FOLLOWING SELL OUT RUNS AT THE GARRICK AND AMBASSADOR’S THEATRES AND A BROADWAY SEASON

WRITTEN & PERFORMED BY ROB MADGE

AND DIRECTED BY LUKE SHEPPARD

WILL PLAY A LAST HURRAH AT THE APOLLO THEATRE

FOR JUST 23 PERFORMANCES 

FROM 16 SEPTEMBER – 3 OCTOBER 2026

My Son’s A Queer, (But What Can You Do?) written by and performed by Rob Madge (Cabaret, Palladium Panto, Oliver!, Les Misérables) and directed by Luke Sheppard (Paddington the Musical, Starlight Express, Just For One Day, & Juliet) celebrates the joy and chaos of raising a queer child. It premiered originally at the Turbine Theatre in 2021, moved to the Edinburgh Festival, played a national tour followed by two West End runs and a Broadway season in New York. Now Rob has decided to bring the show back for one last hurrah, before deflating their yellow armbands for good.

My Son’s A Queer (But What Can You Do?) will play at the Apollo Theatre in London’s West End, from 16 September to 03 October 2026.

When Rob was 12, they attempted to stage a full-blown Disney parade in their house for their Grandma. As Rob donned a wig and played Mary Poppins, Ariel, Mickey Mouse and Belle, their Dad doubled as Stage Manager, Sound Technician and Goofy. Unfortunately, Dad missed all his cues and pushed all the floats in the wrong direction. Mum mistook Aladdin for Ursula. The costumes went awry. Ariel’s bubble gun didn’t even work properly. Grandma had a nice time though.

Paul Taylor-Mills, Producer said “My Son’s A Queer, (But What Can You Do?) is the epitome of everything I dreamed theatre could be. It is a story rooted in hope and acceptance and is a reminder of the extraordinary power of celebrating people exactly as they are. 

To see it go from a DM on Twitter during lockdown, to a fully produced sell out show in both the West End and New York has been nothing short of extraordinary and we’ll always be incredibly grateful to Rob for letting us bring their beautiful story to life. 

Bringing the show to the Apollo Theatre for one final hurrah is a chance to celebrate everything this journey has meant to everyone who has been a part of its production, to reflect on how far it has come, and to give audiences one last opportunity to be part of a story that has changed lives of so many.”

Winner of the WhatsOnStage Best Off-West End Production Award, Attitude and Stage Debut Awards as well as a nomination for an Olivier Award for Best Entertainment or Comedy Play,  My Son’s A Queer, (But What Can You Do?) is the joyous autobiographical story of social-media sensation Rob Madge as they set out to recreate that parade. And this time, nobody, no, nobody, is gonna rain on it!

Queen’s Theatre Hornchurch Announces 2026 Autumn Season

• A new drama with live magic, The Disappearing Man, produced in collaboration with new writing company HighTide premieres in the main house ahead of its National Tour
• ThickSkin’s chilling haunted house story It Walks Around the House at Night premieres before touring the UK
• A farcical twist on Greek mythology, Le Navet Bete’s Oh Zeus! brings comedy, multi-rolling and togas as part of its UK Tour
• The iconic tea-guzzling tiger will visit the theatre in the stage adaptation of The Tiger Who Came to Tea
• Returning for the festive season is the theatre’s flagship pantomime continuing QTH’s tradition of telling locally resonant stories made for and about the people of Havering

@QueensTheatreH | www.queens-theatre.co.uk

Queen’s Theatre Hornchurch today announces its programme for autumn 2026 featuring the launch of a new touring play with live magic, a comedy twist on Greek mythology and the theatre’s flagship annual pantomime. 

From local Essex playwright Kenny Emson, featuring live magic, The Disappearing Man (15 – 31 Oct) is a new drama about legacy and second chances following a washed-up magician.Returning to the once-glittering Clacton-on-Sea, Bazza Cadabra is ready for a final comeback, determined to reclaim the spotlight and prove he’s still got what it takes 20 years since his prime, but at the heart of his ambition is something far more fragile, his re-kindled relationship with his son. As Bazza faces a flashy new young magician, a no-nonsense new manager and the family he left behind, their reunion sparks hope, rivalry, and the possibility of something extraordinary. Produced in collaboration with HighTide and directed by Queen’s Theatre Hornchurch Co-Creative Director Alex Thorpe, The Disappearing Man will open at Queen’s Theatre Hornchurch before touring to Blackpool Grand Theatre, Yvonne Arnaud Theatre Guilford and Key Theatre Peterborough throughout November. 

A haunted house story for a new era from ThickSkin supported by Queen’s Theatre Hornchurch, It Walks Around the House at Night (24 – 27 Sept) is a chilling new play by former Bruntwood Prize-winner Tim Foley, following an out-of-work actor who takes a job playing a ghost at an old countryside manor. As night after night unfolds, the role begins to blur with reality, and something far more sinister starts to emerge.

Le Navet Bete’s Oh Zeus! (7 – 10 Oct) isa riotous, all-out hilarious ride through Greek mythology. When the stability of Olympus is threatened by the marriage of Zeus’s daughter Hebe to a mere mortal, the King of the Gods hatches a plan to derail the wedding. Three actors play 40 characters in this mythical farce through Ancient Greece, the Underworld and back with physical comedy, outrageous jokes, and more togas than you can smash a plate at.

As part of the theatre’s family programme, the iconic tea-guzzling tiger will visit Queen’s Theatre Hornchurch in a stage adaptation of the classic tale of teatime mayhem, The Tiger Who Came to Tea (25 – 27 Aug) packed with magic and sing-along songs. 

For the 2026 festive season, the theatre’s previously announced flagship pantomime Robin Hood (18 Nov – 2 Jan) continues the tradition of telling locally resonant stories made for and about the young people and families of Havering. In the Forest of Havering, Robin Hood with his Merry Band beside him and the brilliant, brave Maid Marian leading the charge, is ready to outwit the greedy Sheriff. 

Co-Creative Director Alex Thorpe said, “Collaboration is at the heart of everything we do at Queen’s Theatre Hornchurch, and our autumn season is a celebration of that. We are delighted to welcome Kenny Emson back to Essex, staging his play about magic, ambition, hope and rivalry on our main stage before touring nationally. Bringing this production to life alongside our partners at HighTide and an exceptional team of creatives is a powerful reminder of what can be achieved when we work together.

“We are passionate about sharing the most exciting touring theatre from across the UK with audiences throughout the borough. Having been captivated by La Navet Bete nearly 20 years ago and long-time admirers of ThickSkin since their inception, we are thrilled to present Oh Zeus! and It Walks Around the House at Night, two bold and imaginative stories that are sure to inspire our adventurous audiences.”

The Disappearing Man playwright Kenny Emson said, “I couldn’t be more excited to bring The Disappearing Man to Queen’s Theatre Hornchurch. As an Essex writer, it means everything to share a piece that reflects where I’m from but also challenges expectations. This isn’t just another working-class sad play— it’s a story of magic, wonder, and the unseen lives that exist just beneath the surface. It’s Essex as I know it: complex, surprising, and always full of humour.” 

Hightide Artistic Director and CEO Titiola Dawudu said “It has been such a great experience working with Queen’s Theatre Hornchurch on Kenny Emson’s new play The Disappearing Man. It feels like a genuinely values-led collaboration, where everyone is aligned in wanting to make the best work possible. HighTide worked with Kenny on Rust in 2019, so it’s a wonderful moment for us to be working with him again.”

Queen’s Theatre Hornchurch is a vibrant producing theatre serving Outer East London and South Essex. With a catchment of over one million people, QTH is a vital cultural hub producing and presenting bold, engaging and entertaining work on stage and within local communities, alongside a year-round creative participation programme for people of all ages. Audiences are guaranteed a warm welcome from this three-year winner of UK Theatre’s Most Welcoming Theatre, London Theatre of the Year 2020 (The Stage Awards) and 2023 finalist in eight Off West End Award categories for the public’s favourite venue. QTH welcomes over 95,000 audience members each year, with a further 35,000 taking part in our community participation activities.

Opening in May as part of the new East Anglian Touring Consortium, Caroline: A New Musical (6 – 16 May) is inspired by the story of pirate radio station Radio Caroline, the station that broadcast pop and rock music from a ship off the Essex coast during the 1960s. 

Listings information 

Queen’s Theatre Hornchurch, Billet Lane, Hornchurch RM11 1QT

www.queens-theatre.co.uk | 01708 443333

Social media

Instagram         @QueensTheatreHornchurch

TikTok              @QueensTheatreHornchurch

Facebook         www.facebook.com/QueensTheatreH
#QueensTheatreHornchurch #QTHAutumnSeason

Queen’s Theatre Hornchurch is supported by Arts Council England 

REGENT’S PARK OPEN AIR THEATRE ANNOUNCES

FULL CAST FOR

A MIDSUMMER NIGHT’S DREAM

Regent’s Park Open Air Theatre today announce the full cast for William Shakespeare’s A Midsummer Night’s Dream, in a new production directed by Atri Banerjee. The production runs from 20 June – 18 July.

Banerjee directs Issam Al Ghussain (Flute); Rachel Barnes (Moth); Georgia Bruce (Puck); Misia Butler (Lysander); Neil D’Souza (Snug & Egeus); Amelia Gabriel (Mustardseed); Harriet Gordon-Anderson (Quince); Rori Hawthorn (Cobweb); Olivier Huband (Oberon & Theseus); Nadeem Islam (Bottom); Damien James (Peaseblossom); Terique Jarrett (Demetrius); Evie Jones (Snout); Mary Malone (Helena); Hiftu Quasem (Hermia); Jenny Rainsford (Titania & Hippolyta) and Dumile Sibanda (Starveling).

Atri Banerjee, Director, said: ‘I’m so pleased to be directing Shakespeare’s beloved comedy A Midsummer Night’s Dream at Regent’s Park Open Air Theatre. There is no play better suited to the Park’s surroundings, and it feels like a special privilege to be making this version for 2026: the responsibility to audiences feels immense and thrilling. “This green plot shall be our stage”, says Quince, and I can’t wait to work with this extraordinary group of actors and creatives to make art, make music, and collectively dream this summer.’

Drew McOnie, Regent’s Park Open Air Theatre Artistic Director, said: ‘I’m delighted to welcome this wonderful cast of actors and actor musicians to Regent’s Park to bring this much loved Shakespeare back to the Open Air Theatre stage. I can’t wait for our audiences to be transported from Athens to the fairy kingdom once again in this visionary production from Atri Banerjee.’

A Regent’s Park Open Air Theatre production

A MIDSUMMER NIGHT’S DREAM
By William Shakespeare

Creatives include Atri Banerjee (Director); Rachel Barnes (Musical Director); Naomi Dawson (Set Designer); Yarit Dor (Intimacy & Fight Director); Amara Heyland (Associate Director); Anjali Mehra (Movement Director); Maimuna Memon (Composer & Musical Arrangements); Tomás Palmer (Costume Designer); Max Pappenheim (Sound Designer); Joshua Pharo (Lighting Designer); Jacob Sparrow (Casting Director); Emma Woodvine (Voice & Text Director).

Saturday 20 June – Saturday 18 July 2026

‘Are you sure
That we are awake? It seems to me
That yet we sleep, we dream.’

When a bitter dispute erupts in the fairy kingdom, four fleeing lovers and an unsuspecting weaver called Bottom find themselves adrift in an enchanted forest, down a path of chaos and delusion conjured by the mischievous Puck. 

With desire turned upside down, hearts are won, lost, and won again in a realm of dreams where worlds intertwine and the impossible becomes a distant memory.   

In a blissful new production directed by Atri Banerjee (The Glass Menagerie, Royal Exchange; Julius Caesar, RSC), underscored with folk-infused melodies composed by Maimuna Memon (Portia Coughlan, Almeida; The Grapes of Wrath, National Theatre), experience Shakespeare’s most spellbinding comedy as it blossoms once again in our magical outdoor setting.  

Atri Banerjee | Director
Training: University of Cambridge (BA in English, MPhil in Medieval & Renaissance Literature); Birkbeck, University of London (MFA in Theatre Directing); National Theatre Directors’ Course.

As Director: Julius Caesar (RSC); Look Back in Anger (Almeida); The Glass Menagerie (Royal Exchange/Rose, Kingston/UK Tour); SHED: EXPLODED VIEW, Hobson’s Choice (Royal Exchange); Britannicus (Lyric Hammersmith); Kes (Octagon, Bolton/Theatre by the Lake); HARM (Bush); Scenes from the Climate Era (Gate, Offie Award for Best Production 2025); Dracula (National Youth Theatre); Into the Woods (Bristol Old Vic Theatre School); Europe (LAMDA).

Film includes: HARM (Bush/BBC/Angelica Films); This Room, Now (Gate).

Play translations include: Antigone Power, Carbon, All Saints.

Atri is Artistic Lead at the Gate Theatre. He won The Stage Debut Award for Best Director and was nominated for the UK Theatre Award for Best Director in 2019 for Hobson’s Choice (Royal Exchange), and was awarded a 2022-24 Peter Hall Bursary from the National Theatre. Atri sits on the Boards of the Marlowe Theatre, Canterbury and the Regional Theatre Young Directors’ Scheme and was formerly Trainee Director at the Royal Exchange and a Resident Director at the Almeida.

Issam Al Ghussain | Flute

Training: Bristol Old Vic Theatre School.

Theatre includes: Cutting the Tightrope, Gentlemen (Arcola Theatre); Word Play (Royal Court Theatre); King Lear, Macbeth (The Globe Theatre).

Rachel Barnes | Moth

Training: Royal Welsh College of Music and Drama.

Theatre includes: Manic Street Creature, Coven (Kiln); Grapes of Wrath (National Theatre); Manic Street Creature, Sugar Coat (Southwark Playhouse); Wicker Husband (Watermill); Joan of Leeds (New Diorama); Canary And The Crow (Arcola); I Hate Alone (Middle Child Tour); The Sicilian Courtesan (Richard Burton Theatre Company); Kasimir and Karoline (Gate Theatre); The Dancing Bear (Leeds Playhouse).

TV includes: Ladhood (BBC).

Georgia Bruce | Puck

For Regent’s Park: Fiddler on the Roof (2024).

Theatre includes: Fiddler on the Roof (Barbican/UK & Ireland Tour); Cowbois (RSC/Royal Court Theatre); The Invincibles (Hornchurch); Wuthering Heights (Wise Children, USA Tour); Fisherman’s Friends: the musical (Hall for Cornwall); Robin Hood (Watermill Theatre); Callisto: a queer epic (Arcola Theatre).

TV includes: It’s a Sin (Channel 4); Doctors (BBC).

Misia Butler | Lysander

Theatre includes: The Amber Trap (Theatre503); Jess And Joe Forever (Stephen Joseph Theatre); The Winslow Boy (UK Tour).

TV includes: A Good Girl’s Guide to Murder – Season 2 (BBC3); Kaos (Netflix/Sister Pictures); The Bastard Son & the Devil Himself (Netflix/Imaginarium Productions); Kiss Me First (Netflix).

Film includes: Virginia Woolf’s Night and Day (WestEnd Films); The School for Good and Evil (Netflix).

Neil D’Souza | Snug & Egeus

Training: University of Ulster (BA in Theatre Studies and Philosophy), Royal Academy of Dramatic art.

Theatre includes: Indian Ink, Out of Season, Drawing The Line (Hampstead Theatre); Mahabharata (Barbican Theatre/Tour);  The Cherry Orchard (The Yard Theatre); Coming Up (Watford Palace); Beginners (Unicorn Theatre); The Village (Theatre Royal Stratford East); How To Hold Your Breath, Khandan (Royal Court); Much Ado About Nothing, Midnight’s Children, The Hypocrite (Royal Shakespeare Company); Tintin (Watford Palace/West End); The Man Of Mode (National Theatre); Twelfth Night (West End); A Midsummer Night’s Dream (Colchester, Mercury); The Merchant Of Venice, The Honest Whore (Shakespeare’s Globe).

TV & Film includes:Slow Horses (AppleTV); The Ballad Of Renegade Nell (Disney); In The Long Run (Sky/Starz); Alma’s Not Normal, Austin, Eastenders, Doctors, Hustle, Citizen Khan, Undercover, Holby City, Don’t Take My Baby, Happiness, Back Up (BBC); Not Safe For Work, Friday Night Dinner, Home, Humans (Channel 4); The Bill (ITV); Amerikan Kannibal (Discovery); Filth, Still Life, Closed Circuit, Wild Target, Another Me, My Sweet Home, Gate To Heaven.

As Writer: Out of Season (Hampstead); Coming Up (Watford Palace); Small Miracle (Tricycle Theatre); Five Beats To The Bar (Radio 4); Westway (BBC World Service).

Amelia Gabriel | Mustardseed

Training: Royal Academy of Music, University of Oxford.

Theatre includes: Little Women (Salisbury Playhouse/UK Tour); The Grapes of Wrath (National Theatre); The Lord of the Rings (Watermill Theatre); The Littlest Yak (LAStheatre); The Elmer Adventure (Soho Theatre/UK Tour); The Marriage of Kim K (Arcola Theatre); Under the Frozen Moon (Hertford Theatre).

Harriet Gordon-Anderson | Quince

Training: Western Australian Academy for the Performing Arts.

UK Theatre includes: Scenes From The Climate Era (Gate Theatre); Picnic at Hanging Rock (Barbican/Royal Lyceum Edinburgh).

Australian Theatre Includes: Ulster American (Ensemble Theatre/Outhouse Theatre); Scenes From The Climate Era (Belvoir St Theatre); Hamlet (2022), Hamlet (2020), In A Nutshell, The Miser (Bell Shakespeare); Anatomy of a Suicide (Sugary Rum); Boxing Day BBQ (Ensemble Theatre); Museum of Modern Love (Seymour Theatre); Shandy’s Corner (New Ghost Theatre); You Got Older (Mad March Hare); Kindertransport (Darlinghurst Theatre); Leaves (Kings Cross Theatre); Picnic at Hanging Rock (Malthouse Theatre/Black Swan Theatre).

TV & Film includes: Home and Away (Seven Network); Amazing Grace (Nine Network); Mikki Versus The World (ABC); Mr InBetween (FOX); Love Child (Playmaker); The Secret Daughter (Screentime); The Greenhouse (Netflix).

Rori Hawthorn | Cobweb

Training: Guildhall School of Music and Drama. 

Theatre includes:A Gig For Ghosts (Soho Theatre); Macbeth (Stafford Shakespeare Theatre); The Straw Chair (Finborough Theatre); Sunset Song (Edinburgh Lyceum); Cèilidh (NYC). 

TV includes: Payback (ITV); Guilt (BBC); Red Election (Disney+); Game of Thrones (HBO). 

Film includes: Creation Stories (Danny Boyle/Irvine Welsh).  

Rori is an established Voice-Over Artist and was shortlisted for the Alpine Fellowship Music Award for Best Composition. 

Olivier Huband | Oberon & Theseus

Training: Drama Centre. 

Theatre includes: A Doll’s House, Romans: A Novel (Almeida); Much Ado About Nothing (RSC); Our Country’s Good (Lyric Hammersmith); Humour in the Water Coolant (ICA); The Duchess of Malfi (Sam Wanamaker Playhouse); The Tempest, Much Ado About Nothing (Shakespeare’s Globe); Henry V (Donmar Warehouse); Barefoot in the Park (Pitlochry Festival Theatre/Royal Lyceum Edinburgh) 

Film includes: The Way of the Runner (Potluck Pictures); MI:6 (Bad Robot). 

TV includes: Moonflower Murders (BBC); This England (Revolution Films); Becoming Elizabeth (The Forge/Starz); A Discovery of Witches Series 3, I Hate Suzie (Bad Wolf for Sky); Informer (Neal Street Productions). 

Nadeem Islam | Bottom

For Regent’s Park: Antigone (2022).

Theatre includes: Antony & Cleopatra (Shakespeare’s Globe); The Father and the Assassin (National Theatre); Treasure Island (Derby Theatre); Oliver Twist (Ramps on the Moon).

Damien James | Peaseblossom

Training: Rose Bruford College, Actor Musicianship

Theatre includes: Teeth ’N’ Smiles (Duke of York’s); Aladdin: The Rock ’N’ Roll Panto (Leeds City Varieties); Sappho: The Poetess (The Other Palace); The Curious Case of Benjamin Button (Ambassadors Theatre/Southwark Playhouse); Fun at the Beach Romp-bomp-a-lomp!! (Southwark Playhouse); Luna Loves Library Day The Musical (UK Tour); Cinderella (Lyric Hammersmith); Ordinary People (Hazlitt Theatre); Red Riding Hood: The Rock ’N’ Roll Panto (Liverpool Everyman); Othello, Camelot (The Watermill); The Play That Goes Wrong (Duchess Theatre/UK Tour); Romeo and Juliet (Stockwell Playhouse).

TV includes: Casualty, Doctors (BBC).

Terique Jarrett | Demetrius

For Regent’s Park: Our Town (2019).

Theatre includes: Choir Boys (Theatre Royal Stratford East/Bristol Old Vic); Juniper Blood (Donmar Warehouse); Fangirls (Lyric Hammersmith); “Daddy”: A Melodrama (Almeida Theatre); The Mirror and the Light (West End); The Winter’s Tale (National Theatre); Motown the Musical (West End).

TV & Film includes: Moon Knight (Disney+); Find Me in Paris (Hulu/Disney+); Layla (Film 4).

Terique was awarded the Black British Theatre Award for Best Male Lead in a Play for his role in Choir Boys, and was nominated for the Evening Standard’s Emerging Talent Award 2022 for his role in “Daddy”: A Melodrama.

Evie Jones | Snout

Training: Rose Bruford College MA, University of York BA .

Theatre includes: Hospital Doors (Next Door But One); Solstice (Battersea Arts Centre); Waldo’s Circus of Magic and Terror (Extraordinary Bodies); Insane Animals (HOME MCR).

Film includes: Truckload – writer & performer.

Evie was awarded Best of Fest at the North East International Festival, and the Best Actress and Audience Award at the City Lights Festival for Truckload. It premiered at Tribeca Festival, Edinburgh International Festival, and screened at multiple UK and European festivals.

Mary Malone | Helena

Training: East 15 Acting School.

Theatre includes: Fangirls (Lyric Hammersmith/Sonia Friedman Productions); Burnt At The Stake (Shakespeare’s Globe); Hope Has A Happy Meal (The Royal Court); As You Like It (Soho Place); The Prince (Southwark); Gulliver’s Travels (Unicorn).

TV includes:Missing You (Netflix/Quay Street Productions); Doctor Who (BBC); Vera (ITV); Chivalry (Baby Cow Productions); The Girlfriend Experience (STARZ); Play in a Day (Sky Arts).
Radio includes: Hell Cats 2, Radio Elusia, The Venice Conundrum.

Mary has been awarded the BroadwayWorld UK Award for Best Supporting Performer in a New Production of a Play for The Prince, and was the winning graduate for Play in a Day.

Hiftu Quasem | Hermia

TV includes: Ten Percent (Amazon Prime); The Witcher, Hostage (Netflix); Killing Eve, This Is Going to Hurt (BBC); Lockerbie: A Search for the Truth (Sky); Criminal Record (AppleTV+); A Woman of Substance (Channel4).

Film includes: Something in the Water (StudioCanal); Sebastian (BFI/Creative Scotland); Keep Her Quiet (Schubert Films).

Theatre includes: Same Team – A Street Soccer Story (Traverse Theatre); Miss Julie (Perth Theatre/Tron Theatre/Festival Theatre); At Home I Speak (Rich Mix); Fission (Actors Centre).

Jenny Rainsford | Titania & Hippolyta

Training: Royal Academy of Dramatic Art, Oxford University.
Theatre includes:Blithe Spirit (Salisbury Playhouse/Blackpool Grand); Ivy Tiller: Vicar’s Daughter, Squirrel Killer; The Tempest; Love For Love; Queen Anne (RSC); The Windors Endgame (Prince of Wales); Daddy (Almeida); Double Dealer (Orange Tree); The Rivals (Arcola); Microcosm (Soho Theatre); The Little Black Book (Park Theatre); No Quarter (Royal Court); The Seagull (Headlong); Straight (Sheffield/Bush Theatre); The Importance of Being Earnest (Rose Theatre).

As Co-Writer: Nanny (BBC Radio 4); Nanny – Director (Bristol Old Vic).

Film includes: Runaway (Supernova Productions Ltd); Such a Lovely Day (Element Pictures); Persuasion (Netflix); Coffee Wars (Unclaimed Freight Productions); The Favourite (BOP Films); About Time (Working Title); Prometheus (20th Century Fox).

TV includes: Late in Life (BBC Pilot); The Game (Channel 5); Silent Witness, Showtrial (BBC); Call The Midwife (BBC1); Finding Joy (RTE); Fleabag – Series 1 & 2 (BBC 3); Law & Order (ITV); The Smoke (Sky 1); Da Vinci’s Demons (Starz).
Credits whilst training: Oh What A Lovely War, Splendour, The Crucible, Othello, The Maid’s Tragedy, Love For Love, Calico, Electra, Henry V, Mr Norris Changes Trains, The Diary of Anne Frank, The Red Coat, Outbreak (Short Film).
Jenny was nominated for the Ian Charleson Award in 2015 for her role in Love For Love (RSC).

Dumile Sibanda | Starveling

Training: Bristol Old Vic Theatre School.

For Regent’s Park: Robin Hood: The Legend. Re-Written (2023).

Theatre includes: A Christmas Carol Goes Wrong (Apollo Theatre/UK Tour); The Play That Goes Wrong (West End); Jack and the Beanstalk (Oxford Playhouse); Birds and Bees (Theatre Centre UK Tour); A Pigment Of Your Imagination (The Pleasance); Rock/Paper/Scissors (Sheffield Theatres).

BOX OFFICE INFORMATION

Box Office 0333 400 3562* | openairtheatre.com                              

Inner Circle, Regent’s Park, London, NW1 4NU

* Lines open Monday – Sunday, 10am – 4pm. A £2.50 per transaction booking fee applies. 0333 numbers are charged at the same rate as calls to 01 and 02 numbers as regulated by Ofcom. Please check with your provider for further details.

Visit openairtheatre.com for latest ticket prices, concessions and discounts.

#OAT2026

2026 SEASON AT A GLANCE

A Regent’s Park Open Air Theatre production

SHERLOCK HOLMES

Saturday 2 May – Saturday 6 June 2026

Access Performances:

BSL Interpreted: Thurs 4 June, 7.45pm

Captioned: Fri 5 June, 7.45pm

Audio Described: Sat 6 June, 2pm

Age Recommendation: 12+

Tickets from: £15

OPEN AIR THEATRE SUNDAY EVENT: FAMILY DAY
Sunday 24 May 2026

Age recommendation: All ages welcome

Day Entry Tickets: Adults £18, Children £15

OPEN AIR THEATRE SUNDAY EVENT: JAMES ACASTER

Sunday 31 May 2026

Age recommendation: 14+

Tickets: £30

A Regent’s Park Open Air Theatre production

A LIFE IN FOUR SEASONS

Thursday 11 – Sunday 14 June 2026

Age Recommendation: 8+

Tickets from: £15

A Regent’s Park Open Air Theatre production

A MIDSUMMER NIGHT’S DREAM

Saturday 20 June – Saturday 18 July 2026

Access Performances:

BSL Interpreted: Sat 11 July, 12.30pm & Thurs 16 July, 7.45pm

Captioned: Fri 17 July, 7.45pm

Audio Described: Sat 18 July, 12.30pm

Age Recommendation: 10+

Tickets from: £15

Regent’s Park Open Air Theatre

with Michael Harrison for Lloyd Webber Harrison Musicals presents

CATS

Saturday 25 July – Saturday 19 September 2026

Access Performances:

Relaxed: Thurs 27 August, 2pm

BSL Interpreted: Tue 1 September, 7.45pm

Captioned: Fri 4 September, 7.45pm        

Audio Described: Sat 5 September, 2pm

Age Recommendation: 5+

Tickets from: £15

A Unicorn Theatre and Regent’s Park Open Air Theatre production

ANANSI THE SPIDER

Saturday 15 August – Sunday 6 September 2026

Age recommendation: 4+

Tickets from: £15

OPEN AIR THEATRE SUNDAY EVENT: TIM KEY: LOGANBERRY

Sunday 6 September 2026

Age recommendation: 14+

Tickets: £30

OPEN AIR THEATRE LIVE MUSIC WEEK: ECHO & THE BUNNYMEN

Tuesday 22 September 2026, 7pm

Tickets: £55 – 65

BEYOND THE PARK

Roald Dahl Story Company present

The family musical based on Roald Dahl’s
THE ENORMOUS CROCODILE

UK Tour                                                             Until 26 July 2026

Lyric Hammersmith, London                       28 July – 22 August 2026

Originally produced by Roald Dahl Story Company, Regent’s Park Open Air Theatre and Leeds Playhouse

enormouscrocodilemusical.com

David Ian for Crossroads Live and Work Light Productions present

The Regent’s Park Open Air Theatre production of

JESUS CHRIST SUPERSTAR
Solaire Theatre, Manila                                2 – 24 May 2026

National Theatre, Taipei                               18 – 21 June 2026

Marina Bay Sands, Singapore                      17 August – 13 September 2026

The Civic, Aukland                                          21 October – 15 November 2026

St James Theatre, Wellington                      18 – 28 November 2026

Isaac Theatre Royal, Christchurch              2 – 6 December 2026

Further tour dates to be added.

tour.jesuschristsuperstar.com

Michael Harrison for Lloyd Webber Harrison Musicals presents

The Regent’s Park Open Air Theatre production of

JESUS CHRIST SUPERSTAR
London Palladium                                          20 June – 5 September 2026
london.jesuschristsuperstar.com

Trafalgar Theatre Productions, Regent’s Park Open Air Theatre and Brian & Dayna Lee presents

The Regent’s Park Open Air Theatre production of

FIDDLER ON THE ROOF

Theatre Royal Sydney                                    31 July – 6 September 2026

QPAC Glasshouse Theatre, Brisbane        9 – 25 October 2026

Her Majesty’s Theatre, Melbourne            31 October – 27 December 2026

Further dates and venues to be announced.

fiddlerontherooftour.com

Michael Harrison for Lloyd Webber Harrison Musicals presents

The Regent’s Park Open Air Theatre production of

CATS

Theatre Royal Plymouth                               6 – 17 October 2026

Hull New Theatre                                           20 – 24 October 2026

Birmingham Hippodrome                             27 October – 7 November 2026

Palace Theatre Manchester                         10 – 21 November 2026

Bristol Hippodrome                                        24 – 28 November 2026

Venue Cymru Llandudno                              1 – 5 December 2026

Theatre Royal Glasgow                                 8 – 27 December 2026

Nottingham, Royal Concert Hall                 6 – 16 January 2027

Canterbury, Marlowe Theatre                    19 – 23 January

Sunderland, Empire Theatre                       26 – 30 January 2027

Aberdeen, His Majesty‘s Theatre               9 – 13 February 2027

Theatre Royal Norwich                                 16 – 27 February 2027

Grand Opera House Belfast                         2 – 13 March 2027

Oxford, New Theatre                                    23 – 27 March 2027

Mayflower Southampton                              30 March – 10 April 2027

Edinburgh, Playhouse Theatre                    20 – 24 April 2027

Bradford, Alhambra Theatre                       27 April – 1 May 2027

Liverpool, Empire Theatre                           5 – 15 May 2027

Woking, New Victoria Theatre                    18 – 22 May 2027

Wales Millennium Centre Cardiff               25 – 29 May 2027

Milton Keynes, Milton Keynes Theatre    1 – 5 June 2027

Newcastle, Theatre Royal                            8 – 19 June 2027 

catsthemusical.com

JERMYN STREET THEATRE ANNOUNCES EXTENSION OF CRITICALLY ACCLAIMED

THE WAVES DUE TO UNPRECEDENTED DEMAND

★★★★

“Superb staging of Virginia Woolf’s deep dive into friendship”

The Guardian

Jermyn Street Theatre today announces its critically acclaimed, sell-out production ofThe Waves will extend its run due to unprecedented demand. Adapted by Flora Wilson Brown from Virginia Woolf’s novel, the production – which has set new box office records for the theatre – will extend for one-week only, now completing its run on Saturday 30 May.

Artistic Director Stella Powell-Jones and Co-Artistic Director and Executive Producer David Doyle said today, “It’s been wonderful to see The Waves connect so deeply with audiences at every stage of life. Flora Wilson Brown – who we met through our talent development programme – has adapted Woolf’s novel with wit, verve and heart, and Júlia Levai’s production brings it exquisitely to life. We’re delighted to be announcing an extension, giving more audiences the chance to share in this extraordinary work beautifully realised by our superb cast, creative and production team.”

Júlia Levai directs Archie Backhouse (Louis), Breffni Holahan (Susan), Pedro Leandro (Neville), Syakira Moeladi (Jinny), Tom Varey (Bernard), and Ria Zmitrowicz (Rhoda).

★★★★

“Compelling, and often surprisingly moving”

The Stage

Rhoda. Bernard. Susan. Neville. Jinny. Louis.

They begin by the coast. Then, school. Youth. Forming. Swelling. Terror. Joy. Working. Falling. Fame. Grief. Alone. Together.

The Waves is a tender, thrilling story about growing up together. Major new talents Flora Wilson Brown and Júlia Levai unite to bring Virginia Woolf’s masterpiece to heart-thumping life.

Cast: Archie Backhouse (Louis); Breffni Holahan (Susan); Pedro Leandro (Neville);

Syakira Moeladi (Jinny); Tom Varey (Bernard); Ria Zmitrowicz (Rhoda)

Director: Júlia Levai; Set Designer: Tomás Palmer; Costume Designer: Anett Black;

Lighting Designer: Lucía Sánchez Roldán; Composer and Sound Designer: Matthew Tuckey;

Movement Director: Ken Nakajima; Casting Director: Jatinder Chera

LISTINGS

THE WAVES
16B Jermyn Street, London, SW1Y 6ST
Box Office: 020 7287 2875
www.jermynstreettheatre.co.uk

THE WAVES
Until 30 May 2026Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performances: Thursday 30 April at 7:30pm & Tuesday 12 May at 3pm
Captioned Performance: Monday 11 May at 7:30pm
Tickets from £18

WIFE TO JAMES WHELAN
25 June – 25 July 2026

Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performances: Tuesday 7 July at 3pm & Thursday 16 July at 7:30pm
Captioned Performance: Monday 13 July at 7:30pm
Tickets from £18

THE TRUTH IS SHE NEVER LEFT YOU

JAMIE LLOYD’S

ELECTRIFYING NEW PRODUCTION OF

TIM RICE & ANDREW LLOYD WEBBER’S

“EVITA”

WILL TRANSFER TO BROADWAY NEXT SPRING

AT A SHUBERT THEATER TO BE ANNOUNCED

STARRING

OLIVIER AWARD WINNER, LONDON STANDARD THEATRE AWARD WINNER,

AND GOLDEN GLOBE AWARD WINNER

RACHEL ZEGLER

AS ‘EVA PERÓN’

“BELIEVE THE HYPE.

THIS IS ONE FOR THE HISTORY BOOKS”

– THE DAILY EXPRESS

SIGN UP NOW AT

WWW.EVITATHEMUSICAL.COM

Today, producers announced that Tony Award and multiple Olivier Award-winning director/producer Jamie Lloyd’s new production of Tim Rice and Andrew Lloyd Webber’s masterwork Evita will come to Broadway spring of 2027. Olivier Award winner, London Standard Theatre Award winner, and Golden Globe Award^® winner Rachel Zegler will reprise her lauded role as ‘Eva Perón’ at a Shubert theater to be announced.

Evita on Broadway will be produced by Jamie Lloyd for The Jamie Lloyd Company and Michael Harrison for Lloyd Webber Harrison Musicals by arrangement with LW Entertainment.

Tim Rice said, “I am thrilled that Broadway audiences will be able to see Jamie Lloyd’s bold and inventive version of Evita. Rachel Zegler is a magnetic ‘Eva’, delivering an electric, charismatic performance.”

Andrew Lloyd Webber said, “I am delighted to see Jamie Lloyd’s extraordinary production of Evita head to Broadway. It is so exciting to see Tim and my work reimagined in new ways, and the show has a generational talent in Rachel Zegler. I can’t wait for American audiences to experience a production which took the West End by storm.”

Jamie Lloyd said, “I was completely overwhelmed by the incredible response to Evita in London. It is an honor to work with Tim and Andrew, and I’m looking forward to revisiting the production with Rachel, whose stellar performance continues to inspire me. When we started discussing a New York production, it became apparent that our Palladium staging of ‘Don’t Cry For Me Argentina’ would not be possible. I am really excited to explore a new idea, made especially for Broadway.”

Rachel Zegler said, “Performing Tim Rice and Andrew Lloyd Webber’s brilliant show in London was a dream come true, but being able to partner once again with Jamie to bring Evita to Broadway is a once in a lifetime opportunity. I can’t wait to perform for my home, New York City.” 

Evita made international headlines last summer when it played a sold-out engagement at the London Palladium. It was heralded by critics with a staggering number of five-star reviews and was described by The Telegraph as “a total triumph,” The Standard said, “Rachel Zegler is an absolute smash in Jamie Lloyd’s thrilling revival” and The Daily Express called Evita, “The event of the year. Do not miss it.”

Earlier this month, Evita received two Olivier Awards including Best Actress in a Musical for Zegler. The production was also awarded Best Musical and Best Musical Performance for Zegler at the London Standard Theatre Awards, along with receiving five WhatsOnStage Awards including Best Musical Revival and Best Performer in a Musical for Zegler. It was also recently nominated for five Critics’ Circle Theatre Awards.

To sign up to receive the latest news about Evita on Broadway, please visit www.evitathemusical.com.

Fuelled by unrelenting ambition and passion, Eva Perón (Zegler) rose from poverty to become the most powerful woman in Latin America. A beacon of hope to some and a threat to others, her star shone brightly as she captured the nation’s heart and divided its soul. Evita features an iconic score including “Don’t Cry For Me Argentina,” “Oh What A Circus,” “Another Suitcase in Another Hall,” and the Oscar-winning “You Must Love Me.”

101 Productions, Ltd. will serve as general managers for the production.

Jamie Lloyd originally directed Evita at Regent’s Park Open Air Theatre as part of their 2019 season.

Production dates, additional casting, specific theater, and additional ticketing information for Evita on Broadway will be announced soon.

The London cast recording of Evita, featuring Zegler, is now streaming on all platforms and includes her chart-topping version of “Don’t Cry For Me Argentina,” which reached No. 1 on the Official UK Physical Singles Chart on three occasions. Listen here: https://lnk.to/EVITA-stream. A full-length cast recording is currently in production.

BIOGRAPHIES

Tim Rice (Lyrics) has worked in music, theater, and films since 1965. With Andrew Lloyd Webber he wrote Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar,and Evita and has since collaborated with other distinguished composerssuch as Elton John (The Lion King; Aida), Alan Menken (Aladdin; King David; Beauty and the Beast), Björn Ulvaeus and Benny Andersson (Chess), and Stuart Brayson (From Here To Eternity). He has also written with Freddie Mercury, Burt Bacharach, Gary Barlow, Marvin Hamlisch, and Rick Wakeman among others.

In 2024-5, Tim toured over 30 towns and cities in the UK and Ireland with My Life in Musicals, an evening of his songs from his 60-year career in show business. In 2025, he was reunited with Andrew Lloyd Webber to write original songs for the comedy play Sherlock Holmes and the 12 Days of Christmas, while Chess returned to Broadway for its first new production there in nearly 40 years.

He was knighted by the late Queen Elizabeth II in 1994 and like Elton, Andrew, and Alan, has won an Emmy, a Grammy, an Oscar, and a Tony – achieving ‘EGOT’ status.

Tim’s interests beyond the entertainment business include boxer dogs, astronomy, and cricket and to indulge the latter he founded his own team in 1973. He is a patron of the Bob Willis Fund (along with Bob Dylan), an enterprise inspired by the late great English cricketer, which is dedicated to raising awareness of prostate cancer. Though he has given up spin-bowling he has no immediate plans to retire from show business.

Andrew Lloyd Webber (Composer) has composed the scores of some of the world’s most famous musicals. When Sunset Boulevard joined School of Rock, CATS, and The Phantom of the Opera he equaled Rodgers & Hammerstein’s record of four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar, and Tony Awards.

In New York, hard on the heels of the Tony Award-winning revival of Sunset Boulevard, Lloyd Webber recently opened Masquerade which brings audiences closer than ever before to his global phenomenon, The Phantom of the Opera, and CATS: The Jellicle Ball the Harlem Ballroom reimagining of his iconic musical which recently opened to rave reviews on Broadway.

Lloyd Webber owns six London theaters including the iconic London Palladium and Theatre Royal, Drury Lane. Reopened in July 2021, the latter was completely restored and renovated at a cost of over $80 million. His mantra is that every penny of profit made from his theaters is put back into the buildings.

Lloyd Webber is passionate about the importance of musical education and diversity in the arts. In Britain, The Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need and supports a range of projects such as the Music in Secondary School Trust and commissioning research into diversity in theater. In the United States, the American Theatre Wing’s Andrew Lloyd Webber Initiative provides grant funding directly to under-resourced public schools for their theater programs and provides scholarships to grade school and university students pursuing studies in theater.

In 2023 Andrew Lloyd Webber partnered with Michael Harrison to produce new productions of existing work and his future musicals. His latest, The Illusionist, will be produced in London in 2027.

Andrew Lloyd Webber was knighted in 1992, created an honorary life peer in 1997, and made a Knight Companion of the Most Noble Order of the Garter by King Charles III in 2024.

Jamie Lloyd (Director) is an award-winning director and producer. His credits for The Jamie Lloyd Company include Waiting for Godot (Hudson Theatre, New York), Evita (The London Palladium – winner of two Olivier Awards and nomination for Best Musical Revival; Standard Theatre Award for Best Musical), Much Ado About Nothing (Theatre Royal Drury Lane – nominated for two Olivier Awards including Best Revival), The Tempest (Theatre Royal Drury Lane), Romeo & Juliet (Duke of York’s Theatre), Sunset Blvd. (St. James Theatre, New York – winner of three Tony Awards including Best Revival of a Musical / Savoy Theatre – winner of seven Olivier Awards including Best Director and Best Musical Revival; Evening Standard Theatre Award for Best Director), The Effect (National Theatre/The Shed, New York), A Doll’s House (Hudson Theatre, New York – nominated for six 2023 Tony Awards including Best Direction of a Play and Best Revival of a Play), The Seagull (Harold Pinter Theatre), Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival; Critics’ Circle Theatre Award for Best Director), Betrayal (Harold Pinter Theatre/Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play; Critics’ Circle Theatre Award for Best Director), Pinter at the Pinter (Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse, and Macbeth (Trafalgar Studios).

Rachel Zegler (Eva Perón) is a dynamic actress and singer who has already established herself as a trailblazer of her generation. At only 17 years old, Rachel earned the role of ‘María Vasquez’ for Steven Spielberg’s new adaptation of West Side Story out of 30,000 auditions. The film captured Rachel’s motion picture debut and earned her an NBR Award for Best Actress along with a Golden Globe Award for Best Actress in a Comedy or Musical. 

Most recently, Rachel starred opposite Ben Platt in a limited London engagement of Jason Robert Brown’s The Last Five Years, directed and conducted by Brown in celebration of the musical’s 25^th anniversary. The show sold out at The London Palladium and Radio City Music Hall. Rachel recently received rave reviews for her performance in Evita at The London Palladium, starring as ‘Eva Perón’ in Jamie Lloyd’s revival of the Tim Rice and Andrew Lloyd Webber musical, earning her the Olivier Award for Best Actress in a Musical. Before that, Rachel made her Broadway debut in Sam Gold’s Romeo & Juliet, starring opposite Kit Connor with music by Jack Antonoff.

On the big screen, she was most recently seen as ‘Snow White’ in Disney’s live-action remake of the classic story, making her one of the first Latina actresses to star in a live-action Disney film. She also recently starred in the A24 disaster comedy Y2K, directed by SNL alum, Kyle Mooney, which premiered at SXSW. Before that, she led the highly anticipated prequel The Hunger Games: The Ballad of Songbirds and Snakes as ‘Lucy Gray Baird’ alongside Peter Dinklage, Tom Blythe, and Viola Davis. Rachel has also starred alongside Helen Mirren and Lucy Liu in D.C. Comics’ Shazam! Fury of the Gods, the sequel to the successful predecessor, Shazam! 

Rachel has been named a Glamour US/ Glamour UK “Woman of the Year,” is a Forbes “30 Under 30” recipient, and has been recognized by Time Magazine with inclusion in their TIME100 Next list. She has been included in Variety’s annual “Power of Young Hollywood Impact“ list, and The Hollywood Reporter’s “Next Generation” list. She was also named one of “Nine Latinx Women in Hollywood Currently Changing the World” by Elle Magazine. 

The Jamie Lloyd Company (Producer) is a multi-award-winning West End and Broadway production company that creates adventurous productions with the best talent in the world. Previous work includes radical reappraisals of Waiting for Godot, Evita, Much Ado About Nothing, The Tempest, Romeo & Juliet, Sunset Blvd., The Effect, A Doll’s House, The Seagull, and Cyrano de Bergerac with casts including Uzo Aduba, Zawe Ashton, Hayley Atwell, Gemma Chan, Jessica Chastain, Emilia Clarke, Paapa Essiedu, Claire Foy, Martin Freeman, Kit Harington, Tom Hiddleston, Tom Holland, James McAvoy, Arian Moayed, Keanu Reeves, Simon Russell Beale, Taylor Russell, Nicole Scherzinger, Sigourney Weaver, Alex Winter, and Rachel Zegler.

Forthcoming productions include Much Ado About Nothing (Broadway).

www.thejamielloydcompany.com  

www.instagram.com/jamielloydco

Michael Harrison for Lloyd Webber Harrison Musicals (Producer). Michael with Andrew LloydWebber formed their company to produceboth new musicals and revivals of Andrew’s existing work. Lloyd Webber Harrison Musicals productions include CATS: The Jellicle Ball, Starlight Express, Sunset Blvd., Evita and the forthcoming CATS in London’s Regent’s Park Open Air Theatre, and Jesus Christ Superstar at the London Palladium. Michael’s West End productions: Hello, Dolly!; The Little Big Things; Crazy for You; Titaníque; The Wizard of Oz; Oklahoma!; The Drifters Girl; Joseph and the Amazing Technicolor Dreamcoat; Mel Brooks’ Young Frankenstein; Gypsy; The Bodyguard; and ten London Palladium pantomimes seen by over 1 million people.

LW Entertainment is an entertainment company with musical theatre at its heart. Founded in 1977 as the Really Useful Group, the company manages Andrew Lloyd Webber’s body of work all over the world and has shared his work with hundreds of millions of people. Today, LW Entertainment builds on that legacy through creative collaboration and thoughtful brand development, ensuring these iconic works continue to evolve and connect with audiences for generations to come.

LW Entertainment shapes the long-term vision for some of the most celebrated titles ever written, including Phantom of the Opera, Cats, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, Evita, Sunset Boulevard, and Starlight Express. The business partners with industry-leading creative teams, producers, and organizations to deliver ground-breaking experiences and products across multiple entertainment formats – from theatrical productions, immersive experiences and music to film, publishing and consumer products.

www.andrewlloydwebber.com

www.boxfiveclub.com

www.evitathemusical.com

www.instagram.com/officialevita

www.tiktok.com/@evitamusical

www.facebook.com/evitathemusical

www.omdkc.com

www.twitter.com/omdkc

www.facebook.com/omdkc

www.instagram.com/omdkc

The Lost Estate – until 31 July 2026

Reviewed by Amarjeet Singh

5*****

From the moment I step through The Lost Estate’s doors, modern London falls away and Paris, 1896, takes its place. CHAT NOIR! doesn’t ask you to observe history; it invites you to sit down, take a drink, and be part of it. The decadent décor is richly immersive, surrounding us with low, conspiratorial lighting and seating that places you at the centre of the action.

At the helm is Rodolphe Salis, superbly played with tremendous presence by Joe Morrow. Presiding with charm, bite, and magnetic authority, he doesn’t simply host the evening, he commands it. What’s striking is how intentional the whole production feels. Le Chat Noir is revived not as a dusty artefact, but as a volatile and vibrant artistic playground. Dangerous, experimental, and joyfully unruly, this in-person escapism feels vital in a world saturated with screens. Guests are invited to arrive draped in velvets and silks of the era, and by the end of the night, we feel less like an audience and more like a shared conspiracy.

The evening unfolds in three sections, ‘Art, Absinthe, and Anarchy’, each with a distinct tone. Opening with classic cabaret, it drifts into an absinthe-tinged dreamscape and ends in a wild, glorious extravaganza.

Music is the heartbeat of the experience, expertly performed by the outstanding ‘Les Enfants Vagabondes’, Guy Button on violin, Peteris Sokolovskis on cello, Alex Ullman on piano, Will Fry on percussion, and Áine McLoughlin on accordion. Drawing on Debussy, Satie, and other late-19th-century French works, the score shapes the atmosphere of the room, sometimes driving the action, sometimes holding it in a spellbound hush.

The cast are the heart of the production, delivering exceptional performances throughout. Issy Wroe Wright’s Muse sings with operatic clarity and emotional precision. Coco Belle, as Cléo de Mérode, dazzles with swirling fans, fearless high kicks, and a breathtaking finale. Alexander Luttley, as Paul Legrand the Mime, draws you into a wordless world of remarkable emotional range, while Neil Kelso charms and confounds as magician Joseph Buatier.

Beyond the stage, the experience continues seamlessly. A generous three-course French menu is served between acts: champagne and charcuterie on arrival, followed by a deconstructed chicken chasseur with fondant potato and crisp green beans, and ending with a sharp yet beautifully balanced tarte au citron. The house white is refreshing, while the absinthe ritual — sugar cube, slow drip, cloudy louche — proves as mesmerising as the performance itself. There are also a host of exciting cocktails to try, if you fancy something a little different. The ‘corpse reviver 1864’ and the ‘elixir des artistes’ did not disappoint. Cat masked waiting staff glide gracefully around the room, offering impeccable service, with select team members adding extra theatrical flair. Stand-out moments come from Gigi, who expertly guides our absinthe choices, and the delightful Sister Mary, who keeps the evening running smoothly with a wink and the occasional surprise.

CHAT NOIR! is immersive theatre at its finest. Intoxicating, beautifully crafted, and endlessly entertaining, it really is a must try experience. For a few glorious hours, you don’t just visit Paris in its artistic heyday; it becomes one with it.

Royal Concert Hall Nottingham – until Saturday 2 May 2026

Reviewed by Amy Coulson

4****

Fun down under…

There’s a particular kind of theatrical joy that comes from a show that knows exactly what it is, leans into it unapologetically, and invites the audience along for the ride. Priscilla Queen of the Desert does precisely that. This latest touring production delivers a vibrant, feel- good energy, heart, and above all, a soundtrack that refuses to let you keep quiet.

Admittedly, I have not seen The Adventures of Priscilla, Queen of the Desert, which opened in cinemas 25 years ago. The quirky, low budget celebration of drag, camp and friendship was an instant hit. Hugo Weaving, Terance Stamp and Guy Pearce starred in the 1994 film, alongside Priscilla, the not so trusty tour bus, of course!

From the opening moments, the music takes centre stage. Built around a string of iconic disco anthems like Boogie Wonderland, Shake Your Groove Thing, the show thrives on hits. The singing across the cast is genuinely impressive, with powerhouse vocals that do justice to some of the most beloved tracks in pop history – Go West, Spinning Around, It’s Raining Men, What’s Love Got To Do With It? It’s the kind of score that turns a mid-week evening into something celebratory, especially if you’ve come straight from a long day at the office – special mention to Musical Director Richard Atkison.

At the heart of the show are its central characters, whose journey across Australia provides both comedy and emotional grounding. Through Tick/ Mitzi (Kevin Clifton, best known as a professional dancer on BBC One’s Strictly Come Dancing), Bernadette (Adele Anderson, who in Company Business, serenaded Gene Hackman and- for the Sex and the City fans- Mikhail Baryshnikov) and Felicia (Nick Hayes, most recently performed as Ralph in Groundhog Day at The Old Vic) the show’s themes – identity, acceptance and chosen family are woven in lightly but effectively, never overshadowing the fun but adding depth. The relationships between them feel warm, balancing the camp extravagance with moments of sincerity. A special mention to the big energy and bold flamboyance from Nick Hayes as Felicia – a standout character and beautifully performed, and Kevin Clifton who sang absolutely beautifully. It was great to see actor, presenter, filmmaker, and 80’s iconic Blue Peter presenter Peter Duncan playing a rather sweet love interest.

Visually the production may not be the most elaborate staging seen at the concert hall. The set design is more restrained than you might expect from a show with such a reputation for spectacle. However, this turns out not to be a drawback so much as a different emphasis. The relatively simple set allows the characters – and those dazzling costumes- to take focus. There’s still plenty of sparkle and theatrical flair, and the overall aesthetic remains joyfully camp.

Priscilla Queen of the Desert delivers pure escapism and I’m here for it! It’s a sing along, high energy experience that leaves you smiling long after the curtain call. I enjoyed its heart, humour, and sensational soundtrack.

Lyceum Sheffield – until 2nd May 2026

Reviewed by Alison Beaumont

4****

Barnum tells the story of the famous American showman Phineas Taylor (PT) Barnum. It is set between 1835 when Barnum’s museum opened and 1880 when the Barnum and Bailey Circus was formed. It shows the highs and lows of Barnum’s life along the way.

There were a couple of alterations to the cast on the opening night performance and PT Barnum usually played by Lee Mead was on this occasion played by Tom Sterling and the ringmaster usually played by Eamonn Cox was played by Laura Skillet.

I felt that at first I was struggling to tell what Tom Sterling was singing but he settled into the role of Barnum especially when he sang Out There. There were a couple of mistakes along the way, there was a little slip up on one of the magic tricks and unfortunately, he didn’t make it along the tight rope, but these things happen.

The most amazing part of the show for me was the Circus performers, they were out of this word, and so amazing. The only thing was that there was so much going on you didn’t know where to look as I didn’t want to miss anything. We had everything from backflips, sea saw boards, silks, ropes, juggling, flame eating to hoops (the hoop had to be my favourite). Everyone was so talented and really made this show.

The ensemble danced, sang and played a variety of instruments which was incredible. I loved the big white trombone. There was some great choreography which you would expect as the show was choreographed by the one and only Oti Mabuse.

The best song for me was Come Follow the Band as this had a real feel-good factor about it and was a great start to Act Two.

If you love opera singing you will without a doubt love Jenny Lind, the Swedish Opera Singer (played by Penny Ashmore).

The puppetry of the elephant Jumbo was fantastic (created by Mervyn Millar and Tracy Waller from Significant Objects), it would have been great to have seen more of Jumbo during the show, its ears were so big, floppy and lifelike. Jumbo even gets its own credit in the program.

The stage setting and costumes made you feel like you were actually at a circus rather than the theatre.

The Bridgewater Hall, Manchester – 28 April 2026

Reviewed by Carla Whittaker                 

5*****

I will be completely honest walking into this; I wasn’t entirely sure what I was about to get. I’ve never watched Strictly Come Dancing, so I didn’t have that built-in buzz that clearly filled most of the room. There was a tiny part of me wondering if I’d feel like an outsider, or whether the whole thing might lean a little too heavily into Strictly territory. But then again, a night at The Bridgewater Hall which is one of Manchester’s most stunning venues paired with a live show was something which I was never going to pass up. Within minutes of the curtain rising, any hesitation I had completely melted away.

From the very first note, the live music takes hold and doesn’t let go. Tom Seals and his band open the show with a richness and vibrancy that instantly transforms the atmosphere. There’s a depth to live music that you just can’t replicate and this was so true for this show, the music wraps around you, pulls you in, and makes everything feel more immediate, more alive and real. The band carry a gorgeous jazz and blues undertone throughout the night, giving each number warmth, texture and real soul. And then there’s Jill Marie Cooper whose vocals, particularly in the second half, are nothing short of breathtaking. Especially the power ballads which left me, and I think the whole room with goosebumps, proper spine-tingling, hold-your-breath moments.

When Aljaž Škorjanec and Janette Manrara step onto the stage, the whole atmosphere shifts up a gear. You can feel it instantly the energy lifts, the focus sharpens, and there’s this quiet buzz in the room that builds into something really special. Even without knowing anything about their background, it’s obvious within seconds why they’re so loved. There’s nothing forced about them. No over-performance, no trying too hard. Their chemistry just is. It’s playful in places, tender in others, and always completely genuine.

Their opening number, Night & Day, sets the tone beautifully. It’s soft and romantic, but never overly sentimental there’s a lightness to it, a natural ease that makes it feel almost effortless. The way they move together is so fluid it’s hard to pick apart where one ends and the other begins. You find yourself completely drawn in without even realising it, like you’ve quietly slipped into their world. It’s one of those moments where everything else fades a little the music, the lighting, the movement all working together to create something that feels quite intimate, even in a large venue.

Aljaž has this understated charm that really lands. It’s in the small things the way he holds a moment, the glance out to the audience, the little flashes of humour that feel spontaneous rather than rehearsed. He makes it all feel accessible, like you’re being invited in rather than watching something out of reach. And then there’s Janette, who is just completely captivating to watch. Her movement is so precise, but it never feels clinical. There’s so much emotion in everything she does—every line, every turn, every expression tells a story. She doesn’t just dance the choreography, she lives in it, and that’s what makes it so compelling.

What really caught me off guard, though, was the scale of what the show actually delivers. It’s so much more than just a collection of dances it feels like a carefully crafted journey through music and time. You move from the elegance of Cole Porter through to the distinctive sound of Kate Bush, with touches of Quincy Jones, The Beatles and Michael Jackson threaded throughout. And it’s done so seamlessly. The medleys are cleverly put together so nothing feels abrupt you’re gently carried from one era to another, one style into the next.

One moment you’re wrapped up in the softness of a traditional ballroom piece, completely absorbed in the romance of it, and then almost without noticing, the energy shifts. Suddenly you’re in something much more upbeat jive, lindy hop, flashes of contemporary influence full of pace, personality and a completely different kind of excitement. It keeps you on your toes in the best way, never letting things feel predictable or repetitive.

What stands out most is how fluid it all feels. There’s no sense of stop-start or separate segments it just flows. Everything connects, everything builds, and it keeps evolving in a way that holds your attention from start to finish. It’s engaging without trying too hard, polished without losing its heart, and full of those little moments that catch you off guard and stay with you long after.

The supporting dancers deserve their moment in the spotlight too. The four-strong ensemble brought relentless energy, precision and personality, tackling every style thrown at them with absolute commitment. You can feel the effort, the stamina, and the passion pouring off the stage which added a real depth and drive to the whole production.

And then there’s the personality woven all the way through it, which really lifts the whole show. The easy back-and-forth between Aljaž Škorjanec, Janette Manrara and Tom Seals brings a warmth you don’t always get with productions like this. It feels genuinely relaxed and natural never forced, never like they’re sticking rigidly to a script. There’s a lovely spontaneity to it, like you’re getting little glimpses of their real personalities rather than just polished performers on a stage.

It’s those small moments the quick jokes, the shared glances, the way they bounce off each other that make such a difference. It breaks down that invisible barrier you sometimes feel in theatre and instead creates this sense that you’re in the room with them, not just watching from a distance. You feel included, like your part of something unfolding rather than something being presented at you. It adds a layer of charm and authenticity that’s hard to fake, and it’s exactly what made the whole experience feel so memorable.

Visually, the whole production just works it’s stylish without ever feeling like it’s trying too hard. The black-and-white aesthetic runs right the way through and gives everything this timeless, almost cinematic quality, like you’ve stepped into a classic film for the evening. It’s clean, elegant, and really lets the detail shine. The costumes especially Janette Manrara’s are a real highlight. From soft, flowing gowns that move beautifully with every step, to more structured, glamorous pieces with intricate detailing, every look feels thoughtfully chosen. There’s sparkle, but it’s never overdone just enough to catch the light and elevate each moment. You can tell that every costume is part of the storytelling, reflecting the mood, the music, and the era being brought to life on stage.

The staging itself is kept relatively simple, but that’s exactly what makes it so effective. It never distracts or overwhelms instead, it frames the performance perfectly. The lighting, in particular, does a lot of the heavy lifting, shifting the mood from soft and intimate to bold and high-energy in a way that feels seamless. It allows the dancers, the music, and the emotion to stay front and centre, while still creating a really striking overall atmosphere.

By the time the finale arrives, there’s this undeniable buzz in the room. You can feel it building throughout the show, and then suddenly it tips over into something really special. The audience are up on their feet, clapping along, moving with the music, completely caught up in it all. It stops feeling like a performance you’re watching and starts to feel like something you’re part of. There’s this shared energy joy coming from the stage and bouncing straight back from the audience and it creates a moment that feels genuinely uplifting. It’s the kind of ending that leaves you smiling without even realising it.

The experience at The Bridgewater Hall itself just adds to everything. It’s one of those venues that makes a night out feel easy from the very start. It’s accessible, well thought out, and the staff are genuinely very welcoming, which makes such a difference. There’s no stress, no faff just a smooth, relaxed experience from walking in to heading home, which lets you properly enjoy the evening without distraction.

What really sticks with me, though, is just how much I loved this without having any connection to Strictly Come Dancing beforehand. It doesn’t rely on that at all it completely stands on its own. It’s uplifting, polished, and full of heart, with so much energy running through it. It manages to deliver those big, high-impact moments while still carving out space for something more emotional and meaningful, and it never loses that sense of fun.

Without hesitation, this is one of the best shows I’ve seen. The kind that leaves you walking out feeling lighter, happier and I already wondering when I can go again because I absolutely would.

Blackpool Winter Gardens – until 2 May 2026

Reviewed by Charlotte McWilliam

5*****

The beloved jukebox musical Mamma Mia! arrives at the Winter Gardens Blackpool with sunshine, sparkle, and a whole lot of heart, telling the story of Sky and Sophie’s wedding and her quest to discover which of three men Bill, Harry, or Sam, is her father. What unfolds is a joyous, high energy production that keeps the audience hooked from the very first note.

From the moment the musical director lifts his baton, the atmosphere is electric. Toes are tapping, hands are clapping, and the entire theatre feels alive with anticipation. The fast paced sequence of songs is expertly woven into the narrative, ensuring that the music never feels forced but instead propels the story forward with infectious momentum.

A standout early highlight is “Dancing Queen,” where Donna, Tanya, and Rosie, played by Jenn Griffin, Sarah Earnshaw, and Rosie Glossop, display impeccable rapport. Their comedic timing is spot-on, and while some of the humour leans into deliberately childish gags, think swinging bananas and snorkels used as microphones, the sheer commitment and professionalism of the performers quickly win over the audience. What could feel pantomime esque instead becomes comedy gold, with laughter rippling throughout the theatre.

Equally inventive is “Lay All Your Love on Me,” featuring Sky, played by Joe Grundy, alongside Sophie’s friends Ali and Lisa, portrayed by Bibi Jay and Eve Parsons. Flippers and snorkel masks are cleverly incorporated into the choreography before seamlessly transitioning into the vibrant hen party scene. The production’s visual flair continues with dazzling lighting and shimmering silver 1970s costumes during “Super Trouper,” where the female chorus delivers tight harmonies and an exhilarating ensemble performance.

The Act 1 finale, “Voulez-Vous,” is nothing short of spectacular. With dynamic choreography and striking lighting design, the full company including Sam Carmichael (Luke Jasztal), Bill Austin (Mark Goldthorp), and Harry Bright (Richard Meek) takes to the stage in a show stopping number that leaves Sophie in turmoil, as all three potential fathers believe they could be hers.

Sophie, played by Lydia Hunt, delivers a standout performance. Her strong vocal ability and perfect tessitura for the ABBA repertoire make her a compelling lead, while her portrayal of Sophie as grounded and determined offers a refreshing alternative to the more traditional ingénue interpretation.

Act 2 explores some of the musical’s more reflective moments. The duet “SOS” between Donna (Jenn Griffin) and Sam (Luke Jasztal) reveals a deeper emotional layer, balancing the show’s humour with genuine poignancy. Tanya, played by Sarah Earnshaw, is a commanding presence, bringing charisma and comic flair, particularly during “Does Your Mother Know,” where her playful flirtation and dance off with Pepper (Joseph Vella) steal the scene.

Further emotional depth is found in “Our Last Summer,” while Donna’s rendition of “The Winner Takes It All” is a vocal and emotional triumph, filled with raw intensity. Lighter moments return with Rosie (Rosie Glossop) and Bill (Mark Goldthorp) in their delightful “Take a Chance on Me,” bursting with comedic energy. Eddie (Ethan Casey-Clothier) also brings lively charm to the ensemble, while Father Alexander (William Hazell) adds a humorous touch to the wedding scenes.

In a touching twist, Sophie and Sky decide they are too young to marry, leading instead to Donna and Sam’s long awaited union. The story concludes on a hopeful note, as Sophie and Sky set off on their own adventure, underscored by the uplifting “I Have a Dream.”

This production is a true celebration of talent, individuality, and experience. The cast’s chemistry and professionalism shine throughout, making it one of the most engaging and polished versions of Mamma Mia! in recent memory. A standing ovation and a floor rocking finale confirm what is already clear, this is musical theatre at its most joyful and irresistible.