ALEXANDRA BURKE, DR RANJ

AND

MAX FULHAM

TO STAR IN MAYFLOWER THEATRE’S 2025 PANTOMIME

THE PANTOMIME ADVENTURES OF PETER PAN

Southampton’s Mayflower Theatre has announced that Alexandra Burke and Dr Ranj will lead the cast of Mayflower Theatre’s 2025/2026 pantomime as Captain Hook and The Magical Merman, alongside comedian and ventriloquist Max Fulham who will play Smee in this year’s high-flying pantomime, The Pantomime Adventures of Peter Pan.

Climb aboard the Jolly Roger with Captain Hook and Peter Pan as they battle on the high seas, joined by a crew of mischievous pirates and a very hungry, ever-watchful crocodile!

With amazing special effects, stunning sets and beautiful costumes direct from The London Palladium, The Pantomime Adventures of Peter Pan will take your whole family on a magical trip to Neverland like never before! The Pantomime Adventures of Peter Pan runs from Saturday 13 December 2025 to Sunday 4 January 2026.

Alexandra Burke, who will star as Captain Hook, is truly one of the UK’s most distinguishable powerhouse voices, having sold over 5 million records. Her no. 1 chart-toppers include Bad Boys, Start Without You and Hallelujah. Her double platinum debut album Overcome has sold over 850,000 copies in the UK alone. Alexandra has established herself as one of the UK’s most sought-after West End leading ladies having starred in The Bodyguard, Sister Act, Chess, Chicago and Michael Harrison’s production of Joseph and the Amazing Technicolor Dreamcoat at The London Palladium. The multi-platinum recording artist and actress first rose to fame 15 years ago, winning the fifth series of The X Factor, while duetting with Beyoncé. Alexandra received a BIFA nomination for her debut movie role in Pretty Red Dress and she has recently finished filming for the brand-new crime-drama series Curfew, which is out now on Paramount+

Alexandra’s Mayflower Theatre panto appearance follows her successful panto season last Christmas at New Wimbledon Theatre. Alexandra Burke made her pantomime debut in 2021 at Manchester Opera House and then performed in 2022 in the London Palladium Pantomime.

Dr Ranj will play The Magical Merman for the first time, following panto roles such as Spirit of the Bells (Birmingham Hippodrome, Theatre Royal Nottingham), Man in the Mirror (Churchill Theatre Bromley), and The Royal Physician (Bradford Alhambra). Alongside his work as a practicing doctor working in the NHS, Dr Ranj appears on BBC’s Morning Live, is a columnist and writer, and proved his needle skills in the 2020 Christmas Special of The Great British Sewing Bee. He has appeared as a contestant on Strictly Come Dancing, fronted ITV1’s Dr Ranj: On Call, Save Money: Good Health, Save Money: Lose Weight and his new series, Extreme Food Phobics. Ranj is currently on tour with &Juliet, where he performed at Mayflower Theatre in November 2024.

Max Fulham returns to the role of Smee after playing the role last Christmas in Milton Keynes. Max is a comedian and ventriloquist, who in addition to gaining popularity on both TV and in theatre, has become a social media sensation where he has amassed over 2 million likes on TikTok. Brining a fresh and contemporary twist to a classic art, Max has wowed audiences with his one man show, entertaining thousands of people in theatres across the UK and internationally. Highlights include appearing in The Good Old Days at Leeds City Varieties and performing on the Blackpool Opera House stage as part of the world-famous Blackpool Magic Convention. Max has also had the unique pleasure of headlining at the prestigious Venthaven Ventriloquist Convention in the USA. With TV appearances including ITV’s Saturday night show Game of Talents, Mel Giedroyc: Unforgivable on Dave and the revival of the classic Crackerjack!, Max’s comedic talents are in high demand. He is also a regular on the stand-up comedy circuit.

The Pantomime Adventures of Peter Pan is staged by Crossroads Pantomimes, the world’s biggest pantomime producer, led by Michael Harrison and the team behind recent Mayflower Theatre Christmas successes including last year’s production of Jack and the Beanstalk.

Michael Harrison said: “I’m absolutely thrilled that Alexandra Burke and Dr Ranj will be headlining Mayflower Theatre’s panto this Christmas. Alexandra is a phenomenal talent with an outstanding voice which will blow the roof off Mayflower Theatre, and children and adults alike will love the charm of Dr Ranj. Combined with the comedic talents of Max, along with stunning costumes and sets from The London Palladium, I know what a brilliant time the Southampton audiences will have this Christmas.”

Michael Ockwell, Mayflower Chief Executive said, “We cannot wait to welcome Alexandra Burke, Dr Ranj and Max Fulham to our stage this year in The Pantomime Adventures of Peter Pan. With the perfect mixture of Alexandra’s sensational voice, Dr Ranj’s charisma and rapport with audiences of all ages and Max’s comedy and ventriloquism, we know that The Pantomime Adventures of Peter Pan is going to be the perfect high flying pantomime.”

For three weeks only, The Pantomime Adventures of Peter Pan will bring all the laughter, spectacle, special effects and glittering festive magic audiences have come to expect each year from Mayflower Theatre’s spectacular Christmas panto.

So be part of the panto magic – hook your tickets today!

Tickets for The Pantomime Adventures of Peter Pan (Saturday 13 December 2025 – Sunday 4 January 2026) are on sale from Mayflower Theatre Box Office tel: 02380 711811 or online at mayflower.org.uk

The Almeida Theatre announces the full cast of Rebecca Frecknall’s production of A Moon for the Misbegotten

Joining the previously announced Michael Shannon and Ruth Wilson are Peter Corboy, Akie Kotabe and David Threlfall. 

Almeida Associate Director and multi–Olivier Award winner Rebecca Frecknall (A Streetcar Named Desire; Cabaret) directs this “scorching play” (The Guardian) from Eugene O’Neill, one of the great 20th century playwrights. The production opens on Wednesday 25 June, with previews from Tuesday 17 June, and runs until Saturday 16 August.  

A MOON FOR THE MISBEGOTTEN  

by Eugene O’Neill  

Director: Rebecca Frecknall; Set Designer: Tom Scutt; Costume Designer: Moi Tran; Lighting Designer: Jack Knowles; Sound Designer: Peter Rice; Composer: NYX; Casting Director: Julia Horan CDG; Associate Director: Lizzie Manwaring

Tuesday 17 June – Saturday 16 August   

There is no present or future – only the past, happening over and over again – now.  

On a barren farm in Connecticut, Josie Hogan dreams of more. Abandoned by her brothers and trapped with her volatile father, the desire for change feels urgent.    

Haunted by the death of his mother, James Tyrone Jr drinks to cover the pain. Trapped in a spiral of guilt and shame he longs for connection.  

When the two are brought together, a single night reveals a devastating truth and both will be altered forever.  

Almeida Associate Director and multi–Olivier Award winner Rebecca Frecknall (A Streetcar Named Desire; Cabaret) directs Academy Award-nominated Michael Shannon (George & Tammy; Boardwalk Empire) and Golden Globe-winner Ruth Wilson (The Affair; Luther) in this “scorching play about the eternal American theme of reality and illusion” (The Guardian) from Eugene O’Neill, one of the great 20th century playwrights.  

Presented in association with Smith & Brant Theatricals. 

Grand Theatre, Leeds – until 12^th April 2025

Reviewed by Katie Brewerton

5*****

Leeds Amateur Operatic Society (LAOS) present Les Misérables. One of the most phenomenal and well known musicals of all time. Having seen a few different productions of Les Misérables over the years I have yet to see one that doesn’t blow me away and this is no exception. LAOS are one of a select group of amateur companies granted special permission from Cameron Mackintosh and Music Theatre International to perform Les Misérables as part of Let the People Sing a UK wide project to celebrate the 40th anniversary of the show. 

Les Misérables is adapted from Victor Hugo’s story of the same name. We begin with Jean Valjean released on parole after a 19 year sentence for stealing a loaf of bread.  Unable to get work or a place to sleep as a criminal, he skips parole and reinvents himself, hunted through the years by inspector Javert. Valjean goes on to become a successful businessman and mayor. While out one day he recognises Fantine, a worker unfairly dismissed from one of his factories, she is on deaths door and he makes a promise to take care of her daughter, Cosette. He raises Cosette as his own, but his past haunts him and Javert is getting ever closer. When Cosette (Maddie Care) meets Marius (Malachy Bray) they have an instant connection, but as Cosette is about to be taken away by Valjean and Marius is risking his life on the barricades of the French Revolution they don’t know whether they will see each other again. 

All the cast are wonderful with the majority of roles being played by two actors on alternative nights. We had the pleasure of seeing the blue team. Nick Walton as Valjean and Luke Wilby as Javert were fantastic, with performances that wouldn’t seem out of place on a West End Stage. Emily Huddleston (Fantine) and Leah Spence (Eponine) both gave heart breaking renditions of I Dreamed a Dream and On My Own respectively.  The children should also be mentioned, at this performance young Cosette (Anouk Uttley), Gavroche (Charlie Leonard) and young Eponine (Eliza Hunter) were all fantastic and really stole the show, with Gavroche’s ending one of the most devastating of the whole show. 

The set is also great, with a brilliant barricade and easy transitions between scenes. 

Les Misérables is a heartbreaking story and this is an absolute must see for anyone whether they’ve seen the production before or not. Having seen the professional UK tour a few years ago there is little to differentiate between that and this amateur version. The quality is magnificent and with one of the best known scores out there I can’t recommend it enough. 

Patrick Studio at Birmingham Hippodrome – until 10th April 2025 

Reviewed by Emma Millward 

5*****

The award-winning Aakash Odedra Company, based in Leicester, UK, is dedicated to showcasing classical and contemporary South Asian dance styles. The company, in association with Manchester Camerata, premiered its UK tour of ‘Songs of the Bulbul’ within the intimate setting of Birmingham Hippodrome’s Patrick Studio. 

In Persian culture, the Nightingale or ‘Bulbul’ has a special significance. They believe the Bulbul has a special connection with roses and when it sings, its singing is directed at the roses.  The dance depicts a captive Bulbul, often given to royalty as a priceless gift. The dance follows the stages that the Bulbul goes through leading up to his death. From being kept in the light of a cage, to being kept in a darkened room, to losing his sight towards the end of his life. The myth states that when it reaches this final point, the Bulbul sings its most beautiful and melodious song. 

As we entered the auditorium, we were greeted by an array of candles forming a semicircle on the stage area, surrounding a vast number of red rose petals. As the lights dim, Aakash Odedra takes his place in the middle of the stage. Completely covered with his white feathered robes that represent the Bulbul. His movements are slow at first, before building up and up. Every little movement was purposeful and on the beat of the beautiful orchestral music that filled the auditorium. Birmingham-born Odedra takes us on a spell-binding journey through this story. He is the only dancer onstage, but the candles and the vibrant red rose petals become almost another participant in the dance. As Aakash’s white robes swish around him, the rose petals twirl and fly around him. It’s quite a sight to behold. 

This new dance work, choreographed by Rani Khanam and set to music by Rushil Ranjan, lasts 55 minutes, and I can honestly say every person in the 200-capacity Patrick Studio was captivated from start to finish. In the quieter sections, where there was often no music playing, it’s almost like the audience held their breath. Although this is a solo piece onstage, this is achieved in collaboration with many talented artists behind the scenes. The otherworldly lighting by Fabiana Piccioli and the simple, but clever set design by Emanuele Salamanca both add to the dream-like feel of the production. Rushil Ranjan’s score was recorded by the orchestra of the Manchester Camerata, with the haunting vocals of Abi Sampa and Sarthak Kalyani, and additional instrumentation by Janan Sathiendran and Praveen Prathapan. At the Lowry in Salford on May 6th, 2025, the score will be brought to life through live performances by this same orchestra and singers in a special performance. 

Songs of the Bulbul made its world premiere at the Edinburgh International Festival last year, receiving many 4 and 5-star reviews and being crowned Edinburgh International Festival’s Best Show by The List.  I am confident that this spine-tingling and visceral work will continue to captivate audiences and gather even more accolades as it continues its UK tour. 

Hull New Theatre – until 12th April 2025

Reviewed by Dawn Bennett

5*****

What an absolute treat we had at Hull New Theatre last night watching Hessle Theatre Company perform Legally Blonde the Musical. Hessle Theatre are an amateur theatre company in name only, every production of theirs that I have seen is 100% professional and this one was no exception.

Based on the novel by Amanda Brown and the MGM movie of the same name, with music and lyrics by Laurence O’Keefe and Nell Benjamin and the book by Heather Hatch. This production was directed by Martin Beaumont and stage manager was Kieran Danby.

Elle Woods (Tanya Sewell) is absolutely sure that her boyfriend Warner Huntington III (Aaron Bolton) is going to propose, but instead of doing that he breaks up with her because he needs someone more “serious” than her if he wants to become a Senator. He is going to Harvard Law School and when Elle realises that he is going there without her she decides to follow him there not realising how much work she is going to have to do. On the first day Elle is thrown out of Professor Callahan’s (Ian Appleyard) class with a little help from Vivienne Kensington (Georgia Wormald) for not being prepared for the course. Teaching assistant Emmett Forrest (James Galer) takes Elle under his wing and offers his guidance.

What follows is an hilarious plot. Does Elle manage to stay at Harvard and if so, does will she manage to qualify as a lawyer? And even with help from her friends, particularly Paulette Buonufonte (Emma Burgess), will she manage to get over Warner?

I hadn’t seen Legally Blonde the film or the musical before so I wasn’t too sure what to expect, but what I saw was over two hours of pure joy. The tunes are catchy I particularly loved Omigod You Guys, Whipped into Shape, and Gay or European. The signing, acting and dancing (choreographed by Elise Johnson) seemed to come easy to this triple threat cast, but you could see by the quality of the production how much work had been put into it.

It is very difficult to pick out any particular performance as they are all outstanding from the lead to the ensemble to the people behind the scenes and backstage, they all played the part to make this production jell together so well

The band, led by musical director Rebecca Barques, were outstanding. The set changes, some even done mind song, were seamless. And can I just mention the dogs (trained by Sally Hague from Leads in Action) Bruiser (Millie) Rufus (Ernie), I think they got the biggest Aww! of the night and to get them to perform on stage was brilliant and verry clever.

Legally Blonde the Musical is a fabulous feel-good production, I would very much recommend you try and get a ticket while you can, you certainly won’t be disappointed!

This is local theatre at its best!

Darlington Hippodrome – until Saturday 12 April 2025

Reviewed by Adam Craddock

5*****

Another last minute cover review for me tonight and this time I was watching Blackeyed Theatre’s production of Dracula, an adaptation of the famous Bram Stoker novel for the stage by Nick Lane. The play follows the same plot as the book, starting with the telling of the tale through the letters of Englishman Jonathan Harker, invited to the home of the Transylvanian Count Dracula and then being held prisoner by his host. We follow the tale as Count Dracula leaves Transylvania and ends up on our English shores in the beautiful town of Whitby, where he hatches his plot and corrupts the sanatorium patient Renfield.

The role of Count Dracula is shared between three of the cast at different stages of the show, with David Chafer portraying the vampire in his home in Transylvania, Richard Keightley playing him on his voyage to Great Britain and Harry Rundle playing him in the Whitby scenes. This really enhances the feeling of Count Dracula being a skin changer and lends a feeling of distrust to who anyone really is in the play.

David Chafer was strong as Count Dracula/Abraham Van Helsing, with a humanness to the vampire in the Transylvania scenes really lending itself to the character and as to why Jonathan Harker would trust him. Richard Keightley was brilliant as Count Dracula/Doctor John Seward, with a delicious creepy vibe to his character, and his best moments for me in the show was actually as the unnamed coach driver who takes Mr Harker to the castle in Transylvania. He really set the tone for the show in this small scene and this stuck with me throughout. Bravo! Harry Rundle was also brilliant as Count Dracula/Arthur Holmwood, with a brilliant air of authority around his Count Dracula, you really felt like this was the final boss version and that he had engineered this plan with a masterful intellect.

Pelé Kelland-Beau was great as Jonathan Harker/Quincey Morris, with a brilliant vulnerability to his character when in Transylvania that lent to the feeling of peril he was in. There were at time though a slip in his American accent when playing Quincey Morris that somewhat broke the illusion. Marie Osman was fantastic as Renfield/Lucy Westenra, with a strong presence and a captivating portrayal of Renfield, you really believed that this woman had been corrupted and she portrayed this mental decline so brilliantly. Maya-Nika Bewley was solid as Mina Harker/Doctor Hennessey, coming into her own in the climactic scenes when her character was in grave peril.

The set was absolutely brilliant, simplistic with just some well designed timbers and steps, and a collection of wooden crates to be turned into whatever set piece they were required to be. I loved the way that the timbers created all these subtle doorways and windows that could be used at different points in the plot. The lighting and sound design were both brilliantly eerie, and I swear there were even points when a cold breeze was blown over us in the audience to enhance this unsettling feeling even more.

Overall I could not recommend this production enough. It is a psychological thriller that had me on the edge of my seat throughout. Make your way to the Darlington Hippodrome to catch this show at once before it leaves on Saturday 12th March.

ARE YOU READY TO TAKE ON THE GODS…?
OPEN AUDITIONS FOR THE UK TOUR OF

“A bolt of stage magic.

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

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

As The Lightning Thief: The Percy Jackson Musical gets set to embark on an electrifying UK tour this autumn, the team behind the show have announced that they are holding open auditions as they look for their company of demigods for the UK tour.

The open audition is on Tuesday 22 April at The Other Palace, currently the London home of the musical. Those auditioning should arrive from 10am and are asked to prepare a 16 bar cut of a song in the style of the show and to bring a printed CV and headshot that includes contact details as well as sheet music for their audition song. Full details at kenwright.com/auditions

Paul Taylor-Mills (Producer) said: “At the heart of Percy are themes of inclusivity and the spirit that anything is within your reach. That is why we want to open doors for as many people as possible with an open casting call. Whilst casting isn’t guaranteed, it’s an opportunity for us to cast the net as far as possible to those that may not get to us via some of the more traditional routes… which is very Percy!”

Bringing the hit stage adaptation of Rick Riordan’s bestselling novel to audiences across the country, the tour will open at Theatre Royal Windsor from 15 – 23 August 2025 before continuing on to play Newcastle, Milton Keynes, Liverpool, Brighton, Stoke-on-Trent, Coventry, Bradford and Wimbledon with many more venues to be announced.

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

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

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

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

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

INFORMATION

Please prepare a 16-bar cut of a song in the style of the show, along with your repertoire folder. Bring a printed CV and headshot that includes your contact details, as well as sheet music for your audition piece. A pianist will be provided. No backing tracks.

Auditions will be held on a first-come, first-served basis and will run until 18:00. Due to the high volume of applicants expected, we may not be able to see everyone on the day. 

Please be prepared for outdoor queuing and potentially extended waiting times. We recommend bringing refreshments and dressing appropriately for the weather.

Auditioning does not guarantee a recall or offer of employment. After the open call, you may be invited to a further audition and/or dance call.

All auditionees must be 18 or older and eligible to work in the UK.

For more information, please visit kenwright.com/auditions

LISTINGS

BILL KENWRIGHT LTD & PAUL TAYLOR-MILLS PRESENT

THE LIGHTNING THIEF
THE PERCY JACKSON MUSICAL

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

Run Time: approximately 2hrs 10 minutes including interval

UK TOUR 2025

15 – 23 Aug                 Theatre Royal Windsor                       01753 853888            

27 – 31 Aug                 Newcastle Theatre Royal                    0191 232 7010           

3 – 6 Sep                     Milton Keynes Theatre                                               

16 – 20 Sep                 Liverpool Empire                                                        

30 Sep – 4 Oct             Brighton Theatre Royal                                              

7 – 11 Oct                    Regent Theatre Stoke-on-Trent                                 

14 – 18 Oct                  Coventry Belgrade                              024 7655 3055           

21 – 25 Oct                  Bradford Alhambra Theatre                01274 432000            

28 Oct – 1 Nov             New Wimbledon Theatre                                          

Further dates to be announced.

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

Nottingham Theatre Royal – until Saturday 12 April 2025

Reviewed by Louise Ford

5*****

Reader – I married him.

Northern Ballets’ 2025 season has a lovely mix of Classical favourites, Hansel and Gretel, Romeo and Juliet and the Christmas staple The Nutcracker (sadly only being performed in Leeds) and some new (certainly to me) offerings Merlin (in Autumn 2025) and Jane Eyre.

When I saw that Jane Eyre was being performed it did make me wonder how this could be done. The answer is, of course, incredibly well and sensitively.

I must confess that I only had a vague outline of the story of Jane Eyre, unlike my companion who had to “endure” it for A level. Thankfully the quality programme provided not only a list of characters, some wonderful photographs but, more importantly, a brief summary of the story and the scenes.

Cathy Marston created Jane Eyre for Northern Ballet nine years ago. The brief conversation in the programme with Cathy really helped to understand the thinking behind the production and the characters.

The tone and atmosphere is set from the beginning with pared back staging . The set design is by Patrick Kinmouth. Initially the stage is “cloaked” with a screen which evokes the Yorkshire landscape and the moors in particular. The screen lifts but the stage is on the whole black and unforgiving. The rooms and other scenes are created using painted curtains which evoke the brown and muted tones of the landscape. There are clever pockets of colour to denote the fireplaces and also hidden doors to create the illusion of being inside. In my view the “fire” scene is a masterpiece . It has real power and presence. With the lighting design by Alastair West.

Jane’s story is told in two parts. Firstly as a child, the young  Jane is performed by Alessandra Bramante. The young Jane is an angry stubborn child who battles with her Aunt Reed (Helen Bogatch). In these scenes Jane’s anger and frustration is portrayed with tense and angular body movements, you really get a sense of her frustration and at times despair at her situation.

The adult Jane is portrayed by Amber Lewis. Jane’s transition to adulthood sees her anger soften and she becomes more graceful as she gains in confidence.

Jane’s story from an orphan raised by her Aunt, her move to Lowood Institute and finally as a governess at Thornfield is shaped and overshadowed by “men”. From her mean cousin John (Archie Sherman),to the cruel headmaster Reverend Brocklehurst (Harry Skoupas), to St John Rivers (George Liang) the “kindly” cleric, to Mr Rochester (Joseph Taylor). The D-men are a group of smartly dressed dancers who represent all of the “male” influences on Jane’s life which block her path or intimidate her. The D-men are danced by the ensemble. They twist, turn and block Jane’s progress through life.

The ensemble also portrays the orphans and the party guests. The orphanage scenes are particularly striking with simple props (stools, blankets and candles), portraying the drudgery and misery of life at Lowood School. At the party the guests’ costumes are more expensive in soft pastel colours, compared to Jane’s dowdy dress. The role of Blanche Ingram (Kaho Matsumoto) is particularly striking. The costume of Adele (Rachael Gillespie) enhances the spoilt child persona.

Whilst the production and the dancing was superb, the star of the show for me was the music and the orchestra. The music is atmospheric and perfectly compliments the dancing and really helps to create the different scenes. It is compiled and composed by Philip Freeney. The live Northern Ballet Orchestra was conducted by Daniel Parkinson. The Orchestra received a standing ovation from the audience and the Corps de Ballet. And rightly so, they were amazing.

I should also say that the Corps de Ballet also received a standing ovation. The audience really enjoyed the performance.

All in all this is Jane’s story and the final scene is of her alone on the stage. A fitting ending to an evening of incredible dancing and music.

THE INTERNATIONAL SMASH HIT MUSICAL SIX ANNOUNCES NEW CAST FOR UK & INTERNATIONAL TOUR 2025/26

PLUS, THE RETURN OF ALEXIA MCINTOSH, ORIGINAL ANNA OF CLEVES WHO CAN CURRENTLY BE SEEN IN THE RECORD-BREAKING CAPTURE IN CINEMAS ACROSS THE COUNTRY

The multi award-winning musical SIX, written by Toby Marlow and Lucy Moss, today announces a new cast for the UK & International tour. The new company will take over from Tuesday 20 May as the current cast head to China for an 8-week season in Shanghai. The current cast will return to the UK for a further five weeks, with their final performance on Saturday 30 August. The new cast will then continue from Tuesday 2 September. The new touring Queens will be played by LaSasha Aldredge (Catherine of Aragon), Yna Montarde (Anne Boleyn), Emily Dawson (Jane Seymour), original West End cast member Alexia McIntosh (Anna of Cleves) until 26 July, Jodie Knight (Anna of Cleves) from 2 September, Sammy Timbers (Katherine Howard) and Layla Chivandire (Catherine Parr). Abi Atchison, Millie Readshaw and Eve Kitchingman will be joining the cast as Alternates, with Super Swings Emilia Paige Jurin and Lucia Valentino. The cast are backed by the show’s all-female band, The Ladies in Waiting, led by Musical Director Rosabella Gregory. 

Alexia McIntosh said: ‘After so many years with SIX, both in London and now its cinematic release, I’ve been so lucky to have spent so much time with so many amazing cast members. I’m so honoured to have been invited back to revisit life as Anna and I can’t wait to work with even more amazing Queens, and I’m excited to be passing the baton (or in this case, the famous Cleves boots) on to Jodie when she takes over the role.’ 

SIX follows the six wives of Henry VIII as they take to the mic to tell their own personal tales, remixing five hundred years of historical heartbreak into an 80-minute celebration of 21st century girl power.

On the international stage, SIX continues its reign on Broadway at the Lena Horne Theatre and is now booking into its fourth year. SIX has toured the USA, Australia, New Zealand, Japan, Singapore, the Philippines, South Korea, Holland, Germany, Italy and Switzerland and enjoyed a seven-week season at the Venetian Resort in Las Vegas. Back on home turf, the London production recently celebrated its sixth sensational year in the West End and continues its reign at the Vaudeville Theatre (its third royal residence), whilst nationally, the UK tour – now booking through 2026 – continues to break Box Office records. 

Winner of over 37 major international awards including the 2022 Tony Award for ‘Best Original Score’ and ‘Best Costume Design’ on Broadway, triple Whatsonstage Award winner for ‘Best West End Show’ 2022, 2023 and 2025 and the 2020 BBC Radio 2 Audience Award for ‘Best Musical’, SIX was also nominated for five Olivier awards, including ‘Best New Musical’. The original studio album of SIX officially turned Gold in 2021, with the Broadway album SIX – Live on Opening Night nominated for a Grammy Award. Earlier this month, the live captured film release of SIX the Musical Live was seen in cinemas across the UK, broadcast on the most screens of any limited release cinema event, beating Taylor Swift’s Eras tour.

Written by Toby Marlow and Lucy Moss, SIX is co-directed by Lucy Moss and Jamie Armitage, featuring choreography by Carrie-Anne Ingrouille. The design team includes Emma Bailey (Set Design), Gabriella Slade (Costume Design), Tim Deiling (Lighting Design) and Paul Gatehouse (Sound Design). The score features orchestrations by Tom Curran with music supervision and vocal arrangements by Joe Beighton. Musical Director Rosabella Gregory and Associate UK Musical Supervisor Lauren Hopkinson. Casting is by Pearson Casting. SIX is produced by Kenny Wax, Wendy & Andy Barnes and George Stiles. 

Tour Listings:

SIX UK & INTERNATIONAL TOUR 2025/26

Tue 8 – Sat 12 April

BRADFORD Alhambra Theatre 

01274 432000 | bradford-theatres.co.uk

Tue 15 – Sat 19 April

STOKE ON TRENT Regent Theatre 

atgtickets.com/stoke

Tue 20 – Sat 24 May 

AYLESBURY Waterside Theatre 

atgtickets.com/aylesbury

Tue 27 May – Sat 1 June

LEICESTER Curve Theatre 

0116 242 3560 | curveonline.co.uk

Tue 3 – Sat 7 June

HULL New Theatre 

01482 300306 | hulltheatres.co.uk

Tue 10 – Sat 14 June

BELFAST Grand Opera House 

028 9024 1919 | goh.co.uk

Tue 17 – Sat 28 June 

DUBLIN Bord Gais Energy Theatre 

+353 1 677 7999 | bordgaisenergytheatre.ie

Tue 1 – Sat 5 July

RHYL Pavilion 

01745 33 00 00 | rhylpavilion.co.uk

Tue 8 – Sat 13 July

LEEDS Grand Theatre 

0844 848 2700 | leedsheritagetheatres.com

Tue 15 – Sat 19 July

COVENTRY Belgrade 

024 7655 3055 | belgrade.co.uk

Tue 22 – Sat 26 July 

SKEGNESS The Embassy Theatre 

01754 474100 | embassytheatre.co.uk

Tue 29 Jul – Sun 3 August

SALFORD The Lowry 

0343 208 6000 | thelowry.com

Tue 5 – Sat 9 August 

ABERDEEN His Majesty’s Theatre 

01224 641122 | aberdeenperformingarts.com

Tue 12 – Sat 23 August

NEWCASTLE Theatre Royal 

0191 232 7010 | theatreroyal.co.uk

Tue 26 Aug – Sat 6 September

GUILDFORD Yvonne Arnaud Theatre 

01483 44 00 00 | yvonne-arnaud.co.uk

Tue 9 – Sat 20 September

BRIGHTON Theatre Royal 

atgtickets.com/brighton

Tue 23 – Sat 27 September

MOLD Theatre Clwyd 

01352 344101 Theatreclwyd.com

Tue 30 Sep – Sat 4 October 

TRURO Hall for Cornwall 

01872 262466 | hallforcornwall.co.uk

Tue 7 – Sat 11 October

TORQUAY Princess Theatre 

atgtickets.com/torquay

Tue 14 – Sat 18 October 

YORK Grand Opera House 

atgtickets.com/york

Tue 21 – Sat 25 October

EDINBURGH Playhouse 

atgtickets.com/edinburgh

Tue 28 Oct – Sat 8 November

CARDIFF Wales Millennium Centre 

029 2063 6464 | wmc.org.uk

Tue 11 – Sat 15 November

SOUTHEND Cliffs Pavilion 

0343 310 0030 | southendtheatres.com

Tue 18 – Sat 22 November

MALVERN Theatres 

01684 892277 | malvern-theatres.co.uk

Tue 25 – Sat 29 November 

HIGH WYCOMBE Swan Theatre 

0343 310 0060 | wycombeswan.co.uk

Tue 2 – Sat 6 December 

SOUTHAMPTON Mayflower 

02380 711811 | mayflower.org.uk

Tue 9 – Sat 13 December

OXFORD New Theatre 

atgtickets.com/oxford

Mon 22 Dec – Sun 4 January

BLACKPOOL Opera House 

01253 629600 | wintergardensblackpool.co.uk

2026 dates to be announced 

Running time: 80 minutes, no interval | Age guide: 10+

New Wimbledon Theatre – until Saturday 12th April 2025

Reviewed by Brooke Burlinge  

4**** 

Wimbledon Theatre brings you the brand new musical Now That’s What I Call A Musical. An endearing and fabulously vibrant production to celebrate the 40 years of the iconic ‘NOW That’s What I Call Music!’ compilation series. A new show at the theatre is always a little sceptical, a hit or miss you could say. This one I can confidently say was a hit. Despite the script and acting falling a little flat at times, and the acts dragging on a little longer than needed, the music managed to uplift the whole ambience and atmosphere once again. Some of the dance sequences and parts of the show were not necessary for the plot, however it did provide a certain campness and flare to the musical- something that constantly had the audience engrossed into the performance. 

The musical takes place in Birmingham, flashing back and forth between 1989 and 2009, where we follow the friendship and lives of younger Gemma (Nikita Johal) and April (Maia Hawkins) in 1989, following up to the dreaded school reunion in 2009, where old friends get together, old flames are possibly rekindled and Gemma (Nina Wadia) finally gets to see April (Sam Bailey) after 10 years of no contact… 

The whole of the cast was truly magnificent, and they all managed to bring each song to life perfectly, I can certainly say as part of the audience that I was in raptures from beginning to end with the variety of songs and fantastic choreography to match them. Both Nina Wadia and Nikita Johal played Gemma amazingly, Nina’s acting had so much depth and was beautiful to watch on stage. Nikita’s vocals were beautiful, and she really captured Gemma’s character. Sam Bailey, as always, sang superbly and dare I say had the audience awe struck at her clear and strong vocals. Maia Hawkins as younger April certainly had an outstanding stage presence, you couldn’t help but look at her whenever she was on stage, what an incredible performance debut to have. All the other characters were great in the performance, for example Tim (Chris Grahamson) and younger Tim (Kieran Cooper) despite being the ‘villian’ of the show provided a tremendous amount of humour and some fabulousness every time he was on stage. The heartwarming and lovable Frank (Shakil Hussain) and younger Frank (Luke Latchman) is another great mention, providing a happy and bubbly atmosphere to the stage. How could I forget the wonderful guest star- Sonia. She came out and had her moment, the audience absolutely loved it. 

Overall, it is certainly a musical to see if you want to see something fresh and new- although a little slow at times the music is fully worth it. Alongside the phenomenal atmosphere and nostalgia, the production brings for many.