinvention that honours Coward’s spirit. You leave the theatre feeling as though “The Master” himself would have been amused, and perhaps even a little impressed by the sequins.

Live Theatre Newcastle – until 10th October 2026

Reviewed by Sandra Little

4****

All at Sea is a currently being performed at Live Theatre, it is written by Alison Carr and is loosely based on the true story of a man from the North East of England who faked his own death, pretending to drown in the North Sea from a canoeing accident. Whilst the play draws on elements from the original incident it does not set out to follow the true story exactly, but instead adds aspects of fiction to the original event. Alison Carr is keen to point out that this play is not a documentary.

The setting for the action is a comfortable, modern living room where we meet the two characters, Colin, played by Phil Corbett, and his wife Deborah, played by Sarah Belcher. The audience learn that spiralling debts and a huge mortgage are the motives for the plan hatched by Colin to fake his own death; meanwhile Deborah seems to have no option but to go along with this ludicrous plan.

After pretending to drown, Colin helps his wife to plan a memorial service for him and at this point we learn that even Colin’s adult children are tricked into believing that he has drowned. Colin then devises an ingenious way of hiding in the house, just in case any visitors, or the police, arrive unexpectedly. As the repercussions of the plan gradually emerge it becomes clear that staying in the house for several years, claiming life insurance and convincing people that you are dead, are not quite as straightforward as Colin first thought it would be! He learns for example that a missing person cannot be assumed dead until after seven years have passed from the date of their disappearance and therefore any money owing to their next of kin is not automatically paid.

Throughout this performance there is some high drama, including a very “interesting” ending which I did not expect. As the tension and stress builds from this strange situation , a mix of emotions from both Colin and Deborah, are acted out on stage, with a fair amount of screaming and shouting from both actors from time to time. Despite the rather dark subject matter and the anxiety experienced by Deborah, there are comedic elements which are often provided by the foolishness of Colin’s flawed plan and the deluded thoughts he has. The inclusion of a karaoke routine definitely provides a touch of humour as does Colin’s plan to buy a ranch in Arizona! There are also elements of tension within the relationship which is no surprise being as it is Deborah who has no other option but to go along with Colin’s crazy plan and it is Deborah who has to deal with the stress of facing the world whilst pretending to be a widow.

This play definitely gives an interesting take on this true story as we can only imagine the conversations that took place within the real Colin and Deborah household.

Yvonne Arnaud – until 3^rd October 2026

Reviewed by Heather Chalkley

5*****

Inspired by his own life changing experience as a juror, writer Reginald Rose has gathered together all the knowledge and experience available to create this intense and dramatic masterpiece. He delivers 12 different finely tuned characters, each playing their part in bringing in a final verdict. The tension is palpable.

Gray O’Brien (Juror 8) offers a realistic portrayal of this calm and collected man with a deeply troubled conscience. O’Brien (Juror 8) remains true to his characters nature, raising his concerns amidst a volatile, hostile room of jurors. Juror 8 (O’Brien) leads the jury to its conclusion through gentle challenges and insistent probing into the facts. 

Bill Ward (Juror 3) has expertly captured the tortured soul of a man filled with guilt and remorse, deflecting his personal feelings onto the accused. The physicality of Ward’s (Juror 3) performance keeps the audience on the edge throughout. 

Mark Heenehan (Juror 4) fills the room with his presence when he speaks, with a deep and accentuated voice. Heenehan’s (Juror 4) body language punctuates a change in his assured tone, marking a change in the whole room. 

The undercurrent of prejudice explodes into a tirade on more than one occasion, gradually breaking down the more effervescent jurors. The cast have honed their skills and mastered the script to bring an exemplar performance. This is beautifully choreographed and enhanced by the gradually rotating table, the centre piece of the set. 

With a standing ovation to finish, I defy anyone not to enjoy this thought provoking, great nights entertainment.

Curve Theatre, Leicester – until 3 October 2026

Reviewed by Leanne Walpole

5*****

Everyone knows that the second child is the most difficult, and it seems Sylvia Pankhurst (Naomi Katiyo) was no different. This fun musical is both a historical drama and an uplifting political story; focusing on activism, equality, family loyalty, and the sacrifices involved in social change. The story follows the daughter of famous suffragette Emmeline Pankhurst (Beverley Knight) on their crusade to fight for the rights of women to vote; but with Sylvia adding the rights of the often over looked working-class women (and men) to her battle. The story tells of protests, imprisonment and hunger strikes as Sylvia is expelled from the Women’s Social and Political Union (WSPU) and creates her own social movement – which increasingly creates tension with the other Pankhurst women.

Created by Kate Prince with music by Josh Cohen and DJ Walde, the musical uses a blend of hip hop, funk, and soul rather than a traditional musical theatre score. Additionally, its songs are woven directly into the story, so many of them function as rallying cries, speeches, or emotional turning points rather than traditional stand-alone show tunes. The music, under the supervision of Sean Green, at times is loud, in your face and rousing. I found several numbers to have a similar sound, but I enjoyed them all. The harmonious undertones that leak in from the cast, sitting quietly at the back and sides of the set, add to the emotion loaded in to each one. (If only the audience could keep their incessant whooping mid number to themselves!).

Beverley Knight is, as expected, a powerhouse and it is easy to see why she was awarded an Olivier for her role as Emmeline Pankhurst. Naomi Katiyo brings a soft frustration to the role as she finds her voice to stand up for the people who are not given a voice. They are supported by a superbly talented cast who expertly slip in to the variety of additional roles in the story. Simple items of costume, (Ben Stones) seamlessly added to the monochrome base layers reflective of the era gave easy interpretation to who was who. Direction and choreography by Kate Price are outstanding, the clean and crisp movements are dazzling.

The set, again by Ben stones, complements the mainly monochromatic theme. Simple blocks move in and out to form various simple locations and podiums and effortlessly produce props to further enhance the atmosphere. This is counterparts the visually simple lighting of white washes and spotlights crafted by Natasha Chivers and Hector Murray. Projections add to the atmosphere and guide the audience to times and dates simply and effectively.

Sylvia leaves a lasting impression, reminding audiences that social progress is rarely achieved without courage, sacrifice and determination. With its compelling storytelling, electrifying score, outstanding performances and breathtaking choreography, this production succeeds in making an important chapter of history feel immediate and relevant. The popular culture quips and borrowed lines give it moments of reflection of current societal issues: similar problems but with different groups facing oppression and persecution. Entertaining, thought-provoking and deeply moving in equal measure, Sylvia is a triumphant celebration of a woman (and women) who refused to be silenced.

New Wimbledon Theatre- until Saturday 3rd October 2026 

Reviewed by Carly Burlinge 

5***** 

I went in expecting a fun, flashy night out, and Barnum delivered far more than that. This is a big, joyful, old-fashioned musical that wears its love of showmanship on its sleeve, and from the moment the curtain rises, it’s impossible not to get swept up in it. The show follows Phineas Taylor Barnum (Matt Rawle) the 19th-century showman behind Barnum’s circus, as he hustles his way from small-time curiosities to global fame. It’s a classic rags-to-riches story, but what makes it truly special is the way it never takes itself too seriously while still managing to land real emotional moments. The tone is buoyant, witty, and full of heart that keep things light even when Barnum’s personal life gets rocky. 

The energy is relentless from start to finish. The circus framing means there’s always something happening – jugglers, acrobats, stilt-walkers, confetti – and it gives the whole show a carnival buzz that’s genuinely infectious. The cast throws themselves into everything with obvious joy, and the big ensemble numbers are the highlights of the night. They’re the kind of songs you’ll be humming on the way home, even if you can’t quite remember the words. The “Come Follow the Band” number is a showstopper that gets the audience clapping along, and it captures everything the show does best: spectacle, rhythm, and sheer delight in performance. Every single performer brings their A-game, and you can feel the joy radiating off the stage. It’s rare to see a cast this uniformly excellent, and it elevates the entire evening. 

The score, written by Cy Coleman, is tuneful, catchy, and utterly delightful throughout. It swings between brassy circus marches, tender ballads, and witty character numbers, giving the cast a real range to play with. The music never aims for subtlety, but it doesn’t need to, it serves the story’s carnival spirit perfectly. The lyrics, by Michael Stewart, are clever, funny, and full of charm, matching the show’s cheeky, self-aware tone. There’s a knowingness to the writing that keeps the old-fashioned structure feeling fresh rather than dated; the show knows it’s a spectacle, and it leans into that with confidence rather than apology. The comedy lands beautifully, too, with plenty of jokes aimed squarely at the adults in the room, even as the visual dazzle keeps younger eyes busy. It’s a show that works on multiple levels, which is no small feat for something this bright and big. The songs stay with you long after the curtain falls, and that’s the mark of a truly great score. 

The spectacle itself is a feast for the eyes. Bright colours, inventive staging, and clever use of circus skills throughout — the production design deserves enormous credit for keeping the wow factor high all night. The staging makes brilliant use of the circus theme, with performers doubling as acrobats and jugglers, and the transitions between scenes feel fluid, playful, and seamless rather than clunky. It’s the kind of production where every detail matters: the costumes sparkle, the lighting pops, and even the smallest moments are staged with care and precision. You get the sense that every element was designed to delight, and it succeeds on every level. Beneath the sequins, though, there’s a genuine, touching story about ambition, family, and the cost of chasing greatness. Barnum’s relationship with his wife Charity (Monique Young) grounds the show beautifully, and his eventual reckoning with what he’s built gives the ending real, earned emotional weight. It’s not heavy-handed, but it lands with surprising power. The second act finds room for quieter, more tender moments amid the chaos, and those scenes give the show a heart that balances its flash perfectly. The ending, without spoiling it, brings Barnum face-to-face with what truly matters, and it’s a genuinely affecting note to close on. For a show this loud, that quiet payoff is what lingers long after you leave the theatre. 

Some shows are all spectacle and no soul; Barnum has both in abundance. It’s the rare musical that can make you laugh, tap your footand genuinely move you — often within the same scene. The balance between big circus fun and sincere storytelling is struck almost perfectly, and it’s that combination that makes the show feel so special. The pacing is tight, the jokes land, the songs soar, and the emotional beats hit harder than you’d ever expect from a show about a circus impresario. It’s a masterclass in entertainment: knowing exactly when to dazzle you with spectacle and when to quiet down and let the story breathe. By the time the finale arrives, the audience is fully invested, and the standing ovation feels not just deserved but inevitable. 

Overall, Barnum is pure, unadulterated escapism- loud, colourful, funny, and full of heart. It’s the kind of show that reminds you exactly why live theatre is so magical. If you want a night of spectacle, songs, and sheer showmanship, you will have the time of your life. It earns a well-deserved five out of five stars: a joyful, dazzling, heartfelt triumph that has something for everyone. I cannot recommend it highly enough- come for the circus, stay for the heart, and you’ll leave smiling, humming the songs, and already planning your next visit. 

Hull New Theatre – until 3rd October 2026

Reviewed by Dawn Bennett

5*****

Jersey Boys is a musical about the lives and careers of Frankie Valli and The Four Seasons. Based on the book by Marshall Brickman and Rick Elice with music by Bob Gaudio and lyrics by Bob Crewe.

Jersey Boys is a jukebox musical at its best. The group’s own songs are woven seamlessly into the story as it charts their rise to stardom. Alongside their success, the show explores some of the problems they faced, from prison sentences and dealings with the mob to the group members’ turbulent love lives.

The group didn’t have overnight success; they worked hard for it. They had knockbacks from radio and record producers who wanted a band with hits which they couldn’t get without a contract or promotion. Spending so much time touring across the country kept them away from their families and placed considerable strain on those relationships. We follow their rise to fame, witnessing both its rewards and the challenges it brought.

All the cast were outstanding. Their harmonies were superb. Luke Baker played a brilliant Frankie Valli, singing Vallis trademark falsetto with such skill. Carlo Boumouglbay (Tommy DeVito), Lewis Kennedy (Nick Massi) and Toby Miles (Bob Gaudio) were all superb singers as well. All their harmonies were a joy to listen to. The supporting cast handled numerous roles with impressive versatility, forming one of the best ensembles I have seen perform.

The set was simple, but the scene changes were anything but. Slick, swift and flawless, they transformed the stage from a house to a club and into a live performance space, all with minimal props.

Under musical director Lauren Ronan the band were excellent.

I recognised many of the songs in the show, but I had not realised how many had also been recorded by other artists. Their widespread appeal is a testament to the enduring popularity of The Four Seasons’ music.

A fabulous evening showcasing exceptional talent—and a show that is well worth seeing!

YORK THEATRE ROYAL TO CO-PRODUCE NEW ACTOR-MUSICIAN PRODUCTION OF SUNSET BOULEVARD IN 2027

• Andrew Lloyd Webber’s iconic musical is reimagined in an intimate new production
• A company of actor-musicians will bring audiences closer than ever to the music and storytelling
• The production is a co-production by York Theatre Royal with Octagon Theatre Bolton and Royal & Derngate Northampton and will be directed by Octagon Artistic Director Lotte Wakeham

A powerful new production of Andrew Lloyd Webber’s Sunset Boulevard has just been announced, as part of Royal & Derngate’s Made in Northampton season for 2027. After opening at Octagon Theatre Bolton in April, the show takes to Northampton’s Royal stage from Wednesday 5 May to Saturday 22 May, before finally transferring to York Theatre Royal to end its run. 

Directed by Lotte Wakeham, Artistic Director of Octagon Theatre Bolton, the musical will be performed by a company of actor-musicians in an intimate staging that places the music, storytelling and audience closer than ever before. The production celebrates Andrew Lloyd Webber’s iconic score, including With One Look, As If We Never Said Goodbye and Sunset Boulevard.

The production is the first new professional staging of Sunset Boulevard to be created by a theatre in the North of England. It is a co-production between York Theatre Royal, Octagon Theatre Bolton and Royal & Derngate Northampton.  The show will open in Bolton (02 Apr – 01 May), before its run in Northampton (05 May – 22 May) with the final performances in York (09 Jun – 26 Jun.)

Silent film star Norma Desmond longs for the spotlight that once made her a legend. When struggling screenwriter Joe Gillis enters her secluded world, hope soon gives way to obsession as their lives become entwined in a tragic search for love, success and belonging.

With music by Andrew Lloyd Webber and book and lyrics by Don Black and Christopher Hampton, Sunset Boulevard is based on Billy Wilder’s celebrated Paramount Pictures film. This new production brings one of musical theatre’s greatest works to York Theatre Royal, putting its characters and score at the heart of the experience.

Lotte Wakeham, Director said: “Sunset Boulevard is a story about ambition, reinvention and the price of chasing the spotlight. Andrew Lloyd Webber’s extraordinary score is full of drama and longing, and staging the show with actor-musicians gives us the chance to make every musical moment feel immediate and alive.

I’m excited to create a brand-new production which embraces that intimacy, drawing people into Norma and Joe’s world and allowing them to experience this iconic musical from a fresh perspective – literally in ‘close up’. It is also a privilege to make the first ever new professional production of Sunset Boulevard created by a theatre in the North of England, alongside our brilliant partners at Royal & Derngate and York Theatre Royal.”

Paul Crewes, Chief Executive of York Theatre Royal said: “It is very exciting for us to be co-producing the spectacular musical Sunset Boulevard by Andrew Lloyd Webber. We will be partnering with our friends at Octagon Theatre and Royal & Derngate for the first time to create a reimagined production of this classic story. We look forward to bringing this show to our stage in June 2027.”

Priority booking opens for YTR members from 1pm on 29 Sep, with general onsale on 06 Oct at 1pm. Find out more: www.yorktheatreroyal.co.uk/show/sunset-boulevard

A DREAM THAT REFUSES TO DIE

Andrew Lloyd Webber’s Sunset Boulevard comes to York Theatre Royal in a bold new production directed by Octagon Theatre Bolton’s Artistic Director Lotte Wakeham.

Silent film star Norma Desmond longs for the spotlight that once made her a legend. When struggling screenwriter Joe Gillis enters her secluded world, hope soon gives way to obsession as their lives become entwined in a tragic search for love, success and belonging.

Performed by a company of actor-musicians, this intimate new production places music, storytelling and audience closer together than ever before, revealing fresh depths in Andrew Lloyd Webber’s score, including With One Look, The Perfect Year and As If We Never Said Goodbye.

A powerful reimagining of one of musical theatre’s greatest works.

Music by Andrew Lloyd Webber. Book and Lyrics by Don Black and Christopher Hampton. Based on the Billy Wilder film. Orchestrations by David Cullen & Andrew Lloyd Webber. Original production by The Really Useful Group Limited. LW Entertainment Limited gratefully acknowledges the role of Amy Powers in the lyric development of “Sunset Boulevard”. A production by arrangement with LW Entertainment Limited.

Age Guidance 11+

Tickets from £15. This show is included in our 16-30 Membership scheme which offers discounted £15 tickets to those aged 16-30.

LISTINGS

Octagon Theatre Bolton

Howell Croft South, Bolton BL1 1SB

Performances: Friday 2 April – Saturday 1 May 2027. Daytime performances 2pm; evening performances 7.30pm. Please see the theatre website for the full schedule.

Age guide: 11+. Audio Described performance: Saturday 17 April, 2pm. Captioned and BSL-interpreted performance: Wednesday 28 April, 7.30pm.

Booking: octagonbolton.co.uk | Box Office 01204 520661 | Tickets from £17

Royal & Derngate Northampton

19–21 Guildhall Road, Northampton NN1 1DP

Performances: Wednesday 5 May – Saturday 22 May 2027. Evening performances 7.30pm; midweek & Sat matinees 2.30pm; Sundays 3pm. Please see the theatre website for full schedule.

Audio Described performance: Wednesday 12 October, 7.30pm. BSL-interpreted performance: Thursday 13 May, 7.30pm.

Booking: royalandderngate.co.uk | Box Office 01604 624811 | Tickets from £15

York Theatre Royal

St Leonard’s Place, York YO1 7HD

Performances: Wed 9 – Sat 26 June 2027

Booking: yorktheatreroyal.co.uk | Box Office 01904 623568 | Tickets from £15

“THE LOVELY DEBBIE MCGEE”

TO PLAY

MISS LYNCH

IN THE UK & IRELAND TOUR OF

THE WORLD’S BEST LOVED MUSICAL

OPENING AT THEATRE ROYAL PLYMOUTH
FROM 23 APRIL 2027

Producer Colin Ingram is thrilled to announce that Debbie McGee will play Miss Lynch in the new UK and Ireland tour of GREASE The Musical. The tour opens at the Theatre Royal Plymouth from Friday 23 April 2027. As previously announced, the production will then visit Cardiff, Newcastle, Wolverhampton, Stoke-on-Trent, Leeds, Belfast, Swansea, Southampton, Oxford, Liverpool, Bristol, Darlington, Glasgow, Edinburgh, Aberdeen, Sunderland, Nottingham, Birmingham, Norwich and Hull.

It will now also play Dublin, Blackpool and Manchester, with further tour stops and casting to be announced.

Debbie McGee is a much-loved TV, radio and stage presenter and personality. Having trained at the Royal Ballet School, in the early part of her career Debbie performed as a dancer with The Second Generation, appearing with artists including ABBA and Chris de Burgh. In 1979 Debbie appeared as a dancer in The Paul Daniels Summer Show, going on to become Paul’s assistant and appearing with him in the longest running TV magic show in the world: The Paul Daniels Magic Show for the BBC. They also toured the UK along with hugely successful seasons in London’s West End at The Savoy and The Prince of Wales Theatres. In 1991, Debbie was one of the first female magicians to become a member of The Magic Circle who later awarded her with The Maskelyne Award for outstanding services to British magic. Today she serves as their Honorary Vice President.

In the early 2000’s Debbie started a touring ballet company, Ballet Imaginaire, recreating some traditional ballets and two original works. She later joined BBC Radio Berkshire, where she became the longest running Sunday show presenter, hosting her own show for twelve years.

Debbie appeared in the 2017 series of Strictly Come Dancing, achieving the earliest top score of 40 in the show’s history, and being the oldest celebrity contestant to reach the final. She also performed on the Strictly Arena Tour and won the 2019 Strictly Come Dancing Christmas Special. Debbie’s many other TV appearances include Countdown, Richard Osman’s House of Games, The 1970s Dinner Party, The Jeremy Vine Show, Loose Women, Celebrity Bridge of Lies, The Weakest Link, Susan Calman’s Grand Week By The Sea, The Wheel, Celebrity Mastermind, Celebrities Go Barging and The Pilgrimage.

2026 marks Debbie’s 50^th year in showbusiness and sees the release of her much-anticipated autobiography, A Magical Life.

GREASE The Musical is directed by Curve’s Artistic Director Nikolai Foster, with choreography by Arlene Phillips and book, music and lyrics by Jim Jacobs and Warren Casey.

GREASE has designs by Colin Richmond, orchestrations and musical supervision by Sarah Travis, lighting design by Ben Cracknell, sound design by Tom Marshall and Richard Brooker and casting by David Grindrod CDG.

After a whirlwind summer romance, leather-clad greaser Danny and girl-next-door Sandy are unexpectedly reunited when she transfers to Rydell High for senior year. But can they survive the trials and tribulations of teenage life and find true love once more?

With its phenomenal score, bursting with hits including Summer Nights, Greased Lightnin’, Hopelessly Devoted to You and You’re the One That I Want,this thrilling new version is brought to life by a fresh young cast who bring energy, vitality and passion to this ultimate musical classic.

GREASE The Musical is produced by Colin Ingram for InTheatre Productions and Curve.

UK TOUR LISTINGS 2027

FRIDAY 23 APRIL – SATURDAY 1 MAY 2027

THEATRE ROYAL PLYMOUTH

https://theatreroyal.com/whats-on/grease-2027

ON SALE NOW

MONDAY 3 – SATURDAY 8 MAY 2027

WALES MILLENIUM CENTRE, CARDIFF

https://www.wmc.org.uk/en/whats-on/2027/grease

ON SALE NOW

MONDAY 10 – SATURDAY 15 MAY 2027

THEATRE ROYAL NEWCASTLE

https://www.theatreroyal.co.uk/whats-on/grease-3

ON SALE NOW

MONDAY 17 – SATURDAY 22 MAY 2027

WOLVERHAMPTON GRAND THEATRE

https://www.grandtheatre.co.uk/whats-on/grease-the-musical-2

ON SALE NOW

MONDAY 24 – SATURDAY 29 MAY 2027

REGENT THEATRE, STOKE-ON-TRENT

https://www.atgtickets.com/shows/grease/regent-theatre

ON SALE NOW

MONDAY 31 MAY – SATURDAY 5 JUNE 2027

LEEDS GRAND THEATRE

https://leedsheritagetheatres.com/whats-on/grease-2027

ON SALE NOW

TUESDAY 8 – SATURDAY 12 JUNE 2027

GRAND OPERA HOUSE, BELFAST

https://www.goh.co.uk/whats-on/grease

ON SALE NOW

TUESDAY 15 – SATURDAY 26 JUNE 2027

BORD GÁIS ENERGY THEATRE, DUBLIN

https://www.bordgaisenergytheatre.ie/show/grease-2

ON SALE NOW

MONDAY 5 – SATURDAY 10 JULY 2027

SWANSEA BUILDING SOCIETY ARENA

https://www.swansea-arena.co.uk/shows/grease

ON SALE NOW

TUESDAY 13 – SATURDAY 17 JULY 2027

MAYFLOWER THEATRE, SOUTHAMPTON

https://www.mayflower.org.uk/whats-on/grease-2027

ON SALE NOW

MONDAY 19 – SATURDAY 24 JULY 2027

NEW THEATRE, OXFORD

https://www.atgtickets.com/shows/grease/new-theatre-oxford

ON SALE NOW

MONDAY 26 – SATURDAY 31 JULY 2027

LIVERPOOL EMPIRE

https://www.atgtickets.com/shows/grease/liverpool-empire

ON SALE NOW

MONDAY 2 – SATURDAY 7 AUGUST 2027

BRISTOL HIPPODROME

https://www.atgtickets.com/venues/bristol-hippodrome

ON SALE NOW

TUESDAY 10 – SATURDAY 14 AUGUST 2027

BLACKPOOL WINTER GARDENS

https://www.wintergardensblackpool.co.uk/events/grease-the-musical-2/

ON SALE NOW

MONDAY 16 – SATURDAY 21 AUGUST 2027

DARLINGTON HIPPODROME

https://www.darlingtonhippodrome.co.uk

ON SALE NOW

MONDAY 30 AUGUST – SATURDAY 11 SEPTEMBER 2027

OPERA HOUSE MANCHESTER

https://www.atgtickets.com/shows/grease/opera-house-manchester

ON SALE NOW

MONDAY 13 – SATURDAY 18 SEPTEMBER 2027

KING’S THEATRE, GLASGOW

https://www.atgtickets.com/shows/grease/kings-theatre-glasgow

ON SALE NOW

MONDAY 20 – SATURDAY 25 SEPTEMBER 2027

EDINBURGH PLAYHOUSE

https://www.atgtickets.com/shows/grease/edinburgh-playhouse

ON SALE NOW

MONDAY 27 SEPTEMBER – SATURDAY 2 OCTOBER 2027

HIS MAJESTY’S THEATRE, ABERDEEN

https://www.aberdeenperformingarts.com/whats-on/grease

ON SALE NOW

MONDAY 4 – SATURDAY 9 OCTOBER 2027

SUNDERLAND EMPIRE

https://www.atgtickets.com/shows/grease/sunderland-empire

ON SALE NOW

MONDAY 12 – SATURDAY 16 OCTOBER 2027

ROYAL CONCERT HALL, NOTTINGHAM

https://trch.co.uk/whats-on/grease-the-musical-ngtf

MONDAY 18 – SATURDAY 23 OCTOBER 2027

THE ALEXANDRA, BIRMINGHAM

https://www.atgtickets.com/shows/grease/the-alexandra-theatre-birmingham

ON SALE NOW

MONDAY 25 – SATURDAY 30 OCTOBER 2027

NORWICH THEATRE ROYAL

https://norwichtheatre.org/whats-on/grease

ON SALE NOW

MONDAY 1 – SATURDAY 6 NOVEMBER 2027

HULL NEW THEATRE

https://www.hulltheatres.co.uk/theatre-events/grease

ON SALE NOW

FURTHER TOUR VENUES TO BE ANNOUNCED SOON

www.GreaseTheMusicalOnTour.com

@grease_uk

WEST END STARS

TO PERFORM IN

‘CHRISTMAS BY CANDLELIGHT’

A SERIES OF MAGICAL CONCERTS AT

HYDE PARK WINTER WONDERLAND

FOR THE FIRST TIME

Simon Gordon and Daniel Wood of Concerts by Candlelight are delighted to present Christmas by Candlelight at Hyde Park Winter Wonderland – a magical sing-along concert of beloved festive songs at a purpose-built and completely immersive 1000-seat ‘Candlelight Arena’ within Hyde Park Winter Wonderland’s ‘Show Town.’ The concerts will run from 5-23 December 2026 with a gala performance on 5 December.

Hyde Park Winter Wonderland, London’s huge annual festive fairground and Christmas festival, takes over Hyde Park for six weeks in the run-up to Christmas and New Year. This December, it will feature performances from some of the West End’s brightest stars, including Rachel John (Hamilton, Victoria Palace Theatre), Dean John-Wilson (Aladdin, Prince Edward Theatre), Katie Hall (Cabaret, Kit Kat Club) and Tosh Wanogho-Maud (Kinky Boots, London Coliseum) who will all star in the concert.

Tickets go on sale Wednesday 30 September at midday.

It’s beginning to look a lot like Christmas! It’s time to join the star-studded cast of West End performers, for a magical evening of festive hits, performed live by candlelight. Direct from London’s West End, Christmas by Candlelight is finally back.

This spellbinding cast, along with a live band will perform your favourite Christmas hits, for the biggest festive sing-along extravaganza yet. Featuring best loved classics, White Christmas, Let It Snow! Let It Snow! Let It Snow! O Holy Night, Winter Wonderland and many more, this uplifting sing-along concert is the perfect way to celebrate a Holly Jolly Christmas with the whole family.

Daniel Wood said, “After 2 years of sell-out shows in the West End with ‘Christmas by Candlelight’, we are so excited to be bringing the West End to Hyde Park Winter Wonderland this Christmas for 6 very special shows! What a brilliant way to get into the festive spirit- Hyde Park Winter Wonderland and a sing-along Christmas show! We can’t wait!”

Simon Gordon said, “These shows will be so magical and festive, in one of our purpose-built, fully immersive candlelight arenas, the atmosphere is going to be electric!”

Suzy Griffiths, Vice President, Head of UK Events, Arts & Entertainment for Hyde Park Winter Wonderland said “We’re thrilled to welcome Concerts by Candlelight to Hyde Park Winter Wonderland this season. With an exceptional line-up of talented artists performing in the beautiful glow of candlelight, we know our visitors are in for a truly magical and unforgettable festive experience.”   

Website: concertsbycandlelight.com

Instagram: @concertsbycandlelight

Website: https://hydeparkwinterwonderland.com/ 

Instagram: @hydeparkwinterwonderland

LISTINGS INFORMATION

CHRISTMAS BY CANDLELIGHT AT HYDE PARK WINTER WONDERLAND

Saturday 5th December at 8.30pm

Sunday 6th December at 8.30pm

Friday 11th December at 8.30pm

Sunday 13th December at 8.30pm

Sunday 20th December at 8.30pm

Wednesday 23rd December at 8.30pm

The Candlelight Arena

Show Town

Hyde Park Winter Wonderland

Louisa Duckworth Walk,

London

W1K 7AN

Tickets: from £35