Royal and Derngate Theatre Northampton – 23rd May 2026
Review by Amanda Allen
4.5****
The Birmingham Royal Ballet, returned to Northampton with BRB2: Diaghilev and the Birth of Modern Ballet. This is Carlos Acosta’s Ballet Celebration, now in its 4th year, it is designed to spotlight rising stars and delivered a double bill that pays homage to ballet’s transformative past while celebrating its dynamic present. The production is a tightly curated journey through the revolutionary works of the Ballets Russes, the early 20th-century company that redefined the art form. Visually rich and stylistically diverse, the program includes faithful renditions of iconic pieces like Les Sylphides and Le Spectre de la Rose. These works not only demonstrate the dancers’ versatility but also contextualize Diaghilev’s influence as a curator of innovation.
The programme opened with a rendition of Les Sylphides, giving us a Classic, fluid and emotive start. The Dancer’s glide across the stage with serpentine grace, their bodies echoing the sensibility that Acosta has championed in recent years. The choreography is sculptural and organic, pushing the dancers beyond classical confines while highlighting their adaptability. Performed in a beautifully classic style this was an excellent introduction to an afternoon of sublime movement.
The second half opens with “Sheherazade”, a bravura pas de deux that demands both explosive power and classical precision. Here, the lead pair deliver a very satisfactory performance, with secure pirouettes, clean lines, and solid, confident, stage presence. It’s hard to believe these dancers are still at the start of their professional careers. The rest of the Second half showcased a vibrant selection of short works that highlight the versatility and commitment of the young dancers. From the very first piece, the ensemble demonstrates maturity beyond their years, with technically secure performances underscored by emotional depth. There’s an infectious passion on stage — a clear sign that Acosta’s nurturing influence and global vision have left an indelible mark on this next generation. The young BRB2 dancers rose to every challenge, embodying the character of the differing dances with astonishing control and nuance. Their energy was infectious, bringing fresh perspective to century-old choreography.
The entire programme was beautifully fluid, offering many a shift in tone and style. Acosta’s curation shows excellent classic choreography with a young ensemble at its best, reinforcing the importance of heritage in ballet, while also making a bold statement about its future. I particularly appreciated the calibre of dancing and the palpable sense of purpose the performance had from this young company, BRB2 is not merely a showcase; it is a statement — an investment in the future of British ballet. The dancers’ commitment and potential shine through in every phrase, and the audience is left with the sense that they are witnessing the emergence of new Ballet stars in the making.
The staging and set designs are simple but elegant with lighting and costume choices that allow the dancers and choreography to remain the central focus. The programme moves at a brisk and satisfying pace, never lingering too long on any one mood or style making for a performance that ended far too soon for me. My only disappointment is that there is not a training orchestra to go with the training ballet company, Live music would have been wonderful and would add an extra layer to the performance. This is a great way to introduce a new audience to the classical style of ballet with a contemporary twist, and I would encourage anyone to go along and see it if you can because by the time the curtain fell, it was clear that BRB2 is more than just a training ground — it’s a launchpad. Carlos Acosta’s vision is as inclusive as it is inspired, and this Ballet Celebration proves that the future of ballet is not only secure but scintillatingly bright.
Bank of Dave The Musical is a joyous and uplifting production filled with humour, heart, and an unmistakable sense of togetherness. Inspired by the true story of Burnley businessman Dave Fishwick, we follow his determined journey to create a bank that puts people before profit.
Sam Lupton shines as Dave. Rather than playing him as a larger-than-life lad, Lupton presents a Dave who is warm and sincere. This elevates him beyond the stereotypical “white van man” into a relatable everyman. Lucca Chadwick-Patel provides a lovely contrast as Hugh, the reserved London lawyer who gradually finds himself won over by Burnley and its people. His comic delivery works well alongside Lauryn Redding, who brings confidence and charisma to her role as an accomplished but overworked doctor. Their bumbling, budding romance injects some cracking humour.
A strong ensemble helps bring Burnley vividly to life, creating a believable sense of community that runs through every scene. Their enthusiasm and energy are infectious. Hayley Tamaddon impresses as Nicky, Dave’s dedicated and exceptionally smart wife. Samuel Holmes is particularly memorable as Sir Charles Denbigh; his performance of “Rich Boys Club” will stay with me, as will Mark Peachey’s various embodiments of Cher.
Through Nikolai Foster’s deft direction, the production encapsulates the character of Lancashire beautifully. Foster keeps everything moving at a steady pace, allowing quieter scenes the space to resonate before launching back into the show’s lively musical numbers. Rob Madge’s book and lyrics bring enormous warmth and wit to the production. There is a compassionate understanding of community and class captured in the writing. The dialogue feels natural and full of local flavour. Madge gives the characters authenticity and emotional depth, making their relationships feel believable. The wisecracks, one liners and the strategically placed profanity is perfection.
The music by Pippa Cleary is a highlight. Drawing from a range of musical genres, the score feels fresh and energetic throughout. The upbeat numbers inject real momentum into the storytelling, while softer songs provide touching moments. Ebony Molina’s choreography enhances each number, while Amy Jane Cook’s design occasionally makes us feel as though we’ve wandered into a bonkers fever dream. The stage is framed by industrial skylines and set within a welcoming pub. Duncan McLean’s video design creatively transports us to different settings, from a Zelda-style game to the flames of “bankers’ hell”, adding another dimension to the performance.
Bank of Dave The Musical is a high-octane, thigh-slapping experience about a subject that doesn’t naturally lend itself to hi-jinks. Finance hardly screams fun or fabulous, but it all somehow works. With an infectious score and a message that genuinely hits home, we left the theatre smiling and fully embracing the power of community.
I have never managed to get all the way through a Charles Dickens book, so my memories of his tale of revolutionary France are all film-based. In particular I remember Christopher Lee as the dastardly marquis and Rosalie Crutchley’s chilling Madame Defarge. That 1958 version had a large, stellar cast, so I was intrigued to see Liz Love’s adaptation with an ensemble of seven actors.
The famous first lines are shared by Miss Pross (Nikki Claire Durrant) and Madame Defarge (Caroline Edwards) as they sit either side of the stage, in front of the union flag and the tricolour, knitting like the tricoteuses at the guillotine. Opening with the aftermath of the marquis fatally wounding a man trying to save his sister from the marquis’ brutality. Poor Doctor Manette (Joe Childs) is imprisoned to keep him quiet and a brisk jump forward sees his now adult daughter Lucie (Liv O’Connor) and her guardian Miss Pross collecting him from the care of the Defarges and sailing home to England. On this voyage they meet Charles Darnay (Aryan Chavda) who is accused of spying for the French but is defended in court by the mercurial Sidney Carton (Reece Lewis). These chance meetings set in motion Dickens’s twisting tale of love, honour, fanaticism and vengeance.
Love has trimmed the story and characters to create this 95-minute version that gallops through the plot but, after the slightly erratic first scene, never feels rushed under her direction with emotional moments given time to settle. Without the minor characters and hordes of revolting citizens the story and motivations of the main characters are easy to follow, and although there are some clunky exposition sequences from the knitting narrators, the sense of jeopardy and impending doom hanging over Darnay is palpable, and the haunting simplicity of the final scene is very effective.
James Connor’s lighting and sound design is suitably dark and moody, with a commendable attempt to convey the chaos of the storming of the Bastille with such a small cast.
Aryan Chavda impresses as Darnay – all stiff upper lip and smouldering stolen glances with Lucie, while Reece Lewis is a powerhouse of barely contained energy as the louche Carton, collapsing into tender despair as he talks of his love for Lucie. Liv O’Connor gives Lucie strength and gentility; Joe Childs gives a heartfelt performance as the broken doctor and Nikki Claire Durrant’s Miss Prost is bright and brittle. Vince Mathews is carelessly cruel as the marquis, and very funny as Carton’s hapless legal opponent and the solid Earnest Defarge. Caroline Edwards nails the cold fury of Madame Defarge, but the menace starts a little too fast and furious in the play, leaving her nowhere to go to ramp it up as events escalate, so when she finally runs around with her meat cleaver the effect is more comical than terrifying.
Kelly Thurston’s hard hitting but darkly funny one act play is an impressive 45 minutes that could be a wonderfully nuanced and provocative 90 minutes with further development.
The beanbags of the title function as symbols of comfort to the sisters Em (Helen Elizabeth Baird) and Becs (Bryony Davies) as they grow up and deal with their parents’ and their own relationship breakdowns. The lighting effects between scenes is slightly jarring but this may be a deliberate choice by director Emma Chatel as the characters’ lives are disrupted. Different colour beanbags are used to signal timelines as the narrative jumps between childhood memories of their mum (Emily O’Mahony) trying to get things done while dealing with her parents and their dad (Jacob Kay), always ready to deflect tension or serious talk with games and nonsense, and their adult lives.
The sisters are helping their mum pack up her house as she moves into a new flat after splitting from her boyfriend. Clearing out familiar things leads to talk about mental health and regrets about not being there for each other. Thurston captures the easy jibes and back and forth of sisterly conversations, and the love between the women shines through without becoming melodramatic. Becs has most of the best lines, and Bryony Davies delivers them with a natural charm. Flashbacks reveal Em’s mental health issues and the horrible reason why she is suffering. The effect on Em’s next relationship with Tom (Charlie Jennings) – not a good choice, but she can see that even with everything she is going through – is portrayed very clearly and succinctly, with a powerful scene where Em finally lets Tom know how she truly feels wonderfully written and devastatingly performed by Helen Elizabeth Baird.
It gets a little metaphysical – but in a very Northern way – as Em has conversations with her dead dad while searching for a last bit of tat in the attic, but the serious issues of life, death, moving on and dealing with trauma are handled with a deft touch, brilliant one liners and a dodgy Facebook marketplace transaction. The play ends on a tender note as mum tries to picture her life without the house in it, emphasising the comfort and memories of places and people we carry with us and hold tight to through our lives.
Beanbags is an enjoyable and emotional play. A longer runtime would allow further unpicking of themes and ideas that are skimmed over this one act production, providing more backstory and more sisterly banter/therapy about the serious issues dealt with in the play. Here’s hoping talented writer Kelly Thurston has the chance to give these relatable and spirited sisters even more warm and witty heart to hearts.
Off Main Stage ‘s Union Shorts One Act Festival continues until 29th May. Listings and tickets available here: https://uniontheatre.biz/whats-on/
Academy, Emmy, and Golden Globe Award winner Christine Lahti will make her London stage debut this summer in her acclaimed autobiographical play The Smile of Her, for a strictly limited engagement from Friday 10 July to Saturday 29 August 2026, with a national press night on Thursday 16 July.
Directed by Mêlisa Annis, the production marks Lahti’s first UK stage appearance and the first London presentation of the deeply personal solo work she wrote and performs herself.
Funny, furious and achingly personal, this extraordinary work traces a woman’s journey from 1950s suburban America to the heart of a changing world, confronting family mythology, misogyny, ambition, motherhood and the cost of being “a good girl.”
Performed by Lahti herself in a tour-de-force role, The Smile of Her is a bold, deeply human exploration of the stories we inherit, the voices we silence and the fight to reclaim ourselves.
Christine Lahti said:
“I am thrilled to be bringing The Smile of Her to London, and to be making my London stage debut at Marylebone Theatre with a piece that is so deeply personal to me. This play began as an attempt to understand the stories I inherited, the silences I grew up inside and the ways women are taught to smile through pain, anger and ambition. It is funny, painful, full of love and, I hope, ultimately liberating. To share it with London audiences for the first time is incredibly meaningful.”
Produced by Nina Tassler, Jenny Warburg and Wild Yak, in association with Gloria Steinem, The Smile of Her is directed by Mêlisa Annis and designed by Sarah Beaton, with sound design by David Gregory, lighting design by Matt Haskins and projection design by Matt Powell.
The Smile of Her received its world premiere at Berkshire Theatre Group in July 2023. The production was directed by Robert Egan under the artistic leadership of Kate Maguire.
Christine Lahti first came to prominence opposite Al Pacino in …And Justice For All, before earning an Academy Award nomination, her first of eight Golden Globe nominations, and the N.Y. Film Critics Award for ‘Best Supporting Actress’ in the film Swing Shift.
Her acclaimed career spans film, television and theatre; her major credits include Chicago Hope, for which she has won both a Golden Globe and an Emmy Award for ‘Best Actress’, No Place like Home (Golden Globe for ‘Best Actress in a MiniSeries’ & Emmy Award nom.), Law and Order SVU, Curb Your Enthusiasm, Running on Empty (LA Film Critics Award, Golden Globe nom.), Amerika (Golden Globe nom., Emmy nom.), Jack & Bobby (Golden Globe nom. & Prism Award winner), Hawaii Five-0 & The Blacklist.
Her recent credits include CBS show Evil, created by Michelle and Robert King, which earned her a Critics’ Choice Awards nomination for Best Supporting Actress, and a recurring part in Fire Country on CBS. Bird in Hand, her latest feature film, directed by Melody C. Roscher, premiered at the Tribeca Film Festival 2025.
Her directing work includes the Academy Award-winning short film Lieberman in Love and the feature film My First Mister, which opened the Sundance Film Festival.
A celebrated stage actor, Lahti has appeared on Broadway and Off-Broadway in productions including Loose Ends, Fuckin A, The Heidi Chronicles, God of Carnage, Three Hotels (Drama Desk Nom.), Dreams of Falling, Dreams of Flying (Drama League Nom.), The Woods (Theatre World Award) and Little Murders (Obie Award). She played Gloria Steinem in the hit off-Broadway play Gloria: A Life, which also aired on PBS Great Performances, and was recently in the Jon Robin Baitz play I’ll Be Seeing Ya, for The Music Center in LA.
Nottingham Theatre Royal – until Saturday 23 May 2026
Reviewed by Amy V Gathercole
4****
“It’s bright, it’s bold, and it’s bursting with heart, but beneath the glitter lies a story about resilience, identity and the power of believing in yourself!”
Legally Blonde remains one of the most infectious musicals around, having seen it several times on different tours, tonight’s performance at Nottingham Theatre Royal was easily the most sharp and energetically charged version yet.
Amber Davies brings something genuinely fresh to lovable Elle, perhaps from the choreography perspective and her enviable dance talent, perhaps from her sheer drive, but whatever the source, her performance blended sparkle with surprising emotional weight. She handled the more serious beats of the story, with confidence and nuance too.
The story of a queen-bee sorority girl whose dreams don’t all come true when her long-term beau Warner (Jamie Chatterton) changes her life, by dumping her for his own academic ambitions. This inspires Elle to follow him to Harvard Law School, after making a lot of social sacrifices, only to find he’s moved on with a ‘Jackie ( aka Vivienne played by Annabelle Terry), and not a Marilyn’. Along the way she’s tested, by unwelcoming fellow students, by real law cases and clients and by law professors who just don’t believe in her, with her adorable dog Bruiser in tow.
Legally Blonde is full of fun but beautifully written supporting characters, and it’s their warmth, humour and unexpected depth that help Elle discover who she really is far beyond the man she thought she needed. So it’s time for our heroine to tackle new challenges, make new friends and learn how life outside of Malibu really works.
Fellow sorority sisters, Margot (Hannah Lowther) brings bright, bubbly energy to every scene and sets the tone for the Delta Nu spirit. Serena (Rebecca Stenhouse), adds sharp humour and confident charm, lifting the ensemble numbers with ease and Pilar (Jade Davies), rounds out the trio with bold vocals and infectious enthusiasm.
It’s almost unbelievable that Legally Blonde and the infamous Elle Woods are now 25 years old. I remember it so well, when I was a law student here in Nottingham. The film was always a familiar comfort blanket, a burst of optimism wrapped in bubblegum pink and the stage show is full of many memorable lines from the film.
Reese Witherspoon’s iconic performance made Elle a cultural touchstone and with the upcoming Elle TV series arriving on Amazon soon, this revival couldn’t feel more timely. It’s a reminder of how deeply this story has embedded itself into popular culture and why audiences across the UK are flocking to see it again. It’s also one of the most faithful screen to stage adaptations that’s been made, this new revival has changed the setting and updated the culture for a Gen-Z audience and it works really well.
Amber’s harmonies with law associate, Emmett (George Crawford) were impressive. Their vocal blend created moments that were not only musically tight but emotionally electric. The chemistry between them radiated through the auditorium, making their duets some of the evening’s standout highlights.
This new UK tour embraces that legacy with bright colours, bold staging and a playful aesthetic from set designer Colin Richmond, that keeps the show moving at pace. The stripped‑back set allows for quick transitions between key locations like; the salon, Harvard Law and Delta Nu, keeping the focus firmly on the cast and the story.
Costumes designed by Tom Rogers burst with personality and nostalgia, the overall visual world is vibrant without ever feeling overwhelming and full of colour and obviously features a lot of pink!
The production benefits enormously from the vision of director Nikolai Foster, whose approach balances high‑octane fun with a surprisingly grounded emotional core. His direction ensures the heart of Legally Blonde never gets lost beneath the glitter. Choreographer Leah Hill injects the show with relentless energy, giving the ensemble plenty of opportunities to shine and elevating numbers like “Whipped Into Shape” and “Positive” into memorable showstoppers.
One of the standout performances of the night came from Elle’s new confidant, Paulette ( Karen Mavundukure). She delivered absolute comedy and hilarity, but also a touching sense of longing that blossomed into a celebration of womanhood and self‑belief. Watching her transformation was genuinely uplifting. Vocally, she was one of the strongest performers in the entire show, commanding the stage with warmth, wit and her powerhouse vocals.
This fun revival of Legally Blonde proves why the show continues to resonate with audiences of all ages. It’s bright, it’s bold, and it’s bursting with heart, but beneath the glitter lies a story about resilience, identity and the power of believing in yourself!
With standout performances from Amber Davies, George Crawford and the unforgettable Karen Mavundukure, supported by the sharp direction of Nikolai Foster and the vibrant work of the entire creative team, this tour delivers a production that feels both joyously familiar and refreshingly new.
Legally Blonde is a celebration of sisterhood, ambition and unapologetic pink‑powered confidence and it left the audience buzzing long after the final bows, as people in the audience no doubt left singing along on their way home.
DAME MAUREEN LIPMAN will return to the WEST END in Allegra
Thomas Hopkins Productions SAMS Entertainment Melissa & Bradford Coolidge, Trunfio McGill proudly announce that following a slew of 5-star rave reviews on tour across the UK national treasure
DAME MAUREEN LIPMAN will return to the WEST END in Allegra
a new comedy by Peter Quilter
Directed and Choreographed by three-time Olivier Award® winner STEPHEN MEAR
Strictly limited season PINTER THEATRE Wednesday 8 July – Saturday 8 August Tickets from £20 at all performances Thomas Hopkins Productions SAMS Entertainment, Melissa & Bradford Coolidge,
Trunfio McGill today proudly announce that following a slew of 5-star rave reviews on tour across the UK, national treasure DAME MAUREEN LIPMAN will return to the WEST END in Allegra the smash-hit new comedy by two-time Olivier Award® nominated playwright Peter Quilter.
Following her acclaimed performance in Rose in the West End in 2023, Dame Maureen now returns in triumph leading this joyful heartwarming comedy. The production reunites Dame Maureen with three-time Olivier Award® winning Director/Choreographer Stephen Mear 28 years after they first worked together on the National Theatre’s acclaimed production of Oklahoma!
The cast also features John Middleton (Emmerdale), Elizabeth Bower (Trollied) and Bailey Patrick (London Kills).
Allegra (Maureen Lipman) is full of joy. So much of it that she cannot stop herself from bursting into song. At home, in the street, even in shops and restaurants. Sometimes the music is only a fantasy in her head. But at other times, it results in a loud and disruptive performance that causes chaos in the village where she lives. Allegra’s brother, Ronen, and her carer, Anna, must somehow control her eccentricities and avoid angry visits by the local policeman. But is this possible without destroying the great happiness that fills Allegra’s heart?
Allegra is a moving comedy with spectacular song and dance sequences, but is also a touching and emotional examination of how, sometimes, the most beautiful of minds can start to disappear.
Reviews for Allegra
★★★★★
“There is nothing like a Dame when that Dame is Maureen Lipman!”
Theatre South East
★★★★★
“Truly memorable”
Ian Brown, Backstage
★★★★★
“A delightfully surreal comedy – very highly recommended”
John Groves, LondonTheatre1
“A supremely gorgeous show of joy and hope and a lot of heart in these dark times” Gaydio Radio
Dame Maureen said: “To find a comedy which can turn our current face of gloom into an upturned grin of happiness, is rare. Allegra is about a woman who is relentlessly upbeat – in more ways than one. Ibsen it isn’t’’
Peter Quilter said: “Maureen is one of the great theatrical treasures of this country, and to have her bring Allegra to life is a joy and an honour.”
Producer Thomas Hopkins said: “Working again with Maureen after the remarkable West End success of Rose is an absolute privilege. Bringing this joyful show in London’s West End is the gift we all need.”
Creative Team: Writer: Peter Quilter Director & Choreographer: Stephen Mear Set & Costume Designer: Justin Williams Lighting Designer: Samuel Biondolillo Sound Designer: Russell Ditchfield Video Designer: Ben Bull Production Management: Setting Line General Management & Tour Booking: Thomas Hopkins Productions Casting Director: Rob Kelly Producers: Thomas Hopkins Productions SAMS Entertainment Melissa & Bradford Coolidge, Trunfio McGill Co-Producers: Kohl Beck & Jonathan Kaldor, John Biondolillo, Cason Crane, Susan Goulet, Ira Pittelman, Hayley Swindal, Liesl Wilke
Dame Maureen Lipman DBE At the start of a long and distinguished theatre career in theatre, Dame Maureen Lipman DBE spent three years with the National Theatre Company at The Old Vic led by Sir Laurence Olivier. Her acclaimed one-woman tribute to Joyce Grenfell, Re: Joyce, ran several times over five years in the West End. Other self-written one-woman shows include Live and Kidding (Duchess Theatre) and Up For It (Edinburgh Fringe and Purcell Room). Other theatre credits include: See How They Run (Shaftesbury Theatre): As You Like It (RSC); Outside Edge and Martin Sherman’s Messiah (Hampstead); Aunt Eller in the National Theatre’s Oklahoma!; Lost in Yonkers (Strand Theatre); Daytona (Park Theatre & Theatre Royal Haymarket); Harvey (Birmingham Rep & Theatre Royal Haymarket) and The Best Man (Playhouse Theatre). She has been nominated for seven Olivier Awards across categories commending acting in plays, musicals and comedy, winning in 1984 for See How They Run. Her film credits include: Oklahoma!, the Oscar-winning The Pianist and Educating Rita. Her extensive TV credits include playing agony aunt Jane Lucas in the groundbreaking series Agony (1979 – 81); playing Evelyn Plummer in Coronation Street since 1981 (winning seven TV awards including Best Soap Actress in the TV Choice Awards, and Celebrity Gogglebox alongside Gyles Brandreth. She was married for 33 years to the late writer Jack Rosenthal, appearing in three of his TV plays including the Emmy-winning The Evacuees. She was awarded a Damehood in 2021.
John Middleton (Ronen) is best known for playing Rev Ashley Thomas in ITV’s Emmerdale from 1996 to 2017. When John was given the story that Ashley would be diagnosed with Vascular Dementia, which played out over the subsequent two and a half years leading to the death of his character, Emmerdale won the Broadcast, Royal Television Society, National Television Award, BAFTA and British Soap Award for Best Soap, his story won Best Story and Best Episode and he won Best Male Dramatic Performance and Best Actor. At the Yorkshire Royal Television Society Awards, he won Best Actor and a Special Achievement award. After this he starred in a highly successful theatre tour of Strangers on a Train as the American detective Arthur Gerard. In 2021, John played Frank in the one-man show Hull & High Water for Hull Truck Theatre. Throughout 2022 and 2023, he played Colonel Pickering in the UK Tour of My Fair Lady, directed by Bartlett Sher and he can currently be seen as resident baddie Fraser “Froggy” Black Sr. in Hollyoaks.
Elizabeth Bower (Anna) is best known for playing Anna in the TV supermarket comedy series Trollied. Her other TV appearances include Mammoth, The Secret Life of Boys, The Trouble With Maggie Cole and Miss Scarlett and the Duke. She was a series regular on Doctors and Princess Mirror-Belle.
Bailey Patrick (PC) is best known on TV as Detective Rob Brady in all four seasons of London Kills. He was also in Bridgerton and Good Omens and played Amari in Andor. He played Vinnie alongside Danny Dyer in the recent film Marching Powder. In the West End he played Trevor in Mischief’s Theatre’s Peter Pan Goes Wrong. Other stage roles include Hickey in The Country Girls (Chichester Festival Theatre).
Peter Quilter – Playwright Peter Quilter’s plays have been presented in 50 countries around the world and translated into over 30 languages. He has had a hit show on Broadway and three successful plays in London’s West End. Peter has twice been nominated for the Olivier Award (Best New Play and Best New Comedy) and his Broadway debut was nominated for three Tony Awards. His best known works are End of the Rainbow (a musical drama about the life of Judy Garland), Glorious! (the true story of Florence Foster Jenkins, the worst singer in the world) and Duets (a comedy for two actors). Peter’s first movie Judy starring Renée Zellweger received the Golden Globe, the Bafta and the Oscar for Best Actress. His first international success was End of the Rainbow (a musical drama about Judy Garland) which had its premiere in 2005 at Sydney Opera House. The show later played a sold out run in the West End starring Tracie Bennett. The play transferred to the Belasco Theatre on Broadway in 2012, where it was nominated for three Tony Awards. It has since been performed worldwide and in 2019 was adapted as the movie Judy, which won Renée Zellweger the Bafta, Golden Globe and the Oscar for Actress in a Leading Role. Glorious!, the true story of Florence Foster Jenkins, the worst singer in the world, premiered at Birmingham Rep in 2005 before transferring to the Duchess Theatre in the West End starring Maureen Lipman. The comedy has since been seen by over two million people in theatres across five continents. There will be further new productions this year in China, Finland, Switzerland, Germany, Austria, Estonia, the USA and Spain. Peter’s other work includes the two-actor comedy Duets which has been performed in 20 countries and was broadcast “live” on television in Paris. The show is currently enjoying the third year of a record-breaking success in Brazil. He is also author of the all-female comedy Step By Step and the 1999 West End show Boyband (Gielgud Theatre). www.peterquilter.net
Stephen Mear (Director & Choreographer) Stephen Mear is a three-time Olivier Award® winning and Tony nominated choreographer and director. His prolific use of style and form has led to a global career across musical theatre, opera, TV and film. Stephen is passionate about regional theatre and champions UK theatre both at home and abroad. Mary Poppins has given him worldwide acclaim and presented him with an array of prestigious awards for his outstanding and innovative joint choreography with Sir Matthew Bourne. In 2020, Stephen was awarded a CBE for his services to dance. Choreography credits include: Mary Poppins (worldwide, Olivier Award® winner); Old Friends (London/LA/New York); La Cage Aux Folles, Hello Dolly! (Olivier Award® winner), Crazy For You (Regents Park Open Air Theatre); The Witches (National Theatre); The Little Mermaid (Denver/Broadway); Sunset Boulevard (ENO Coliseum Theatre/Broadway); Chess (ENO, Coliseum Theatre) Gypsy (Chichester Festival Theatre/Savoy Theatre, BBC 4); Acorn Antiques The Musical (London/UK Tour/BBC); Stephen Ward (Aldwych Theatre); Betty Blue Eyes (Novello Theatre); City of Angels (Donmar Warehouse/Garrick Theatre); White Christmas (The Curve Theatre/ Dominion Theatre/UK Tour); Chitty, Chitty, Bang, Bang! (West Yorkshire Playhouse/UK Tour); Singin’ in the Rain (Yorkshire Playhouse/National Theatre); Kiss Me, Kate (Chichester Festival Theatre/Old Vic); The Pajama Game, Amadeus, Mack and Mable, Music Man, She Loves Me (Chichester Festival Theatre); Sweet Charity (Menier Chocolate Factory/Theatre Royal Haymarket); Sinatra (London Palladium/UK Tour); Anything Goes (National Theatre/Theatre Royal Drury Lane); Soul Train (London/UK Tour); Dreamgirls, Ragtime (Milwaukee Repertory Theatre). Director and Choreographer credits include: Hello Dolly! (Lido 2, Paris); Funny Girl (Theatre Marigny, Paris); 42nd Street (Theatre Du Chatelet, Paris); Guys and Dolls (Royal Albert Hall); Top Hat, Thoroughly Modern Millie (Kilworth House Theatre); Shoes (Sadlers Wells). Opera credits include: Don Giovanni (Royal Opera House); Die Fledermaus (The Metropolitan Opera New York); On The Town (ENO Coliseum Theatre/Theatre Du Chatelet, Paris). TV credits include: The Tracey Ullman Show (BBC); Psychobitches (Sky Arts); So You Think You Can Dance (BBC); Victoria Wood’s Christmas Special (BBC). Music Videos include: Number 1 Goldfrapp; The Importance of Being Idle Oasis.Stephen was awarded an Honorary Doctor of Arts by Greenwich University, The Carl Alan Award in 2006 and 2015 and The Companion Award from The Liverpool Institute of Performing Arts by Sir Paul McCartney.
Thomas Hopkins Productions (THP) – Producer Thomas Hopkins Productions (THP) was founded in 2019 by award-winning theatre, film, television, and radio producer Thomas Hopkins. Since its inception, THP has worked on over 150 live theatrical productions and numerous productions created and filmed specifically for platforms such as Sky, BBC, Amazon Prime, BroadwayHD, Broadway On Demand, and the educational platform Digital Theatre Plus. THP is recognised as an industry leader, specialising in transatlantic partnerships and supporting productions through its full-service organisation.
THP’s recent productions include; the critically acclaimed UK tour of The Talented Mr. Ripley and on Broadway; Robert Icke’s Oedipus, new musical Two Strangers (Carry a Cake) Across New York, Liberation and seven-time Tony®-nominated John Proctor is the Villain. In London, THP produced This Bitter Earth, directed by Grammy Award, Emmy, and three-time Tony Award®-winning Billy Porter, at Soho Theatre in London’s West End; as well as the highly regarded Rose, starring Dame Maureen Lipman at the Ambassadors Theatre.
THP is passionate about creating new theatrical experiences and productions. Among THP’s current slate of development, some of the highlights include a new version of Boy George’s autobiographical musical Taboo, with plans to open in 2027; a new family musical by Olivier Award-winning composer Vikki Stone, based on the iconic BAFTA-winning BBC TV show Maid Marian and Her Merry Men by Sir Tony Robinson.
In 2026, THP is also producing the 20th Anniversary tour of the hit comedy Glorious! starring Wendi Peters, along with the major UK revival of Alan Menken and Howard Ashman’s hit musical Little Shop of Horrors, directed by Tony®-nominated Carrie-Anne Ingrouille.
SAMS Entertainment- Producer
SAMS Entertainment, founded by Tony Award–winning producers Sam Houlihan and Sam Biondolillo, is a New York–based producing company dedicated to theatre that is both artistically vibrant and accessible. The company is guided by the belief that producing should be collaborative, transparent, and rooted in trust-opening doors for new voices while supporting work that resonates with contemporary audiences.
On Broadway, the Sams have produced award‑winning productions including Thornton Wilder’s Our Town, the acclaimed revival of Merrily We Roll Along, Gutenberg! The Musical!, and Alicia Keys’ Hell’s Kitchen. Off‑Broadway, their credits include DATA at the Lucille Lortel Theatre and Prince Faggot at Studio Seaview. Beyond Broadway, SAMS’ producing work spans the United Kingdom, where credits include the UK tour of The Talented Mr. Ripley, the UK tour of Glorious!, The Frogs at Southwark Playhouse, and Little Shop of Horrors at Hope Mill Theatre in Manchester and in Liverpool.
In addition to producing, SAMS Entertainment offers comprehensive management and consulting services. The company partners with artists and creative teams from the earliest stages of development through performance, providing structure and support that encourages both artistic freedom and financial clarity. Their model invites collaborators and investors into the creative and commercial process itself, not solely the final result, fostering an environment of openness, shared purpose, and long‑term sustainability.
Driven by a belief in the transformative power of theatre, Sam Houlihan and Sam Biondolillo are committed to creating work that inspires, challenges, and endures-building theatre for today’s audiences and for generations to come.
Thomas Hopkins Productions SAMS Entertainment Melissa & Bradford Coolidge
Trunfio McGill present
Dame Maureen Lipman in ALLEGRA by Peter Quilter Directed & Choreographed by Stephen Mear
PINTER THEATRE Panton Street London SW1Y 4DN
Wednesday 8 July – Saturday 8 August Tickets from £20 at all performances
Kevin McCollum, Morris Berchard and Jack Maple are delighted to announce that celebrated British drag queen Divina De Campo will star as The Amazing Karnak in the return of the critically acclaimed RIDE THE CYCLONETHE MUSICAL at Southwark Playhouse Elephant. The smash-hit musical which returns to the venue following a record-shattering and sold-out UK premiere run in 2025, will run from Friday 19 June 2026 to Saturday 22 August 2026.
Divina joins the previously announced St Cassian’s Chamber Choir: Josh Butler as Noel, Grace Galloway as Jane Doe, Robyn Gilbertson as Constance, Bartek Kraszewski as Mischa and Jack Maverick as Ricky, Kayna Montecillo as Ocean. The cast is completed by swings Rebecca D’Lacey and Nathaniel Purnell (also Dance Captain).
Divina de Campo is a seasoned British drag queen and singer who was crowned runner-up on the first series of RuPaul’s Drag Race UK. In addition to her Drag Race fame, Divina has made waves with a UK Top 40 single as part of the girl group The Frock Destroyers. Known for her high soprano and four-octave range, she has also been featured on ITV’s The Voice and the BBC’s All Together Now. Her critically acclaimed theatre credits include her role as Mary Sunshine in Chicago, her award-winning performance as Hedwig in Hedwig and the Angry Inch, and most recently, The SpongeBob Musical.
On joining the show Divina said: I am so excited to be joining this amazing vibrant cast for what is a hilarious and tongue in cheek musical. The songs are catchy as they come and the story is both tragic and side splitting, for the characters maybe literally! I am overjoyed to finally be on the Southwark Playhouse stage after seeing shows there and presenting more than a few awards to them too over the years!
The musical, written by Jacob Richmond and Brooke Maxwell, broke Southwark Playhouse’s record of most tickets sold within a 24-hour period after going on sale in 2025. It then broke its own record when this return engagement went on-sale earlier this year.
Producers are also thrilled to announce that additional seats have been made available and are on-sale now.
Divina De Campo will not be performing on Saturday 4th July, Saturday 18th July, Friday 24th July, Saturday 25th July, Friday 31st July, Saturday 1st August or Sunday 2nd August. The producers cannot guarantee the appearance of any artist.
RIDE THE CYCLONE THE MUSICAL is directed and choreographed by Lizzi Gee with musical direction and supervision by Ben McQuigg, set and costume design by Ryan Dawson Laight, lighting design by Tim Deiling, video design by Nina Dunn for PixelLux, sound design by Tom Marshall, illusion design by Richard Pinner, make-up design by Dominic Skinner, casting by Harry Blumenau, associate direction by Eva Sampson, associate choreography by Jasmin Colangelo, associate musical direction by Jennifer Deacon, costume supervision by Sharon Williams, props supervision by Props By Eve, production management by Toby P Darvill for Production Solutions Group and general management by Jack Maple Productions.
The band includes Ben McQuigg (conductor & keys 1), Jennifer Deacon (keys 2), Daniel Kemshall (guitars), Hamish Barry (cello & bass) and Ollie Peszynski (drums & percussion).
The company is completed by James Hamilton (company stage manager), Vicky Zenetzi (deputy stage manager), Izzy Moore (assistant stage manager), Elion Budden (assistant stage manager), Ollie Reymes-Clermson (head of sound) and Luke Pisano-Webb (head of wardrobe).
We’re back for round two. Ready to ride again?
After a freak roller-coaster accident, six teenagers find themselves suspended in limbo and offered one final chance to return to life. One by one, they step into the spotlight to prove why they deserve that second chance.
Darkly comic, unexpectedly moving, and told at full tilt, this 90-minute musical is a five-star theatrical thrill ride. London — this is one ride you can’t miss.
RIDE THE CYCLONE THE MUSICAL had its world premiere at the Atomic Vaudeville in British Columbia, Canada in 2008. The American premiere took place at the Chicago Shakespeare Theatre in September 2015 and went on to open Off-Broadway at the Lucille Lortel Theatre in November 2016. Since then it has had runs in Seattle, Atlanta, Minneapolis, Sydney and Buenos Aires.
RIDE THE CYCLONE THE MUSICAL is produced by Kevin McCollum, Morris Berchard and Jack Maple with associate producers Sisco Entertainment and Coddiwomple Productions. The show is licensed by Concord Theatricals.
Kevin McCollum and Jamie Wilson Productions are delighted to announce that, due to popular demand, the critically acclaimed West End return of AVENUE Q will extend its limited run at the Shaftesbury Theatre into the new year, now booking until Sunday 3 January 2027.
Producers Kevin McCollum and Jamie Wilson said, “We’re absolutely thrilled that the return of Avenue Q has once again struck a chord with audiences, as well as with a whole new generation of theatregoers, discovering the heart, humour and honesty of our fuzzy friends for the very first time. The response to the production at the Shaftesbury Theatre has been extraordinary, and we’re delighted to extend the show’s limited season. The continued success of Avenue Q is a testament to its timeless wit, unforgettable score and the way its themes still resonate so strongly today. It remains, now more than ever, a musical for our time.”
The production stars Emily Benjamin as Kate Monster and Lucy The Slut, Noah Harrison as Princeton and Rod, Meg Hateley as Mrs T and Bad Idea Bear, Oliver Jacobson as Brian, Charlie McCullagh as Nicky, Trekkie Monster and Bad Idea Bear, Amelia Kinu Muus as Christmas Eve and Dionne Ward-Anderson as Gary.
The company is completed by Jasmine Beel, Jonathan Carlton, Angelis Hunt, Lesley Lemon, Jessica Niles Kadi and Joshua Williams-Ward.
The anniversary production is directed by the original award-winning Broadway director Jason Moore, has music & lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty, music orchestrations and arrangements by Stephen Oremus, original Broadway puppets, conceived and designed by Rick Lyon and set design by Anna Louizos. Alongside choreography by Ebony Molina, costume design by Jean Chan, lighting design by Tim Lutkin, sound design by Paul Groothuis, video design by Nina Dunn for Pixellux, musical direction by Benjamin Holder, puppetry coaching by Iestyn Evans and Andy Heath forTalk to the Hand Puppet, hair & makeup design by Jackie Saundercock, casting by Pearson Casting CDG and original West End company member, Julie Atherton, as Associate Director.
Fresh out of college and searching for his purpose, Princeton ends up in a shabby apartment on New York’s rundown Avenue Q. He quickly meets his new and colourful neighbours where together they navigate the life struggles of work, love and paying the bills in their own hilarious way.
Irreverent and irresistible, AVENUE Q is the mischievous and charming musical full of infectious songs and loveable characters that will leave you smiling for days.
AVENUE Q first opened in the West End in 2006 at the Noël Coward Theatre, before transferring to the Gielgud Theatre, followed by the Wyndham’s Theatre, where it played its final performance on 30 October 2010. A special concert production was performed at the Sondheim Theatre in 2024 to celebrate the show’s 18th anniversary.
AVENUE Q is produced by Kevin McCollum and Jamie Wilson Productions.
Melting Pot today announces the full cast and creative team for the razor-sharp new production of Academy Award-winning Florian Zeller’s Olivier Award-nominated comedy, The Truth.Adam Morris and Roisin Rae will complete the company alongside four of the UK and Ireland’s most beloved stage and screen performers who bring their formidable comic talents to this sophisticated and fast-paced comedy; Stephen Mangan (BBC 1 The Split; Sky’s Portrait Artist of the Year), Ardal O’Hanlon (Channel 4, Father Ted; Netflix, How To Get To Heaven From Belfast), Sarah Hadland (BBC 1, Miranda;Strictly Come Dancing; ITV, The Job Lot) and double Olivier Award-winner Janie Dee.
Translated by Christopher Hampton and directed by Lindsay Posner, this wickedly funny and elegantly crafted, play will run for a strictly limited 14-weeks from Tuesday, 9 June – Saturday, 12 September 2026. The creative team is completed by: Set and Costume Designer, Lizzie Clachan; Lighting Designer, Richard Howell; Sound Designer, Adam Cork; Assistant Director, Rosie Tricks; Costume Supervisor, Joanna Coe; Props Supervisor, Lily Mollgaard; Production Manager, Martyn Sands.
The Truth is a wickedly entertaining comedy where trust is fragile, loyalty is negotiable, and everyone has something to hide. This star-driven revival of the Olivier-nominated play peels back the lies we tell the people we love, and the ones we tell ourselves… Gripping, surprising and laugh-out-loud funny, The Truth is a night at the theatre you won’t want to miss.
The Truth will star Tony Award-nominated Stephen Mangan (BBC 1 The Split; BBC 2 Episodes ) returning to the London stage, alongside comedy icon Ardal O’Hanlon (Channel 4, Father Ted; Netflix, How To Get To Heaven From Belfast), Sarah Hadland (BBC 1, Miranda;Strictly Come Dancing; ITV, The Job Lot) and double Olivier Award-winner Janie Dee —four of the UK and Ireland’s most beloved stage and screen performers—bringing their formidable comic talents to this sophisticated and fast-paced comedy.
Packed with Zeller’s trademark psychological insight and biting humour, and in a translation by Christopher Hampton, The Truth is a witty exploration of the impact of love, deception and the fragile stories we tell ourselves. This new staging is directed by Lindsay Posner (A View From The Bridge, Theatre Royal Haymarket; Noises Off, Phoenix Theatre)with Set and Costume design by Lizzie Clachan.
Producer Simon Friend says: “The Truth is an ingenious puzzle of a play. What initially appears as a playful comedy about adultery effortlessly evolves into something much deeper, while remaining endlessly entertaining. When Florian’s meticulously structured house of cards collapses, you realise that you’ve been in the hands of a writer in complete control of his craft. Florian knows exactly how to pull the rug from under you, as he did repeatedly in The Father film, which was the last project we collaborated on. He does so again here, but there are considerably more laughs this time! Christopher Hampton’s lean and witty translation has enabled us to compile a cast to die for in this exciting return to the West End.”
At the centre of The Truth is Michel, a man who embarks on an affair with his best friend’s wife while attempting to convince himself—and everyone around him—that honesty is overrated. As the web of deception grows increasingly tangled, the audience is left delightfully off-balance and questioning who is deceiving whom.
Florian Zeller is widely regarded as one of the most exciting contemporary dramatists, with international successes including The Father and The Son. The Truth showcases his gift for blending comedy and psychological tension into an evening of theatre that is as uproariously entertaining as it is thought-provoking.
The Truth is produced by Simon Friend and Hanna Osmolska for Melting Pot, the company behind the sold-out 2016 production of Florian Zeller’s play The Height of the Storm at Wyndham’s Theatre. Melting Pot also produced the West End stage productions of The Father at Wyndham’s Theatre and Duke of York’s Theatre, as well as its double Oscar and BAFTA-award winning film adaptation starring Anthony Hopkins and Olivia Colman.
The Truth is produced by Simon Friend and Hanna Osmolska for Melting Pot in association with Gavin Kalin Productions and Fiery Dragons.
