A Sheffield Theatres and Evolution Productions co-production

RITA SIMONS JOINS THE CAST OF CINDERELLA
AT THE LYCEUM

Written and directed by Paul Hendy

Saturday 28 November 2026 – Sunday 3 January 2027

Sheffield Theatres and Evolution Productions announce Rita Simons, who completes the cast of Cinderella at the Lyceum Theatre this Christmas. Best known for her award-winning role as Roxy Mitchell in EastEnders, and in recent years as Marie in Hollyoaks, Rita has performed across both the screen and stage, starring in West End musicalsincluding Everybody’s Talking About Jamie and Hairspray.

Rita joins Strictly Champion Ore Oduba, CBeebies superstar Andy Day and the legendary Damian Williams who returns for his nineteenth year as Sheffield Theatres’ beloved, award-winning Dame. Also in the cast is seasoned pantomime actor Matt Daines, returning Yorkshire comic Joey Wilby, and Bibi Simpson in the titular role of Cinderella.

This year’s Lyceum pantomime will be presented by the same team behind smash-hit and award-winning pantos Snow White and Aladdin. Written and directed by Paul Hendy and produced by Evolution Productions, with James Harrison returning as Musical Director (Winner of Best Contribution to Music at the UK Pantomime Awards 2026), Cinderella promises theatrical thrills, fabulous music and hilarious laugh-out-loud jokes.

Cinderella opens on Saturday 28 November 2026 and runs until Sunday 3 January 2027 at the Lyceum. Tickets can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.

THE RUNWAY RECRUITMENT PROCESS IS COMPLETE FOR

RUNNING AT THE DOMINION THEATRE 
UNTIL 25 SEPTEMBER 2027

The Runway Office recruitment drive is complete, and the full fashion team are assembled for The Devil Wears Prada The Musical, joining the previously announced Teri Hatcher (Cabaret; The Adam’s Family) and Matt Henry, MBE (Kinky Boots; Drifters Girl) as the formidable Miranda Priestly and her right-hand man, Nigel, respectively.

The first Runway in-house promotion goes to Jenna Bonner (Tina The Musical), who moves from first cover, to THE Miranda girl, Andy Sachs, with the second going to Dean Makowski-Clayton (Marie Curie, A New Musical), who previously played the role of Irv Ravitz and will now swap his baseball cap for a chef’s hat as he steps into the role of Andy’s doting boyfriend Nate.

Taila Halford (Shucked) will continue as the first assistant Emily and Dominic Andersen (Heathers The Musical) will also continue to portray the role of Christian. 

The ensemble are: Jak Allen-Anderson, Georgia Aspinall, Anta Bah, Evonnee Bentley-Holder, Teagan Denham, Russell Dickson, Eve Drysdale, Selina Hamilton, Helen Hill, Kimberley Hoyle, Emma Johnson, Justin-Lee Jones, Mark Lamb, Ethan Le Phong, Zixi Li, Shannon Molloy, Jacob Morrish, Nay-Nay, Eddylia Osborne, David Peter Brown, Theo UK Rose, João Silva, Ellie Stevens, Maisy Stones, Kayleigh Thadani, Hannah Victoria-Bennett andAlex Woodward.

Debbie Kurup (The Body Guard; The Cher Show) will continue as first standby Miranda Priestly and will play the role full time from 21 September – 20 October 2026, until Teri Hatcher steps into the shoes.

The Devil Wears Prada The Musical continues to redefine what audiences can expect from a musical spectacular, with Tony Award-winning costume designer Gregg Barnes at the heart of the Runway world. Having designed some of Broadway’s most iconic costumes for productions such as Aladdin, Kinky Boots and Legally Blonde, Barnes has brought his eye for glamour and storytelling to The Devil Wears Prada, with the fashion in the show is a statement in its own right. 

Along with hundreds of handmade pieces meticulously crafted for the performers, and expertly sourced vintage and second-hand garments, the production also features iconic designer labels including Dior, Vivienne Westwood, Alexander McQueen and Balmain. Renowned British footwear brand Terry de Havilland has supplied more than 80 pairs of shoes for the show, with the designer known for creating shoes for Elton John. Miranda Priestly and Andy Sachs alone undergo an impressive 11 costume changes throughout the performance, helping bring the fashion world of the story vividly to life. During the curtain call, 680 grams of confetti is used in every performance, amounting to 5.4 kilograms each week, and, on average, the Deputy Stage Manager calls a cue every six seconds. 

Opening in the West End in December 2024, The Devil Wears Prada The Musical has become the fastest‑selling show in the Dominion Theatre’s history, selling more than 1.3 million tickets to date. The show celebrated a major milestone on 23 September, when it reached its 800th performance.

The groundbreaking musical continues to take the West End by storm having also released its first original cast recording last year, available HERE, which includes two unheard Elton John original demos and charted as the #1 new release on the compilations chart. 

The Devil Wears Prada The Musical has anaward-winning creative team led by Elton John (Billy Elliot: The Musical, The Lion King), new direction & choreography by Jerry Mitchell (Kinky Boots, Legally Blonde, Pretty Woman, Hairspray), lyrics by singer-songwriter Shaina Taub (Suffs) and Mark Sonnenblick (Theatre Camp), book by Kate Wetherhead (Ever After, Submissions Only), set design by Tim Hatley (Life of Pi, Back to the Future), costume design by Gregg Barnes (Some Like It Hot, Legally Blonde), lighting design by Bruno Poet (The Tina Turner Musical, Frankenstein), sound design by Gareth Owen (Come From Away, & Juliet) and casting by Jill Green CDG. 

The production opened at Theatre Royal Plymouth prior to arriving in the West End from 06 July – 17 August 2024.

Fresh out of college, aspiring journalist Andy scores a job at the prestigious Runway magazine working for fashion’s most powerful and terrifying icon — editor-in-chief Miranda Priestly. Sacrificing her personal life to meet Miranda’s impossible demands, Andy finds herself seduced by the glamorous world she once despised. How far will she go to succeed… and will it be worth selling her soul to get what she’s always wanted?

The musical is based on Lauren Weisberger‘s best-selling 2003 novel and the 2006 blockbuster film from Twentieth Century Studios which went on to gross $326 million worldwide and received two Academy Award nominations. The sequel, The Devil Wears Prada 2 was released on 01 May 2026 with its original leading cast, Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci all reprising their roles. 

Hilariously fun and fabulously stylish, The Devil Wears Prada tells an inspiring story about discovering what kind of person you truly want to be. Choose your outfit carefully and get ready for a musical that’s hautter than hell!

The Devil Wears Prada The Musical is produced by four-time Tony Award winner Kevin McCollum (Mrs. Doubtfire, In the Heights, Avenue Q and Rent), David Furnish (Billy Elliot: The Musical) and Jamie Wilson (Into The Woods, Mrs Doubtfire, Two Strangers)as a co-production with Theatre Royal Plymouth and presented by special arrangement with Buena Vista Theatrical.

EXTENDS BOOKING AT ABBA ARENA

UNTIL 28 JUNE 2027

WITH 170,000 NEW TICKETS RELEASED

ABBA VOYAGE WILL CELEBRATE ITS FIFTH ANNIVERSARY IN MAY 2027

ABBA Voyage is delighted to announce that booking at ABBA Arena, London has been extended until 28 June 2027. 170,000 tickets for the world’s first concert experience of its kind have been released in this new booking period, during which the production will celebrate its fifth anniversary in May 2027. Tickets start from £40.50 and are on sale now at abbavoyage.com 

ABBA Voyage is a unique full-scale concert experience, blurring the lines between physical and digital to bring one of the biggest pop acts of all time back to the stage. The production reunites Agnetha Fältskog, Björn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad as digital versions of themselves as they appeared at their peak, performing all of their iconic hits on stage alongside a live ten-piece band inside the purpose-built ABBA Arena.

Running at approximately 100 minutes with no interval, ABBA Voyage blends state-of-the-art visual technology with a live band for a show unlike anything else in the world. The award-winning production has been seen by over 4 million people since opening in May 2022 at ABBA Arena, a bespoke 3,000-capacity venue in Queen Elizabeth Olympic Park, East London.

ABBA Voyage plays seven concerts a week including weekend matinees. Additional performances continue to be added regularly to meet demand and £35 tickets for 16–25 year olds are added every month.

In May 2025, ABBA Voyage marked its third London anniversary by expanding its setlist for the first time, adding additional songs including ‘Super Trouper’, ‘The Name of the Game’, ‘Money, Money, Money’ and ‘Take a Chance on Me’.

ABBA Voyage is a concert experience created by Agnetha Fältskog, Björn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad. The concert is directed by Baillie Walsh and produced by Svana Gisla and Ludvig Andersson for Goldonder AB, a company founded by Conni Jonsson, Björn Ulvaeus and Benny Andersson.

The Hope Theatre, Islington – until 3rd October 2026

Reviewed by Bobbi Fenton

5*****

GRIEFCASE explores the complicated and often unpredictable nature of grief through the story of G (Ru Lawrence), who returns to his late mother’s flat after her death. What follows is an emotional journey through memories, guilt, anger, love and the difficulty of letting go.

From the very beginning, the production establishes the complicated relationship between G and his mother. We see moments of happiness and affection alongside arguments, frustration and guilt, creating a character who is forced to confront not only the loss of his mother, but also the things left unsaid between them.

One of the most striking aspects of GRIEFCASE is its use of physical theatre. The production’s use of sound and movement is incredibly effective during its more emotional moments. These moments never feel like grief is being reduced to a single emotion. Instead, the audience is shown how messy, contradictory and deeply personal it can be. Rather than relying solely on dialogue to communicate G’s emotions, movement becomes a language of its own. Non-naturalistic movement sequences, exaggerated physicality and moments where G appears controlled by his grief, represented by Jack St Leger with marionette-like movements, effectively demonstrate the ways grief can take control of a person. The physicality of the production gives the audience an insight into emotions that G himself often struggles to express.

The show also refuses to portray grief as a straightforward process. Instead, elements of the five stages of grief appear throughout the story: denial as G attempts to convince those around him that he is coping, anger emerging through reliving conflicts with his mum (Collete Hodson) or his friend Lucy (Poppy Janisch), bargaining appearing through his attempts to relive good memories he had with his mum, depression from feeling guilt and during his eventual breakdown, and finally acceptance during the final scene, his mum’s funeral, which follows a deeply moving conversation between himself and his mum.

There are moments of genuine humour amongst the sadness, which feels particularly important. As G puts it, after well-intentioned but awkward friend Garry (Jack St Leger) makes an inappropriate joke, “If you don’t laugh, you’ll cry,”. A night out with friends, an increasingly chaotic karaoke session and moments of silliness provide some much-needed lightness, while also showing the different ways people attempt to cope with loss.

The relationships surrounding G are equally important. G struggles with the feeling that the people around him are simultaneously holding him together and holding him back. His guilt over not calling or visiting his mother more often becomes another layer of his grief, particularly as he reflects on both the good and difficult aspects of their relationship.

Perhaps what makes GRIEFCASE so effective is that it doesn’t suggest there is a correct way to grieve. G laughs, becomes angry, tries to distract himself, remembers the good times, dwells on the bad ones and eventually begins to accept that his mother is gone. The result is an honest and deeply affecting portrayal of loss.

On a more personal note, I lost my own mum two and a half years ago, and this play is by far the most accurate representation of grief that I have ever had the privilege of seeing. Although my relationship with my mum was somewhat different from G’s relationship with his own mother, the way the play portrayed grief felt incredibly familiar to me. It captured so many of the emotions, thoughts and experiences that I have encountered in my own grief, making it an extraordinarily realistic and powerful depiction.

GRIEFCASE is a thoughtful exploration of what happens when someone loses a person who was simultaneously a source of love, frustration, comfort and pain. Through physical theatre, humour and moments of raw vulnerability, it creates a powerful reminder that grief is rarely as simple as saying goodbye.

Union Theatre 21 – 24 September

Reviewed by Claire Roderick

4****

Jamie Nowski’s delightful debut play has enormous potential. Inspired by his Polish heritage and experiences working in care, Nowski has created a wonderfully tender but spiky story about the struggle to find your identity in youth and the horror of losing your identity in old age.

Rek is trying to make it as a grime artist, drinking and doing drugs in clubs and bragging about his hilariously farfetched music contacts. His work is wonderfully derivative and jarring with his physical presence, and then the audience sees Rek at his day job, working in a care home. Completely irreverent, Rek finds connections with the patients, bending rules to provide the care they need – even if that means giving medication with a snifter if that’s what the patient wants.

Rek has a special connection with Zofia – a Polish dementia patient who he allows to call him Derek. She sees through his bravado and they share stories about their lives, and music together – classical and grime. When Zofia’s condition deteriorates, Rek decides to break her out and give her what she wants – to see sunflowers. This leads to a comic epic birthday trek through Surrey and London in search of the sunflowers – in December!

Having seen the bonds my mother had with some of her carers and the joy they brought her, the central relationship in the play is written exquisitely. Nowski’s writing is raw and heartfelt, with Zofia’s influence helping Rek to realise his true self never becoming overly sentimental.

Nowski is a fantastic actor too – switching between characters effortlessly. Transitioning between Rek dancing around and Zofia in her wheelchair gets less and less as scenes involve more dialogue, but by then it is easy for the audience to keep track. The introduction of fellow care home workers could be trimmed a little. I understand that these scenes highlight the contrast between Rek’s personas but, as much as I loved Cheryl’s dramatic OTT character, they wouldn’t be a loss to create a more streamlined story. But the Kew Gardens clerk and art gallery blazer guy HAVE to stay!

With a longer run and a bigger budget, the staging and lighting could be refined, but I hope it never becomes too slick and retains the sense of chirpy cheekiness that reflects Derek’s character. Nowski and director Finella Waddilove’s confidence in retaining the quieter sequences as the pair listen to classical music or gaze spellbound (or not!) at paintings is well founded as these moments allow the emotional weight of Rek’s realisations and growing self-awareness to settle.

I am excited to see what the future holds for this compassionate and uplifting play.

Theatre Royal, Nottingham – until Saturday 26 September 2026

Reviewed by Amy C

5*****

I went to see Matthew Bourne’s The Car Man at Nottingham Theatre Royal expecting an entertaining evening of dance, but I came away feeling like I’d experienced something much more dramatic and exciting. I have to admit that one of the things I enjoyed most was just how steamy and sensual the production was. It certainly wasn’t your typical ballet! Classic Bourne!

The Car Man takes inspiration from the story of Carmen but transports it to a small American town in the 1960s. The characters are on stage when you enter the auditorium, there is a real sense that something is about to happen. The atmosphere is gritty, passionate and slightly dangerous, and that tension carries through the whole performance.

The dancing had me sat open-mouthed. I’m not someone who would claim to know anything about dance, but I found it incredibly easy to get caught up in the story. The performers ooze sensuality, and there is so much chemistry between the characters that you sometimes forget you’re watching a dance production.

And yes, it is very steamy. There’s plenty of flirtation, desire and sexual tension, and some of the scenes are seriously sultry. There were definitely moments where I thought, “I’m glad I’m not watching this with Mum!”

Luca, played by local lad Harrison Dowzell and Lana (Ashley Shaw) oozed cool and sex appeal. The whole cast is exceptional and there’s so much movement on stage that I struggled to keep up! I swear I was as exhausted as the dancers when the interval came.

The score is instantly recognisable and deadly serious. Bourne says it was the score that attracted him to the story in the first place, 26 years ago. He wanted to use the music to tell a different story – a ‘dance thriller’, full of plot twists and suspense.

There are moments of humour alongside the darker scenes, which gives the production some much-needed lightness and even the whoops and cheers from the characters provide moments of relief.

I also really enjoyed the set and costumes. They help create that 1960s small-town atmosphere. There is always something happening, whether it’s a passionate encounter, a tense confrontation or a group scene full of energy.

What really impressed me was how accessible it felt. You don’t need to be a ballet expert to enjoy The Car Man. The storytelling is clear, the characters are memorable and the emotions come across incredibly strongly.

Overall, I absolutely loved it. It was dramatic, sexy, energetic and at times quite shocking, with fabulous dancing of course. If you enjoy a story filled with passion, jealousy, desire and a bit of danger, I’d recommend giving The Car Man a try.

Five stars from me — especially for the dancing, the drama and all that deliciously steamy chemistry!

NICA BURNS

Presents

The Sheffield Theatres Production of

FULL CAST ANNOUNCED FOR
10TH ANNIVERSARY UK TOUR OF

EVERYBODY’S TALKING ABOUT JAMIE

WITH KELLE BRYAN AND JOANNE CLIFTON AS MISS HEDGE

 AND DIVINA DE CAMPO AS HUGO/LOCO CHANELLE

TOURING FROM JANUARY 2027

Nica Burns, producer of the smash-hit critically acclaimed musical Everybody’s Talking About Jamie is thrilled to announce the full cast for the 10th Anniversary UK Tour commencing in January 2027.

Joining the previously announced Ashcon Rahmani as Jamie and Rebecca Trehearn as his mum Margaret New, Kelle Bryan will play the role of Miss Hedge from Leeds to Southampton and Joanne Clifton will play Miss Hedge in Cheltenham through until Newcastle, with Divina De Campo playing the role of Hugo/Loco Chanelle.

Also joining the 10th Anniversary UK Tour cast will be Natasha Lewis (Ray), Mariam Pope (Pritti), Matthew Cavan (Tray Sophisticay), Daniel Jacob (Sandra Bollock), Jenson Steele (Laika Virgin), William Hazell (Dad), Kyle Dick (Dean), Ethan Casey-Clothier (Levi), Ellie Eames (Vicki), Uzuazo O’David (Cy), Grace Porter (Bex), Callum Saddler (Young Loco/1st Cover Jamie), Fin Scott (Mickey), Zaynab Shahid (Fatimah), Will Stevenson-Jones (Sayid), Zarina Thompson (Becca), Jáiden Lodge (Swing), Ynez Williams (Swing), and Samantha Ivey (Understudy Margaret / Miss Hedge / Ray).

Nica Burns, Producer, said: “We are delighted to announce our wonderful new stars Kelle Bryan, Joanne Clifton and Divina di Campo who join the brilliant Ashcon Rahmani (Jamie) and Rebecca Trehearn (Mum). Everybody’s Talking About Jamie has been a huge success around the world, playing to audiences from all walks of life.A brilliant, uplifting musical for all.”

Kelle Bryan, Miss Hedge (Leeds – Southampton) said: “I’m so delighted to take on this iconic musical role! Everybody’s Talking About Jamie is so relatable, relevant and heartfelt, but also fun and full of sass. I can’t wait to step into Miss Hedge’s fabulous red shoes and bring some ‘Edge to Hedge!’”

Joanne Clifton, Miss Hedge (Cheltenham – Newcastle) said: “I’m really looking forward to bringing Miss Hedge to life for our brilliant audiences! This role is a casting dream, and I can’t wait to join such a talented team of performers and makers for the show’s tenth anniversary! What an honour! Now CALM DOWN YEAR 11 and book your tickets QUICK!”

Divina De Campo, Hugo/Loco Chanelle said: “This show is so very special. Jamie’s amazing story – and the beautiful characters within – have impacted audiences world-over for a decade now. I’m excited to follow in the footsteps of some amazing past performers, and to bring Loco Chanelle into a new and glittering light.”

Following a record-breaking three-year West End residency, two sold-out UK & Ireland Tours and Amazon Studios award-winning film, the smash-hit critically acclaimed musical Everybody’s Talking About Jamie will also feature a brand-new song from Dan Gillespie Sells and Tom MacRae. The tour will open in Leeds 10 years after the original opening at the Sheffield Crucible prior to the West End, national tours and playing across the world including USA, Korea, Japan and Italy. Jamie is coming home to the UK again for possibly the last time.

The 10th Anniversary tour of Everybody’s Talking About Jamie opens at Leeds Grand Theatre on 15 January 2027 before visiting Chester, Shrewsbury, Sunderland, Edinburgh, Wolverhampton, Wycombe, Sheffield, Manchester, Wimbledon, Liverpool, Truro, Eastbourne, Glasgow, Southampton, Cheltenham, Birmingham, Aylesbury, Cardiff, Nottingham, Leicester, Oxford, Woking, Bradford, Canterbury and Newcastle.

Jamie New is sixteen and lives on a council estate in Sheffield.

Jamie doesn’t quite fit in.

Jamie is terrified about the future.

Jamie is going to be a sensation.

Supported by his brilliant loving mum (Rebecca Trehearn) and surrounded by his friends, Jamie (Ashcon Rahmani) overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight.

This ‘Funny, outrageous, touching’ (Daily Telegraph), musical sensation is to be experienced by all the family and not to be missed! With an original score of catchy pop tunes that will ‘blow the roof off the Theatre’ (Mail on Sunday) by lead singer-songwriter of The Feeling, Dan Gillespie Sells and writer Tom MacRae (Doctor Who), this ‘Sparkling coming-of-age musical’ (The Times) will have everybody talking about Jamie for years to come. Sixteen: the edge of possibility.  Time to make your dreams come true.

★★★★★
Time Out, The Stage, WhatsOnStage, The Times, Financial Times, The Independent

Darlington Hippodrome – until 26th September 2026

Reviewed by Alexandra Sykes

4****

Any show that starts with an announcement about phones not being invented yet is sure to be a good one. Set in 1989, Heathers tells of high school drama with love, friendships and murder thrown in for good measure.

Based on the film of the same name, the musical follows Veronica (Gerardine Sacdalan) as she goes from a nobody to a somebody thanks to getting the Heathers (Liberty Stottor, Jessica Ibadin and Lou Henry) out of trouble with teacher Ms Fleming (Veronica Carabai). The Heathers take Veronica under their wing, give her a makeover and invite her to parties, however she has to earn her stay by forging notes in her classmates handwriting to embarrass others. After befriending the mysterious JD (Louis Hearsey), Veronica’s life goes from bad to worse when she accidentally kills Heather Chandler and football players Kurt and Ram (Markus Södergren and Beau Jackson). Realising that JD is part of the problem, not the solution, Veronica ends the relationship and after JD sacrifices himself to save Veronica, she ends the feud between different groups at the school and remains friends with the two remaining Heathers, as well as making up with Martha (Sophie Manners) who she helped the Heathers to bully despite being friends previously.

With catchy songs throughout, the musical caters to its audience well and will have people singing along. The costumes are era appropriate and the Heathers signature colours of red, green and yellow are shown in their outfits, along with Veronica’s signature blue outfit and JDs trench coat. The sets are basic but work, with scenes set in the high school, various characters’ bedrooms and the local convenience store all used to their full potential.

Even if you haven’t seen the film, this musical is well worth a visit for anyone looking for a good night out and will guarantee you have plenty of laughs along the way

Hall for Cornwall, Truro – until 26 September 2026

Reviewed by Kerry Gilbert

5*****

‘A dazzling celebration of dance, spectacle and Michael Flatley’s enduring legacy’

Having watched Michael Flatley’s Riverdance during The Eurovision Song Contest many years ago – a performance that has remained etched in my memory – it was a privilege to experience Lord of the Dance at the wonderful Hall for Cornwall, particularly as the production celebrates its 30th anniversary.

This spectacular Irish production combines traditional music and dance with theatrical storytelling, dazzling costumes and high-energy performances.  The narrative centres on the timeless battle between good, represented by the Lord, and evil, embodied by the Dark Lord.  While the storyline becomes more prominent during the second half, the production remains easy to follow throughout.  Powerful choreography effectively conveys the emotions of each character through movement, complemented by striking visual effects and impressive costume design. 

The opening scene immediately establishes an atmosphere of mystery, beginning in complete darkness before hooded figures emerge, holding brightly glowing orbs against a backdrop of ancient symbols.  It is a visually captivating introduction to the spectacle that follows. 

The entire cast delivers a tremendous performance, with precise movements and seemingly boundless energy throughout.   The Lord, played by Macaulay Selwood, is a particular highlight.  His immaculate dancing technique and commanding stage presence are captivating, making him a compelling focal point whenever he appears.

Tom Doherty, as the Dark Lord, is equally impressive, delivering a powerful performance and creating a striking onstage dynamic with Selwood.  Their chemistry and contrasting performance add considerable impact to the production. 

The Little Spirit, played by Evia Hayter, also gives an exceptional performance, showcasing an impressive range of talent across music, dance and theatrical performance.  Her contribution brings both energy and charm to the production.

Michael Flatley’s influence and presence are felt throughout the show, which opens with a filmed biographical tribute to the legendary dancer and creator.  The first encore features a particularly clever and entertaining video sequence in which three versions of Flatley appears on screen, attempting to out-dance one another.  It is a wonderfully playful moment that adds a touch of humour to the finale.  Lord of the Dance is an incredible, nostalgic and spectacular production.  With its combination of traditional Irish music and dance, theatrical storytelling, exceptional performers and breathtaking visuals, it is easy to understand why audiences have continued to fill theatres around the world for three decades.  A dazzling celebration of dance, spectacle and Michael Flatley’s enduring legacy.

FULL CASTING ANNOUNCED FOR

JIM CARTWRIGHT’S MODERN CLASSIC

THE RISE AND FALL OF LITTLE VOICE

AT THE NATIONAL THEATRE THIS WINTER & THEN TOURING

EARLY 2027

The National Theatre today announces full casting for Jim Cartwright’s modern classic The Rise and Fall of Little Voice.  Directed by Deputy Artistic Director, Robert Hastie, this new production will run in the Dorfman theatre from 2 December 2026 until 23 January 2027 before embarking on a tour across England supported by Arts Council England. 

As previously announced, BAFTA Award-winning actor, Paul Chuckle (The Madam Blanc Mysteries, Channel 5) will play the role of Mr Boo, Olivier Award-winning actress, Jill Halfpenny (The Long Shadow, ITV) will play the role of Mari Hoff and Ian Charleson Award-winner Francesca Mills (Silent Witness, BBC)will play the title role of Little Voice.

They are joined by Beverly Rudd (Trollied, Sky/NOW) who will play the role of Sadie, Daniel Ryan (The Bay, ITV) who will play the role of Ray Say, Adonis Siddique (Withnail and I, Birmingham Rep) who will play the role of Billy and Noel White (Hamlet, National Theatre) who will play the role of Telephone Man and understudy Ray Say/Mr Boo. 

Completing the company are, Alice Croft (ensemble and understudy Little Voice), Kofi Dennis (ensemble and understudy Billy/Telephone Man) and Nicky Swift (ensemble and understudy Mari Hoff/Sadie). 

The Rise and Fall of Little Voice is a joyful, tender and bittersweet celebration of music, ambition and the courage it takes to be heard featuring iconic music from the likes of Judy Garland, Shirley Bassey and more.

Following its run at the National Theatre from 2 December 2026 until 23 January 2027, The Rise and Fall of Little Voice will open at Newcastle Theatre Royal (3-6 February 2027) before touring to Lyceum Theatre, Sheffield (9–13 February 2027), Belgrade Theatre, Coventry (16-20 February 2027), Lowry, Salford (23-27 February 2027), The Marlowe, Canterbury (2-6 March 2027), Wolverhampton Grand Theatre (9-13 March 2027) and Plymouth Theatre Royal (16-20 March 2027).  

The hardest voice to find is your own.

Alone in the sanctuary of her small bedroom, Little Voice fills the air with pitch‑perfect renditions of her deceased dad’s prized record collection of the great divas, from Judy Garland to Billie Holiday.

But when her mother Mari’s latest fling, local wheeler dealer Ray, hears her sing he’s certain he’s struck gold. Will Little Voice be pushed into a spotlight she never asked for?

Joining director Robert Hastie in the creative team is set and costume designer, Janet Bird; lighting designer, Paul Pyant; sound designer, Mike Walker; composer and music director, David Shrubsole; movement director, Ira Mandela Siobhan;fight and intimacy director, Bethan Clark; casting by Alastair Coomer CDG and Harry McDonald;dialect coach, Hazel Holder and voice coach Zoe Littleton.