MARIA FRIEDMAN TO STAR IN THE EUROPEAN PREMIERE OF KIMBERLY AKIMBO AT HAMPSTEAD THEATRE

Maria Friedman will star as Kimberly in the highly anticipated European premiere of David Lindsay-Abaire and Jeanine Tesori’s Tony Award-winning musical Kimberly Akimbo. It plays Hampstead Theatre from 28 August – 7 November in a new production directed by Michael Longhurst.
 

One of the most acclaimed performers in musical theatre, Maria Friedman’s numerous accolades include three Olivier Awards and eight Olivier nominations plus recognition from the WhatsOnStage, Evening Standard, Critics’ Circle Awards and many others for her work across both the West End and Broadway.

A profoundly funny and heartwarming musical and winner of five Tony Awards in 2023 including Best Musical, Best Score and Best Book, Kimberly Akimbo tells the story of 16-year old Kimberly Levaco whose rare genetic condition causes her to age four times faster than usual. As she comes of age she searches for love and meaning while knowing time is not on her side.

Maria Friedman said:

“I couldn’t be more thrilled to be bringing Kimberly Levaco to life. She’s such a beautifully complex character – full of hope, humour and this fierce determination to live every moment to the fullest, even when time isn’t on her side. It’s rare to find a role that is this funny, heartbreaking and life-affirming all at once and I feel incredibly lucky to step into her world.”

Director Michael Longhurst said:

“An eight-time Olivier Award nominee and three-time winner, Maria Friedman is unquestionably one of our greats – so I am over the moon that she is returning to the stage to lead my production of Kimberly Akimbo – a match made in heaven for Jeanine Tesori’s Tony-winning score, and David Lindsay-Abaire’s Tony-winning book. Maria’s indomitable spirit, world renown vocals and comic elan will offer an unforgettable portrayal of this beautifully unique character in this life-affirming entertainment.”

Tickets for Kimberly Akimbo are on sale now at hampsteadtheatre.com

Underbelly Boulevard Soho, London – until 26th April 2026

Reviewed by Celia AS

5*****

Kate Bush isn’t here…but we are. An Evening Without Kate Bush is a tribute to Kate Bush, the mega fans, the tribute acts, the people who have vaguely heard of her, and everyone in between. This run at the Underbelly Boulevard in Soho is the first time the extended two act version of the show has been seen on the London stage and it does not disappoint. Sarah-Louise Young and Russell Lucas have created a show that is warm and silly, never judgemental and always kind.

An Evening Without Kate Bush is comedy, cabaret, and a gig all parcelled up in a leotard and a feather headdress. It is a heartfelt tribute to Kate Bush (and the Kate Bush universe) by someone with an exceptional ability to connect with an audience of people who know every word of every song and people who vaguely know that song from the Save The Children ad in the 90s. Sarah-Louise Young performs as the singer and also as herself, a lifelong fan. Using hand held lights, a variety of wigs and costumes, and some audience participation, Young takes us through Kate Bush’s well known and lesser known songs including Babooshka (with correct pronunciation), Cloudbusting, and Rubberband Girl. The audience howls the chorus and waves along, and if you are very lucky you might get asked to join Young on stage. As Kate Bush, her voice is perfect, as a cabaret performer she is funny and makes such smart choices with her performance with a joy that radiates and keeps everyone engaged and comfortable, the normal fear of audience participation abated.

This show is a delight filled celebration of community and inclusiveness. An Evening Without Kate Bush is for everyone; the Fish People, Stranger Things fans, and people who appreciate puppetry and the best torches you’ll ever see. Sarah-Louise Young bookends the show with “Kate Bush isn’t here….but we are” and it couldn’t be a more perfect reminder to be present, to show up for each other, and to embrace the silly.

Aylesbury Waterside Theatre Wednesday – until Saturday 18th April 2026

Reviewed by Rachel Clark

5*****

The curtain was down, but you could see a large red circle lit up, then the curtain went up. What a dramatic start to the show, Bull stood in a vertical circle with a stunning background it is hard to explain, you must see it for yourself.

This performance is stunning the dancers – absolutely incredible and the stage dramatic. It was just wonderful, it’s a powerful story, but it made you feel calm and warm, it was beautiful.

This is the classical story of Carmen. Carmen is a free spirted woman that falls in love with a solider, Don Jose who is naïve. Carmen ends the relationship when she starts to see a bullfighter Escamillo causing Don Jose to kill her is an act of jealousy. This production has plenty of vibrancy and energy. Acosta has made this even more powerful with the ballet and Latin twist provided by the Cuban dancers.

Carlos Acosta has extended Carmen into a full length ballet version set to Radian Shcedrin’s orchestration of Bizet’s opera score with a Cuban twist. He worked with a creative team of Tim Hatley and Peter Mumford for this production and also joined by Nina Dunn. Carlos Acosta was born in Havana in 1973 and became English National Ballet’s youngest ever principal dancer at 18. Carlos retired from classical ballet in 2016 but in 2015 founded Acosta Danza – Acosta Danza is a Sadler’s Wells International Associate Company.

Acosta’s production always brings flamboyancy and elegance to the stage, and lots of energy and delightful costumes and all choregraphed by himself. Carmen was performed by Amisaday Naara, Don Jose – Alejandro Silva and Escamillo – Paul Brando and not forgetting Bull – Aniet Pazos. Their dancing was incredible I could not take my eyes of them. Amisaday Naara was truly talented, as they all were, the ballet was top class to say the least- I was in awe.

I have only ever seen Carmen as an opera and to me this was far superior than any other performances of Carmen I have seen, I thoroughly enjoyed it and I felt lifted from when I had walked into the theatre to when I left and had a buzz driving home from a wonderful evening.

The dancers got a standing ovation and well deserved to all that performed, the Corps de Ballet and Alexander Arias who performed Zuniga. The Production team did amazing and I honestly would love to see it again whilst it is in Aylesbury this week. A world class performance literally on my doorstep.

Curve Theatre Leicester – Until 18th April 2026

Reviewed by Amarjeet Singh

3***

Adapting Midsomer Murders for the stage is a delicate task. Its appeal lies in measured pacing, accumulating tensions and the slow revelation of tightly woven village secrets, qualities not easily condensed into a single evening of theatre. This stage version of The Killings at Badger’s Drift largely rises to the challenge, capturing the spirit of the television series even if the execution occasionally feels constrained by the form.

The story unfolds in the outwardly tranquil village of Badger’s Drift, where a suspicious death punctures the carefully preserved civility of rural life. As the investigation deepens, fractures appear among the residents, exposing long-held resentments and uncomfortable truths. The murder of Emily Simpson, an elderly spinster and moral touchstone of the community, sets events in motion. A keen observer, Emily sees too much for her own good, and her death becomes the catalyst for the drama that follows.

Inspector Tom Barnaby leads the investigation, played with calm authority by Daniel Casey. His performance provides an effective anchor for the production, allowing the more colourful figures around him to flourish without tipping into excess. Alongside him, James Bradwell’s Sergeant Gavin Troy brings warmth and humour, and the pair’s easy chemistry offers moments of levity amid the darker elements of the narrative.

Nathalie Barclay delivers a striking performance in the dual roles of Judy Lessiter, a socially awkward loner, and Katherine Lacey, a demure bride-to-be. The characters could not be more different, yet Barclay switches between them with remarkable ease and clarity. The standout performance comes from Chadrika Chevil in the dual roles of Barbara Lessiter, a glamorous and domineering socialite, and Dickie Whiteley, a blunt, working-class groundskeeper. Chevil inhabits both characters with conviction and physical precision, most memorably in a bravura moment where she effectively plays both characters simultaneously on stage, much to the audience’s delight.

Strong ensemble work underpins the production, particularly in the seamless role-doubling and swift costume changes. David Woodhead’s costume design, supported by Suzy Barrett’s wigs, hair and make-up, enables these transitions without drawing attention away from the performances. Woodhead’s sliding set is equally effective, shifting fluidly between interiors and village exteriors while evoking both the charm and constriction of rural life.

One of the production’s most inventive moments involves the use of garden gnomes as a visual storytelling device, mapping who was where, and when, during one of the murders.

This device efficiently brings the audience “up to speed” in a way that is both playful and clear. The gnomes reappear in Inspector Barnaby’s fever dream, a highly entertaining sequence that briefly departs from realism.

The first act occasionally labours under the weight of exposition and character introductions, but the second act gains momentum as the plot tightens and revelations come into sharper focus. This imbalance is perhaps inevitable when condensing a densely plotted television narrative for the stage. Nevertheless, the production remains coherent throughout and successfully holds the audience’s attention.

Ultimately, The Killings at Badger’s Drift succeeds because it understands exactly what it is. It does not attempt to reinvent the television series; instead, it finds a sweet spot. It’s affectionate without indulgent, playful without tipping into self-parody. Familiar Midsomer tropes, eccentric villagers, long-held grudges and shocking revelations are delivered with a gentle theatrical wink that respects both the source material and its audience. This production will delight fans of the series while remaining accessible to newcomers. Anchored by strong ensemble work and confident production design, it proves that Badger’s Drift still has plenty of dark secrets left to share.

Birmingham Hippodrome – until 18th April 2026

Reviewed by Emma Millward

5*****

Harper Lee’s To Kill A Mockingbird began a brief run at Birmingham Hippodrome last night. Lee’s classic 1960 novel has been adapted before, as a play and a movie, but in this version, writer Aaron Sorkin has added a fresh perspective to certain elements of the storyline, shifting the focus onto more of the characters than previous adaptations. Sorkin’s dialogue is fast, witty and extremely hard-hitting. This is a production that doesn’t shy away from the era’s racial prejudice and language.  The story takes place in 1930s Alabama, where a black disabled man, Tom Robinson (Aaron Shosanya), is falsely accused of raping a white woman, Mayella Ewell (Evie Hargreaves). He is defended by Atticus Finch (Patrick O’Kane), a white lawyer determined to fight social injustice.

The story is told through the eyes of Finch’s children, Scout (Anna Munden) and Jem (Gabriel Scott), and their inquisitive friend Dill (Dylan Malyn). They act as narrators who carry the story forward, with their comedic bickering adding brief moments of light in contrast to the darker themes throughout. All three often almost steal the show, especially Dylan Malyn as he veers between wide-eyed optimism and complete despair.

The storytelling adopts a non-linear structure, beginning unusually at the end of the story with Scout revealing the fate of Bob Ewell (Oscar Pearce), who is said to have ‘fallen on his knife’.. The trial of Tom Robinson and the courtroom scenes provide some of the most unflinching and shocking moments of the play. The racist outbursts of Bob and Mayella Ewell are delivered with such venom that they audibly shocked the audience. Stephen Boxer as Judge Taylor brings occasional humour to the scenes as he tries to maintain order in his courtroom. Aaron Shosanya gives a heartbreaking performance during these scenes, as Tom Robinson is determined to tell the truth while Prosecutor Horace Gilmer (Richard Dempsey) relentlessly questions him.

At nearly three hours long (including interval), this is a long play, but Bartlett Sher’s tight direction ensures every minute is used wisely. Miriam Buether’s cleverly constructed set design swiftly alternates between the Finch family’s porch, Boo Radley’s house and the Maycomb courtroom, with the cast themselves moving parts of the set. Jennifer Tipton’s atmospheric lighting and Scott Lehrer’s haunting sound combine to add varying levels of tension and calm throughout the show.

To single out one cast member would be impossible in a production with such a strong ensemble. Beyond the principal roles, my eyes were often drawn to the ensemble seated around the court room scenes. Some never spoke in the play, but their emotions were clearly etched on their faces. Harry Attwell gave a touching performance as the mostly silent Boo Radley towards the end of the play. Patrick O’Kane undeniably captures the audience’s attention as the seemingly unflappable Atticus. Andrea Davy gives an outstanding performance as maid Calpurnia. The final scenes between Atticus and Calpurnia are powerful, as she demands to know why a one-armed man was shot seventeen times. Her raw, unrestrained cry when she believed she was alone on the porch will stay with me for days to come.

To Kill A Mockingbird is undoubtedly a difficult watch, but it is also a powerful, thought-provoking, and deeply moving piece of theatre.

A WATERMILL THEATRE PRODUCTION

WATERMILL THEATRE ANNOUNCES WORLD PREMIERE OF

MURDER BEFORE EVENSONG

BASED ON THE NOVEL BY REVEREND RICHARD COLES

ADAPTED BY PAUL HART AND SHAUN MCKENNA

FRIDAY 25 SEPTEMBER – SATURDAY 14 NOVEMBER

BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

Joint CEOs, Artistic Director Paul Hart and Executive Director Claire Murray, and the whole team at Newbury’s award-winning Watermill Theatre are delighted to announce a brand new show for autumn 2026 with the world premiere stage adaptation of Reverend Richard Coles’ bestselling mystery novel Murder Before Evensong, playing from Friday 25 September – Saturday 14 November, with a national press night on Tuesday 29 September.

Based on the novel by Reverend Richard Coles, Murder Before Evensong has been adapted for stage by Paul Hart and Shaun McKenna – who were behind the multi-award winning 2023 production of The Lord of the Rings.

Full casting and creative team will be announced in due course.

Sometimes we must adapt or die…

In 1988, the postcard-perfect village of Champton is centred around St Mary’s Church, where traditions, rituals and long-held relationships shape everyday life. The parish is a tightly-knit community, full of familiar faces and quietly simmering rivalries.

At its heart are Canon Daniel Clement, his formidable and ever-watchful mother Audrey, and his actor brother Theo. 

When a shocking murder shatters Champton’s quiet routines, the calm surface of village life begins to crack as suspicion spreads and long-buried secrets rise to the surface.

With the police searching for answers and fear rippling through the parish, Daniel finds himself drawn into a dangerous investigation. As he begins to piece together clues, motives and hidden histories, a darker truth about the village slowly comes to light.

Set against the rhythms of church life, Murder Before Evensong is a gripping new stage adaptation of Reverend Richard Coles’ bestselling mystery. As the bodies mount and the past refuses to stay buried, Daniel must hold his fractured community together… and uncover the killer in their midst.

Don’t miss this thrilling world premiere – where every pew holds a secret, and anyone could be guilty of murder.

Paul Hart said “I’ve been a huge admirer of Richard’s Canon Clement series for a long time and the opportunity to bring this world to the stage for the first time is thrilling.  The sense of community and village life is at the centre of the book, and I think this will work so well at the Watermill. And to work with Shaun Mckenna on adapting this for the stage has been a dream – we last worked together on The Lord of the Rings so he can do anything!”

Richard Coles said “I’m delighted that the Watermill is going a-murdering before Evensong and can’t wait to see how this brilliant adaptation will look.”

AN AUDIENCE WITH RICHARD COLES

FRIDAY 16 OCTOBER 2026, 2.30PM

Richard Coles will be in conversation at the Watermill during the run of Murder Before Evensong in An Audience with Richard Coles on Friday 16 October 2026 at 2.30pm. This is an opportunity to hear about his inspiration for his bestselling novel Murder Before Evensong, how he captures the essence of quintessential English village life in his fiction, and how he leads his hero Daniel Clement to capture a killer.

There will also be a book-signing after the event with a selection of books available to buy on the day. All profits from An Audience with Richard Coles will go towards supporting the Watermill Theatre with their ongoing work, both on and off the stage.

13 PEOPLE, 13^TH NEW CAST

ANOUNCED AT 13:00 HOURS

What could go wrong???

Mischief’s Olivier and Tony Award-winning smash hit

has just welcomed its 2 millionth visitor in the

West End

Booking extended to Sunday 3 October 2027

www.theplaythatgoeswrong.com

With great trepidation, at 13:00, producers Kenny Wax and Stage Presence nervously announce 13 people for the 13^th cast  of The Play That Goes Wrong at London’s Duchess Theatre.

Mischief’s Olivier and Tony Award-winning smash hit is remarkably still in the West End for its 12^th year, and has just welcomed its 2 millionth visitor.

Joining the mayhem from Tuesday 2 June are new cast members: Ruby Ablett as Annie, Matthew Spencer as Chris, Raphael Bushay as Robert, Luke Wilson as Jonathan, Lucinda Turner as Sandra, Alex Bird as Dennis, Joshua Lendon as Max and Kieron Michael as Trevor. Winston the dog returns to play Winston the dog. (If Winston is found). The understudies are: Paige Round, Harry Al-Adwani, Tom Quinn, Will Bishop and Phoenix Edwards.

‘Break a leg Team!’

The Cornley Drama Society have announced that they intend to keep performing the show until they get it 100% right. In light of this, the producers have extended booking until ‘at least’ October 2027, with some confidence. Cornley have yet to notice.

The Play That Goes Wrong opened at London’s Duchess Theatre in September 2014 and the production shows no signs of slowing down since its first performance at The Old Red Lion Theatre playing to only four paying customers. The show’s success is a testament to the hard work and determination of a group of drama school graduates who became friends, set up a company under the name ‘Mischief’ and created an extraordinary body of work over the past decade. 

Kings Theatre Portsmouth – until 19th April 2026

Reviewed by Lucy Hitchcock

5*****

Portsmouth Theatres are back with another astounding production of Chitty Chitty Bang Bang!

This well renowned musical has hit Kings Theatre with as much of a bang as the name suggests! Beautifully crafted, much like Chitty, this production is a tour de force!!

We follow the beloved story of Caractacus Potts (Paul Clements) and his children Jeremy and Jemima (Daniel Deboo and Logan Briant) as they meet Truly Scrumptious (Stephanie Aves) go on an adventure to save Grandpa Potts (Peter Colley) from the clutches of the Baron and Baroness Bomburst (John Bettesworth and Andre Jordan). Along the way, we meet The Toymaker (Shaun Williamson) and Boris and Goran (Curtis Mclennen and Ben Irish) who integrally hide children from the hands of The Childcatcher (Matt Gibbens) and detect the fantasmogorical car from afar, respectively. 

This was a truly superb performance. There was no a single step wrong, nor was there any aspect to detract the audience from the magic happening on stage. Directed and cast by Jack Edwards, he has made some incredible choices that bring this show to life. Paul Clements was the perfect Caractacus, with vocals excelling and dancing in perfect time-‘Me Ol’ Bamboo’ was a triumph as he perfectly danced with precision and comedic genius. Stephanie Aves as Truly Scrumptious is the essence of the original Truly (Sally Ann Howes) with such grace and expertise and vocally she was encapsulating. ‘Doll on a Music Box’ is one of my favourite songs from the show and Aves performed with clarity and integrity. Ben Irish as Goran the spy, was standout! He had wit, perfect comedic timing and really personified the character in such a way that I couldn’t help but smile! The whole cast was fantastic, but Shaun Williamson deserves a special mention. He was presented with a dressing room named after him, as well as being a patron! The outstanding part of his performance was, as it transpired, he learnt the role a day earlier and stepped in last minute-making his rendition as the Toymaker and Lord Scrumptious extra delicious!

I was completely in awe at every moment of this show, I couldn’t help but wiggle in my seat, laugh, cry and amaze at the fabulous Chitty and her adventure! If you love the old classics, ‘Toot Sweet’ ‘Hushabye Mountain’ and ‘Grow the Roses’ to name a few, this is certainly one to watch. This easily could have been a West End production and I am eager to see what delights we will be seeing next! 

The Grand Theatre Leeds – until 18 April 2026

Reviewed by Sal E Marino

5*****

At The Grand Theatre, Laura Wade’s sparkling reimagining of Somerset Maugham’s The Constant Wife proves that a century-old comedy of manners can still feel incisive, relevant, and utterly delightful.

Wade relocates us to the Roaring Twenties, a moment when the echoes of the suffragette movement still ripple through society and, in the aftermath of World War I, the first real shoots of female independence are beginning to emerge. It’s a world on the cusp of change—where women are starting to work, to think beyond domestic confines, and to quietly challenge the long-standing expectation that their sole purpose is to serve husband and family.

At the centre of it all is Constance Middleton, played with exquisite poise by Kara Tointon. She appears to have everything: a successful surgeon husband, a beautiful home, a child away at school, and—most intriguingly—a degree of personal freedom, including work and outings to the theatre with her old flame Bernard Kersal (Alex Mugnaioni). But Wade cleverly invites us to question this picture-perfect life. Is it luck? Or something far more calculated—a secret within a secret?

Tointon is perfectly cast as the “perfect wife”: beautiful, elegant, and utterly charming. Yet it is in contrast to those around her that she truly dazzles. Her husband John Middleton (Tim Delap) is deliciously insufferable—an arrogant, self-serving snob whose duplicity knows no bounds—while her best friend Marie-Louise Durham (Gloria Onitiri) is a wonderfully hapless and vapid “princess.” Their ghastliness only serves to make Constance shine brighter; we are drawn to her composure, her intelligence, and the quiet steel beneath her grace.

The supporting cast enrich this clash of old and new values. Sara Crowe as Mrs Culver, Constance’s mother, embodies a staunchly traditional view of marriage and love, while her other daughter Martha (Amy Vicary-Smith) acts as a sharp foil, voicing a more modern, feminist perspective. Their exchanges neatly capture a society in transition.  Other supporting cast roles, Philip Rham as Bentley the butler and Jules Brown as Mortimer Durham play their parts solidly and add a further layer to the dramatic narrative. 

Director Tamar Harvey crafts a wholly believable world of middle-class life, brought vividly to life by Anna Fleischle’s elegant Art Deco-inspired set. The atmosphere is further enriched by the smooth, evocative incidental jazz of Jamie Cullum, which drifts through the production and anchors it firmly in its era. Wade’s script, brimming with wit, draws beautifully on Maugham’s acid-tongued irony while sharpening its modern resonance.

Ultimately, The Constant Wife is exactly what it sets out to be: delightful. Delightful in its performances, its design, and its razor-sharp writing. And in that sense, it remains entirely faithful to Maugham’s own belief that “literature is an art and art is for delight.” A hundred years on, this production proves just how enduring—and how entertaining—that philosophy can be.

Nottingham Theatre Royal – until Saturday 18th April 2026

Reviewed by Louise Ford

4****

The Crime is murder

Is Agatha Christie having a revival? To be fair, I’m not sure that she has ever gone away, fashions change and interpretations of her work and the emphasis sometimes explore darker themes, but in essence they are jolly good whodunnits! Yes, back to my favourite theme, the cosy crime. Well, the clue is in the title, we are in Egypt and there has been a death.

In some ways, the problem with staging a book (or probably a film adaptation) as well-known as Death on the Nile is that everyone already knows whodunnit. So the trick to success is to bring something new or interesting to the production. In last night’s production, it was the glorious staging. The story was adapted for the stage by Ken Ludwig and lovingly directed by Lucy Bailey. The set design is by Mike Britton, with minimal fuss and distraction. We are effortlessly moved between the soirée at the British Museum and the gloriously opulent SS Karnak. I did wonder how the Nile would be recreated in Nottingham. The lighting is designed by Oliver Fenwick, and it creates both mood and drama. The Nile is reflected in the shadows and reflections. The lighting is enhanced by the sound, designed by Mic Pool. There is a gentle lapping of the water and animal cries, as well as the shocking gunshots.

Alongside the set are the glorious costumes, Sarah Holland. We are firmly set in the late 1920s, in an era entranced by Tut-mania. The stunning evening gowns, the tailored suits and the linen suits all evoke a bygone age. The inclusion of a fabulous golden mummy adds to the glitz of the story.

In this production, there is a vein of humour which brings the audience in and breaks the fourth wall. At times, the actors address the audience directly to express their frustrations or fears. The storylines of the minor characters add to the plot and build up the tension. A few red herrings are uncovered along the way.

The production retains the main characters from the original book but has pared back some of the scenes and characters. The whole production moves at quite a pace.
I cannot believe that I have got so far into this review without mentioning everyone’s favourite Belgian (not French) detective, Hercule Poirot. In the production, Poirot is played by Mark Hadfield. Poirot is presented as a dapper chappie with a modest moustache and a slight Belgian accent! He has a great stage presence and his friendship and interactions with Colonel Race (Bob Barrett) are playful. They have great chemistry. Colonel Race is everyone’s affable uncle.

For me, the star of the show was Salome Otterbourne, played by Glynis Barber. Her costumes are glorious and whilst she’s clearly on the make and is quite happy reinventing herself, she is also amusing and has a strong stage presence. Her daughter Rosalie (Camilla Anvar) is not as sophisticated as her mother but is in her own way on the make with her pursuit of Ramases Praed (Nicholas Prasad).

Whilst Poirot is undoubtedly the main draw, the three individuals in the love triangle provide good, strong performances. As well as having some outstanding costumes. Jacqueline De Bellefort (Esme Hough), as the spurned lover looking for revenge, is perhaps a little melodramatic, but adds to the mix. The object of her love is Simon Doyle (Nye Occomore), who is quietly handsome but hapless in equal measure. The brash American heiress, Linnet Ridgeway, is perfectly played by Libby Alexandra-Cooper.

So all in all, an enjoyable evening’s entertainment which doesn’t require us to overuse our little grey cells.