Birmingham Repertory Theatre- 16th June 2026

Reviewed by Emma Millward

5*****

Celebrating their 25th anniversary, BalletBoyz brought Still Pointless to Birmingham Rep for an evening that was as thought-provoking as it was visually stunning. This retrospective production showcased a collection of works from across the company’s history. Created by former Royal Ballet Company dancers Michael Nunn and William Trevitt, BalletBoyz have continually evolved over the years. They have brought together 10 remarkable dancers and a collection of choreographers and musicians to create a diverse celebration of dance.

Contemporary dance can sometimes feel intimidating for audiences unfamiliar with the genre, but Still Pointless never felt inaccessible. Instead, it invited the audience in, allowing us to experience a wide range of emotions through movement alone. From moments of quiet reflection to sequences bursting with power and energy, every piece had an identity of its own while contributing to the evening’s wider celebration of the company. The show featured eight pieces across two acts, moving between moments that were powerful, poignant, playful, and deeply personal.

What stood out the most was the extraordinary commitment of the dancers. Whether performing as a tightly unified ensemble or in more intimate pairings, the dancers had a clear connection and chemistry. Every performer threw themselves wholeheartedly into the choreography, and they seemed to have endless energy. I was impressed to discover that some members of the company had taken part in the local Men’s Mental Health ‘Well Run Brum’ 5km run outside the theatre just an hour before the performance.

Atmospheric lighting by Andrew Ellis and a carefully crafted musical landscape enhanced the mood of each piece without ever overshadowing the performers. The focus remained firmly on the dancers and their ability to tell stories through movement. 

The performances can become intense at times, especially during pieces like ‘Young Men’ choreographed by Ivan Perez, which explored the brutality of war and its impact on the men sent to fight. Benji Knapper was the heartbreaking focus of this piece, as he contorted his body into increasingly unnatural positions. While Young Men delivered some of the evening’s most emotionally devastating moments, other works showcased a more playful side, highlighting the company’s impressive versatility. Fiction, by Javier de Frutos, provided a more comedic end to the show. Set in a rehearsal space, the dancers used a ballet barre as a prop throughout. Narrated by Jim Carter and Imelda Staunton, parts of the narration and dance were repeated multiple times. Fiction really showcased the company’s synchronicity as they spun around the barre in perfect unison. This piece (and the show) culminated in a surprisingly feel-good moment as Kai Tomioka danced to Donna Summer’s song ‘Last Dance’.

By the final curtain, there was an undeniable sense of appreciation across the theatre as the audience took to their feet for a prolonged standing ovation. Inventive, exhilarating, and utterly mesmerising, Still Pointless proves that BalletBoyz remain masters of their craft.

VICKY GRAHAM PRODUCTiONS, BIRMINGHAM HIPPODROME, AND ARIA ENTERTAINMENT

WITH Pascal Ultee Productions,

BROADWAY ASIA INTERNATIONAL, TRW PRODUCTION AND WILETTE KLAUSNER PRESENT

THE BIRMINGHAM HIPPODROME PRODUCTION OF

HOT MESS: A NEW MUSICAL

MUSIC AND LYRICS BY JACK GODFREY

BOOK AND DIRECTION BY ELLIE COOTE

THE OTHER PALACE

Saturday 13 JUNE – SUNDAY 6 SEPTEMBER 2026

PRODUCERS ANNOUNCE SERIES OF POST-SHOW EVENTS CURATED BY POLLINATE, EXPLORING MUSICAL THEATRE, CLIMATE AND CULTURAL CHANGE

SONGWRITING FOR CLIMATE RECOVERY – FRIDAY 26 JUNE

STAGING CLIMATE THEMED SHOWS – TUESDAY 7 JULY

LOVE SONGS FOR THE PLANET – SATURDAY 18 JULY

BETTER WITH TIME: BUILDING AN EQUAL AND HABITABLE UK – TUESDAY 28 JULY

Tickets and more information available here

Ahead of London Climate Action Week next week, producers Vicky Graham, Birmingham Hippodrome, and Aria Entertainment are delighted to announce a new series of post-show panel events and a workshop for multi-award-winning 5-star new musical Hot Mess, curated by Pollinate, a new organisation developing musical theatre focused on climate and nature.

Taking place as part of the strictly limited season of Hot Mess at The Other Palace, running from Saturday 13 June to Sunday 6 September 2026, the events – offered free of charge to ticket holders who sign up – will bring together artists, theatre makers, songwriters and climate and nature recovery leaders to explore how musical theatre can help audiences believe in fairer, greener futures.

Pollinate is a new UK-based community interest company working in partnership with leading organisations across music, theatre and the environmental sector. Founded on the belief that climate change is a challenge of culture and imagination, Pollinate grows musicals that help audiences move beyond anxiety or abstraction and towards more hopeful, human ways of engaging with climate and nature.

Created by the award-winning duo behind 42 Balloons, Jack Godfrey and Ellie Coote, Hot Mess is a high-energy original romcom that reimagines the climate crisis as a turbulent love story between Earth and Humanity.

The partnership with Pollinate extends the show’s conversation beyond the stage, inviting audiences to engage with the climate and nature themes at the heart of Hot Mess through a series of live post-show discussions.

The post-show events will include:

Songwriting for Climate Recovery

Friday 26 June

According to IFPI, in 2023, people spent an average of 20.7 hours listening to music each week. Music provides an emotional window to the world as it stands and how it could be. But how might writing songs contribute to the movement for a just, habitable planet?

This discussion, taking place during London Climate Action Week, is for audiences and artists who want to understand more about the power and challenges of songwriting about climate change. Speakers will share insights into making music about climate, the impact of music in their life, and how they’ve approached storytelling through writing songs.

Drawing on expertise from the commercial music sector, and including Jack Godfrey, composer of Hot Mess, this panel brings together artists and journalists to explore the challenges of writing music with urgency and ambition.

Panellists:

Sohini Alam,  singer, composer & music director; Khiyo, Lokkhi Terra, GRRRL/FLOW

Greg Cochrane,  journalist; The Guardian, BBC, NME, Rolling Stone

Jack Godfrey,  composer, lyricist & writer; Hot Mess, 42 Balloons, Babies

Phoebe Jasper (aka NAVVY),  artist, writer & producer; Pete Will Save This House

Chaired by Finlay Carroll, Pollinate.

Staging Climate Themed Shows –

Tuesday 7 July

Plays and musicals have always been a space for exploring society’s biggest challenges. From its earliest form, theatre has grappled with complex issues, seeking to speak with clarity and care to contemporary audiences.

As public demand grows for a cultural response to climate change, many artists are grappling with how to translate such a vast and urgent subject for different stages. If theatre cannot share stories about climate change in an accessible way, how can we build the lasting engagement needed for climate and nature action?

This panel brings together theatre makers, artists and creatives who are tackling climate and nature themes while staying true to their own artistic practice. Audiences will gain insight into live conversations happening in rehearsal rooms, the challenges of responding to environmental crises, and introductions to a generation of climate artists.

Panellists:

Finlay Carroll,  producer & founder; Pollinate

Ellie Coote, director, writer & dramaturg; Hot Mess, 42 Balloons

Anna Himali-Howard,  director, theatre maker & dramaturg; The Secret Garden, Orpheus

Luke Howarth,  director & writer; Relish Theatre

Chaired by Meg McGrady, Pollinate.

Love Songs for the Planet (workshop)

Saturday 18 July 4 – 5pm

What would happen if humanity viewed its relationship with Earth as one of care, partnership, or even love?

Inspired by the question at the heart of Hot Mess, this creative workshop invites participants to explore their feelings about nature and climate through songwriting. Led by Hot Mess writers Jack Godfrey and Ellie Coote, alongside Pollinate.

The session begins with performances of two previously unheard songs from Hot Mess’s development, performed by Mia Quimpo (covering the role of Earth) and Nathan Shaw (covering the role of Humanity).

Participants will then take part in a guided songwriting session, using memories of the natural world as inspiration for creating lyric ideas. No songwriting experience is needed.

To be eligible for the workshop you must be a Hot Mess ticket holder, please register with the name on your ticket order confirmation. Limited availability.

Better With Time: Building an Equal and Habitable UK

Tuesday 28 July

In June 2026, an international report outlined the alternative to climate breakdown, political extremism and economic tensions. Academics stated that ‘an equal and habitable world is possible’ in a sweeping vision for planetary survival. Across the UK, people are working to realise this vision through the creation of new coalitions, organisations and initiatives.

In this panel, we’ll explore the challenges and opportunities ahead with climate and nature recovery leaders with expertise in renewable energy, rewilding, conservation, and organising for climate justice. This is for anybody who wants to learn how they can contribute to the creation of just and thriving futures on their doorstep.

Panellists:

Chisara Agor,  award-winning composer and multidisciplinary artist; The Garden, We Are The New Hope

Kaplana Arias,  technologist & urban greening activist; Nowadays On Earth, nature rights campaigning, tech for good

Lois Clark,  conservationist, science communicator & researcher; habitat restoration, science participation

Tom Pakenham,  environmental entrepreneur & investor; e-mobility, smart energy, sustainable business

Chaired by Finlay Carroll, Pollinate.

Producer Vicky Graham said: “The full team of HOT MESS share an ambition for it to be a conversation-starter on a topic that all too often feels too big to broach. We are immensely grateful to Pollinate for bringing together this distinguished group of artists, activists and entrepreneurs to explore the interplay between emotion and action and amplify some of the most inspiring innovations in the UK today.”

Pollinate founder Finlay Carroll said: “We’re so excited to announce this panel series featuring an exceptional cohort of speakers from across music, theatre, and environmental sectors. Hot Mess has been pivotal in championing creativity as a response to climate change and Pollinate is proud to be curating constructive conversations alongside this remarkable team.”

Hot Mess

After a billion years of bad dates, Earth has finally found the one… Humanity. Sparks fly. Seeds are sown. Ground is broken. But what begins as a passionate love affair between the universe’s most iconic couple quickly descends into a hot mess.

An original pop musical about love, hope, and the ultimate break up.

Following its world premiere at the Edinburgh Festival Fringe 2025 and subsequent London transfer to Southwark Playhouse last September, the show has quickly become one of the most exciting new British musicals, winning a Fringe First Award, the Popcorn Writing Award and Musical Theatre Review’s Best Musical Award, alongside widespread critical acclaim.

Returning to the role of ‘Earth’ is Danielle Steers (Just for One Day, Six the Musical, Bat Out of Hell) following her acclaimed performances in the show’s sell-out Edinburgh Fringe premiere and subsequent Southwark Playhouse transfer. Joining the company as ‘Humanity’ is Morgan Gregory, whose recent theatre credits include The Lightning Thief: The Percy Jackson Musical, UK tour, Back to the Future, original West End cast at the Adelphi, 42 Balloons, Lowry, and Newsies, Troubadour Wembley Park.

Also joining the company are Mia Quimpo (Pippin, Upstairs at the Gatehouse) as cover ‘Earth’ and Nathan Shaw (Mamma Mia! The Party, and The Rocky Horror Show UK and International tour) as cover ‘Humanity’.

The production features music supervision and co-orchestrations by Joe Beighton, choreography by Alexzandra Sarmiento, set design by Shankho Chaudhuri, lighting design by Ryan Joseph Stafford, audio production and sound design by Paul Gatehouse, costume design by Sarah Mercadé, musical direction by Sara De Sanctis, casting by Pearson Casting CDG and intimacy coordination by Lex Kaby. The dramaturg is Deirdre O’Halloran, with Lydia Cook as Associate Director and Taz Hoesli as Associate Choreographer, Phil Burke as Associate Lighting Designer, Charlie Smith and Richard Pomeroy as Associate Sound Designers, and Ciéranne Kennedy-Bell as Costume Supervisor. Rosie Morgan is Company Stage Manager, with James Anderton as Production Manager and Byron Ladd-Carr as Sound No.1.

Hot Mess is produced by Vicky Graham Productions, Birmingham Hippodrome, and Aria Entertainment, TRW Production, Pascal Ultee Productions, and RJG Productions as General Managers.

Instagram: @hotmessmusical

Tiktok: @hotmessmusical

Original cast recording available here: https://slinky.to/HotMess 

DAVID IAN FOR CROSSROADS LIVE

IN ASSOCIATION WITH

BARRY AND FRAN WEISSLER

PRESENT
THE 2027 UK AND IRELAND TOUR OF

THE MULTI AWARD-WINNING

OPENING AT

NEW WIMBLEDON THEATRE

ON 5 FEBRUARY 2027

David Ian for Crossroads Live in association with Barry and Fran Weissler announced today the 2027 UK and Ireland tour of the multi award-winning musical CHICAGO. The tour will open at New Wimbledon Theatre on 5 February 2027. Initial tour schedule below with further dates and casting to be announced soon. www.chicagothemusical.com/uk-tour

Set amidst the razzle-dazzle decadence of the 1920s, CHICAGO is the story of Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today’s tabloids.

Created by the musical theatre talents of John Kander, Fred Ebb and legendary choreographer Bob Fosse, CHICAGO’s sexy, sassy score includes the show-stopping songs “Razzle Dazzle”, “Cell Block Tango”, and “All That Jazz”.  Winner of six Tony Awards, two Olivier Awards and a Grammy, CHICAGO is the longest running American musical in Broadway and West End history.

Since it opened in New York in 1996, CHICAGO has played in 38 countries worldwide, and been performed in English, Dutch, German, Swedish, Spanish, Portuguese, Russian, Italian, French, Danish, Japanese and Korean.  Worldwide it has been seen by an estimated 35 million people, grossed over $1.8 billion has played over 36,000 performances.

CHICAGO, which is based on the play by Maurine Dallas Watkins, has a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb.  The 1996 Broadway revival of CHICAGO was choreographed by Ann Reinking in the style of Bob Fosse, directed by Walter Bobbie, and produced by Barry and Fran Weissler.

CHICAGO UK AND IRELAND TOUR – 2027 TOUR LISTINGS

FRIDAY 5 – SATURDAY 13 FEBRUARY 2027
NEW WIMBLEDON THEATRE
https://www.atgtickets.com/venues/new-wimbledon-theatre/
ON SALE 19 JUNE 2026

TUESDAY 16 – SATURDAY 20 FEBRUARY 2027
THEATRE ROYAL PLYMOUTH
https://theatreroyal.com/
ON SALE 7 JULY 2026

MONDAY 22 – SATURDAY 27 FEBRUARY 2027
WALES MILLENNIUM CENTRE, CARDIFF
https://www.wmc.org.uk/
ON SALE 3 JULY 2026

TUESDAY 2 – SATURDAY 6 MARCH 2027
SHEFFIELD LYCEUM
https://www.sheffieldtheatres.co.uk/venues/lyceum
ON SALE SOON

WEDNESDAY 24 – SATURDAY 27 MARCH 2027
LIVERPOOL EMPIRE
https://www.atgtickets.com/venues/liverpool-empire/
ON SALE 19 JUNE 2026

MONDAY 29 – SATURDAY 3 APRIL 2027
NEWCASTLE THEATRE ROYAL
https://www.theatreroyal.co.uk/
ON SALE 26 JUNE 2026

TUESDAY 6 – SATURDAY 10 APRIL 2027
BOURNEMOUTH PAVILION THEATRE
https://www.bournemouthpavilion.co.uk/
ON SALE 19 JUNE 2026

MONDAY 10 – SATURDAY 15 MAY 2027
GLASGOW KING’S THEATRE
https://www.atgtickets.com/venues/kings-theatre-glasgow/
ON SALE 19 JUNE 2026

TUESDAY 18 – SATURDAY 22 MAY 2027

HIS MAJESTY’S THEATRE, ABERDEEN
https://www.aberdeenperformingarts.com/venues/his-majestys-theatre/
ON SALE 19 JUNE 2026

TUESDAY 25 – SATURDAY 29 MAY 2027
MANCHESTER OPERA HOUSE
https://www.atgtickets.com/venues/opera-house-manchester/
ON SALE 19 JUNE 2026

MONDAY 31 MAY – SATURDAY 5 JUNE 2027
GRAND OPERA HOUSE, YORK
https://www.atgtickets.com/venues/grand-opera-house-york/
ON SALE 19 JUNE 2026

MONDAY 7 – SATURDAY 12 JUNE 2027
BLACKPOOL OPERA HOUSE
https://www.wintergardensblackpool.co.uk/venue/opera-house/
ON SALE 19 JUNE 2026

MONDAY 14 – SATURDAY 19 JUNE 2027
NOTTINGHAM CONCERT HALL
https://trch.co.uk/
ON SALE 22 JUNE 2026

MONDAY 21 – SATURDAY 26 JUNE 2027
ALHAMBRA THEATRE, BRADFORD
https://www.bradford-theatres.co.uk/alhambra-theatre
ON SALE 20 JULY 2026

TUESDAY 29 JUNE – SATURDAY 10 JULY 2027
DUBLIN

TUESDAY 13 – SATURDAY 17 JULY 2027
SOUTHEND CLIFFS PAVILION
https://www.cliffspavilion.co.uk/
ON SALE SOON

MONDAY 19 – SATURDAY 25 JULY 2027
EASTBOURNE CONGRESS THEATRE
https://www.eastbournetheatres.co.uk/venues/congress-theatre
ON SALE SOON

TUESDAY 27 JULY – SATURDAY 7 AUGUST 2027
BIRMINGHAM HIPPODROME
https://www.birminghamhippodrome.com/
ON SALE 19 JUNE 2026

MONDAY 9 – SATURDAY 14 AUGUST 2027
NORWICH THEATRE ROYAL
https://norwichtheatre.org/
ON SALE 26 JUNE 2026

MONDAY 16 – SATURDAY 21 AUGUST 2027
THEATRE ROYAL BRIGHTON
https://www.atgtickets.com/venues/theatre-royal-brighton/
ON SALE 19 JUNE 2026

TUESDAY 31 AUGUST – SATURDAY 4 SEPTEMBER 2027
BRISTOL HIPPODROME
https://www.atgtickets.com/venues/bristol-hippodrome/
ON SALE 19 JUNE 2026

MONDAY 6 – SATURDAY 11 SEPTEMBER 2027
MILTON KEYNES THEATRE
https://www.atgtickets.com/venues/milton-keynes-theatre/
ON SALE 19 JUNE 2026

TUESDAY 14 – SATURDAY 18 SEPTEMBER 2027
HALL FOR CORNWALL, TRURO
https://www.hallforcornwall.co.uk/
ON SALE 20 JULY 2026

MONDAY 20 – SATURDAY 25 SEPTEMBER 2027
NEW THEATRE OXFORD
https://www.atgtickets.com/venues/new-theatre-oxford/
ON SALE 19 JUNE 2026

MONDAY 27 SEPTEMBER – SATURDAY 2 OCTOBER 2027
HULL NEW THEATRE
https://www.hulltheatres.co.uk/hull-new-theatre
ON SALE SOON

MONDAY 4 – SATURDAY 9 OCTOBER 2027
VENUE CYMRU, LLANDUDNO
https://venuecymru.co.uk/
ON SALE 19 JUNE 2026

MONDAY 11 – SATURDAY 16 OCTOBER 2027
SUNDERLAND EMPIRE
https://www.atgtickets.com/venues/sunderland-empire/
ON SALE 19 JUNE 2026

MONDAY 1 – SATURDAY 6 NOVEMBER 2027
WOKING THEATRE
https://www.atgtickets.com/venues/new-victoria-theatre-woking/
ON SALE 19 JUNE 2026

MONDAY 8 – SATURDAY 13 NOVEMBER 2027
EVERYMAN THEATRE CHELTENHAM
https://www.everymantheatre.org.uk/
ON SALE 19 JUNE 2026

MONDAY 15 – SATURDAY 20 NOVEMBER 2027
REGENT THEATRE, STOKE ON TRENT
https://www.atgtickets.com/venues/regent-theatre-stoke-on-trent/
ON SALE 19 JUNE 2026

TUESDAY 23 – SATURDAY 27 NOVEMBER 2027
EDINBURGH PLAYHOUSE
https://www.atgtickets.com/venues/edinburgh-playhouse/
ON SALE 19 JUNE 2026

FURTHER DATES TO BE ANNOUNCED

Royal & Derngate Theatre, Northampton – until 20th June 2026

Review by Amanda Allen

5*****

Bringing us Sunshine and Laughter, as Tributes go this was Brilliant. There were times when I had to remind myself that this was not the real Eric and Ernie but supremely talented actors portraying the nations favourite comedy double act. With lots of laughs and positive thinking they transported those of us of a certain age back to our childhood and back to a time when good TV was watched by us all, as a family, at the same time and then discussed at length, something that sadly just does not seem to happen anymore.

Ian Ashpitel and Jonty Stephens not only looked like Morcambe and Wise but mimicked their mannerisms and characteristics brilliantly too. Their comic timing was spot on, looking out at the audience to make a point and so in tune with each other they made it all look really easy, just as the real Eric and Ern did. The old jokes flowed fast and furiously with the audience anticipating all the well known punch lines, sometimes before they had even been uttered!

The Guest singer on this show was Olivia Fines, she played her part really well and when given the chance to sing properly wowed the audience with her beautiful voice and amazing silver dress! Eric and Ernie of course had to spoil the Sondheim song by being the “Clowns” in the background. Amazingly she managed to perform the entire song without breaking up in laughter. Maybe it was a good job they were behind her so she didn’t see them!

The Nostalgia was laid on thickly, with the old fashioned radios and telephone props used to full effect. I wonder if younger audience members would understand the frustrations of a telephone attached to the wall by a curly wire and the simple pleasure of the Dandy Comic on a Saturday! The reproduction of some of the favourite sketches from the old Morcombe and Wise shows was loved by all, familiarity in this case bringing laughter. My favourite piece was the bed scene, with the police car, sirens blaring, going past the window and Eric muttering the immortal line “he won’t sell many ice creams going that fast” the audience got there before Eric even had his words out! A demonstration of how loved the show was in its day, my father used this joke every time he heard a siren sounding.

I am not sure younger audience members would understand all the old jokes and sketches but don’t let that put you off. Providing you don’t have a medical condition, so that sustained hilarity could cause you a problem, I heartily encourage you to go and see this show, especially if like me you are of a certain age! It has certainly brought Sunshine and Laughter to Northampton today.

RICKY WILSON TO PLAY TEEN ANGEL

IN SECRET CINEMA’S SMASH HIT

GREASE: THE IMMERSIVE MOVIE MUSICAL

Secret Cinema today announces that Ricky Wilson, lead singer of the Kaiser Chiefs, will be taking on the role of Teen Angel in the critically acclaimed Grease: The Immersive Movie Musical across selected performances. He will be joining the previously announced Stephanie Costi and Lucy Penrose who are returning as Sandy and Rizzo respectively, reprising their roles from last year; and they are joined by Giórgios Michaelídes as Danny and Arcangelo Ciulla as Kenickie. Full casting will be announced in due course. 

Ricky Wilson said today, “At school I was in Grease and I feel I have to redeem myself. I was not yet the international pop sensation I am today and I only really wanted to do it cos I fancied the girl who played Frenchie (I was Doody) so this is my chance to show everyone I should have got a bigger part. I don’t believe anyone from that production is now a professional singer, so in short, I win.”

This summer Secret Cinema is welcoming audiences back to Rydell High once more with the return of the smash-hit Grease: The Immersive Movie Musical, following its sold-out run in 2025. The production opens at Evolution London in Battersea Park for a strictly limited run from 22 July to 13 September.

★★★★★

‘The entire production is movie magic come to life’ Radio Times

Each performance of Grease: The Immersive Movie Musical is a two hours and fifteen minutes spectacular. Come down to Rydell High as we relive memorable moments from ‘Beauty School Dropout’, featuring Teen Angel star Ricky Wilson (Kaiser Chiefs, The Voice), and ‘Summer Nights’, to ‘Greased Lightnin’’ and ‘We Go Together’. Every iconic song from the beloved 1978 Paramount Pictures film comes to life as a knock-out cast and live band perform against multiple movie screens.

From the moment they enter this modern live experience, audiences step into the world of the movie, exploring the iconic locations including Frosty Palace, The Autoshop, and The Carnival and immerse themselves in school spirit, training with Coach Calhoun, cheering on the T-Birds, taking part in a choir practice and even tasting 1950s American diner-style delights.

The innovative production is brought to life by the multi-award-winning creative team of Matthew Costain – Director; Tom Rogers – Set Designer; Jennifer Weber – Choreographer; Howard Hudson – Lighting Designer; Gareth Fry – Sound Designer and Ian William Galloway – Video Designer.

Due to popular demand, summer 2026 will feature even more themed Roam and Return seating, allowing audiences to explore the experience and return to dedicated seating at Frosty Diner or The Drive-In.

★★★★

‘This is a masterpiece. A spectacularly ambitious show’ Evening Standard

Secret Cinema & TodayTix present

GREASE: THE IMMERSIVE MOVIE MUSICAL

Grease: The Immersive Movie Musical is produced by Secret Cinema and TodayTix (Merritt Baer, Artistic Director and Co-Founder; Ben Hosford, Executive Producer).

Director: Matt Costain; Choreographer: Jennifer Weber; Set Designer: Tom Rogers; Lighting Designer: Howard Hudson; Sound Designer: Gareth Fry; Music Supervisor, Orchestrator and Arranger: Steve Sidwell; Video Designer: Ian William Galloway; Costume Designer: Susan Kulkarni and Martina Trottman; Wigs, Hair and Make-up: Farida Ghedwar and Jessie Deol; Casting Director: Grace McInerny for Pippa Aillion and Natalie Gallacher Casting

22 July – 13 September

Gala Performance: Wednesday 29 July at 7:30pm

Ricky Wilson plays Teen Angel. Wilson is the lead singer of one of Britain’s most treasured bands, Kaiser Chiefs. The band have released 7 original studio albums which includes ‘Education Education Education and War’ which entered the UK album charts at number 1 in 2014. They achieved platinum record sales, top ten singles (including the number 1 hit ‘Ruby’), 3 Brit Awards, an Ivor Novello award for album of the year, toured with U2, Foo Fighters and Green Day and sold 8 million albums. The band recently completed a hugely successful World tour to celebrate the 20th Anniversary of ‘Employment’, the album which launched them into the stratosphere. This will be followed by a slew of festivals and shows across the UK in 2026. He has been a coach on The Voice UK alongside Tom Jones, Will-I-Am, Boy George and Paloma Faith and was named the winning coach for the second year in a row in 2016. He hosted his own prime-time entertainment show for Sky One called Bring The Noise with Nicole Scherzinger and Tinie Tempah, presented The One Show and had a weekly show on Radio X. On CBBC he had his own show, Ricky Wilson’s Art Jam, and also hosted Britain’s Best Young Artist. In 2023, he appeared on The Masked Singer UK. Performing as Phoenix, he eventually finished as runner-up, finally being unmasked in the grand final. He presented Drive on Virgin Radio for a number of years, leaving just ahead of the Employment 20th anniversary tour. He has covered a number of shows across Radio 2 and continues to be in demand on a number of Entertainment TV shows.

Arcangelo Ciulla plays Kenickie. His theatre credits include A Knight’s Tale The Musical (Manchester Opera House), Singin’ in the Rain (Dubai and China), Mamma Mia! (West End), Disney’s Newsies (Troubadour, Wembley Park – The Stage Debut Award nomination for Best Performer in a Musical), Billy Elliot (Italian and international tour), and Dick Whittington (New Wimbledon Theatre). His film credits include Cruel Peter. 

Stephanie Costi returns to play Sandy. Her stage credits include Something Rotten! (Manchester Opera House), Pretty Woman (Zurich), Sleeping Beauty (Darlington Hippodrome), Fame (Athens), The Sound of Music (Beirut & Lebanon tour), and Romeo & Juliet (English National Ballet); and concerts include Children of Eden, West End Does: Love (Cadogan Hall), Roles We’ll Never Play (Union Theatre), and One Young World: Opening Ceremony (Royal Albert Hall). She came third in Mamma Mia! I Have a Dream for ITV. 

Giórgios Michaelídes plays Danny. His stage credits include Justin Timberlake’s opening act on his Forget Tomorrow World Tour, Grease (UK tour and Dominion Theatre), Disney’s Newsies (Troubadour Theatre), and Here Come The Boys (The London Palladium). His film credits include Mistletoe Farm.

Lucy Penrose returns to play Rizzo. Her theatre credits include Ancient Grease (The Vaults), Growled (Royal Vauxhall Tavern), Judy! (Arts Theatre, Southwark Playhouse and London Hippodrome), Eurovision, Your Decision (Above The Stag Theatre, Wonderville, King’s Head Theatre and Royal Vauxhall Tavern), Top Hat, California Suite (Royal Court Liverpool), and A Pissedmas Carol (Sh!tfaced Showtime, Edinburgh Fringe Festival). For television, her work includes Watchmen. 

Listing Information           

Evolution London, Battersea Park,

Chelsea Bridge Gate, Queenstown Road, London SW11 4NJ 

www.greasetheimmersivemoviemusical.com

22 July – 13 September PERFORMANCES

Tues – Sun 7:30pm (Sun 5:30pm) Sat 2:30pm, Sun 12:30pm

Ricky Wilson will appear as Teen Angel on 22, 23, 28, 29, 30 and 31 July; 4, 5, 6, 7, 8, 11, 12, 13, 14, 16, 18, 19, 20, 21, 23, 25 and 26 August.

Social: @greaseimmersive on Instagram, TikTok and Facebook

TICKETS

General Admission (Standing Ticket) from £39

Roam & Return (Seated Ticket) from £59 – Roam and return to dedicated themed seating at either The Drive-In or Frosty Diner

TRANSFERS TO THE WEST END

A BREATHTAKING NEW MUSICAL BASED ON THE GLOBAL BESTSELLING NOVEL.

Book by David Greig

Music and lyrics by Abner and Amanda Ramirez

Additional Material by Jeremy Sams

Based on the novel by David Nicholls

and Focus Features film

Directed by Max Webster

Produced by arrangement with Universal Theatrical Group

Every day matters. But some days change everything.

www.onedaymusical.com

Melting Pot presents the West End premiere of One Day, the acclaimed new musical is an adaptation of David Nicholls’ beloved, era-defining novel. Following its world premiere at the Royal Lyceum Theatre, Edinburgh earlier this year, performances in London are set to start at the Garrick Theatre on Tuesday 17 November, 2026. The production welcomes the return of Jamie Muscato (Cabaret, Playhouse Theatre; The Great Gatsby, London Coliseum; Moulin Rouge! The Musical, Piccadilly Theatre) and Sharon Rose (Sylvia, Old Vic Theatre; Hamilton, Victoria Palace Theatre) as they reprise their celebrated roles as ‘Dex’ and ‘Em.’

Tickets go on general on sale Thursday, 18 June at 10am at www.onedaymusical.com

This brand-new adaptation of the beloved story is written by the Lyceum’s former Artistic Director David Greig (Charlie & the Chocolate Factory, Touching The Void, The Lorax), with music and lyrics by Abner and Amanda Ramirez (of acclaimed US band Johnnyswim), with additional material by Jeremy Sams, and directed by Tony and Olivier award nominee Max Webster (Macbeth with David Tennant and Cush Jumbo, The Importance of Being Ernest with Ncuti Gatwa, Life of Pi, Sheffield Crucible, West End and Broadway). 

Emma walks into Dexter’s life on the night of their graduation. One unsuspecting day that changes them both forever. But where will they be on this day next year? And the year after that? And every year that follows? As Em and Dex’s lives intertwine through joy and heartbreak, missed opportunities and second chances, they navigate love, ambition, and the unpredictable twists of life.

One of the most treasured romances of the 21^st century, which has sold over five million copies worldwide and inspired both film and television adaptations, is brought to life as never before in the life-affirming ONE DAY – The MUSICAL. The fresh and emotionally rich interpretation captures the intensity of youthful romance, the moments that define us forever, and the enduring hope that love will find its way.

Simon Friend and Hanna Osmolska for Melting Pot added:“From the moment we encountered One Day, we recognised its extraordinary emotional power. This is a story for anyone who has been in love, for anyone whose life hasn’t gone to plan, for anyone whose life has, for anyone who has had a parent, or a child, or a friend – so everyone really – which is why is has resonated with millions of people around the world. With a remarkable creative team, a score that takes us on the emotional rollercoaster of Emma and Dexter’s journey, and the world-class talents of Jamie Muscato and Sharon Rose originating the lead roles, One Day The Musical promises to be a very special show indeed. We cannot wait to bring this story to life on the West End stage.”

Jamie Muscato’s theatre credits include: Cabaret (Playhouse Theatre); The Great Gatsby (London Coliseum; WhatsOnStage Award nomination – Best Performer in a Musical); Natasha, Pierre and The Great Comet of 1812 (Donmar Warehouse; Olivier Award nomination for Best Actor in a Musical); Moulin Rouge! (Piccadilly); Les Misérables: The Staged Concert (Sondheim); West Side Story (Leicester Curve); Heathers (Theatre Royal Haymarket & The Other Palace; WhatsOnStage Award nomination – Best Actor in a Musical). His TV And Film credits include: What We Wished We Could Be; The Colour of Spring; Les Misérables.   Chemistry of Death; The Undeclared War; Pistol; The Trial of Christine Keeler; Cilla.

Sharon Rose’s extensive theatre credits include the titular role in Sylvia at the Old Vic Theatre, alongside Beverley Knight, and her leading role as Eliza Hamilton in Lin-Manuel Miranda’s award-winning Hamilton. Further theatre credits include Caroline, Or Change, Motown, Beautiful: The Carol King Musical and Sister Act. Her work on screen includes roles in BBC’s Silent Witness and feature film Jingle Jangle: A Christmas Journey, with Forest Whitaker.

Sharon will next be seen in the upcoming PBS series The Forsyte Saga, with Stephen Moyer and Francesca Annis. Most recently Sharon starred in the critically acclaimed The Unlikely Pilgrimage of Harold Fry at the Chichester Festival Theatre and as Emma in One Day: The Musical, which premiered at Royal Lyceum Theatre in Edinburgh.

The creative team is completed by Carrie-Anne Ingrouille, Choreographer; Nigel Lilley, Musical Supervisor, Musical Director and Co-Arranger; Rae Smith, Set and Costume Designer; Bruno Poet, Lighting Designer; Simon Baker, Sound Designer; Simon Hale, Orchestrator and Co-Arranger and Stuart Burt CDG – Casting Director.

Full casting to be announced.

ONE DAY is produced by Simon Friend & Hanna Osmolska for Melting Pot, in association with Joshua Andrews, Kevin McCollum, Stuart McAlpine, Tulchin/Bartner Productions, Ramin Sabi, Hilary, Andrew and Stuart Williams, Vibecke Dahle, Hiroko Murata, Jenny King, and the Royal Lyceum Theatre, Edinburgh.

LISTINGS

ONE DAY

A breathtaking new musical based on the global best-selling novel.

Garrick Theatre

2 Charing Cross Road

London

WC2H BH

CREATIVE TEAM

Book by David Greig

Music and lyrics by Abner and Amanda Ramirez

Additional Material by Jeremy Sams

Max Webster | Director

Carrie-Anne Ingrouille | Choreographer

Nigel Lilley | Musical Supervisor, Musical Director & Co-Arranger

Rae Smith | Set and Costume Designer

Bruno Poet |Lighting Designer

Simon Baker | Sound Designer

Simon Hale | Orchestrator & Co-Arranger

Stuart Burt CDG | Casting Director

PERFORMANCE TIMES

Performances begin Tuesday 17 November, 2026

Please see website for performance schedule.

www.onedaymusical.com

SOCIAL HANDLES

Instagram – https://www.instagram.com/onedaymusicaluk/

Facebook – https://www.facebook.com/OneDayMusicalUK

TikTok – https://www.tiktok.com/@onedaymusical

YouTube – https://youtube.com/@onedaymusicaluk/

Festival Theatre, Malvern -until 20th June 2026

Reviewed by Courie Amado Juneau

4****

Like most people, I knew Abigail’s Party from the TV version starring Alison Steadman. With such an iconic template, I had high expectations.

Set (and costume) designer Peter McKintosh did a fab job immersing us immediately into the decade that hid behind the sofa of style, evoking that bygone age (and psyches) of our hosts for the evening with a revolting concoction that looked like the inside of a Terry’s Chocolate Orange (or my dear old mum’s kitchen from that era).

Tamzin Outhwaite gave a stylish performance as Bev, host of the party we see and cracked actress with all the surface sheen and glamour of the “thoroughly modern woman” whilst being as frail as gold leaf on the inside. Her opening dance was sensuous and mesmerising in equal measure – reminding me of Tales of the Unexpected – and setting the tone for a truly cringeworthy and fully wonderful portrayal!

Bev frequently lashes out, mostly in her husband Laurence’s direction. The marvellous Kevin Bishop gave an awe inspiring evocation, full of pent up frustration, held in check with just a little escaping through the ever widening cracks. A fine foil and balance to Bev, in a wholly believable couple’s performance a lá George & Mildred.

Guests Angela and Tony provide the perfect audience for Bev to play out her social mobility fantasies. Lauren Patel was tragic (in the best way) as Angela; being wonderfully off kilter, not least in a lack of social awareness! Omar Malik, as husband Tony, was riveting in his boredom. Less is always more with Tony and this was perfectly pitched.

The last guest, Sue, Abigail’s mum who has been ousted from her house so that her daughter can have a party, is hard put upon by life and the overpowering Bev. The mundane in the middle class crass madness. Brilliantly underplayed (and I mean that as a compliment) by Pandora Colin.

Music plays a key role throughout, setting the scene and being used as an allegory for a marriage barely holding together at the seams There was particularly brilliant use of Beethoven’s 5th, the “fate” theme, used to comi-tragic effect.

The tension, drama, pathos and tragedy of the evening unfolded in logical fashion (as far as the 70’s had any logical fashions)! Bev and Angela getting progressively more drunk was a joy to behold through finger covered eyes. This show is mostly about the women, with the men largely being the butt of the jokes, snide comments and largely unwanted (and unwarrented) sexual attention. Blokes bored and desperate to be loved in a world that only seems to value them as breadwinners and DIYers.

Something for everyone for sure; nostalgia for those who remember this car crash decade and fascination and wonderment for other (perhaps younger) viewers at the ghastly fashions, music, decor and attitudes. But from whichever angle you come at it, it’s a fabulous night out being a fly on the wall of this excruciating soirée and one that I would once again recommend to everyone. Great! Now, I just need to dig in the back of the drinks cabinet for the bottles of Advocaat and Babycham and we can toast all involved…

Lyceum Theatre, Sheffield until 20 June 2026

Reviewed by Lauren Fordham

5*****

The Choir of Man is created by Nic Doodson and Andrew Kay. It is a ‘jukebox’ musical, meaning that it incorporates popular songs from other writers rather than original music. It is an all-male show set in a pub called The Jungle, where a cast of characters named for their roles or characteristics sing, with their backgrounds introduced through monologues by ‘Poet’ who is played by Oluwalonimi Owoyemi. 

Ben Norris’s moving monologues are like pliable putty in Owoyemi’s more than capable hands as he narrates tales of love, loss and grief. His rendition of Luther Vandross’s Dance With My Father is as powerful as it is poignant and bravely belies the ‘stiff upper lip’ men often feel that they have to put on. I wish I could have captured and recalled Norris’s monologues more specifically as I loved their melodic poetry and rhyme.

This harkens back to the musical’s association with the male-suicide-prevention organisation Campaign Against Living Miserably (CALM) and Ben Norris’s point that men often still don’t feel able to talk about their mental health, but that pubs, and this show, can encourage them to do so. When this reviewer was describing The Choir of Man plot to my companion, I called it ‘Andy’s Man Club (another male suicide prevention organisation) with music!

But The Choir of Man swiftly sweeps away any preconceived (perhaps pejorative) ideas or misgivings one may have about jukebox musicals like a bartender wipes away dirty glass imprints at the end of a busy shift. Because each song is not shoe-horned in around a shallow plot, but carefully chosen to represent genuine emotion that may be otherwise difficult to express or identify in real life. Not to mention that there is so much that is original about this show.  

The first original thing, as unignorable as a pint of liquid landing in your lap, is Oli Townsend and Verity Sadler’s set design which transforms the stage into a vibrant, visceral bustling pub complete with beer on tap. The show is evocatively lit by Richard Dinnen to look like sun streaming through real stained glass windows, representing the idea that when things look dark there are always glimpses of light (and hope) peeping through.

The ensemble numbers would have benefited from follow spots to light each cast member, however,  as it was not always clear who was singing and that distraction diluted the emotional impact somewhat.

Few other shows feature the cast singing (Red Hot Chilli Peppers’ Under The Bridge) in a urinal, either, another fantastically funny moment.

The fourth wall is not so much fractured in this show as it is destroyed, as theatregoers are invited onstage to drink and be merry from the moment they enter the auditorium.

The only criticism I have of the set, and the thing that distinguishes it from most real pubs is the lack of wheelchair access to the stage (or burly men to lift you up!) The cast do offer beer to individuals throughout the show but this diva reviewer wanted her stage moment too!

The audience participation always feels germane to the pub image, with elaborate card games and beer pong. Plus, a lucky older audience member was serenaded by the frankly gorgeous Gustav Melbardis as Maestro in a seductive, slowed-down rendition of Katy Perry’s Teenage Dream, something cheekily copied in 2019 in another aspiring jukebox musical, ‘& Juliet.’ (The Choir of Man is vastly superior, in this reviewer’s opinion, because every day in The Jungle is a sing-a-long-show.) The Choir of Man’s songs feel authentic and the audience can truly empathise with them, not least in Sam Walter’s (AKA The Romantic) passionate performance of Adele’s ‘Hello’ after the breakdown of a relationship, a totally relatable but often, for men, little-spoken-about situation.

Melbardis’ talents do not end with his singing voice, he is also an adept pianist and he is not alone – Rob Godfrey, who plays Beast, plays guitar throughout the show and Ben Mabberley’s Joker also plays a variety of stringed instruments. Oluwalonimi Owoyemi also accompanies himself on the piano when he sings ‘Dance With My Father Again.’ Actor-musicians’ skills always astound me and make for a much more absorbing performance. But every performer and creative contributes a unique and unifying thread to this beautiful tapestry of talent.

Talking of tap, tribute must be paid to the extraordinary athleticism of Jack Skelton who quietly dominates the number ‘Fifty Ways to Leave Your Lover’, his magnetic moves impossible to resist.

Credit is also due to Niall Woodson, the Swing who played the Barman at this production, and his show-stopping performance of Somebody To Love. Should ‘We Will Rock You’ be re-re-revived, this reviewer thinks he’d be a shoe-in for Scaramouche and Galileo. 

Freddie Huddlestone’s complex choreography with plastic cups put the Pitch Perfect movies in the shade too, how the cast coordinated themselves to such perfection is beyond the skills of this reviewer.

This show left the reviewer feeling warm, fuzzy and thoughtful. Forgive the mixing of the musical metaphors, but when it comes near you, heed the bugle call and I guarantee you’ll say, as I did, let’s have another round tonight!

Curve Theatre Leicester – until 20 June 2026

Reviewed by Leanne W

5*****

Matthew Bourne OBE’s The Car Man is one of those rare productions that feels alive from the moment you step into the theatre. Even before the show officially begins, the stage is already humming with activity, and that early spark sets the tone for a night that is bold, sexy, cinematic, and utterly gripping. Bourne’s reimagining of Bizet’s Carmen has always been one of his most daring works, but this revival feels especially confident — a polished, full‑throttle piece of dance theatre that earns its five stars with ease.

The story unfolds in the fictional Midwestern town of Harmony during the 1950s/60s, a place where sweat, grease, and small‑town frustration cling to every surface. Lez Brotherston’s garage‑and‑diner set is so atmospheric you can almost smell the oil and dust. Dancers drift across the stage as the audience arrives, accompanied by the low rumble of engines and the rhythmic grind of tools. It’s a clever way of pulling viewers straight into the world, long before the plot kicks in.

And then Luca arrives. A drifter with dangerous charisma, he strolls into Harmony and answers a “Man Wanted” sign at the garage. From that moment on, the town’s fragile balance begins to crack. Bourne leans into the noir influences here — the stranger who disrupts a community, the simmering sexual tension, the inevitable slide toward violence. What follows is a heady mix of lust, jealousy, betrayal, and revenge, told with the kind of visual flair that has become Bourne’s signature.

The score, built around Rodion Shchedrin’s 1967 Carmen Suite and expanded by Terry Davies, is another driving force. The familiar motifs from Bizet’s opera are still there, but they’re reworked into something darker, more percussive, and more cinematic. The music pulses beneath the choreography like a heartbeat, giving the production a constant sense of momentum. It’s dramatic without being overwhelming, and it blends beautifully with the mid‑century American setting.

The cast is exceptional across the board. Luca — danced by Harrison Dowzell — has the kind of magnetism that makes it completely believable that an entire town would fall under his spell. Ashley Shaw’s Lana is a perfect match for him: seductive, sharp, and simmering with ambition. Leonardo McCorkindale’s Angelo provides the emotional core of the show, delivering a heartbreaking transformation from awkward outsider to hardened survivor. Anna-Maria De Freitas brings a gentle sincerity to Rita, grounding the story with moments of genuine warmth.

Bourne’s choreography is as playful as it is provocative. There are scenes that drip with sensuality, moments of cheeky humour, and sequences that hit with real emotional force. The adults‑only reputation is well earned — there’s nudity, sex, violence and some very dark themes — but none of it feels gratuitous. Bourne handles the material with care, ensuring that every moment, no matter how shocking, serves the story and the characters.

One of the standout elements of this production is Chris Davey’s lighting, which does far more than illuminate the action. It intensifies it. Pools of neon light give the diner a seductive glow, while harsh, angled shadows turn the garage into a pressure cooker. During the more intimate scenes, the lighting softens into warm, hazy tones that make the air feel thick with desire. In moments of violence or confrontation, it snaps into sharp contrasts that heighten the danger. The lighting doesn’t just support the drama — it fuels it, adding to the heat and tension that define the entire show. A perfect example of set and light working in complete harmony.

The Car Man is a show that keeps you hooked from start to finish, blending high drama with irresistible style. By the time the final tragedy unfolds, the audience is left breathless, shaken by the destruction one man can bring to an entire community.

This revival is a five‑star triumph — stylish, steamy, and completely unmissable.

Kings Theatre, Portsmouth – until Saturday 20th June 2026

Reviewed by Sally Lumley

4****

Classic British sitcom Fawlty Towers has made the leap from screen to stage and to the Kings Theatre in Portsmouth. Based on the original scripts by John Cleese and Connie Booth, and adapted by Cleese himself, the production skillfully combines three of the original episodes into one fast-paced evening of chaos, misunderstandings and laugh-out-loud comedy.

Danny Bayne is superb as Basil Fawlty, perfectly capturing his exasperation, pomposity and increasingly desperate attempts to maintain control as the chaos escalates. Bayne has Basil’s mannerisms down to a tee, nailing the slapstick and the ‘german’ walk, yet still makes the role very much his own. Despite Basil’s many flaws, I couldn’t help but be on his side as everything around him descended into complete mayhem.

Mia Austen is fabulous as Sybil, proving the perfect foil for Basil’s escalating chaos. With terse delivery and an instantly recognisable cackle, she captures everything I remembered about the original character.

As in the original TV show, some of the best moments are delivered by the supporting cast. Hemi Yeroham is hilarious as the hapless Manuel, bringing charm and incredible comic timing to the role. Joanne Clifton is the calm in the storm as Polly, keeping an incredibly straight face while surrounded by pandemonium. Paul Nicholas also shines as the Major, earning some of the night’s biggest laughs.

Liz Ascroft’s clever set design instantly transports the audience to 1970s Torquay. It feels like we can see the whole hotel on stage, giving the actors the space to recreate so many of the classic scenes without the need for scene changes, and allowing the comedy to flow.

This stage adaptation brings a fresh look to the classic comedy of Fawlty Towers while remaining just as hilarious as ever. Packed with chaotic laughs, brilliant performances and plenty of nostalgia this is a production that will delight fans while introducing a new generation to one of Britain’s greatest sitcoms.