GARRET THEATRE, STORYHOUSE, CHESTER – UNTIL TUESDAY 20TH OCTOBER 2026

REVIEWED BY MIA BOWEN

5*****

I honestly didn’t know what to expect when I took my seat for A Brief Case of Crazy tonight. What I do know is that I was absolutely blown away — and by the end, I really didn’t want it to finish!

Created by Skedaddle Theatre and Shoddy Theatre, in association with York Theatre Royal, this award-winning romantic physical comedy — winner of an Offie in 2026 — arrived in Chester as the final stop on its UK tour. And what a way to finish!

Rowan Armit-Brewster plays Thomas, an introverted office worker who has a rather obvious crush on his shy colleague, Daisy. His quiet quest for love is soon thrown into complete chaos when a very troublesome briefcase enters his life — and things become even more complicated thanks to his arrogant and completely self-absorbed boss, Simon. Rowan was absolutely hilarious. His facial expressions and body language had the audience in bits. He could communicate an entire conversation with one look, and his comic timing was brilliant. Then, just when you thought he couldn’t possibly get any funnier, he would break into dance — and then the tap shoes came out! Yes, Thomas tap danced! It was completely unexpected and absolutely fabulous. Rowan was a joy to watch from beginning to end.

Lennie Longworth as Daisy was just as funny, bringing a wonderful warmth and physicality to the role. Her dancing was brilliant, and she had fantastic chemistry with Rowan. Their blossoming romance was sweet, funny and wonderfully unconventional. Watching their relationship develop entirely through movement was a real testament to just how expressive these performers are.

And then there was Sam Cunningham as Simon, the boss you absolutely wouldn’t want to work for! Sam was brilliant. His facial expressions alone could have had their own comedy show. The perfectly timed winks at the audience, the pointing finger and those knowing looks made him incredibly funny. He seemed to have a secret little conversation going on with the audience throughout, and we were very much in on the joke. His arrogant, larger-than-life attitude made him the perfect foil to Thomas’s quiet awkwardness.

There are no spoken words at all, yet the story is completely clear. Through mime, clowning, puppetry, slick choreography and physical comedy, every glance, gesture and movement tells us exactly what we need to know. The influences of Charlie Chaplin, Buster Keaton, Mr Bean and Tom and Jerry are clear, but this production has a personality and charm all of its own.

One of my favourite little moments of the evening was noticing an elderly lady sitting in front of me. Every now and again, I caught her getting particularly excited by what was happening on stage, with her facial expressions perfectly mirroring the action. She was clearly completely engrossed in the show, and seeing her reactions made me smile. It was such a lovely reminder of how wonderfully this production connected with its audience — young and old alike. Honestly, seeing her having such a brilliant time was an unexpected little treat!

Funny, inventive, charming and gloriously bonkers, A Brief Case of Crazy was pure joy. I absolutely loved it!

Yvonne Arnaud – until 24^th October 2026

Reviewed by Heather Chalkley

4****

Director Roy Marsden, a skilled and well known actor, has used his experience to craft a succinct piece focused on the facts laid bare for all to see. There is much written about the Russian royal family and their tragic demise, which even now creates division in most conversions within Russian communities and history scholars alike. Through the eyes of a detective, you are given a clear perspective of Grand Duchess Anastasia Nikolaevna or Mrs Chikovsky and finally Mrs Mohahan, and how history moulded her life. Marsden leaves us to draw our own conclusions on the truth of her identity, rather than deciding for us.

Jenny Seagrove (Anastasia) consistently offers an honest portrayal of a traumatised young women, all the way through to an old lady who just wants to be left alone – no more questions that she knows the answers to. The transition is offered through clear body language and a change in tone. Seagrove (Anastasia) expertly anchors the belief in who she (Anastasia) is, regardless of the never ending questions and rejection by her family. The delivery of historical facts and personal details through conversation is cleverly built into the script. The speed and fluidity of Seagrove’s delivery is undeniable.

Simon Shepherd (Inspector) gives gravitas to this role and the carriage of truth and justice. The Inspector (Shepherd) has a strong belief in family heritage and is seeing through his own father’s mission to find the truth about Anastasia. Shepherd (Inspector) is able to deliver narration in his deliberations naturally and inquisitively. The evidence set out before us is the result of the Inspector’s (Shepherd) investigation, revealing duplicitous family ties blinded by treasurers just out of their reach. It quickly becomes a mission to prove Anastasia’s identity rather than discredit her claim. He is a believer!

Ashley D. Gayle and Rosie Thomson offer a variety of characters and accents to accentuate the storyline. They bring the history and facts alive, inhabiting each character with posture and tone. The simple set transitions through scenes with the smooth movements of cast members calmly repositioning furniture. Altogether a well oiled machine. 

The Grand Theatre Blackpool – until 24 October 2026

Reviewed by Debra Skelton

5*****

‘A Twisting Tale of Murder, Mischief and Mistaken Identities’

The Other Side of Murder is the latest chapter in Torben Betts’ much-loved comedy-thriller series, arriving with all the fast-paced humour, mystery and theatrical chaos that fans have come to expect. Reuniting Betts with director Philip Franks, the production blends classic whodunnit intrigue with a generous dose of farce, creating an evening that is both entertaining and delightfully unpredictable.

From the moment the action begins, the play rarely lets up. Characters find themselves caught in an increasingly tangled web where professional ambitions and personal relationships collide, leading to misunderstandings, surprises and plenty of laugh-out-loud moments. Betts clearly relishes keeping both his characters and audience on their toes, continually raising the stakes as the story unfolds.

The story centres on celebrated television medium Darius Divine, host of the popular paranormal entertainment show The Other Side, whose plans for a quiet family dinner are quickly derailed by the arrival of unexpected guests. As tensions rise and long-buried secrets emerge, the evening descends into comic chaos before taking an intriguing supernatural turn.

Blending domestic comedy with paranormal mystery, the play keeps audiences guessing as reality and performance become increasingly blurred. A cleverly constructed final act delivers an unexpected twist that adds another layer of intrigue to an already entertaining evening.

The cast throw themselves fully into the play’s fast-paced comic style. Rufus Hound is engaging as the charismatic Darius Divine, while Carla Mendonça brings a steady presence as Susannah and Aisha Jawando injects energy and determination into Laura. Together, the ensemble strikes an effective balance between comedy and mystery, even as the plot becomes increasingly chaotic.

The standout performance comes from Susie Blake as Miriam. Combining superb comic timing with an endearing unpredictability, Blake ensures that every appearance commands attention. Her subtle reactions and effortless delivery add depth to the character, creating many of the production’s funniest moments.

Beyond the performances, the production excels in its technical execution. Colin Falconer’s inventive set design, Jason Taylor’s atmospheric lighting and Max Pappenheim’s immersive sound design create a richly engaging theatrical world, while John Bulleid’s cleverly crafted illusions add an extra layer of intrigue and surprise. Seamlessly woven into the action, the effects enhance both the mystery and the comedy, helping to keep the audience guessing throughout.

What makes the production particularly enjoyable is the sharpness of the writing. The dialogue crackles with witty exchanges, clever observations and a steady stream of jokes, many arriving so quickly it’s easy to miss one while laughing at the last. The result is a lively, energetic comedy thriller that keeps the audience entertained from start to finish.

Hall for Cornwall, Truro – until 24th October 2026

Reviewed by Kerry Gilbert

5*****

‘A cleverly constructed whodunnit where the mystery is compelling, but Sarah Moyle’s scene-stealing performance is the real smoking gun’

I’ve seen many Agatha Christie and Poirot productions both on screen and on stage; however, as The Hollow is one of Christie’s lesser-known stories, this was my first encounter with it. A classic country house murder mystery, The Hollow was first adapted for the stage by Christie herself in 1951.

From the moment the curtain rose, the audience was welcomed into Joanna Parker’s beautifully detailed drawing-room set, perfectly capturing the elegance of an English country estate. Complete with period furnishings, a writing desk, and striking glass-panelled doors, the set provided an authentic backdrop for the drama to unfold. Combined with Chris Davey’s atmospheric lighting design, which subtly heightened the tension and provided effective visual cues during scene transitions, the production immediately established a compelling sense of mystery.

Family and friends gather at the country home of Sir Henry Angkatell (Michael Praed) and Lady Lucy Angkatell (Sarah Moyle) for a seemingly idyllic weekend. Beneath the surface, however, simmering secrets, jealousy and romantic entanglements begin to emerge. When a gunshot suddenly shatters the tranquillity and one of the guests is found dead, the race to uncover the killer begins.

The cast is outstanding throughout, bringing energy, depth and intrigue to every scene. Peter Polycarpou is wonderfully convincing as Poirot, capturing the detective’s charm, wit and mischievous nature with ease. His impeccable comic timing generates many well-earned laughs while never undermining the suspense.

Sarah Moyle’s portrayal of the eccentric and sharp-witted Lady Lucy Angkatell is undoubtedly the production’s standout performance. She steals every scene she enters, injecting the character with warmth, humour and unpredictability. Her presence is magnetic, and I found myself eagerly anticipating each of her appearances.

Luke Allen-Gale impresses in the dual roles of John and Inspector Colquhoun, delivering two distinctly different performances with confidence and skill. Victoria Bunt (Henrietta) and Grace Darling (Midge) both bring emotional depth and nuance to their roles, while James Sheldon gives a strong and engaging performance as Edward Angkatell. His scenes with Midge are particularly memorable and provide some of the production’s most heartfelt moments.

With its stellar cast, richly atmospheric staging and carefully crafted mystery, The Hollow proves to be an engrossing and thoroughly entertaining production that keeps audiences guessing right up until the final curtain.

Queen’s Theatre, Hornchurch – until 31st October 2026

Reviewed by Mike Linane

3***

The Disappearing Man is a bold new drama about legacy, illusion, and second chances

One last act. One final illusion. But every trick has a price.

It tells the story of washed-up magician Bazza Cadabra who returns to the once-glittering Clacton-on-Sea, ready for a final comeback. He is determined to reclaim the spotlight and prove he’s still got what it takes 20 years on.

This comeback isn’t just about applause. At the heart of Bazza’s ambition is something far more fragile, his bond with his son. Bound by shared secrets, old tricks, and unfinished business, their reunion sparks hope, rivalry, and the possibility of something extraordinary. As Bazza faces a flashy young magician, a no-nonsense new manager, and the family he left behind, the lines between performance and reality begin to blur.

This play really does begin with a bang and it is the consequences of what happens at the very start that we follow for the rest of the performance in a slow, drawn-out play which could probably do with half an hour of it being cut as a lot of ground is gone over again and again.

Directed by Alex Thorpe the cast of Matt Bardock as Bazza, Debra Baker as his ex-wife Wendy, David Angland as his son Harry, Courtney George as his manager Isha and a rogue fortune teller and Kadell Herida as his much younger rival Presto show how one man’s drive to try to reclaim what he thinks is his rightful position in the live magic world can ultimately destroy all about him.

It has always been Bazza’s dream to pull off the hardest trick in the book – a trick that has already claimed the lives of twelve previous magicians. If he can pull this off fame and fortune will be his – but every trick has a price.

A few live tricks are performed on stage during the play mostly involving slight of hand but unless you are close up to these it is hard to tell which card is being produced and we only have the character’s words to go on that the trick has been achieved. A few more bigger scale bits of magic would not go amiss to liven up the proceedings on stage so that we truly believe Bazza has a chance of making the comeback he so desperately seeks. However, there is one trick near the end of the show that will leave you gasping!

This is a new play by Kenny Emson and will take time to settle in and find its level. At the moment it is too long and is fairly dormant in its presentation. Maybe it would work better in a more intimate theatre as the stage it was on seemed far too big for the story it was telling.

Kings Theatre, Portsmouth – until Saturday 24th October 2026

Reviewed by Sally Lumley

4****

With Music and Lyrics by Queen, and story and script by Ben Elton, We Will Rock You is the latest production by Portsmouth Theatres at the Kings Theatre.

Set in a dystopian future where music and individuality have been eradicated in favour of social media conformity, We Will Rock You is set in a world ruled by the GlobalSoft Corporation and its fabulously evil leader, Killer Queen (Emma Hall). Outcast dreamer, Galileo Figaro (Charlie Frame), and the rebellious Scaramouche (Megan Parkes), join forces with underground revolutionary group the Bohemians to fulfil an ancient prophecy and bring rock and roll back to the world.

If you think the plot sounds a little out there, you’d be absolutely right. It’s not the strongest element of the show and the script feels a little dated in places. However, We Will Rock You never takes itself too seriously, and while the story is a little outlandish, the sheer number of fantastic Queen anthems that are shoehorned into the plot more than makes up for it. There are so many great Queen songs, the hits just keep coming. The audience was itching to join in and, in the parts of the show where this was encouraged by the actors, they did so enthusiastically.

Portsmouth Theatres in-house productions bring professional production standards and experience to locally produced theatre, and that professionalism really shines through in We Will Rock You. We’re so lucky to have a theatre on our doorstep showcasing local talent.

Charlie Frame as Galileo and Megan Parkes as Scaramouche have a sparky dynamic on stage and their partnership is one of the real strengths of this production. Both have time to shine vocally and complement each other beautifully. Frame really comes into his own in the finale when he gets to belt out Bohemian Rhapsody in the encore; he takes the opportunity to channel a little more Freddie Mercury, and it’s a real treat. Emma Hall absolutely made the most of her limited time on stage as Killer Queen, delivering a fabulously vampish performance. Meanwhile, Ben Irish as Brit and Georgie-Rose Rust as Oz bring great chemistry and energy to the Bohemians. For us, the highlight of the night came when the band was revealed, getting its moment in the spotlight to rock out alongside the cast during the encore. It was a fantastic way to round off an evening packed with such legendary songs.

We Will Rock You is an entertaining night out, delivering one classic Queen anthem after another. With superbly performed iconic music and a rhapsodic finale, this crowd-pleaser had us singing all the way home.

Windsor Theatre Royal – until Saturday 24th October 2026

Reviewed by Andrew and Kate Lawrence

4****

“When I tell you the truth, you just ignore me…”

We’ve been discussing why everybody loves a good ghost or horror story recently, and one of our theories is that we all enjoy the sudden rush of adrenalin when given a sudden fright, alleviated by the feel-good realisation that you’re actually quite safe, viewing the nasty goings-on from a safe distance. But when it comes to ghost stories, in particular, we really want to question if the ghosts are real, or is there some trickery in play, and to what purpose are we being deceived? In some manner or other, we all trust that the story will end with Scooby Doo and his gang leaping to the rescue, unmasking the villain, and explaining the elaborate plan.

For the ‘Turn of the Screw’ production at Windsor Royal Theatre tonight, there is no Scooby Doo moment. Instead, the play, adapted by Morgan Lloyd Malcolm, tells the story from the singular perspective of the governess, (played by Amy Tara), a beautiful, young and inexperienced women, who accepts the job of overseeing two orphaned children at the remote Bly Manor. Instead the story focuses on the interrogation of the governess and the re-enactment of her story. Rather than questioning whether ghosts really exist, we are asked whether we can trust the words of a young women, presumably unfit to cope with the demands of this pressurising and isolated job.

While being questioned, she asserts that as a woman, she is so much less inclined to be trusted, as she surmised “when I tell you the truth, you ignore me”. Presumably a level of trust that would not have been questioned would the governess have been a man? It’s an element of Henry James’s novella published in 1898, that could (in some circumstances) be just as applicable today.

Throughout the show, the governess, (Amy Tara) never leaves the stage. She contorts between timeframes and locations to tell the story of her interrogation by ‘The Man’ (seriously we have no idea why he is called that), played by Jim Fish, to scenes in a London office where she meets with ‘The Master’ (also Jim Fish) and accepts the Governess position.

The stage props also never move, instead the scenery takes on new personas throughout the play with the clever use of lighting, providing the framework for many settings, such as views through windows to the outside gardens, views from the gardens looking back in, corridors to hidden rooms in the manor, and even beds from a birds-eye view. The drowning scene is particularly clever and effective.

At the house, the Governess meets the house maid Mrs Grose, played by Katy Slater, and the two children Flora, played by Kathleen McAuley Irvine, and Miles, played by Toby Beynon. Those last two also playing the parts of Quint and Jessel the deceased valet and previous governess, who for reasons that might become clear, bear a striking resemblance to the children. Finally, Janita Mikkola also compliments the cast with a variety of other roles – We particularly liked the book trick.

Just a word of warning, you might want to put your drink down before the play starts – just a suggestion. Go see it before it finishes on Saturday 24th October.

Lyceum, Sheffield – until 24th October 2026

Reviewed by Alison Beaumont

4****

Heathers the Musical is a rock musical based on the 1989 film by Daniel Waters and is set at Westerberg High. Veronica (Geradine Sacdalan) longs to be accepted by the “in crowd”, the three Heathers, Heather Chandler (Liberty Stottor), Heather Duke (Jessica Ibadin) and Heather McNamara (Lou Henry).

Heather Chandler is the main leader of the Heathers and is quite manipulative and ruthless, Heather McNamara is the quietest of the three Heathers and is the head cheerleader at Westerberg High, Heather Duke is a follower of Chandler and wants to please her, stepping into her role as leader when Heather Chandler is killed. Veronica ditches her friend Martha (Sophie Manners) to be with the in group of Heathers. Veronica then falls for Jason Dean nicknamed JD (Louis Hearsey) who lost his mum at the age of 9 and is intent on killing people who he feels are bad.

Heathers has quite a dark story line but does have some slight humour in it. Markus Sodergren (Kurt Kelly) and Beau Jackson (Ram Sweeney) playing the jocks were so funny. The best part when they were in their underwear “matching” had me in stitches. Then moving on to Kurt and Ram’s funeral their dads played by John Gurdian and Reuben Browne took over to provide some comedy.

I particularly liked the assemble part where they sang “Shine a light” and the audience interaction at this point with on the day we were there “Steve” which was really funny. The books that opened with lights during this song really added to the song.

Gerardine Sacdalan played the part of Veronica well and the performance seemed natural and effortless with good vocals and facial expressions. She showed lots of emotion during her songs.

Louis Hearsey (JD) was incredibly good playing such a dark character and making his role believable.

When Jessica Ibadin changes clothes from her green Heather’s attire to the red previously worn by Heather Chandler was amazing and I really can not figure out how this was done.

All three of the Heathers played their parts well and worked well together.

All the cast played their part in making this a successful show from their vocals to their dancing.

MISCHIEF ORIGINALS

HENRY LEWIS & JONATHAN SAYER

CRASH INTO

THE WEST END TO JOIN CAST OF

CHRISTMAS CAROL GOES WRONG

FOR TWO WEEKS

IN JANUARY 2027

By Henry Lewis, Jonathan Sayer and Henry Shields

Directed by Matt DiCarlo

www.ChristmasCarolGoesWrong.com

Original MISCHIEF company members Henry Lewis and Jonathan Sayer will be crashing in to the West End cast of Christmas Carol Goes Wrong for 2 weeks only at the Wyndham’s Theatre from 14 – 23 January 2027.

Fresh from their run in the US, Henry and Jonathan will be swapping their Los Angeles shades and surfboards for their UK scarves and mittens, reprising the roles they originated as Robert and Dennis in Christmas Carol Goes Wrong last year. An extra matinee has been added on Wednesday 20 January 2027.

Christmas Carol Goes Wrong runs at London’s Wyndham’s Theatre, a Delfont Mackintosh Theatre in the West End from 18 December 2026 to 23 January 2027.

The full West End cast is: James Akka as Dennis (until 13 January), Jonathan Sayer as Dennis (from 14 – 23 January), Adam Elliott as Chris, original Mischief member Dave Hearn as Max (until 23 January), Matthew Howell as Robert (until 13 January), Henry Lewis as Robert (from 14-23 January),  Jay Olpin as Max (from 26 January), Luke Pierre as Jonathan, Aein Nasseri as Trevor, Dumile Sibanda as Annie and Ashley Tucker as Sandra.

The understudies are Billie Hamer, Robert Lane, Claire Lee Shenfield, Jamie Sandersfield and Josh Patel-Foster.

Christmas Carol Goes Wrong brings tidings of chaos and joy as The Cornley Amateur Drama Society return and attempt to tackle the Charles Dickens’ classic, A Christmas Carol. The Cornley crew battle miscommunication, delays to their set, actors missing in action and a growing feud over who will play the lead. This disastrous take on the much loved classic Christmas story of Ebenezer Scrooge is a festive slice of pure escapism. 

Christmas Carol Goes Wrong played to sell-out houses, when it premiered (and disaster struck) at the Apollo Theatre in Shaftesbury Avenue last year.  It is written by original Mischief Members Henry Lewis, Jonathan Sayer and Henry Shields and the production is directed by Matt DiCarlo, who also helmed the award-winning The Comedy About Spies which recently completed its mission at London’s Adelphi Theatre and embarks on a tour in 2027.

The creative team joining the authors and director are set designer Libby Todd, costume designer Roberto Surace, lighting designer David Howe and sound designer and composer Alexandra Faye Braithwaite.

A 15 minute short documentary is available on YouTube, where you can go behind the mayhem and chaos and discover how this disastrous festive treat has been created by MISCHIEF.

Christmas Carol Goes Wrong in the West End is produced by Kenny Wax and Stage Presence.

SECRET CINEMA’S WORLD PREMIERE OF

DISNEY’S PIRATES OF THE CARIBBEAN: THE IMMERSIVE ADVENTURE

 ANNOUNCES INITIAL CASTING AND EXTENDS FOR A FURTHER 6 WEEKS

OLIVIER AWARD WINNER GEORGE MAGUIRE PLAYS CAPTAIN JACK SPARROW, AND IS JOINED BY PHIL DANIELS AS CAPTAIN BARBOSSA, LILY BLUNSOM AS ELIZABETH SWANN, HARRISON WILDE AS WILL TURNER

AND GLEANNE PURCELL-BROWN AS ANAMARIA

AN EXTRAORDINARY MULTI-AWARD-WINNING CREATIVE TEAM ASSEMBLES TO BRING THE SWASHBUCKLING WORLD OF DISNEY’S PIRATES OF THE CARIBBEAN TO LIFE

Secret Cinema and TodayTix today announce initial casting for their highly anticipated world premiere production Disney’s Pirates of the Caribbean: The Immersive Adventure, alongside a further six-week extension due to popular demand.

Olivier award winner George Maguire will take on the role of Captain Jack Sparrow, and is joined by Phil Daniels as Captain Barbossa, Lily Blunsom as Elizabeth Swann, Harrison Wilde as Will Turner and Gleanne Purcell-Brown as Anamaria.

Directed by Olivier award winner Matt Costain, the production begins previews on 16 February, with its official opening on 10 March, at Secret Cinema’s purpose-built flagship venue at Greenwich Peninsula. Following strong demand the production has been extended for a further six weeks, with best ticket availability currently after 16 March.

Joining Costain on the creative team are two-time Emmy award winner Jason Sherwood (Production Designer), Kait Kerrigan (Theatrical Adaptor), Olivier award winner Alan Williams (Musical Supervision, Arrangements & Orchestrations, Stuart Burt CDG (Casting Director), Susan Kulkarni (Costume Designer), Helen Keane for Campbell Young Associates (Wigs, Hair and Make-Up Designer) and Alex Payne (Fight Director).

Breaking new ground for Secret Cinema, the production places live theatrical storytelling at its heart, with spectacular set pieces and specially curated clips from Disney’s Pirates of the Caribbean: The Curse of the Black Pearl woven into the experience rather than a full film screening. Bringing together an extraordinary company of performers and an internationally acclaimed creative team, this ambitious new production promises all the adventure, mischief, humor and larger-than-life spectacle that audiences love about Disney’s Pirates of the Caribbean. Over two swashbuckling hours, audiences will be swept up into a world of pirates, rogues and unlikely heroes, with Captain Jack Sparrow at the centre of the mayhem – and one thrilling difference; you’re not just watching the adventure unfold, you’re part of it.

Full casting will be announced shortly.

Merritt Baer, Artistic Director and Producer of Secret Cinema said:

“Disney’s Pirates of the Caribbean is everything we love about immersive entertainment. It’s bold, mischievous, wildly entertaining and filled with characters and a world you can’t help but want to explore. And with this production, we’re inviting audiences to do exactly that.

We’ve assembled an extraordinary cast and some of the most accomplished creative talent working in theatre today because bringing a world this beloved to life demands real ambition and artistry. But for all of the incredible craft behind it, the experience itself is about one thing: having an absolutely fantastic time.

Expect adventure, surprises, spectacular performances, a little chaos and plenty of opportunities to get swept up in the fun. We’ve taken everything Secret Cinema does best and pushed it further than ever before, creating a new kind of theatrical experience where the story doesn’t just happen in front of you – it happens all around you. This is exactly the kind of show we’ve been building towards and opening it in our new home at Greenwich Peninsula makes it even more exciting.

And honestly, who hasn’t dreamed of stepping into the world of Captain Jack Sparrow? We can’t wait to welcome audiences aboard”.

Angelo Desimini, Senior Vice President, Licensed Partnerships & Brand Management at Disney Theatrical Group, said:

“Disney’s Pirates of the Caribbean has always been about transporting audiences into a world of extraordinary characters, unforgettable adventures and, above all, tremendous fun. What excites us about this production is the opportunity to bring that spirit to life through exceptional theatrical talent and immersive storytelling. Secret Cinema has assembled a remarkable team to create an experience that is both artistically ambitious and wonderfully entertaining. It’s a chance for audiences to experience the world of Tortuga in an entirely new way.”

A new home for extraordinary adventures.

Secret Cinema’s new purpose-built venue at Greenwich Peninsula will become a long-term home  for the production company, with Disney’s Pirates of the Caribbean: The Immersive Adventure as its inaugural production.

Located along the riverfront, a short walk from North Greenwich tube station and The O2, the venue has been designed to accommodate ambitious, large-scale immersive productions, creating a new destination for audiences seeking entertainment that goes well beyond the traditional theatre experience.

Visa, the production’s Official Payment Partner, will enable seamless and secure payments for fans, whilst offering exclusive experiences and access to Visa infinite cardholders.

The adventure awaits.

For further information and tickets: https://piratesofthecaribbeanimmersive.com/

Instagram: @piratesofthecaribbeanimmersive

SECRET CINEMA PRESENTS

DISNEY’S PIRATES OF THE CARIBBEAN: THE IMMERSIVE ADVENTURE

Cast includes: Olivier award winner George Maguire (Captain Jack Sparrow), Phil Daniels (Captain Barbossa), Lily Blunsom (Elizabeth Swann), Harrison Wilde (Will Turner) and Gleanne Purcell-Brown (Anamaria).

Creative team: Olivier award winner Matt Costain (Director),two-time Emmy award winner Jason Sherwood (Production Designer), Kait Kerrigan (Theatrical Adaptor), Olivier award winner Alan Williams (Musical Supervision, Arrangements & Orchestrations), Stuart Burt CDG (Casting Director), Susan Kulkarni (Costume Designer), Helen Keane for Campbell Young Associates (Wigs, Hair and Make-Up Designer) and Alex Payne (Fight Director).

Secret Cinema presents Disney’s Pirates of the Caribbean: The Immersive Adventure is a new live production launching exclusively in London. This limited-run marks the first time the franchise has been adapted into a fully immersive theatrical experience, transforming one of Disney’s most beloved cinematic films into an in-person adventure.

Brought to life by Secret Cinema’s multi-award-winning creative team, Secret Cinema presents Disney’s Pirates of the Caribbean: The Immersive Adventure is licensed through an agreement with Disney Theatrical Group, and invites audiences to step inside a swashbuckling celebration like no other. Featuring cinematic-scale immersive sets, live theatrical performances, dazzling stunts and a live band, this is an all-hands-on-deck spectacle that brings the spirit, humour and adventure of the films vividly to life.

Guests will be plunged into the legendary world of Pirates of the Caribbean: The Curse of the Black Pearl, with the freedom to roam richly detailed environments, encounter iconic characters, and become part of the story themselves. Every night unfolds as a high-energy adventure, culminating in a spectacular celebration worthy of the seven seas.

George Maguire plays Captain Jack Sparrow. George is the winner of the Olivier Award for Best Supporting Actor in a Musical for his performance of Dave Davies in Sunny Afternoon. Theatre Includes: What I Am (Edinburgh Fringe), Midnight (Sadlers Wells), To Sir, With Love in Concert (Gillian Lynne), Burlesque (Savoy Theatre, Manchester Opera House), Death Note in Concert (Lyric Theatre), Tarantino Live (Riverside Studios), Buck Barrow in Bonnie & Clyde (Garrick Theatre / Arts Theatre / Theatre Royal Drury Lane), Cratchit/Marley in Dolly Parton’s Smoky Mountain Christmas Carol (Southbank Centre), The Wicker Husband in The Wicker Husband (Watermill Theatre), Alan Dangle in One Man, Two Guvnors (New Wolsey Theatre / Nuffield Theatre), Orsino/Malvolio in Twelfth Night (Bridge House Theatre), Marc Bolan in 20th Century Boy (UK Tour), 35mm (The Other Palace), The Buskers Opera (Park Theatre), Dave Davies in Sunny Afternoon (West End), Lift (Soho Theatre), Tad in Bright Lights Big City, Berger in Hair (Piccadilly Theatre), Joe Vegas in Fame (West End), Angel in Rent (European Tour).

Film and TV Credits Include: Nick in Tomorrow Morning (Visualize Films), Felix in Eastenders (BBC), Duke in Prime Suspect (ITV) and Ferrante D’este in Borgia (Lionsgate)

Phil Daniels was born in Islington, London, and trained at the Anna Scher Theatre School. He began acting professionally at the age of 13 and has established himself across television, film, theatre and music.

His film credits include Jimmy Cooper in Quadrophenia, Fetcher in Chicken Run, Breaking Glass, Scum and Billy the Kid and the Green Baize Vampire. Daniels also appears alongside Olivia Colman in Wicker, due for release in 2026.

His television credits include Holding On, Waiting for the Out, Time Gentlemen Please, New Tricks and his role as Kevin Wicks in EastEnders.

On stage, he has performed with the Royal Shakespeare Company in Measure for Measure, The Jew of Malta, The Revenger’s Tragedy and A Clockwork Orange. At Shakespeare’s Globe, he played Enobarbus in Antony and Cleopatra and Big God in The God of Soho. His National Theatre credits include Liam, Dealer’s Choice and This House.

More recent theatre work includes Cock, alongside Jonathan Bailey and Taron Egerton, and David Hare’s Teeth ‘n’ Smiles. His musical theatre credits include Jigger in Carousel and Thénardier in Les Misérables.

Daniels has also recorded and worked with The Stranglers, Big Country, The Alarm and Blur, most notably on the Britpop anthem Parklife.

He has recently recorded a new album of original material, scheduled for release in 2027.

Lily Blunsom plays Elizabeth Swann. Her theatre work includes Romeo and Juliet (Kenneth Moore Theatre), Witness for the Prosecution (Eleanor Lloyd Productions), God Save Us (Lion and Unicorn Theatre) & Mickley Lane (Camden Fringe). Her screen work includes First Day on Earth (HBO & BBC1), G’Wed (ITV), TKD (16oz Films) & Look to the Light (Agency 105).

Harrison Wilde plays Will Turner. His theatre work includes Fame (Theatre Royal Plymouth), Evita, Robin Hood, The Wizard of Oz (The London Palladium), Kiss Me, Kate (Barbican), Sunset Boulevard (Savoy Theatre), Cats (international tour), Chicago (UK tour), Mamma Mia! (Novello Theatre). His film work includes Wicked for Good.

Gleanne Purcell-Brown plays Anamaria. Her theatre work includes The Unlikely Pilgrimage of Harold Fry (Theatre Royal Haymarket), Shucked (Regent’s Park Open Air Theatre), Saving Mozart (The Other Palace), The Book Thief in Concert (Prince Edward Theatre), Play On! (Lyric Hammersmith and UK Tour), Pippin: 50th Anniversary Concert (Theatre Royal Drury Lane), The Big Life (Stratford East), The Blonde Bombshells of 1943 (Bolton Octagon, Theatre by the Lake and Stephen Joseph Theatre), Playboy of the West Indies (Birmingham Rep), She Loves Me (Sheffield Theatres), Curtains (West End and UK tour), The Producers (Royal Exchange Theatre), and Spamalot (UK and international tour). Her film work includes Living.

Matt Costain (Director) is an Olivier Award Winning Aerialist, Actor and Creative Director. He has worked with The Royal Shakespeare Company, Shakespeare’s Globe and The National Theatre, flown in both the Millennium Celebrations and the London Olympics and directed over 20 productions for Secret Cinema including the award-winning Grease: The Immersive Movie Musical, Brazil, Star Wars and Stranger Things. His other stage work includes Warhorse, A Monster Calls and The RSC Histories Cycle. He has performed in, devised or directed some of the world’s biggest live entertainment experiences, including directing the performance at Manumission Ibiza when it was the biggest nightclub in the world.

Jason Sherwood (Production Designer) is a two-time Emmy Award-winning stage designer. His design work includes the upcoming Broadway production of The Fantasticks, world tours for the Spice Girls, Sam Smith, and Sara Bareilles and live television productions including the Oscars, RENT Live, the Kennedy Center Honors, the Grammy Awards, as well as performances for Elton John, Eminem, Billie Eilish, Camila Cabello, Cynthia Erivo and Janelle Monae. He is the recipient of Drama Desk, Outer Critics Circle, and Lucille Lortel nominations and a Henry Hewes Design Award. 

Kait Kerrigan’s (Theatrical Adaptor) work on Broadway includes The Great Gatsby (book); and in the West End, The Great Gatsby, The Time Traveler’s Wife (additional lyrics); Off-Broadway, The Heart (book & additional lyrics) opening Fall 2026 at Roundabout Theatre Company, The Mad Ones (book and lyrics); and children’s shows – Henry and Mudge (book and lyrics – Kleban Award) and Ada, Rosie & Iggy: The Questioneers opening at the New Victory Fall 2026. Additional musicals include the book for Indigo (Leicester Curve), lyrics for Justice (Arizona Theatre Company), Earthrise (Kennedy Center), and Ernxst, or The Importance of Being (commissioned by Concord Theatricals), book/lyrics/concept for the sold-out immersive pop-up Brooklyn house party The Bad Years. Her plays include Father/Daughter, Imaginary Love, Disaster Relief, and Transit. 

Alan Williams (Musical Supervision, Arrangements & Orchestrations) is an Olivier and WhatsOnStage Award winning Musical Director, Supervisor, Arranger and Orchestrator. His Broadway credits include Sunset Blvd., Elf and Funny Girl. His London and UK theatre credits include Evita, The Hunchback of Notre Dame in concert, 13 Going on 30, Sunset Blvd., Elf, Crazy For You, Funny Girl, Hairspray, The Boy in the Dress, Big Fish, Disney’s Aladdin, A Damsel in Distress, Assassins, Urinetown, The Commitments, A Chorus Line, Shrek, The 25th Annual Putnam County Spelling Bee, Passion and Monty Python’s Spamalot. He co-produced and conducted the albums of Evita, Sunset Blvd. and The Boy in the Dress, co-produced, arranged and orchestrated the album of 13 Going on 30, conducted the London revival recording of Funny Girl, and also played keyboards on the Original Cast Recording of Sister Act. His orchestration and arrangement of the Overture of Overtures for YouTube was performed as part of 50 years of Broadway (Kennedy Centre, Washington). He recently conducted Love/Life a concert at the Theatre Royal Drury Lane in aid for the charity – One for the Boys, and has also appeared on television and radio including Good Morning America, Tiny Desk, The Stephen Colbert Show, The Royal Variety Performance, Olivier Awards, The One Show and BBC Children in Need.

Stuart Burt CDG CSA, Casting Director

Stuart is the recipient of 5 CDG Awards for best casting in theatre and has been included three times in the Stage 100.

Theatre credits include Into The Woods (Noël Coward Theatre/Bridge Theatre); Oh, Mary!, Clarkston, The Maids, The Homecoming, The Hothouse, The Ruling Class, Richard III, Macbeth, The Spoils, Buried Child, The Pride (Trafalgar Theatre); Fiddler on the Roof (Barbican Theatre/Regent’s Park Open Air Theatre/UK Tour); Thelma and Louise (Young Vic); Fame (Theatre Royal Plymouth); Once (Pitlochry Festival Theatre); My Fair Lady (Chichester Festival Theatre); The Fifth Step (@sohoplace); Just For One Day (Shaftesbury Theatre/Mirvish Theatre, Toronto/Old Vic); Much Ado About Nothing, The Tempest (Theatre Royal Drury Lane); Sing Street (Lyric Hammersmith); Sunset Boulevard (Broadway/Savoy Theatre); Standing at the Sky’s Edge (Gillian Lynne Theatre/National Theatre/Sheffield Theatres); Romeo and Juliet (Duke of York’s Theatre); Sister Act (Dominion Theatre/Eventim Apollo/UK Tour); Make It Happen (National Theatre of Scotland/Edinburgh International Festival); The Ministry of Lesbian Affairs (Kiln Theatre); Muriel’s Wedding (Leicester Curve); Cabaret (Kit Kat Club/Playhouse Theatre); Sylvia (Old Vic); Mrs Doubtfire (Shaftesbury Theatre/UK Tour); The Seagull, Pinter at the Pinter (Harold Pinter Theatre); & Juliet (Shaftesbury Theatre/UK Tour); Chariots of Fire, White Christmas, Miss Saigon, She Loves Me (Sheffield Crucible); Here You Come Again (Leeds Playhouse/Riverside Studios/UK Tour); Cyrano de Bergerac (Playhouse Theatre/BAM); Joseph and the Amazing Technicolor Dreamcoat (London Palladium/UK Tour); East is East (National Theatre/Birmingham Rep); Betrayal (Harold Pinter Theatre/Broadway); The Two Character Play (Hampstead Theatre); Sherlock Holmes, Little Shop of Horrors (Regent’s Park Open Air Theatre); Doctor Faustus (Duke of York’s). Film & TV credits include The Ashley Madison Affair (Hulu); Dance 100 (Netflix); Locked Up Abroad (National Geographic); Dr Seuss’ The Grinch Musical! (NBC/Sky); Everybody’s Talking About Jamie (Ballroom Dancer Casting. Warp Pictures).

Susan Kulkarni is an award-winning Costume Designer. She has spent more than two decades shaping distinctive visual worlds across theatre, film, television, immersive entertainment and global live events. Her theatre credits include Disney’s flagship Cruise Line musical Remember; the Opening Ceremony of The Valorant Games (Done+Dusted, Paris), The Hitchhiker’s Guide to the Galaxy (Riverside Studios), Elvis Evolution (Layered Reality, London), Fame Factory (Done+Dusted, London), Indigo (Curve, Leicester), Come Alive! The Greatest Showman (London, Australia Tour), Disney/Pixar’s We Belong Together (Disneyland Paris), East is East (National Theatre, Chichester Festival Theatre and Birmingham Rep), Steel Magnolias (UK Tour), Herding Cats (Soho Theatre), United Queendom (Kensington Palace, Les Enfants Terribles), Detroit, More Light and Prince of Denmark (National Theatre/West End), The Marriage of Figaro and The Magic Flute (Central City Opera, Colorado), and Jeff Wayne’s Immersive War of the Worlds (London). She also recently designed the Elves for Lapland UK (Les Enfants Terribles). Her screen work is equally wide-ranging. She recently styled Usher and his band at The Box and is the Costume Designer for Ricky Gervais’s BBC film 7 Minutes. She has styled Stanley Tucci for Cards on the Table and for campaigns with N.Peal and Tanqueray. Her credits also include Count Abdulla; Wayne Sleep’s Big Ballet (Channel 4), Mrs Dickens’s Family Christmas (BBC), and two English National Ballet films: An Evening with Taglioni and Cinderella Games. She served as Assistant Costume Designer on Amazon’s futuristic drama The Peripheraland on Martin Scorsese’s Oscar-nominated Silence. Further costume team credits include The Huntsman: Winter’s War, Spy, Downton Abbey and Wolf Hall. Her large-scale and stadium work includes designing for Miami’s immersive tour in Kuwait and AlUla, Saudi Arabia; more than 2,000 bespoke costumes for UAE National Day 48 in Abu Dhabi; and 2,000 costumes for the Closing Ceremony of the Islamic Solidarity Games in Baku, Azerbaijan.

Helen Keane for Campbell Young Associates is Hair, Wigs & Make-up Designer. Credits include: West End/UK – The Standard of Living (Theatre Royal Haymarket), Who’s Afraid of Virginia Woolf (@sohoplace), How The Other Half Loves (The Old Vic), Death Note (Barbican Theatre), Sinatra (Aldwych Theatre), Glengarry Glen Ross (The Old Vic), Pride – The Musical (Sherman Theatre, National Theatre and Bridge Theatre), Atonement (Chichester Festival Theatre), High Society (Barbican Theatre), Magic (Chichester Festival Theatre), Romeo & Juliet (Harold Pinter Theatre), High Noon (Harold Pinter Theatre), The Last Ship (Theatre Royal Drury Lane and International Tour), Paddington – The Musical (Savoy Theatre), Miss Saigon UK Tour (Various UK venues), Sing Street (Lyric Hammersmith), Hercules (Theatre Royal Drury Lane), Come Fall In Love (Manchester Opera House), Mrs Warren’s Profession (Garrick Theatre), A Knight’s Tale (Manchester Opera House), Muriel’s Wedding (Curve, Leicester), Kinky Boots (UK Tour), Calamity Jane (UK Tour), The Fear Of 13 (Donmar Warehouse), Leopoldstadt (Wyndham’s Theatre), Juno and the Paycock (Gielgud Theatre), The Devil Wears Prada (Dominion Theatre), Starlight Express (Troubadour Wembley Park Theatre), Groundhog Day (The Old Vic), 42nd Street (Sadler’s Wells and UK Tour), Aspects of Love (Lyric Theatre), Guys & Dolls (Bridge Theatre), The King & I (London Palladium and UK Tour), As You Like It (@sohoplace), Good (Harold Pinter Theatre), Eureka Day (The Old Vic), Anything Goes (Barbican Theatre and UK Tour), Get Up Stand Up (Lyric Theatre), The Drifters Girl (Garrick Theatre), Rosmersholm (Duke of York’s Theatre), All About Eve (Noël Coward Theatre), St. Joan (Donmar Warehouse), One Night in Miami (Donmar Warehouse), City of Angels (Donmar Warehouse and Garrick Theatre), The Young Chekhov Trilogy (Chichester Festival Theatre and National Theatre), Gypsy (Chichester Festival Theatre and Savoy Theatre).

Broadway – A Beautiful Noise (Broadhurst Theatre), The Music Man (Winter Garden Theatre), Carousel (Imperial Theatre), Head Over Heels (Hudson Theatre), Three Tall Women (John Golden Theatre), Hello, Dolly! (Shubert Theatre) The Crucible (Walter Kerr Theatre), Misery (Broadhurst Theatre), Sylvia (Cort Theatre), A Delicate Balance (John Golden Theatre), Les Misérables (Imperial Theatre). (Broadway/West End) – Stranger Things: The First Shadow (Marquis Theatre and Phoenix Theatre), The Hills of California (Broadhurst Theatre and Harold Pinter Theatre), Back to the Future (Winter Garden Theatre and Adelphi Theatre), Funny Girl (August Wilson Theatre and Savoy Theatre), To Kill a Mockingbird (Shubert Theatre and Gielgud Theatre), Company (Bernard B. Jacobs Theatre and Gielgud Theatre), A Christmas Carol (Lyceum Theatre and The Old Vic), Tina – The Tina Turner Musical (Lunt-Fontanne Theatre and Aldwych Theatre) (Drama Desk Award – Outstanding Wigs and Hair), The Ferryman (Bernard B. Jacobs Theatre, Royal Court Theatre and Gielgud Theatre), Girl from the North Country (Belasco Theatre, The Old Vic, Noël Coward Theatre and Gielgud Theatre), Farinelli and the King (Belasco Theatre, Sam Wanamaker Playhouse and Duke of York’s Theatre), Groundhog Day (August Wilson Theatre and The Old Vic), Charlie and the Chocolate Factory (Lunt-Fontanne Theatre and Theatre Royal Drury Lane), The Cripple of Inishmaan (Cort Theatre and Noël Coward Theatre), Matilda (Shubert Theatre and Cambridge Theatre), Ghost (Lunt-Fontanne Theatre and Piccadilly Theatre), Billy Elliot (Imperial Theatre and Victoria Palace Theatre).

Opera – Anna Nicole (BAM).

Alex Payne is the Fight Director. Alongside his work as a fight director and stunt performer Alex’s artistic endeavours extend to Mostar, Bosnia and Herzegovina, where he lends his directorial talents to Shakespearean productions for the non-profit organisation, Youth Bridge Global. His theatre credits include Teeth ‘n’ Smiles (Duke of York Theatre), The Last Ship (International Tour), Macbeth (RSC), The Estate (National Theatre), As You Like it (Theatre Royal Bath), Brace Brace (Royal Court Theatre), Opening Night (Gieldgud Theatre), An Enemy of The People (Duke of York), The Seagull (Barbican), Only Fools and Horses (UK Tour), Praise of Love (Orange Tree Theatre), Saxon Court, A Lie of The Mind (Southwark Playhouse), Echo (Kings Head Theatre), The Armour (The Langham), A Sherlock Carol (Marylebone Theatre), Titus Andronicus, Macbeth (Wimbledon Studio), Excluded, Love Me to Death, Rise and Fall (Intermission Theatre). His work in theatre as associate include High Noon (Harold Pinter Theatre), Grapes of Wrath (National Theatre), Macbeth (Liverpool, Edinburgh, London, Washington). His live performances include Saturday Night Fever, Victoria, Bridgerton, Star Wars, Stranger Things (Secret Cinema), LegoCity Live: Ultimate Stunt Showdown (Legoland Windsor, RWS), Rumble in the Jungle (Rematch Live), Lights Camera Action, Celebration of Superhero’s (Warner Bros Abu Dhabi), SeaWonder (SeaWorld Abu Dhabi) Musketeers (BBC Worldwide), and Project Martini, Project Temple (Immersive Octopus). His Opera credits include Il Tabaro (ROH), The Magic Flute (Nevill Holt). His television and film credits include Vikings: Bloodaxe (Amazon Studios), Vikings (MGM, Amazon), Vikings: Valhalla (Netflix), Mary Queen of Scots (Focus Features, Universal Pictures) all as a stunt performer. His Music Video credits include Wolf Alice (Academy Films), Ardee (Grade A), Bandokay ft Headie One (Cellar Door), Brian Fallon, The Last Dinner Party, Rak-Su (Kode), Nafe Smallz (Don Prod) as Fight Coordinator/ Stunt Coordinator.

MERRITT BAER, ARTISTIC DIRECTOR & PRODUCER, SECRET CINEMA

Merritt is the President and Co-Founder of TodayTix Group, the global e-commerce leader for theatrical experiences, as well as the Artistic Director and Producer of Secret Cinema, the UK’s leading immersive theatre production company. A Tony Award-winning producer, his Broadway and London credits include The Merchant of Venice (starring Al Pacino), Death of a Salesman (starring Philip Seymour Hoffman), Lucky Guy (starring Tom Hanks), Romeo and Juliet (starring Orlando Bloom), It’s Only A Play (starring Nathan Lane and Matthew Broderick), Six, and more. He most recently produced Jinx Monsoon as Judy Garland in End of the Rainbow in London.

Following TodayTix’s acquisition of Secret Cinema in 2022, Merritt assumed leadership of the groundbreaking immersive entertainment studio in 2024. Under his leadership, Secret Cinema produced the award-winning Grease: The Immersive Movie Musical, its most popular production across its entire 19 year history.

At TodayTix, Merritt launched initiatives across the world to increase access to theatre including Broadway and the West End’s first mobile lotteries, London Theatre Week, #Ham4Ham Hamilton Lottery, Free First Previews at the Public Theater, Shakespeare in the Park’s Free Mobile Lottery, and many more. Merritt was named StartOut’s 2018 Innovator of the Year, Blooloop’s 2025 Top Immersive Influencers List, and was part of the 2026 Stage 100.

LISTINGS

DISNEY’S PIRATES OF THE CARIBBEAN:THE IMMERSIVE ADVENTURE

https://piratesofthecaribbeanimmersive.com/

Performances:

Tuesday – Friday at 7.30pm

Selected Thursdays at 2:30pm

Saturday 2.30pm & 7.30pm

Sunday 1pm

Selected Sundays at 6pm

Standing from £49, Seated from £69