Twelve Angry Men by Reginald Rose began life in 1954 as a television play following Rose’s own experience as a juror in a New York County courtroom. The play triggered the interest of film star Henry Fonda and it was turned into a United Artists film but it didn’t fair well at the box office. Rose realised it would fair better as a stage play and it is this that is being revived at the Theatre Royal Windsor this week ahead of a national tour.
The story begins after closing arguments have been presented in the capital murder case against a troubled teenager, who stands accused of killing his father with premeditation. The judge, heard but unseen, announces the instructions to an all-male jury. As in most American criminal cases, the twelve men must unanimously decide on a verdict of “guilty” or “not guilty”. (In the justice systems of nearly all American states, as in the case of New York State where the case is implied to be tried, failure to reach a unanimous verdict, a so-called “hung jury”, results in a mistrial.) The jury is further instructed that a guilty verdict will be accompanied by a mandatory death sentence; the jury is then locked into a room until a verdict is reached. Adding to the tension, the weather is exceptionally hot and the lone fan in the room is broken.
As the jurors begin, they take a preliminary vote to assess the room. All the jurors vote guilty except one, Juror 8, who is leaning toward guilty but, acting on a hunch and a desire not to rush to judgement, votes not guilty. He asks the question, “Has the prosecution proved beyond reasonable doubt that the young man committed the murder?”
Over the course of the next two hours we follow each juror, we never find out their names but only know them by their jury number, as they weigh up the evidence that was put before them and question how secure it actually was. This play is as much as whodunnit as it is about a jury trying to reach a unanimous decision.
Gray O’Brien as Juror 8 gives a finely controlled performance – the man who wants to ensure that each of his fellow jurors is absolutely sure in their hearts that the case against the accused has been proven beyond any form of reasonable doubt. This is not an easily part to play as he quietly stands up to some quite vocal and physically violent threats from the men locked in the jury room with him. O’Brien manages to pull this off with aplomb.
Tristen Gemmill is a revelation playing against type as a belligerent, working-class man who arrives in the deliberation room with his own pre-held prejudices and Bill Ward is menacing as Juror 3 who is determined to find the accused guilty but is his determination more to do with something that has happened in his own life previously than anything he has heard in the courtroom?
Ben Nealon as Juror 12 gives a nicely nuanced performance as a man who is easily persuaded by different arguments as they are presented before him and Ricky Norwood as Juror 7 shows just how much his acting ability has matured since his days on tv’s EastEnders.
They are all ably supported by an ensemble cast most of whom get their moment in the spotlight to shine as they discuss the case before them and how they have arrived at the verdict they personally have.
The confined set in which the entire play takes place is oppressive and run down and suits the action well and, on a side note and not wishing to spoil anything, just keep your eyes on the table that the twelve good men and true sit round.
This is a very well written play that is as relevant today as it was when it was first written. It asks the question of how reliable is the jury system in our courts and if we are too quick to judge others based purely on the testimony of others that may, or may not, be totally accurate. Do some witnesses have other motives for wanting their moment in court, is the evidence they give the truth, the whole truth and nothing but the truth? You will find yourself leaving the theatre with your head buzzing with questions just like these and many more.
This is a good, solid piece of theatre which you will enjoy whether you like courtrooms dramas, whodunnits or a good old play which captures your imagination from the very beginning and keeps you in its grasp until the closing moments.
(London, Friday 4 September 2026) – Following its critically acclaimed World Premiere at the Royal Shakespeare Theatre, the spectacular Royal Shakespeare Company production of George R. R. Martin’s Game of Thrones: The Mad King – the new play based on novels by George R. R. Martin, adapted by Duncan Macmillan and directed by Dominic Cooke – will open in London in 2027.
Venue and Dates will be announced in due course. To be the first to hear information, sign-up at www.gameofthronesonstage.com
George R. R. Martin’s GAME of Thrones: The Mad Kingreceived its World Premiere at the Royal Shakespeare Theatre in Stratford-upon-Avon on Saturday 8 August. The final performance is tomorrow, Saturday 5 September, following a completely sold-out season.
Creator and Executive Producer George R. R. Martin said:
“I had an absolutely splendid time in Stratford upon Avon for the premier and am thrilled the production will be moving to London to share the experience with a wider audience. It promises to be an exhilarating journey.”
George R. R. Martin’s Game of Thrones: The Mad King is a sweeping new stage epic from the world of George R. R. Martin. Spanning the final years before the events of the novels, this powerful drama reveals a legendary chapter of Westerosi history.
‘Wars aren’t won by those with most cause, but whose story’s best told.’
The Royal Shakespeare Company production creative team are as follows: Adaptor Duncan Macmillan; Director Dominic Cooke; Puppetry and Movement Nick Barnes and Finn Caldwell (Lume); Set Designer Chloe Lamford; Costume Designer Georgia McGuinness; Lighting Designer Jon Clark; Composer Will Stuart; Sound Designer Tom Gibbons; Casting Director Amy Ball CDG; Fight Director Bethan Clark; Intimacy Director Ingrid Mackinnon; Voice & Text Jeannette Nelson; Dialect Hazel Holder; Associate Director Emily Raymond; Associate Puppetry and Movement Scarlet Wilderink; Period Dance Consultant Francesca Roche; Creative Consultant Ti Mikkel; Director’s Consultant Lenore Gallegos; Associate Puppetry Designer Oli Simonon; Associate Set Designer Machiko Weston; Associate Costume Designer Alex Berry; Associate Lighting Designer Lucía Sánchez Roldan; Associate Sound Designer Alex Twiselton and Assistant Director Bellaray Bertrand-Webb.
The cast for the London production is yet to be announced.
The Royal Shakespeare Company’s production of George R. R. Martin’s Game of Thrones: The Mad King is produced by Simon Painter, Tim Lawson, Mark Manuel, Sir Leonard Blavatnik and Danny Cohen for Access Entertainment, and Warner Bros. Theatre Ventures obo HBO.
Varna International Ballet announces 2027 tour and new production Snow White
Varna International Ballet and Orchestra returns to the UK in 2027, presenting Swan Lake,The Nutcracker and a new production of Snow White, from Saturday 2 January to Wednesday 3 March 2027.
Renowned for its award-winning soloists and magnificent corps de ballet, Varna International Ballet has been delighting audiences at home in Bulgaria and abroad since 1947, with performances of the highest quality. The company presents much-loved classics to charm those new to ballet and balletomanes alike, accompanied by Varna International Ballet Orchestra led by Music Director and Chief Conductor Filippo Dessi.
The 2027 tour begins in Manchester on Saturday 2 January, and visits Buxton, Blackpool, Edinburgh, Aylesbury, Brighton, Hull, Nottingham, Southend, Darlington, Wolverhampton, Norwich, Bournemouth, Torquay, Cardiff, Northampton, Wimbledon, Warwick, Glasgow and Leicester. Full details are below.
New for 2027, Snow White is a dazzling family ballet based on the famous fairytale by Brother Grimm; a story of hope, courage, and happily ever after. When the Evil Queen’s magic mirror names Snow White the fairest of all, envy turns deadly. Forced to flee, Snow White finds refuge with the lovable Seven Dwarfs and the creatures of an enchanted forest. But danger follows, and a poisoned apple casts her into a deep sleep. Only true love can break the spell. Snow White features stunning choreography by Sergei Bobrov and Natalia Bobrova, vibrant characters, and the music of Tchaikovsky, Rachmaninovand Pugni.
One of the greatest romantic ballets of all time, beloved classicSwan Lakeis brought to life by Tchaikovsky’s haunting and unforgettable score, with choreography by Marius Petipa, Lev Ivanov, Sergei Bobrov and Natalia Matus-Marchuk. From the impressive splendour of the Palace ballroom to the moon-lit lake where swans glide in perfect formation, this compelling tale of tragic romance has it all.
The Nutcracker begins as night falls on Christmas Eve. When midnight strikes, we are swept away to a fairy-tale world where nothing is quite as it seems: toy dolls spring to life, the Mouse King and his army battle with the Nutcracker Prince and we travel through the Land of Snow to an enchanted place where the magic really begins. The spellbinding ballet features Tchaikovsky’s timeless score, and stunning choreography by Vasily Vainonen, revised by Sergei Bobrov.
“We are thrilled to be bringing our highly talented company of dancers and musicians back to the UK. We can’t wait to perform for British audiences again and to bring these magical ballets to life on stage.” Daniela Dimova, Director of the Theatre and Music Production Centre, Varna.
Full tour details:
MANCHESTER Bridgewater Hall bridgewater-hall.co.uk 2 Jan Snow White 2pm 2 Jan Nutcracker 5.30pm 3 Jan Snow White 2pm 3 Jan Swan Lake 5.30pm
BUXTON Opera House buxtonoperahouse.org.uk 4 Jan Nutcracker 7pm 5 Jan Swan Lake 7pm 6 Jan Snow White 2pm 6 Jan Swan Lake 7pm
BLACKPOOL Opera House blackpoolgrand.co.uk 7 Jan Nutcracker 7.30pm 8 Jan Swan Lake 7.30pm 9 Jan Show White 2.30pm 9 Jan Swan Lake 7.30pm
EDINBURGH Playhouse atgtickets.com/edinburgh 14 Jan Nutcracker 7.30pm 15 Jan Swan Lake 7.30pm 16 Jan Snow White 2.30pm 16 Jan Swan Lake 7.30pm
AYLESBURY Waterside Theatre atgtickets.com/aylesbury 18 Jan Nutcracker 7.30pm 19 Jan Swan Lake 7.30pm 20 Jan Snow White 2.30pm 20 Jan Swan Lake 7.30pm
BRIGHTON Theatre Royal atgtickets.com/brighton 21 Jan Nutcracker 7.30pm 22 Jan Swan Lake 7.30pm 23 Jan Snow White 2.30pm 23 Jan Swan Lake 7.30pm
HULL New Theatre hulltheatres.co.uk 25 Jan Swan Lake 7.30pm 26 Jan Snow White 7.30pm
NOTTINGHAM Royal Concert Hall trch.co.uk 28 Jan Swan Lake 7.30pm 29 Jan Swan Lake 7.30pm 30 Jan Nutcracker 1pm & 5.30pm
SOUTHEND Cliffs Pavilion thecliffspavilion.co.uk 31 Jan Nutcracker 2pm & 5.30pm 22 Feb Swan Lake 7.30pm
DARLINGTON Hippodrome darlingtonhippodrome.co.uk 1 Feb Nutcracker 7.30pm 2 Feb Swan Lake 7.30pm 3 Feb Snow White 2pm 3 Feb Swan Lake 7.30pm
WOLVERHAMPTON Grand Theatre grandtheatre.co.uk 4 Feb Nutcracker 7.30pm 5 Feb Swan Lake 7.30pm 6 Feb Snow White 2.30pm 6 Feb Swan Lake 7.30pm
NORWICH Theatre Royal norwichtheatre.org 8 Feb Nutcracker 7.30pm 9 Feb Swan Lake 2.30pm & 7.30pm 10 Feb Snow White 7.30pm
BOURNEMOUTH Pavilion bournemouthpavilion.co.uk 11 Feb Snow White 3.30pm
TORQUAY Princess Theatre atgtickets.com/torquay 13 Feb Nutcracker 7.30pm 14 Feb Snow White 2pm 14 Feb Swan Lake 5.30pm
CARDIFF New Theatre trafalgartickets.com/cardiff 15 Feb Swan Lake 7.30pm
NORTHAMPTON Derngate royalandderngate.co.uk 16 Feb Swan Lake 7.30pm 17 Feb Snow White 2.30pm 17 Feb Swan Lake 7.30pm
WIMBLEDON New Theatre atgtickets.com/wimbledon 19 Feb Swan Lake 7.30pm 20 Feb Nutcracker 2.30pm 20 Feb Swan Lake 7.30pm 21 Feb Snow White 2.30pm 21 Feb Swan Lake 7.30pm
WARWICK Butterworth Hall warwickartscentre.co.uk 23 Feb Swan Lake 7.30pm 24 Feb Swan Lake 7.30pm
GLASGOW SEC – Armadillo sec.co.uk 26 Feb Swan Lake 7.30pm 27 Feb Nutcracker 2.30pm 27 Feb Swan Lake 7.30pm 28 Feb Snow White 2pm & 5.30pm
LEICESTER De Montfort Hall demontforthall.co.uk 2 Mar Snow White 7.30pm 3 Mar Swan Lake 7.30pm
Tickets available from individual theatres and rg.live
New Wimbledon Theatre- Thursday 3rd September 2026
Reviewed by Brooke
5*****
If you’ve ever tuned into Ambridge and felt like you know the residents better than your own neighbours, then this show was made for you. Thursday night at Wimbledon Theatre felt less like a stage performance and more like a warm, joyful family reunion – and the family, in this case, is the millions of loyal listeners who have kept The Archers thriving for 75 years.
The format was simple and all the better for it: four cast members (Timothy Bentinck, Charlotte Martin, Ben Norris and Annabelle Dowler) took to the stage, not in character, but as themselves, sharing the stories, mishaps, and quiet magic of bringing a radio institution to life. There’s something genuinely special about hearing the voices you’ve known for years speak in their own accents, laughing at their own memories. The anecdotes flew fast – from early recording bloopers to the strange experience of voicing a dramatic storyline while standing in a quiet studio with a script and a microphone. It was funny, heartfelt, and refreshingly unpolished in the best way.
A particular highlight was the appearance of the show’s sound engineer, who demonstrated exactly how she builds the world of Ambridge from scratch. Watching her create the crunch of a farmyard gate, the clatter of a pint glass in The Bull, or the unmistakable squelch of a wellies-in-the-mud moment was utterly fascinating. It gave a whole new appreciation for the craft behind every episode – and a reminder that radio, at its best, is the most cinematic medium of all, because the pictures really are better in your head.
The evening also featured a pub quiz with proper audience participation, and it was clear the host (Angela Barnes) was one of us – a true fan who knew the difference between a Jaxx and a Grundy, and who revelled in testing the room’s knowledge. The energy was buoyant, the laughter genuine, and the sense of community palpable.
If there was a single thread running through the whole evening, it was gratitude. Gratitude from the cast for the listeners who have kept the show alive for three-quarters of a century. Gratitude from the audience for the stories that have accompanied them through good times and bad. And gratitude, from many, for an evening that understood exactly what its audience wanted and delivered it with warmth, humour, and genuine love.
This wasn’t a glossy, overproduced stage show. It was a lovely, unpretentious evening celebrating a programme that has quietly become part of the fabric of British life. For anyone who has ever smiled at the opening bars of “Barwick Green”, this was unmissable.
Friargate Theatre, York – Until Saturday 5th September 2026
Reviewed by Aimee Forsyth
5*****
Charlie Kirkpatrick
What a wonderful way to spend the afternoon! Jon Boustead’s (Writer) take on Oscar Wilde’s tale of ‘The Selfish Giant’ brings a two-hundred-year-old story to life for a modern-day audience, proving that good story telling is timeless!
Everything about this production is simple but effective. The set evolves subtly before your eyes and costume changes happen right in front of you. With the clever use of music and sound imagined by Patrick Burbridge (Musician/Composer) and Anna Gooch’s (Designer) beautiful recreation of the giant’s garden, the audience is transported to a world of whimsical wonder and childlike curiosity. Somehow your belief in reality is suspended and you find yourself right at the heart of the story itself. This production really brings alive all of the senses. With bright colours, cheerful music and plenty of opportunity for audience participation, it would be hard not to be swept up in the joy of it all.
Although a children’s story, there are laughs for the adults too. There are lots of cheesy jokes and a special mention has to go to the cast: Jared More and Matthew Rutherford for their brilliant switching of accents to make their adoption of different roles all the more believable. I’ve got to admit that the Scouse daffodils had to be my personal favourite.
Something so special about this performance is the level of communication between the actors and the audience. As previously mentioned, there are numerous occasions where children are invited onto the stage to help move the story along and so right from the outset the audience is given confidence to join in and shout out. On this note, More and Rutherford show excellent ability to improvise which lends itself to the unpredictability of children and brings another level of comedy to the show.
If you’re not sure whether to book your tickets, I urge you to bite the bullet and go for it! I got so much more out of this experience than I could have imagined and I guarantee that your little ones will not be the only ones leaving the theatre with a big smile on their face. In a time when our daily lives are so full of fast paced, over stimulating screen time, Riding Lights Theatre Company’s perfect example of the age-old act of immersive storytelling and real and raw talent is the perfect antidote.
London, UK – (Thursday, 3 September 2026) Crossroads Live and Warner Bros. Theatre Ventures. today announce that the London production of Beetlejuice The Musical will bring forward its scheduled end date, with a final performance set for Saturday, 2 January 2027.
Beetlejuice The Musical is currently playing at the Prince Edward Theatre. Tickets are available at www.beetlejuicemusical.co.uk.
Following three smash hit Broadway hauntings, Beetlejuice crossed the pond this year, making its West End debut at London’s Prince Edward Theatre, a Delfont Mackintosh Theatre, where it opened on Thursday 28 May 2026.
The performing company includes David Fynn (School of Rock (Gillian Lynne Theatre), BBC’s Am I Being Unreasonable, Daddy Issues) as the West End’s new best fiend, Beetlejuice, with Tom Xander (Olivier Award-nominee Mean Girls (Savoy Theatre), The Book of Mormon (Prince of Wales Theatre), as alternate ‘guide to the other side.’
They are currently giving a hell of a time to everyone’s favourite dark darling of the dearly departed, Hannah Nordberg as Lydia Deetz. Hannah’s television credits include Emma in Euphoria (HBO), Betty Parris in The Devil You Know (HBO), Olivia Parr in Longmire (Netflix). Daisy Harrison performs as alternate Lydia.
David Hunter (Time Traveller’s Wife, Apollo Theatre; Waitress, Adelphi Theatre and UK Tour; Kinky Boots, Adelphi Theatre) and Chelsea Halfpenny, best-known for her on-screen roles in Emmerdale and Casualty and stage credits include 9 to 5: The Musical and Waitress, star as newly-dead homemakers and amateur after-lifers, Adam and Barbara Maitland.
Summer Strallen (West End roles include Top Hat, Love Never Dies, Young Frankenstein, The Sound of Music, The Drowsy Chaperone and CATS) stars as the endlessly optimistic, crystal-obsessed life coach, Delia Deetz until 2 November, after whichoriginal SIX: The Musical West End cast member Aimie Atkinson performs in the role until 2 January. Lydia’s bereaved father, Charles Deetz, is played by Alasdair Harvey (The Little Big Things, Soho Place; Come From Away, Phoenix Theatre).
Chasity Crisp is Maxine Dean / Juno, and is currently making her West End debut in the production. Previous stage roles include Hamilton (UK & Ireland Tour) for Cameron Mackintosh Limited and performances in shows throughout Germany and Austria, including Disney’s Hercules, The Bodyguard, Ghost: The Musical and Tina: The Musical. Otho is played by Richard Frame, whose credits include Frozen the Musical, Theatre Royal Drury Lane; The Lion King, Lyceum Theatre).
Irvine Iqbal is Maxine’s investor husband, Maxie Dean. Theatre credits include the West End production of Disney’s Aladdin – The Musical (Prince Edward Theatre), Bend It Like Beckham (Phoenix Theatre), and East Is East (National Theatre). Rachel Macdougall (The King and I, Dominion Theatre and UK Tour) is Girl Scout, and Vanessa Aurora Sierra is Miss Argentina, having previously appeared in the role on Broadway.
The company is completed byJemma Alexander, Samuel Bangs, Natasha Cayabyab, Chris Draper, Harley Emmitt, Catherine McCormick, Kieran Mellish, Elliott Parry, Jacob Smith, Adam Taylor, Tyler Timmins, Tommy Wade Smith and Issie Wilman.
IT’S SHOWTIME! Have the time of your afterlife with the ‘supernaturally fun, fun, fun’ (Radio Times) musical sensation BEETLEJUICE. Hailed as ‘hilarious’ (Independent) and an ‘absolute scream’ (The Standard), don’t miss the ‘drop-dead gorgeous’ (Guardian) Broadway spectacular at London’s Prince Edward Theatre – for a limited season only.
Olivier nominee David Fynn (School of Rock) unleashes mayhem in a ‘sensational…unparalleled performance’ (Daily Express) as the iconic Beetlejuice in this ‘mercilessly entertaining celebration’ (Daily Mail) of Tim Burton’s beloved movie. Starring alongside him in an acclaimed cast is Hannah Nordberg (HBO’s Euphoria), giving a ‘dazzling West End debut’ (The Standard) as Lydia.
Meet Lydia Deetz, a strange and unusual teenager sharing her home with a pair of newly-deads and the demonic ghost with the most, Beetlejuice. He’s dead trouble, but if you really want to feel alive, just say his name three times…
Hailed as a ‘hallucinogenic spectacle’ (The Telegraph) bursting with ‘sets to die for’ (Daily Express) and ‘songs that are a blast’ (Sunday Express), BEETLEJUICE is the outrageous, life-affirming hit with a big (cold) heart. See it and you’ll want to make the most of every Day-O!
But act dead quick – BEETLEJUICE only appears in the West End for a limited run only.
The London production brings together Beetlejuice The Musical’s celebrated Broadway team: Book by Tony Award nominee Scott Brown (Castle Rock) & Tony and Emmy Award-nominee Anthony King (Broad City), an original score (Music and Lyrics) by Tony Award-nominee Eddie Perfect (King Kong), Tony Award-winning Director, Alex Timbers (Moulin Rouge! The Musical), Choreography by Connor Gallagher (The Robber Bridegroom), Music Supervision, Orchestrations, and Incidental Music by Kris Kukul (Joan of Arc: Into the Fire) with Additional Arrangements by Kris Kukul and Eddie Perfect.
Beetlejuice The Musical features Scenic Design by five-time Tony Award nominee David Korins (Hamilton), Costume Design by six time Tony Award winner William Ivey Long (The Producers), Lighting Design by Tony Award winner Kenneth Posner (Kinky Boots), Sound Design by Tony Award winner Peter Hylenski (Moulin Rouge!), Projection Design by five-time Tony Award-nominee Peter Nigrini(Dear Evan Hansen), Puppet Design by two-time Drama Desk Award winner Michael Curry (The Lion King), Special Effects Design by Jeremy Chernick (Harry Potter and the Cursed Child), Illusions by Michael Weber (Forrest Gump), Hair & Wig Design by three-time Drama Desk Award winner Charles G. LaPointe, Make-Up Design by Joe Dulude II, Dance Arrangements by David Dabbon, Tony Award-winning Music Producer, Matt Stine, Casting by Harry Blumenau CDG CSA, UK General Management, Crossroads Live UK and US General Management by Bespoke Theatricals.
Beetlejuice The Musical is based on the 1988 Academy Award-winning cult Geffen Company motion picture presented by Warner Bros., Beetlejuice, with Story by Michael McDowell and Larry Wilson. The hit comedy was directed by Tim Burton and starred Michael Keaton, Alec Baldwin, Geena Davis, Jeffrey Jones, Catherine O’Hara, and Winona Ryder.
Beetlejuice The Musical opened on Broadway at the Winter Garden Theatre in 2019 and again at the Marquis Theatre in 2022 – following the COVID-19 shutdown – returning to Broadway’s Palace Theatre in 2025 for a third engagement playing 808 combined performances on Broadway. The first national US tour played an 88-city tour, and Beetlejuice: The Musical has played internationally in Tokyo, Seoul, Melbourne, and Abu Dhabi.
Beetlejuice The Musicalis produced in the UK by Crossroads Live and Warner Bros. Theatre Ventures.
Thursday 3 September 2026 – The West End production of MISCHIEF’S Olivier and Tony award-winning comedy – The Play That Goes Wrong at London’s Duchess Theatre is supporting Guide Dogs UK, inviting seven puppies in training and their volunteer puppy raisers to meet the cast on stage and watch extracts from their award-winning show.
The puppies, who came on a special visit to London’s Duchess Theatre yesterday (2.9.26.) as part of their training to become guide dogs, range between 10 months old, and 1 year and 5 months old. They are Brett, a black Golden Retriever x Labrador with Catherine, Eddie, a yellow Labrador x Golden Retriever with Josh and Joe, Unice, a Golden Retriever with Carol and Steve, Val a black Golden Retriever x Labrador with Carol and Mark, Kenedie, a yellow Labrador with Bridget, Seth, a yellow Labrador with Peter and Zadie, a yellow Labrador x Golden Retriever with Jeanette.
Clare Dilkes, Puppy Development Advisor at Guide Dogs UK , said:‘Introducing our puppies to lots of different sights, sounds and smells early on is incredibly important. The aim of this visit is to familiarise the pups with surroundings they might find themselves in with future guide dog owners – including theatres! – and help them navigate any new situations calmly and confidently. Trips like this give them a chance to practice in a safe environment with the support of volunteer puppy raisers, so we’re grateful to The Play That Goes Wrong for inviting us.
“Our puppy raisers play a vital role in the journeys of future guide dogs, like Brett, Eddie, Unice, Val, Kenedie, Seth and Zodie. Without the loving homes and foundation these volunteers provide, we simply wouldn’t be able to train the hundreds of life-changing guide dogs we do each year to support people with sight loss. But we need more puppy raisers across the UK to help. I’d urge anyone with space in their heart and home for a guide dog puppy to visit Guide Dogs’ website to check what opportunities are available in their area and sign up.”
The Play That Goes Wrong will also be raising money for Guide Dogs from Tuesday 8 – Sunday 13 September with collections at the theatre.
The cast of The Play That Goes Wrong, which famously includes a search for Winston the dog, are: 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. The understudies are: Paige Round, Harry Al-Adwani, Tom Quinn, Will Bishop and Phoenix Edwards.
Whilst not a formal audition for the role of Winston the Guard Dog in the play, the Cornley cast reportedly kept their eyes peeled for ‘good boys and clever girls
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.
Music Theatre International announces the release of MAMMA MIA! to schools and university groups in the UK and Ireland
London, 3 September 2026 — Effective immediately, Music Theatre International will release the performance rights for MAMMA MIA! to schools and university groups throughout the UK and Ireland, marking the first such opportunity since the musical’s record-breaking West End premiere over 27 years ago.
This landmark release marks a major milestone for one of the world’s most successful musicals, opening the door for thousands of young performers to bring Catherine Johnson’s original and irresistible story of love, family and friendship to their own stages.
The sunny, funny tale of a mother, a daughter and three possible dads on a Greek island idyll, all unfolding to the magic of ABBA’s timeless pop masterpieces, has been seen by over 70 million people worldwide in over 50 productions in 16 different languages, and turned into two record-breaking movies – MAMMA MIA! The Movie and MAMMA MIA! Here We Go Again. Both films starred Meryl Streep, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Amanda Seyfried and Dominic Cooper, with Lily James, Andy Garcia and Cher joining them in the second film.
Now, for the very first time, schools and university groups in the UK and Ireland will have the opportunity to produce this celebrated musical themselves, giving students the chance to perform one of the most recognisable and uplifting shows ever written.
Since opening in London’s West End in 1999, MAMMA MIA! has become a cultural institution, inspiring generations of theatre-makers and audiences alike. The release of school performance rights reflects the show’s enduring popularity and its ability to bring communities together through music, storytelling and live performance.
Judy Craymer, Creator and Producer of MAMMA MIA!, said“I’m thrilled that MAMMA MIA! is now available to be staged by schools and universities across the UK and Ireland. Theatre brings young people together, builds confidence and unlocks creativity, with every production offering opportunity to discover talent both on stage and behind the scenes. I hope this inspires more young people to dream big, embrace the joy of live performance and see a future for themselves in the creative industries. I can’t wait to see the imagination, energy, and passion they bring to MAMMA MIA!”
“For many years we’ve received almost daily requests from schools hoping to stage MAMMA MIA!” said Ryan Macaulay, MTI London’s Director of Operations, Education and Development. “We’re thrilled that the time has finally come to make that possible. The school musical plays such an important role in inspiring the next generation of performers, musicians and theatre lovers, and we can’t wait to see how students across the UK and Ireland make this extraordinary show their own.”
Music Theatre International (MTI) was founded in 1952 by legendary Broadway songwriter Frank Loesser and orchestrator Don Walker. MTI’s London office, overseeing a European market from Iceland to Israel, typically licenses over 7,500 productions a year, from schools and amateur societies to professionals, reaching audiences of more than 8.5 million annually. Across its catalogue of more than 600 titles, MTI represents an array of musicals including Broadway classics (Guys and Dolls, West Side Story, My Fair Lady); contemporary hits (Titanique, Mean Girls, The Great Gatsby); the ground-breaking works of Stephen Sondheim (Into the Woods, Sweeney Todd); global titles (Mamma Mia!, Matilda the Musical); Cameron Mackintosh-produced hits (Les Misérables, Miss Saigon); Disney (Beauty and the Beast, Frozen); and the Mackintosh and Disney-produced Mary Poppins.
MTI is especially dedicated to the education sector and has created the Broadway Junior series; 30 and 60-minute musicals designed for performance by primary and middle school-aged performers, while MTI’s School Editions are musicals tailored to the needs of secondary school pupils. MTI’s London office produces an annual Junior Theatre Festival for more than 2500 young people each year at the ICC in Birmingham.
MTI’s Plays division, incorporating the longstanding Josef Weinberger collection, includes UK and/or European representation of such works as Ingmar Bergman’s Scenes from a Marriage, Arthur Miller’s Death of Salesman and The Crucible, John Steinbeck’s Of Mice and Men, comedy classics Arsenic and Old Lace and Harvey, with new acquisitions including the West End and global phenomenon 2:22 A Ghost Story, Fawlty Towers and Academy Award-winning The King’s Speech.
The Menier Chocolate Factory today announces the London premiere of the critically acclaimed production of Fourteen Again which ran at The Victoria Wood Theatre in Bowness-on-Windermere this spring. Reuniting Ria Jones and Sally Ann Triplett, reprising their roles of Lou and Peggy, Jonathan O’Boyle’s production opens at the Menier on Wednesday 2 December, with previews from Saturday 21 November, and runs until Saturday 27 February 2027. Both actors have worked alongside Victoria Wood – Triplett created the role of Miss Berta in the original West End production of the musical Acorn Antiques: The Musical!; and Jones played Mrs Overall in the first national tour of Acorn Antiques which Wood directed. Full casting will be announced shortly.
The Victoria Wood Theatre, previously The Old Laundry Theatre, was renamed this year – the 10th anniversary of Wood’s death, by her close friends and collaborators, the husband-and-wife team, producer Charlotte Scott and designer Roger Glossop. To celebrate Wood’s life and work they commissioned Tom MacRae (Everybody’s Talking About Jamie) to work with her songbook to create a brand-new musical, the inaugural production in the newly renamed venue.
Wood originally opened the venue, was a Trustee, and performed there many times. She also directed her own show Talent – which was co-produced with the Menier; and in 2013, her television film Housewife 49 was adapted for the stage especially for the venue.
Fourteen Again begins at the local Slimming Club, where Peggy is reunited with Lou, her best friend from school who she hasn’t seen since they were teenagers. As kids, no two friends were ever funnier or more fun, but here, now, today they are shadows of their younger selves – and a story unfolds of looking back to the future, full of comedy, love and pain, with Victoria Wood’s amazing songs moving the musical fast forward.
Priority booking for supporters of the Menier Chocolate Factory opens on 3 September, with public booking opening on 9 September.
Music and Lyrics by Victoria Wood Book and Additional Lyrics by Tom MacRae
Cast includes: Ria Jones, Sally Ann Triplett
Director: Jonathan O’Boyle; Musical Supervisor, Arranger & Co-Orchestrator: Nigel Lilley;
Choreographer: Sammy Murray; Set Designer: Roger Glossop; Costume Designer: Caroline Hughes; Lighting Designer: Jason Taylor; Sound Designer: Sam Glossop; Musical Director & Co-Orchestrator: Archie McMorran; Associate Designer: Caroline Dalton
21 November 2026 – 27 February 2027
Ria Jones returns to the Menier to play Lou – she previously appeared at the Menier in Habeas Corpus. Her other theatre credits include Sunset Boulevard (London Coliseum/Leicester Curve/ European tour), Gypsy (Royal Exchange Theatre), Guys and Dolls (Marigny Theatre, Paris), 42nd Street (Curve/Théâtre du Châtelet, Paris), Les Misérables (Palace Theatre/UK tour), Chess (Prince Edward Theatre), Cats (New London Theatre), Evita (Opera House, Manchester), Nine (Donmar), High Society (Shaftesbury Theatre/UK tour), Joseph and the Amazing Technicolor Dreamcoat (UK tour/Hammersmith Apollo), Anything Goes, The Witches of Eastwick, Acorn Antiques (UK tours), Into The Woods (Esplanade Theatre, Singapore), Romance Romance; Victor Victoria (Bridewell Theatre), Personals (New End Theatre), A Twist of Fate (Jubilee Theatre, Singapore), Honk! (Victoria Theatre, Singapore), Jerry’s Girls (St James’s Theatre/ Jermyn Street Theatre), Closer Than Ever (Landor Theatre) and A Little Night Music (Haymarket Theatre, Leicester). Her television credits include Eric and Ernie, Torchwood, The Angina Monologues and Life and Debt.
Sally Ann Triplett returns to the Menier to play Peggy – she previously appeared at the Menier in Take Flight. Her other theatre credits include Top Hat (Chichester Festival Theatre/Royal Festival Hall), Cabaret (KitKat Club), The Witches (National Theatre), Oklahoma! (Wyndham’s Theatre), Cabaret (Lido 2, Paris), Billy Elliot (Leicester Curve), Taboo (London Palladium), Gypsy (Alexandra Palace), Piaf (Nottingham Playhouse/Leeds Playhouse), Anything Goes (National Theatre/Theatre Royal Drury Lane; WhatsOnStage Award), Guys and Dolls (Piccadilly Theatre), Chicago (Adelphi Theatre), Acorn Antiques (Theatre Royal Haymarket), Mamma Mia! (Prince of Wales Theatre), Cats (New London Theatre), Grease (Dominion Theatre), Jolson (Victoria Palace Theatre/Toronto), Follies (Shaftesbury Theatre), Chess (Prince Edward Theatre), A Damsel in Distress (Chichester Festival Theatre), My Judy Garland Life (Nottingham Playhouse; UK Theatre Award nomination), Next toNormal (Drama Centre, Singapore), Carrie (RSC/Broadway), Much Ado About Nothing (Liverpool Playhouse), Absent Friends (Watford Palace), Becoming Nancy (Alliance, Atlanta), The Last Ship (Broadway/ Chicago), Finding Neverland (Broadway), Sweeney Todd (Barrow Street, Off-Broadway), Cradle Will Rock (Classic Stage Company, Off-Broadway), and Must (Theatre at St. Clement’s, Off-Broadway). Her television credits include Whitstable Pearl, and Down to Earth.
Victoria Wood won more Television BAFTAs than anyone in BAFTA history. She won awards for her stand-up, her drama and her light entertainment programmes. As a stand-up she toured for more than twenty years, and held the record at the Royal Albert Hall for fifteen consecutive sold out shows. In 2005 she wrote Acorn Antiques: The Musical! which had a sell-out run at the Theatre Royal Haymarket starring Julie Walters and Celia Imrie. The subsequent tour in 2006 was directed by Wood. In the same year she wrote the television drama Housewife 49 based on the Mass Observation Diary of Nella Last, which won two BAFTAs and an International Emmy nomination for Wood as Best Actress. Her three-part documentary Victoria’s Empire was shown the following year. In 2011 she wrote and directed the musical That Day We Sang for the Manchester International festival, which was about the famous 1929 recording of Nymphs and Shepherds by the Manchester Children’s Choir. She played the part of Eric Morcambe’s mother in Eric and Ernie, a BBC2 film about the early days of the double act, written by Peter Bowker from an idea by Wood. She also wrote and directed a short film, The Giddy Kipper, for the Little Crackers season on Sky One. Also in 2011, she was honoured with the Women in Film and Television Lifetime Achievement Award, won the Outstanding Contribution to Comedy at the Chortle Awards, was the first woman to receive the top prize from the Writers’ Guild Awards. Also that year at the Comedy Awards, she received the Best Female Television Comic Award for her performance in The Angina Monologues. Her other acting credits include The Borrowers and Case History. In 2012 her drama Loving Miss Hatto was broadcast on BBC1 over Christmas, and she also filmed a two-part documentary about the British love of tea for the channel. In 2014, she adapted and directed That Day We Sang starring Michael Ball and Imelda Staunton for the BBC. She was awarded a CBE in 2008.
Tom MacRae’s theatre credits include Everybody’s Talking About Jamie (Book and Lyrics: Sheffield Theatres/Apollo Theatre/UK tour/Los Angeles – three wins at 2018 WhatsOnStage Awards including Best New Musical, winner of Jack Tinker Award for Most Promising Newcomer at 2017 Critics’ Circle Theatre Awards, winner of Best Musical Theatre Bookwriting at Writers’ Guild Awards 2019, five nominations at 2018 Laurence Olivier Awards including Best New Musical) and Crash of the Elysium (Punchdrunk at the MIF). His television work includes The New Librarians, The Librarians, Fungus the Bogeyman, Threesome, Doctor Who, Bonekickers, Lewis, Marple – At Bertram’s Hotel, Mayo, No Angels, Money Can Buy You Love, School’s Out, As If, U Get Me and Mile High; and for film, Everybody’s Talking About Jamie (BAFTA, BIFA, London Critics Circle nominations).
Jonathan O’Boyle directs. His theatre credits include Million Dollar Quartet (Barn Theatre/Arts Theatre Marble Arch), Barnum (Watermill Theatre/UK tour), Picture You Dead, Calendar Girls: The Musical, Hair, Rain Man, This House (UK tours), Lucie Jones: Live in Concert (London Palladium), Death Comes to Pemberley (Mill at Sonning/UK tour), The Hunchback of Notre Dame (Prince Edward Theatre), Fame (NYMT), Austenland, The Singing Revolution (Savoy Theatre), White Christmas, Top Hat (Mill at Sonning), Pippin (Theatre Royal Drury Lane), Cruel Intentions: The 90s Musical (The Other Palace/UK tour), The Last Five Years (Southwark Playhouse/Garrick Theatre/China tour – Off West End Awards for Best Director of a Musical and Best Musical Production and WhatsOnStage Award nomination for Best Off-West End Production), Proud (Turbine Theatre), The Astonishing Times of Timothy Cratchit (Hope Mill Theatre), Aspects of Love, Pippin (Hope Mill Theatre/Southwark Playhouse), The View Upstairs (Soho Theatre), Peter Pan (Park Theatre), Rasheeda Speaking, bash (Trafalgar Studios), Dear Brutus (Southwark Playhouse), An American in Paris (Dominion Theatre), Fourplay (Theatre503), The Verb ‘To Love’, Made in Britain (Old Red Lion), The Surplus, All The Ways to Say Goodbye (Young Vic), The Monster Bride (Tristan Bates Theatre) and Last Online Today and Guinea Pigs (Sheffield Crucible New Writing Project). His opera work includes Manon (ROH).
LISTINGS INFORMATION
MENIER CHOCOLATE FACTORY
MIDNIGHT AT THE NEVER GET
Until 12 September
TRU
19 September – 14 November
FOURTEEN AGAIN
21 November – 27 February 2027
MENIER ELSEWHERE
THE PRODUCERS
Garrick Theatre
Until 19 September
SABRAGE
Lafayette London
Until 6 September
Box Office: 020 7378 1713 (£2.50 transaction fee per booking)
RUPAUL’S DRAG RACE UK FAVOURITES VICTORIA SCONE AND RIVER MEDWAY TO STAR IN KING’S HEAD THEATRE’S DICK WHITTINGTON AND HIS CAT
RIVER MEDWAY MAKES HER KING’S HEAD THEATRE DEBUT AS QUEEN RAT, WITH VICTORIA SCONE RETURNING TO THE THEATRE AS DRAGPUS ANDREW POLLARD, WINNER OF BEST WRITER AT THE 2026 UK PANTOMIME AWARDS, RETURNS TO WRITE AND DIRECT FOR A THIRD YEAR GOLDEN BELLS PAY IT FORWARD SCHEME RETURNS TO HELP MORE LOCAL CHILDREN EXPERIENCE PANTO FOR FREE, FOLLOWING MORE THAN 2,250 FREE SCHOOL VISITS OVER THE PAST TWO YEARS
DICK WHITTINGTON AND HIS CAT RUNS FROM 22 NOVEMBER 2026 – 3 JANUARY 2027 WITH DICK WHITTINGTON: ADULTS ONLY FROM 26 NOVEMBER 2026 – 2 JANUARY 2027
[Thursday 3 September 2026, Islington] Interim Executive Director and CEO Amber Massie-Blomfield, Interim Executive Producer James Quaife, Producer and Programmer Zoe Weldon, and the whole team at King’s Head Theatre are delighted to announce the first casting and creative team for this year’s pantomime, Dick Whittington and His Cat, running from 21 November 2026 – 3 January 2027, with a press performance on Sunday 29 November at 1pm; alongside its strictly grown-up counterpart, Dick Whittington: Adults Only, from 26 November 2026 – 2 January 2027, with a press performance on Friday 27 November at 7pm.
RuPaul’s Drag Race UK favourites Victoria Scone and River Medway will star in both productions, with Victoria returning to the theatre as ‘Dragpus’, following her appearance as ‘Dame Trott’ in last year’s Jack and the Beanstalk, and River making her King’s Head Theatre debut as ‘Queen Rat’.
The production will once again be written and directed by Andrew Pollard, who returns to King’s Head Theatre for a third year following Cinderella and Jack and the Beanstalk, and was the winner of ‘Best Writer’ at the 2026 UK Pantomime Awards
Victoria Scone made history as the first contestant assigned female at birth to compete on RuPaul’s Drag Race UK, appearing in the third series before going on to represent the UK in Canada’s Drag Race: Canada vs The World, where they reached the final four. Victoria returns to King’s Head Theatre following last year’s Jack and the Beanstalk, having previously appeared on stage in productions including The Frogs at Southwark Playhouse. Last year’s King’s Head announcement similarly foregrounded Victoria’s Drag Race history and stage work.
In 2026, Victoria led the cast of Acid’s Reign as ‘Alex Acid’ at Pleasance Theatre London and at the Edinburgh Festival Fringe.
Victoria Scone said:“She’s… back! I’m delighted to return to the King’s Head Theatre stage again this year – mainly because I left my LaDucas backstage! I simply can’t believe how lucky I am to be spending a season with Dick… Whittington! And River Medway will be there! (I think I’m contractually obligated to say that.”
“See you on stage and let’s all hope I don’t mistake a school performance for an ‘Adults Only’ show again – those poor kids.”
River Medway will make her King’s Head Theatre debut as ‘Queen Rat’. She most recently played ‘Jem’ in the UK and Ireland tour of Here & Now: The Steps Musical, having originated the role in the musical’s world premiere at the Alexandra Theatre, Birmingham.
Following her appearance on the third series of RuPaul’s Drag Race UK, River has performed extensively across the UK, including the Pick’n’Mix UK Tour, The Main Event UK Tour and the official Drag Race UK Season 3 Tour.
River Medway said:“I made my panto debut at ten years old in my hometown in Kent and have been in love ever since, continuing until I was 18. My first time ‘in drag’ was playing an Ugly Stepsister in Cinderella – completely miscast. I’ve been a villager, a prince – rude! – and a dame, but never a villain.
“I adore the tradition and the camp that is innate to panto, so I’m super excited to be part of this year’s panto at the iconic King’s Head Theatre in London – just a shame I have to work with Victoria Scone again. She’s obsessed with me!”
Writer and director Andrew Pollard returns to King’s Head Theatre following the success of the theatre’s previous two pantomimes. Last year’s Jack and the Beanstalk followed his 2024 production of Cinderella, which received several five-star reviews and sold out a number of performances.
Andrew Pollard said:“I am delighted to be returning for the third year to write and direct the King’s Head panto. Panto at the King’s Head is a very special thing – perfect as a child’s first introduction to panto, as the venue is intimate and the children can really get up close to the action and the characters. I’m looking forward to working once again with a fantastic production and creative team to produce our little jewel of a panto.
“Dick Whittington is the perfect London panto, with action set in the heart of the city. It’s also one of the very special pantos in that it is based on historical fact – a really unique pantomime experience.
“It will, of course, be filled with funny and endearing characters, lots of comedy and music, and plenty of audience participation! Oh yes, it will!”
Joining Pollard on the creative team are Nicky Bunch as Set and Costume Designer, George W. Parris as Musical Supervisor and Musical Director, Alex Lewer as Lighting Designer and Anna Smart as Sound Designer.General Management is provided by James Quaife for Luminous Entertainment Group.
Alongside the family production, King’s Head Theatre will once again present a separate adults-only version of the show. Building on the popularity of previous late-night pantomime performances, Dick Whittington: Adults Only will offer a naughtier take on the traditional story from 26 November 2026 – 2 January 2027. Last year, the theatre expanded its Adults Only performances in response to audience demand.
Amber Massie-Blomfield and James Quaife said, “We’re absolutely delighted to be bringing pantomime back to the King’s Head Theatre for a third magical year with Dick Whittington and His Cat. Panto is one of the most joyful traditions in British theatre, bringing together laughter, music, magic, and a real sense of community. With the sensational Victoria Scone and River Medway leading the cast, audiences can expect a festive adventure packed with heart, humour, and spectacular entertainment. We can’t wait to welcome families, friends, and the local community through our doors this Christmas to share in the magic together.”
King’s Head Theatre will also continue its commitment to making pantomime accessible to children and families across its local community through its Golden Bells Pay It Forward scheme, raising funds to provide free tickets to those who might otherwise be unable to attend.
The theatre continues its partnership with the Mayor of Islington’s 11 by 11 scheme, which aims to ensure every child experiences at least eleven free cultural activities by the age of eleven. Over the past two years, more than 2,250 schoolchildren have attended King’s Head Theatre for free.
For Cinderella, the theatre raised £4,820 towards free theatre tickets for schools, enabling 855 schoolchildren to attend. In total, 1,405 tickets were distributed through schools and charity and community partners including Tickets for Good, Timpson, Forum+, Switchboard and Black Children’s Initiative.
As part of its wider commitment to keeping tickets accessible, both productions will have a Pay What You Can performance, with £15 tickets available throughout the runs. Further accessible ticket offers are available through the KHT Artists Club, open to those working in the cultural industries, the Under 35s Membership, and the theatre’s N1 Membership for local residents and workers.
Tickets are on sale now, starting at £15.
The theatre is offering Pay What You Can on Wednesday 25 November at 6pm. Family tickets (2x adults and 2x children) are also available for £120 for all performances on all Band A to C seats. For the adults only show, bookers can save 15% when booking 6+tickets in Bands A – C. Both offers are available for bookings made before 30 September.
Further casting will be announced.
Dick Whittington and his Cat – family show tickets here. Dick Whittington: Adults Only – tickets here. Twitter/X: @kingsheadthtr Instagram, Facebook, Bluesky & TikTok: @kingsheadtheatre
