NEIL MORRISSEY TO JOIN THE COMPANY OF

VICTORIA WOOD AND TOM MACRAE’S FOURTEEN AGAIN

AT THE MENIER CHOCOLATE FACTORY THIS WINTER

The Menier Chocolate Factory today announces that Neil Morrissey will join the previously announced Ria Jones and Sally Ann Triplett in the critically acclaimed production of Fourteen Again which ran at The Victoria Wood Theatre in Bowness-on-Windermere this spring. Jonathan O’Boyle’s production opens at the Menier on Wednesday 2 December, with previews from Saturday 21 November, and runs until Saturday 27 February 2027. Morrissey worked with Wood on the original West End run of Acorn Antiques: The Musical!.

The Victoria Wood Theatre, previously The Old Laundry Theatre, was renamed this year – the 10^th anniversary of Wood’s death, by her close friends and collaborators, the husband-and-wife team, producer Charlotte Scott and designer Roger Glossop. To celebrate Wood’s life and work they commissioned Tom MacRae (Everybody’s Talking About Jamie) to work with her songbook to create a brand-new musical, the inaugural production in the newly renamed venue.

Wood originally opened the venue, was a Trustee, and performed there many times. She also directed her own show Talent – which was co-produced with the Menier; and in 2013, her television film Housewife 49 was adapted for the stage especially for the venue.

Fourteen Again begins at the local Slimming Club, where Peggy is reunited with Lou, her best friend from school who she hasn’t seen since they were teenagers. As kids, no two friends were ever funnier or more fun, but here, now, today they are shadows of their younger selves – and a story unfolds of looking back to the future, full of comedy, love and pain, with Victoria Wood’s amazing songs moving the musical fast forward.

www.menierchocolatefactory.com

Instagram: @menchocfactory

FOURTEEN AGAIN

Music and Lyrics by Victoria Wood Book and Additional Lyrics by Tom MacRae

Cast: Ria Jones, Neil Morrissey, and Sally Ann Triplett,with understudies Jayne Ashley, Matt Gillett

Director: Jonathan O’Boyle; Musical Supervisor, Arranger & Co-Orchestrator: Nigel Lilley;

Choreographer: Sammy Murray; Set Designer: Roger Glossop; Costume Designer: Caroline Hughes;  Lighting Designer: Jason Taylor; Sound Designer: Sam Glossop; Video Designer: Leo Flint; Musical Director & Co-Orchestrator: Archie McMorran; Assistant Director & Choreographer: Matt Gillett; Associate Set Designer: Caroline Dalton; Associate Sound Designer: Harry Greatorex

21 November 2026 – 27 February 2027

Ria Jones returns to the Menier to play Lou – she previously appeared at the Menier in Habeas Corpus. Her other theatre credits include Sunset Boulevard (London Coliseum/Leicester Curve/ European tour), Gypsy (Royal Exchange Theatre), Guys and Dolls (Marigny Theatre, Paris), 42nd Street (Curve/Théâtre du Châtelet, Paris), Les Misérables (Palace Theatre/UK tour), Chess (Prince Edward Theatre), Cats (New London Theatre), Evita (Opera House, Manchester), Nine (Donmar), High Society (Shaftesbury Theatre/UK tour), Joseph and the Amazing Technicolor Dreamcoat (UK tour/Hammersmith Apollo), Anything Goes, The Witches of Eastwick, Acorn Antiques (UK tours), Into The Woods (Esplanade Theatre, Singapore), Romance Romance; Victor Victoria (Bridewell Theatre), Personals (New End Theatre), A Twist of Fate (Jubilee Theatre, Singapore), Honk! (Victoria Theatre, Singapore), Jerry’s Girls (St James’s Theatre/ Jermyn Street Theatre), Closer Than Ever (Landor Theatre) and A Little Night Music (Haymarket Theatre, Leicester). Her television credits include Eric and Ernie, Torchwood, The Angina Monologues and Life and Debt.

Neil Morrissey plays Duncan. His theatre credits include A Christmas Carol (Alexandra Palace); The Crown Jewels (Garrick Theatre); Acorn Antiques: The Musical! (Theatre Royal, Haymarket); Guys and Dolls (Piccadilly Theatre); Oliver!, Rain Man, A Passionate Woman (UK tours); Relative Values (Harold Pinter Theatre); Neville’s Island (Duke of York’s Theatre); Aladdin, Cinderella (Assembly Rooms, Derby). Television credits include Men Behaving Badly (as series regular Tony), Boon (as series regular Rocky), Striking Out (as series regular Vincent Pike, QC), The Good Karma Hospital (as series regular Greg McConnell), Waterloo Road (as series regular Eddie Lawson), The Long Call, The Syndicate, Penance, Line Of Duty, The Trial of Christine Keeler, Unforgotten, Striking Out, Grantchester, Me & Mrs Jones, Carrie and Barry, Murder in Mind and Paradise Heights; and for film, Up ‘n’ Under, The Bounty, Crucible of the Vampire and Clubbed.

Sally Ann Triplett returns to the Menier to play Peggy – she previously appeared at the Menier in Take Flight. Her other theatre credits include Top Hat (Chichester Festival Theatre/Royal Festival Hall), Cabaret (KitKat Club), The Witches (National Theatre), Oklahoma! (Wyndham’s Theatre), Cabaret (Lido 2, Paris), Billy Elliot (Leicester Curve), Taboo (London Palladium), Gypsy (Alexandra Palace), Piaf (Nottingham Playhouse/Leeds Playhouse), Anything Goes (National Theatre/Theatre Royal Drury Lane; WhatsOnStage Award), Guys and Dolls (Piccadilly Theatre), Chicago (Adelphi Theatre), Acorn Antiques (Theatre Royal Haymarket), Mamma Mia! (Prince of Wales Theatre), Cats (New London Theatre), Grease (Dominion Theatre), Jolson (Victoria Palace Theatre/Toronto),  Follies (Shaftesbury Theatre), Chess (Prince Edward Theatre), A Damsel in Distress (Chichester Festival Theatre), My Judy Garland Life (Nottingham Playhouse; UK Theatre Award nomination), Next to Normal (Drama Centre, Singapore), Carrie (RSC/Broadway), Much Ado About Nothing (Liverpool Playhouse), Absent Friends (Watford Palace), Becoming Nancy (Alliance, Atlanta), The Last Ship (Broadway/ Chicago), Finding Neverland (Broadway), Sweeney Todd (Barrow Street, Off-Broadway), Cradle Will Rock (Classic Stage Company, Off-Broadway), and Must (Theatre at St. Clement’s, Off-Broadway). Her television credits include Whitstable Pearl, and Down to Earth.

Victoria Wood won more Television BAFTAs than anyone in BAFTA history. She won awards for her stand-up, her drama and her light entertainment programmes. As a stand-up she toured for more than twenty years, and held the record at the Royal Albert Hall for fifteen consecutive sold out shows. In 2005 she wrote Acorn Antiques: The Musical! which had a sell-out run at the Theatre Royal Haymarket starring Julie Walters and Celia Imrie. The subsequent tour in 2006 was directed by Wood. In the same year she wrote the television drama Housewife 49 based on the Mass Observation Diary of Nella Last, which won two BAFTAs and an International Emmy nomination for Wood as Best Actress. Her three-part documentary Victoria’s Empire was shown the following year. In 2011 she wrote and directed the musical That Day We Sang for the Manchester International festival, which was about the famous 1929 recording of Nymphs and Shepherds by the Manchester Children’s Choir. She played the part of Eric Morcambe’s mother in Eric and Ernie, a BBC2 film about the early days of the double act, written by Peter Bowker from an idea by Wood. She also wrote and directed a short film, The Giddy Kipper, for the Little Crackers season on Sky One. Also in 2011, she was honoured with the Women in Film and Television Lifetime Achievement Award, won the Outstanding Contribution to Comedy at the Chortle Awards, was the first woman to receive the top prize from the Writers’ Guild Awards. Also that year at the Comedy Awards, she received the Best Female Television Comic Award for her performance in The Angina Monologues. Her other acting credits include The Borrowers and Case History. In 2012 her drama Loving Miss Hatto was broadcast on BBC1 over Christmas, and she also filmed a two-part documentary about the British love of tea for the channel. In 2014, she adapted and directed That Day We Sang starring Michael Ball and Imelda Staunton for the BBC. She was awarded a CBE in 2008.

Tom MacRae’s theatre credits include Everybody’s Talking About Jamie (Book and Lyrics: Sheffield Theatres/Apollo Theatre/UK tour/Los Angeles – three wins at 2018 WhatsOnStage Awards including Best New Musical, winner of Jack Tinker Award for Most Promising Newcomer at 2017 Critics’ Circle Theatre Awards, winner of Best Musical Theatre Bookwriting at Writers’ Guild Awards 2019, five nominations at 2018 Laurence Olivier Awards including Best New Musical) and Crash of the Elysium (Punchdrunk at the MIF). His television work includes The New Librarians, The Librarians, Fungus the Bogeyman, Threesome, Doctor Who, Bonekickers, Lewis, Marple – At Bertram’s Hotel, Mayo, No Angels, Money Can Buy You Love, School’s Out, As If, U Get Me and Mile High; and for film, Everybody’s Talking About Jamie (BAFTA, BIFA, London Critics Circle nominations).

Jonathan O’Boyle directs. His theatre credits include Million Dollar Quartet (Barn Theatre/Arts Theatre Marble Arch), Barnum (Watermill Theatre/UK tour), Picture You Dead, Calendar Girls: The Musical, Hair, Rain Man, This House (UK tours), Lucie Jones: Live in Concert (London Palladium), Death Comes to Pemberley (Mill at Sonning/UK tour), The Hunchback of Notre Dame (Prince Edward Theatre), Fame (NYMT), Austenland, The Singing Revolution (Savoy Theatre), White Christmas, Top Hat (Mill at Sonning), Pippin (Theatre Royal Drury Lane), Cruel Intentions: The 90s Musical (The Other Palace/UK tour), The Last Five Years (Southwark Playhouse/Garrick Theatre/China tour – Off West End Awards for Best Director of a Musical and Best Musical Production and WhatsOnStage Award nomination for Best Off-West End Production), Proud (Turbine Theatre), The Astonishing Times of Timothy Cratchit (Hope Mill Theatre), Aspects of Love, Pippin (Hope Mill Theatre/Southwark Playhouse), The View Upstairs (Soho Theatre), Peter Pan (Park Theatre), Rasheeda Speaking, bash (Trafalgar Studios), Dear Brutus (Southwark Playhouse), An American in Paris (Dominion Theatre), Fourplay (Theatre503), The Verb ‘To Love’, Made in Britain (Old Red Lion), The Surplus, All The Ways to Say Goodbye (Young Vic), The Monster Bride (Tristan Bates Theatre) and Last Online Today and Guinea Pigs (Sheffield Crucible New Writing Project). His opera work includes Manon (ROH).

LISTINGS INFORMATION

MENIER CHOCOLATE FACTORY

MIDNIGHT AT THE NEVER GET

Until 12 September

TRU

Until 14 November

FOURTEEN AGAIN

21 November – 27 February 2027

Box Office: 020 7378 1713 (£2.50 transaction fee per booking)

Website: www.menierchocolatefactory.com (£1.50 transaction fee per booking)

www.menierchocolatefactory.com

Instagram: @menchocfactory

QUENTIN TARANTINO’S NEW SWASHBUCKLING STAGE COMEDY

THE POPINJAY CAVALIER

TO OPEN AT THE PHOENIX THEATRE IN LONDON’S WEST END

SACHA BARON COHEN TO STAR IN THE TITLE ROLE

Sony Pictures Entertainment and Sonia Friedman Productions today announce that The Popinjay Cavalier, a new swashbuckling comedy written and directed by Quentin Tarantino – the first play written by Tarantino for the stage – will star Sacha Baron Cohen in the title role.

The production opens at the Phoenix Theatre in London’s West End on 18 March 2027, with previews from 23 February, and is booking until 13 June. Tickets are on sale from 9am (BST) to those who signed up for priority access, with public on sale from 12pm (BST) today. Tickets are from £25, with over 16,000 tickets under £50 across the run.

Quentin Tarantino said today, “I’m keen with anticipation to give the West End a great night out.”

Sacha Baron Cohen added, “Quentin called, I said yes before he even got to say his first ‘motherfxxxer’. When the best director in the world calls, you don’t ask questions, I am beyond delighted that we will be losing our West End virginity together, I have made him promise not to be gentle.”

Tom Rothman, Chairman and CEO of Sony Pictures Entertainment’s Motion Picture Group, and Sonia Friedman said today, “It is a joy and an honour to be developing this play with Quentin – and obviously quite an adventure. How lucky we are that one of the great storytellers of our time has chosen to make his theatrical debut.

“To see Quentin in action in a rehearsal room is extraordinary. His delight in working with actors, fencers, acrobats, musicians and our creative team is infectious, and there is such pleasure in hearing his delicious language come alive and discovering what his world can become on stage.

“And now we have Sacha Baron Cohen at the heart of it all: a fearless, brilliantly inventive actor with the wit, mischief and daring this role demands. We feel immensely fortunate to be producing this show. Audiences are in for a tremendous treat.”

Set in 1830s Europe, The Popinjay Cavalier is a rambunctious comedy of deception and disguise inspired by the grand swashbuckling epics of stage and screen.

A sweeping celebration of theatre and its heightened romance, told with Tarantino’s signature style and unmistakable wit, The Popinjay Cavalier is inspired by the classic swashbuckler genre of old Hollywood, including the writings of George Bruce, Ernst Vajda and Jesse Lasky Jr.

Also announced today is the creative team joining Tarantino – Scenic and Costume Design is by Tom Pye; with Lighting Design by Natasha Chivers; Sound Design by Ian Dickinson; the Fight Director is Philip d’Orleans; the Action Co-ordinator is Sam Lyon-Behan; Music is by Tim Phillips; Casting by Jim Carnahan, CSA; and the Associate Director is Jack Bradfield.

Full casting will be announced at a later date.

Quentin Tarantino is one of the most celebrated filmmakers of his generation. He made his directorial debut in 1992 with Reservoir Dogs, and then co-wrote, directed and starred in one of his most beloved films, Pulp Fiction, which won his first Oscar® for Best Screenplay. Following the highly acclaimed films Jackie Brown, Kill Bill Vol. 1 and Vol. 2, and Death Proof, Tarantino then released his World War II epic, Inglourious Basterds, Django Unchained (which wonhis second Oscar® for Best Screenplay), and The Hateful Eight. Tarantino’s most recent film, Once Upon a Time…in Hollywood, was nominated for five Golden Globes, ten BAFTAs, and ten Oscars®. Tarantino released his first novel, Once Upon a Time in Hollywood, in 2021 – it has been published in 31 languages and became an instant number one on The New York Times Best Seller Lists. In 2022 Tarantino published his highly acclaimed follow-up, Cinema Speculation which also debuted on The New York Times Best Seller List.

A three-time Academy Award-nominated actor and screenwriter, Sacha Baron Cohen is an iconic actor, comedian, screenwriter, producer, and director. Best known for his creation and portrayal of legendary characters Ali G, Borat Sagdiyev, Brüno Gehard, Admiral General Aladeen and Erran Morad, Baron Cohen has also acted in Adam McKay’s Talladega Nights, Tom Hooper’s Les Misérables, Tim Burton’s Sweeney Todd and Martin Scorsese’s Hugo. Baron Cohen starred in Alfonso Cuarón’s Apple TV+ series Disclaimer opposite Cate Blanchett. In 2026, he starred opposite Rosamund Pike in Netflix’s Ladies First, a No 1 film on Netflix worldwide, and appeared in Prime Video’s No 1 film Balls Up. In 2020, he wowed audiences and critics alike with his work in two timely films: Borat Subsequent Moviefilm: Delivery Of Prodigious Bribe To American Regime For Make Benefit Once Glorious Nation of Kazakhstan, for which he earned an Academy Award nomination for Best Adapted Screenplay and won two Golden Globe Awards, making Baron Cohen the first person in Golden Globes history to win two awards for the same film character after having previously won for his lead performance in the original Borat in 2007; and Aaron Sorkin’s The Trial of The Chicago 7, for which he received Academy Award, Golden Globe and SAG nominations for Best Supporting Actor for his portrayal of legendary activist Abbie Hoffman. Upcoming, Baron Cohen makes his feature directorial debut with Amazon MGM Studios’ Ali G: Who Iz I?, returning as his famed character Ali G. The film opens in cinemas worldwide on 23 October for an exclusive one-weekend run.

Social handles: @PopinjayPlay

Instagram: instagram.com/popinjayplay 

Facebook: facebook.com/PopinjayPlay

X: x.com/popinjayplay

THE POPINJAY CAVALIER 

LISTINGS

Phoenix Theatre

Charing Cross Rd, London WC2H 0JP

Box Office: https://popinjayplay.com/

Tel: 0333 009 6690

Tickets from £25

Age guidance 14+

PREVIEW SCHEDULE:

23 February                      7.00pm

24 February                      7.00pm

25 February                      7.00pm

27 February                      7.00pm

2 March                            7.00pm

3 March                            7.00pm

5 March                            1.00pm

6 March                            7.00pm

7 March                            2.00 pm

9 March                            7.00pm

10 March                          2.00pm and 7.00pm

11 March                          7.00pm

12 March                          1.00pm

13 March                          7.00pm

14 March                          1.30pm and 6.30pm

16 March                          7.00pm

17 March                          2.00pm and 7.00pm

18 March                          OPENING NIGHT at 7.00pm

POST PRESS NIGHT:

Tuesday, Wednesday, Thursday and Saturday at 7.00pm

Wednesday and Friday matinees at 2.00pm

Sundays at 1.30pm and 6.30pm

Sacha Baron Cohen will not be appearing at the following performances:

30 March – 4 April, 21 April, 28 April, 10 – 12 June 2027

Joshua Beaumont and Matthew Emeny for The Production Garden
present a brand new adaptation of one of Britain’s greatest tv comedies 

 Dick Clement and Ian La Frenais’ 

Porridge

Adapted and Directed by Samuel Freeman

2027 UK Tour – Tickets On Sale 16 October

Joshua Beaumont and Matthew Emeny for The Production Garden will present a brand new adaptation of Dick Clement and Ian La Frenais’ Porridge adapted and directed by Samuel Freeman, on a UK Tour from September 2027 (general on-sale: 16 October www.porridgeonstage.co.uk). 

The sharp, hilarious, and laugh-out-loud funny iconic BBC sitcom is spectacularly brought to life on stage with perfectly observed characters in some of their most memorable moments – all delivered by a talented cast of three! Casting to be announced.

Join career criminal Fletcher and wide-eyed cellmate Godber as they navigate life inside Her Majesty’s Prison Slade with wit, wisdom, and the occasional dodgy scheme.

Dick Clement and Ian La Frenais (Whatever Happened to the Likely Lads?, Porridge, Auf Wiedersehen, Pet and Lovejoy) have enjoyed a unique creative partnership in television, movies and theatre, spanning more than five decades for which they each received an Order of the British Empire for their services to Drama. 

Dick Clement said: “Someone once pointed out that the best comedies thrive in captive situations. He or she quoted Steptoe and Son, where a father and son are shackled together trying to get along and nearly come to blows in the process.

“If you accept that premise, then Porridge is the ultimate example, where our characters are literally locked up behind bars. Even the Prison Officers suffer in a similar way where Mr. Barrowclough, not looking forward to going home to a wife we never meet, says plaintively: “Sometimes I wish I was in here with you lot”.

“I look forward to seeing our creation in the theatre. If the audience feels confined, they can of course make a run for it. Instead, the hope is that they will enjoy sharing the familiar experiences of Fletcher, Godber, Mr. Mackay and the entire team. And when they have finished laughing, they will find that the doors to the street are unlocked.”

Samuel Freeman is a Director, Composer and Performer who has been an associate artist of The Production Garden since its inception. Directing with the company includes The Importance of Being Earnest and The Mumford & Sons Story. He has worked as both Musical Director and Theatrical Collaborator on Sherlock & Watson: A Murder in the Garden, Romeo & Juliet, Sense and Sensibility, and Pride & Prejudice.

Samuel Freeman said: “I am utterly thrilled at the opportunity to bring Porridge back to the stage, touring across the UK in 2027. Dick and Ian’s script contains so many great moments of this national treasure of a British sitcom, bottled up into one fantastic evening of entertainment. Full of unforgettable characters, razor sharp wit and the heartfelt truth of a friendship found in one of the toughest places!”

“I’m excited to be adapting this classic into a fresh new production that looks to celebrate the well known adventures of Fletcher, Godber and co, through all the theatrical magic that makes British theatre something to love and enjoy.”

The 2027 tour dates for Porridge are: The Rondo Theatre, Bath (9-11 September); Salisbury Playhouse (13-18 September); Medina Theatre, Isle of Wight (21 September); The Lighthouse, Poole (24-25 September); Lichfield Garrick (28 September-1 October); New Theatre, Peterborough (2 October); Harrogate Theatre (4-5 October); Lancaster Grand Theatre (6-7 October); Lowther Pavilion, Lytham Saint Annes (8 October); Queen’s Theatre, Barnstaple (9 October); The Riverfront, Newport (14 October); The Roses Theatre, Tewkesbury (15 October); Ffwrnes Theatre, Llanelli (16 October); Regent Theatre, Ipswich (18 October); Marina Theatre, Lowestoft (20 October); Victoria Wood Theatre, Bowness-on-Windermere (22-23 October); The Montgomery Theatre, Sheffield (25-27 October); Buxton Opera House (28-30 October); Floral Pavilion, New Brighton (1-4 November); Theatre Severn, Shrewsbury (5-6 November) and BEAM, Hertford (12 November).

The Production Garden is an award-winning theatre and event production company, co-founded by Joshua Beaumont and Matthew Emeny. Acclaimed productions include Michael Morpurgo’s Private Peaceful, adapted and directed by Simon Reade (UK Tour 2026; Double Fringe Award nominee); Isobel McArthur’s Pride and Prejudice* (*Sort Of) (CAA, Toronto, North American Premiere); Michelle Collins in Motorhome Marilyn by Ben Weatherill (World Premiere, Edinburgh); Ian Ashpitel and Jonty Stephens as Eric & Ern (Garrick West End, Curve, Lowry and UK Tour); TPG’s in-house production of Pride and Prejudice at The Abbey (Bath and Tewkesbury Abbeys, 2026); Why I Stuck A Flare Up My Arse For England (2025 Offie Award Winner, Adelaide Fringe Award Winner, Holden Street Theatre Award Winner; Southwark Playhouse, UK Tour, Australia); A Shoddy Detective and the Art of Deception (ARTS West End and UK Tour)

2027 TOUR LISTINGS 

Running Time: 2 hours including interval

Age Guidance: Under 14’s accompanied by adults

The Rondo Theatre, Bath (9-11 September)

https://rondotheatre.co.uk/

Salisbury Playhouse (13-18 September)

https://www.wiltshirecreative.co.uk/whats-on/category/salisbury-playhouse

Medina Theatre, Isle of Wight (21 September)

https://www.medinatheatre.co.uk/home

The Lighthouse Poole (24-25 September)

https://www.lighthousepoole.co.uk/

Lichfield Garrick (28 September – 1 October)

https://www.lichfieldgarrick.com

New Theatre, Peterborough (2 October)

https://newtheatre-peterborough.com/

Harrogate Theatre (4-5 October)

https://www.harrogatetheatre.co.uk/

Lancaster Grand Theatre (6-7 October) 

https://lancastergrand.co.uk/

Lowther Pavilion, Lytham Saint Annes  (8 October)

https://lowtherpavilion.co.uk/

Queen’s Theatre, Barnstaple (9 October)

https://queenstheatre-barnstaple.com

The Riverfront, Newport (14 October)

https://www.newportlive.co.uk/en/theatre-arts

The Roses Theatre, Tewkesbury (15 October)

https://www.rosestheatre.org

Ffwrnes Theatre, Llanelli (16 October)

https://www.theatrausirgar.co.uk/en/whats-on

Regent Theatre, Ipswich (18 October)

https://ipswichtheatres.co.uk/whats-on/porridge-2/

Marina Theatre, Lowestoft (20 October)

https://www.marinatheatre.co.uk/

Victoria Wood Theatre, Bowness-on-Windermere (22-23 October)

https://victoriawoodtheatre.com/whats-on

The Montgomery Theatre, Sheffield (25-27 October)

https://www.sheffieldtheatres.co.uk/whats-on/montgomery

Buxton Opera House (28-30 October)

https://buxtonoperahouse.org.uk

Floral Pavilion, New Brighton (1-4 November)

https://www.floralpavilion.com

Theatre Severn, Shrewsbury (5-6 November)

https://www.theatresevern.co.uk/

BEAM, Hertford (12 November)

https://beamhertford.co.uk

TICKETS GO ON SALE THIS WEEK
FOR

WORLD PREMIERE OF THE NEW MUSICAL
WRITTEN BY EMMA THOMPSON
WILL OPEN AT ALDWYCH THEATRE, LONDON
WITH PERFORMANCES FROM 6 NOVEMBER 2027
NannyMcPheeTheMusical.com

SHE’S ON HER WAY…

Tickets for the highly anticipated new musical stage adaptation of Nanny McPhee, will go on sale via NannyMcPheeTheMusical.com from 12pm on Wednesday 14 October 2026.

It is announced today that the world premiere production, with a book by Academy Award®-winning actor and screenwriter Emma Thompson, and music by singer-songwriter Gary Clark,will open at the Aldwych Theatre in London’s West End with performances from Saturday 6 November 2027.

Based on the beloved Nanny McPhee films, and the Nurse Matilda character by Christianna Brand and Edward Ardizzone that inspired them, the new musical will bring the magical world of Nanny McPhee to the stage for the first time.

When the mysterious figure of Nanny McPhee arrives at the Browns’ door she discovers a household in chaos; anarchic children who have driven away every Nanny before her, a desperate father, a donkey that is out of control, and a baby who will stop at nothing. Armed with her strange knobbly stick, exceedingly unorthodox methods and quite a lot of magic, Nanny McPhee begins to restore harmony. And as it turns out, the children aren’t the only family members who have lessons to learn. 

Universal Pictures, Working Title Films and Three Strange Angels first brought Nanny McPhee to the screen in the 2005 film written by and starring Emma Thompson, alongside Colin Firth, Angela Lansbury, Kelly Macdonald, Imelda Staunton, Celia Imrie and Thomas Brodie-Sangster. Thompson returned to write and star in the 2010 sequel Nanny McPhee and the Big Bang.

Although casting is still to be confirmed, an award-winning creative team is already at work  bringing Nanny McPhee to life on stage. The musical has a book by Academy Award®, BAFTA, Golden Globe and Emmy Award-winning actor and writer Emma Thompson, who won anAcademy Award® for Best Adapted Screenplay for Sense and Sensibility, music by singer-songwriter Gary Clark, frontman of the band Danny Wilson and composer of the music for Sing Street on stage and screen, and original lyrics by Emma Thompson and Gary Clark.

Nanny McPhee will be directed by Katy Rudd (Ballet Shoes and The Ocean at the End of the Lane), with set and costume designs by the Tony and Olivier Award-winning Rob Howell (Matilda the Musical) and Musical Staging and choreography by Ellen Kane (Paddington: The Musical), who won the 2023 World Choreography Award for Best Motion Picture Choreographyfor her work on the film adaptation of Matilda the Musical. 

The world-class creative team also includes orchestrations by Tony and Olivier Award-winning Simon Hale (Spring Awakening, Girl From the North Country), music supervision by Nigel Lilley (Follies, Next to Normal, Newsies), with music arrangements by Simon Hale and Nigel Lilley. Lighting is by multi award winning designer Howard Hudson (& Juliet, Starlight Express and Natasha, Pierre & the Great Comet of 1812), sound design by Olivier and Tony Award-winning Ian Dickinson for Autograph (Company, Angels in America, Jerusalem), illusions by Chris Fisher, a Tony Award-winning illusion and visual effects designer and a member of The Magic Circle (Stranger Things: The First Shadow, Back to the Future: The Musical, Harry Potter and the Cursed Child), puppetry by Samuel Wyer (Wolf, Witch, Giant, Fairy and The Ocean at the End of the Lane), projections by Tony and Olivier Award-winning Andrzej Goulding (Life of Pi, & Juliet, Groundhog Day) and casting by What’s On Stage Award-winning Natalie Gallacher CDG (for Pippa Aillon and Natalie Gallacher Casting) (Come From Away, Spring Awakening). The show will be general managed by Playful Productions. 

Nanny McPhee  is presented by Universal Theatrical Group and Working Title Films in association with Studiocanal on Stage and MGM on Stage. The show is produced by Tim Bevan, Eric Fellner, Lindsay Doran, Emma Thompson, Paul Warwick Griffin, Gareth Hewitt Williams and Rebecca Quigley for Working Title Films.

Richmond Theatre – until Saturday 10th October 2026

Reviewed by Carly Burlinge 

4****

There is a particular kind of dread that only live theatre can deliver — the kind that creeps up your spine in real time, in the same room as you, with no camera cut, no close-up, and no post-production trickery to save you. The Haunting of Hill House, adapted for the stage, understands this instinctively. It doesn’t try to out-scare the Netflix series or to out-write Shirley Jackson’s original novel; instead, it finds a theatrical language all its own — one built from shadow, silence, and suggestion — and for the most part, it works beautifully.

The atmosphere is unquestionably the star of the evening. The production leans hard into everything that theatre does better than film: darkness that is actually dark, sound that you feel in your chest before you consciously hear it, and empty space that the audience’s own imagination fills with far more than any special effect could. The set — a skeletal, subtly tilting version of Hill House itself — shifts and warps between scenes in a way that keeps the audience perpetually off-balance, never quite sure what corner of the house they’re looking at or what might be standing just out of view in it. The lighting design deserves special mention here, because it does something quietly remarkable: it turns ordinary theatre space into a series of corners you’re afraid to investigate. Shadows pool in places they shouldn’t, doorways seem to breathe, and the house itself feels less like a backdrop and more like a character — patient, watchful, and hungry. The soundscape completes the effect, layering whispers beneath the dialogue, creaks that have no obvious source, and low, wrong frequencies that sit just under the level of conscious hearing. You feel the house before you ever see it, and long after you’ve left the building, you keep feeling it.

The performances hold their own against all that atmosphere, which is no small feat. The ensemble is tight and well-drilled, each actor moving through the space with the kind of precision that makes the scares land cleanly rather than clumsily. But the production is smartest when it remembers that the real haunting isn’t the house at all — it’s what the characters carry into it. Grief, guilt, and the stubborn refusal to let go of the dead are the true ghosts here, and the script gives those quieter moments room to breathe between the shocks. The central performance, in particular, grounds the supernatural chaos in something painfully, recognizably human, and it’s in those scenes — two people in a room, saying the things they’ve never been able to say — that the show is at its most unsettling. The house, it turns out, doesn’t need to do very much at all; it just needs to give people permission to tear themselves apart. 

Where the production stumbles is chiefly in its second act, which occasionally over-explains what the first act so beautifully left ambiguous. There is a temptation, common to adaptations of well-loved horror, to spell things out for the audience — to make sure they’ve understood the rules of the haunting, the history of the house, the meaning of every apparition. But Jackson’s genius was in what she withheld, and the show is at its best when it trusts the audience to fill the dark spaces themselves. A few of the scares, too, land with a thud rather than a whisper — loud, sudden, and effective in the moment, but less lingering than the quieter dread that surrounds them. And there is one monologue near the end that tells us, at length, things we had already felt perfectly well on our own. These are not fatal flaws — the production’s strengths far outweigh its missteps — but they do mean that the second half never quite matches the haunting, delicate power of the first.

The verdict, then, is a genuinely unsettling, beautifully crafted piece of gothic theatre that respects its source material while finding a stage language entirely its own. It is a show that understands the difference between a jump scare and a haunting, and that knows the latter is far more powerful — and far harder to shake off. Bring a friend to hold onto during the dark bits, and maybe someone to walk you home after. Just don’t be surprised if, on the way, you find yourself glancing back at the house you’ve just left — and wondering whether it’s really the house you’re still thinking about, or something it left behind in you.

FIVE ACTORS
189 FIVE-STAR REVIEWS
AND NOW, FIVE PRODUCTIONS!
YOU REALLY COULDN’T WRITE IT!

Live from the casts of Operation Mincemeat in London (West End), New York (Broadway), Chicago (North American leg of the world tour) and Norwich (UK leg of the world tour), during curtain call of each of their respective shows last night, it was announced that the Tony^® and Olivier^® Award-winning musical Operation Mincemeat, is officially heading to Australia as the next leg of its World Tour, set to premiere at Comedy Theatre in Melbourne in September 2027, with further cities to be announced. Julia Knitel (Broadway’s Ewen Montagu), Madeleine Jackson–Smith (West End’s, Ewen Montagu), Holly Sumpton (UK Tour’s Ewen Montagu) and Katie Kleiger (North American Tour’s Ewen Montagu) each gave a speech simultaneously announcing the fifth production on its journey across the globe. The search for the cast will commence in early 2027.

Join the Official Tour Waitlist here to be first in line for tickets and get access to exclusive perks.

The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse. Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won the Allies World War II. The question is, how did a well dressed corpse wrong-foot Hitler?

Jon Thoday, Producer at Avalon, said: “It’s incredibly exciting to be invited to produce Operation Mincemeat in Australia and to be able to bring the show to a whole new audience. From its beginnings in a 77-seat London fringe theatre, the show is now playing simultaneously in the West End and on Broadway, with a world tour underway, so far spanning the UK and North America. Australia will be the fifth production of Operation Mincemeat and the next chapter in its extraordinary journey.”

Operation Mincemeat is currently in performances in the West End, on Broadway and has just launched its world tour, which began with a UK leg, that has recently been extended into 2027, and is now weeks into its journey across North America. On 20^th September, the production launched the North American leg of the tour launched with two performances at the Providence Performing Arts Center, Rhode Island, welcoming a combined audience of 5,200 – the production’s biggest audience to date. On 26^th September, across the North American leg, UK leg, Broadway and the West End productions, 9,734 agents, nearly 10,000, watched the production in one day. The show’s international journey will continue with Australia as its fifth production, before travelling on to New Zealand, China and Mexico, taking Operation Mincemeat across four continents.

Across over 2,000 performances, Operation Mincemeat has cultivated a fervent fanbase, affectionately dubbed “Mincefluencers.” On Broadway alone, more than 5,000 audience members – roughly one in 25 – have bought tickets for multiple performances, including 205 superfans who have purchased tickets for ten or more shows.

Operation Mincemeat has been nominated for 68 awards since opening at the 77-seat New Diorama Theatre in 2019, winning 24, including Best Musical 4 times from the Olivier Awards^®, WhatsOnStage Awards, BroadwayWorld Theater Fans’ Choice Awards, and off-West End Awards. On Broadway, the show was nominated for 4 Tony Awards^® in 2025, including Best Musical. The production won Best Featured Actor in a Musical for Jak Malone’s portrayal of Hester Leggatt, who previously won the Olivier Award® in the same category. The production has also received nominations for Outstanding Production of a Musical at the Drama League Awards, Outstanding New Broadway Musical at the Outer Critics Circle Awards, Best Musical at the BroadwayWorld Theater Fans’ Choice Awards, and Favourite New Musical at the Broadway.com Audience Choice Awards.

Written by triple Tony Award^® nominees SpitLip (comprised of David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts), and directed by Robert Hastie, Operation Mincemeat is currently on its 19^th extension, running until 29^th May 2027 in London at the Fortune Theatre which takes the production into its 5^th year in the West End, while simultaneously playing on Broadway, and has launched its world tour in the UK and US.

Operation Mincemeat is produced on Broadway and in the West End by Avalon (in association with SpitLip). The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.

FOLLOWING THE HUGE SUCCESS OF

THE THEATRICAL WORLD PREMIERE OF

MIDSOMER MURDERS: THE KILLINGS AT BADGER’S DRIFT

THERE WILL BE A SECOND UK & IRELAND TOUR
FROM APRIL 2027

DANIEL CASEY RETURNS TO THE ROLE OF INSPECTOR TOM BARNABY

The world premiere of Guy Unsworth’s stage adaptation of Midsomer Murders: The Killings at Badger’s Drift broke box office records and was critically acclaimed across its 2025/26 UK & Ireland Tour, so producers Nicholson Green Productions and Colin Ingram Ltd will be taking the show back on the road from April 2027 and are delighted to announce that Daniel Casey will be returning to the role of Inspector Tom Barnaby. Further casting is to be announced. The UK & Ireland Tour is based on the book by Caroline Graham, The Killings at Badger’s Drift, and the television series Midsomer Murders produced by Bentley Productions [for ITV] in association with All3Media International. 

Daniel Casey said of the new tour, “Since returning to the world of Midsomer last October, it has been such a delight to see the incredible reaction of people around the UK and Ireland to our theatre version of The Killings at Badger’s Drift. One of the highlights of last year’s tour was having my lovely friend and mentor John Nettles come and see the show in Truro, getting his seal of approval was hugely important to me. I can’t quite believe it will be the 30th anniversary of the TV pilot and 40th anniversary of Caroline Graham’s novel The Killings at Badger’s Drift in 2027! So, it is wonderful that, after such a successful first tour, we will be touring to even more venues in 2027. Thank you to all those people from all over the UK and around the world who have shown such love for the play, and I can’t wait to bring it to a whole new audience in some wonderful new venues in 2027.” 

When well-loved spinster Emily Simpson is found dead in the picturesque village of Badger’s Drift, her friend Lucy Bellringer refuses to accept it was an accident. DCI Tom Barnaby and Sergeant Gavin Troy are called in to investigate, uncovering a world of hidden passions, long-buried secrets and deadly rivalries.

With eccentric villagers, shocking twists and an unforgettable reveal, The Killings at Badger’s Drift is a classic whodunit that will keep audiences on the edge of their seats. Bringing to life the wit, charm and chilling suspense of the beloved television series and original series of books, this gripping and thrilling new show will entrance theatre audiences.

Spring 2027 marks the 40^th anniversary of Caroline Graham’s novel. The tour opens at The Alexandra, Birmingham on 23 April playing until 24 April 2027 before touring to: Festival Theatre, Edinburgh (28 April – 1 May); Milton Keynes Theatre (5 – 8 May); Orchard Theatre, Dartford (12 – 15 May); Hull New Theatre (19 – 22 May); Theatre Severn, Shrewsbury (25 – 29 May); Belfast Grand Opera House (1-5 June); The Gaiety Theatre, Dublin (8 – 12 June); Aylesbury Waterside Theatre (23 – 26 June); Grand Opera House York (30 June – 3 July); Liverpool Playhouse (6 – 10 July); Wolverhampton Grand Theatre (14 – 17 July); Alhambra Theatre, Bradford (21 – 24 July) and Newcastle Theatre Royal (27 – 31 July).

Midsomer Murders: The Killings at Badger’s Drift is adapted and directed by Guy Unsworth, with design by David Woodhead, lighting design by Matt Haskins, sound design by Ella Wahlström, music by Max Pappenheim and casting by Ginny Schiller CDG.

The stage show is produced by Nicholson Green Productions and Colin Ingram Ltd.

Website: MidsomerOnStage.com

Facebook, Instagram and YouTube: @MidsomerOnStage

Liverpool Philharmonic Hall – Tuesday 6th October 2026

Reviewed by Carla Whittaker & Stuart Sydney

5*****

A fantastic evening of dancing, brilliant vocals and plenty of Vegas glitz and glamour!

On Tuesday evening, we went to Liverpool Philharmonic Hall to see The Legends in Vegas – After Hours, and we had such a brilliant night!

The show brings together five well-known professional dancers from Strictly Come Dancing; Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite alongside their female dance partners, for an evening inspired by the bright lights, music and glamour of Las Vegas.

Now I don’t watch Strictly Come Dancing, well I didn’t until recently; but if you are a fan of Strictly, you will recognise the names, but I really think you could enjoy this show even if you’ve never watched an episode of Strictly in your life!

From the start you could see the amount of work that had gone into putting the production together. It was colourful, glitzy and full of that over-the-top Vegas glamour that you’d expect from a show with this theme. There was plenty of sparkle, fabulous costumes, great music and, of course, some absolutely brilliant dancing.

I think when you watch professional dancers on television, it’s easy to forget just how incredibly talented they actually are. Seeing them perform live is a completely different experience. The precision, timing, coordination and sheer amount of energy that goes into every routine is absolutely incredible. It’s something you can never fully appreciate when watching on TV, and seeing it all happen right in front of you really makes you realise just how much skill, hard work and dedication goes into what they do; this was the case for me anyway. They make it look so effortless, but you know there’s nothing easy about it!

What I really liked was the variety. The Vegas theme gives the show plenty of opportunities to explore different styles, music and performances, rather than it simply being one dance routine after another.

The costumes were another highlight. There was no shortage of glitter or glamour! Everything fitted well with the overall theme of the evening, and visually it was a lovely show to watch, and you could see that it captivated the whole audience.

I also loved that the whole production felt like a real occasion. It wasn’t just about going to watch a few familiar faces from Strictly dancing on stage; it was a proper evening of entertainment, with the dancing, music, fabulous costumes and staging all coming together beautifully. There was so much glitz and glamour, and my only regret is that I didn’t take the opportunity to get a bit dressed up and wear some sparkle myself! I missed a trick there!

One thing I really do want to give a special mention to is the singing, because the vocals were absolutely fantastic something I did not necessarily expect! I went along expecting some brilliant dancing, given who was performing, but the quality of the vocals really stood out to me. For me, the music and singing added so much to the overall show. There is something quite different about hearing talented vocalists performing live, and it really helped bring the whole Vegas theme together.

I always think the music can make or break a production like this. You can have fantastic performers and beautiful costumes, but if the sound and vocals aren’t right, it can really affect the overall experience.

Thankfully, that certainly was not the case here. The singing was excellent, and it was one of the things I came away talking about afterwards.

It complemented the dancing well and helped make the whole evening feel like a proper theatrical production rather than simply a dance showcase.

Of course, the main attraction was the five Strictly legends, and they certainly know how to put on a performance.

What struck me was how effortless they can make everything look. Obviously, we all know that an enormous amount of training and practice goes into professional dancing, but watching it live really makes you appreciate the skill involved.

The dancers all bring their own personalities and styles to the stage, which helps keep things interesting throughout.

It was also lovely to see the female dancers performing alongside them. The partnership and coordination involved in some of these routines really was something to admire, and the whole cast deserves recognition for the quality of the performance and you could see the relationship they all have together as everything was so seamless.

I think that’s one of the nicest things about seeing a show like this live. You’re not watching an edited television performance. You’re seeing the talent, movement and timing happening right in front of you. The overall standard was excellent, and the show had plenty of energy and glamour.

If there’s one thing you expect from a show based around Las Vegas, it’s a bit of sparkle, and there was certainly plenty of that! The costumes were gorgeous and really helped create that glamorous Vegas atmosphere. I loved how colourful and glitzy everything was. The lighting and staging also worked well with the style of the performance, helping create that showbiz feel.

I particularly enjoyed the fact that it was visually interesting as well as being musically entertaining. There was always something to look at, whether that was the dancing, the costumes or the overall presentation. Sometimes productions can try a little too hard with a theme, but I thought the Vegas concept worked really well for this type of show. It was glamorous, entertaining and a little bit extravagant, which is exactly what you want from a Vegas-inspired evening!

I also want to give Liverpool Philharmonic Hall a mention, because I think the venue itself is an important part of reviewing any theatre experience. There’s nothing worse than looking forward to a lovely evening out and then finding the venue difficult to access, parking a nightmare or staff who aren’t particularly helpful. Thankfully, my experience at Liverpool Philharmonic Hall was really positive.

Firstly, there was good parking available locally, which made getting to the venue much easier. When you’re travelling to a city centre venue, parking is always something worth considering beforehand, so this was definitely a positive.

I also found the venue accessible, which is particularly important to me. Having accessibility needs can sometimes make planning an evening out a little more complicated, so knowing that a venue is manageable makes a real difference.

The staff were absolutely lovely. Everyone I encountered was friendly, welcoming and helpful, and I do think that deserves recognition.

The venue itself is also a lovely setting for this type of performance. There is something special about visiting a well-established concert hall for an evening of live entertainment.

I was really impressed with the Philharmonic and would certainly be happy to return for another show.

Was It Worth Going? Absolutely! I think with any live show, especially one involving performers who are already well known, there’s always that question of whether it’s going to live up to expectations. For me, this was a thoroughly enjoyable evening. The standard of dancing was excellent, the vocals were a real highlight, the costumes were fabulous, and the overall production had plenty of sparkle and glamour. What I liked most was that it wasn’t just one aspect of the show that stood out. It was the combination of everything. The dancing was obviously a huge part of the evening, but the singing and production really added to the experience.

It was also nice to get out and enjoy something completely different for a couple of hours. Life gets busy, and sometimes we forget how enjoyable it is to go and see a live performance, switch off from everything else and just enjoy ourselves – even my partner enjoyed it!

And that’s exactly what this evening was about.

I really enjoyed The Legends in Vegas – After Hours, and it’s definitely a show I would recommend.

If you’re a Strictly Come Dancing fan, I think you will particularly enjoy seeing some of the familiar professionals performing live. However, I wouldn’t say you need to be a Strictly fan to appreciate it. If you enjoy music, dancing, colourful costumes and a bit of old-fashioned showbiz glamour, then this is certainly worth considering.

A big well done to everyone involved in putting the show together, from the dancers and singers to the people working behind the scenes. A production like this takes an awful lot of hard work, and I think that’s sometimes easily overlooked when you’re sitting in the audience enjoying the finished performance.

I’d also happily recommend Liverpool Philharmonic Hall as a venue. Friendly and helpful staff, good local parking and a positive experience in terms of accessibility all contributed to making it a really enjoyable evening.

ACTORS CHILDREN TRUST AND ROYAL THEATRICAL FUND

ANNOUNCE MERGER TO STRENGTHEN SUPPORT

FOR THE THEATRE COMMUNITY

Actors’ Children’s Trust and the Royal Theatrical Fund today announce their merger, bringing together two charities with a shared commitment to supporting people across all the performing arts. Actors’ Children’s Trust offers support to the children of actors, and The Royal Theatrical Fund supports all theatre, film, television and other associated workers. Actors’ Children’s Trust will merge into the Royal Theatrical Fund, creating a stronger, more sustainable single organisation with the united and combined expertise, resources and experience. Both organisations are members of Acting for Others.

The merger will preserve the values that have defined both charities for generations: community, dignity and a deep understanding of the unique challenges faced by people working in the industry.

Samantha Bond, Chairwoman of The Royal Theatrical Fund, said: “Today, we come together not simply to merge two charities, but to unite behind a shared purpose. While each organisation has its own proud history, we have always been guided by the same values: compassion, service, and a commitment to supporting the theatrical community.

“By joining forces, we will be stronger together. We will combine our expertise, make better use of our resources, and increase the impact of our work. Most importantly, we will be able to reach more people and provide even greater support, helping to ensure that no actor’s child goes without because of the uncertainties of our profession.

“Together, The Royal Theatrical Fund and The Actors’ Children’s Trust have the opportunity to create an organisation that honours the proud legacy of both charities while building something even stronger for future generations.

“As Chairwoman, I am genuinely excited about what lies ahead. This merger marks the beginning of a new chapter – one defined by collaboration, shared purpose, and a renewed commitment to making an even greater difference for everyone in our theatrical family.”

By joining forces, the charities aim to make it easier for people to access support through a more seamless and consistent approach and application process. Their complementary expertise and specialist knowledge will also strengthen both charities ability to respond to changing needs, increase their capacity to innovate and ultimately deliver greater and more lasting impact for the community.

The merger also reflects the strong cultural alignment between the two organisations. Each has a long history of supporting the industry and shared commitment to compassion, inclusion and putting people at the heart of their work.

As one organisation, the charity will be better positioned to respond to changing needs and navigate an increasingly challenging economic environment. Pooling resources and expertise will create greater resilience and enable the enhanced RTF to build on the strengths of both charities ensuring that support remains focused where it is needed most.

Above all, this merger is an investment in the future of the theatre, film, TV and associated community. By combining their strengths, Actors’ Children’s Trust and the Royal Theatrical Fund will be well placed to champion and support the profession for generations to come.

Florian Zeller’s Smash Hit

Comedy The Truth Returns to the West End

Next Summer

Reuniting Stephen Mangan, Ardal O’Hanlon,

Sarah Hadland and Janie Dee

Directed by Lindsay Posner

Translated by Christopher Hampton

Two couples. A tangle of secrets. And a truth nobody is ready to face.

Performances begin at the Theatre Royal Haymarket on

Thursday 29 July, 2027 ahead of UK Tour Dates.

www.TheTruthPlay.com

Having played to packed West End houses this summer, Melting Pot are delighted to announce that the smash hit comedy, The Truth will return to London next year, ahead of UK tour dates. Wickedly funny and elegantly crafted, the star-led comedy begins a strictly limited 12-week run at the Theatre Royal Haymarket from Thursday 29 July, 2027.

Reuniting the critically acclaimed comic forces of Stephen Mangan (BBC 1 The Split; BBC 2 Episodes), Ardal O’Hanlon (Channel 4, Father Ted; Netflix, How To Get To Heaven From Belfast), Sarah Hadland (BBC 1, Miranda; Strictly Come Dancing; ITV, The Job Lot) and double Olivier Award-winner Janie Dee, tickets go on sale at 10am on Thursday 8 October, 2027 at www.TheTruthPlay.com.

Directed by Lindsay Posner and written by Academy Award-winning, two-time Olivier-nominated playwright Florian Zeller, with a translation by Christopher Hampton, The Truth will tour next autumn to Theatre Royal, Brighton; Marlowe Theatre, Canterbury; Alexandra Theatre, Birmingham and Theatre Royal, Glasgow. 

The Truth is a wickedly entertaining comedy where trust is fragile, loyalty is negotiable, and everyone has something to hide. This star-driven revival of the Olivier-nominated play peels back the lies we tell the people we love, and the ones we tell ourselves… Gripping, surprising and laugh-out-loud funny, The Truth is a night at the theatre you won’t want to miss.

Packed with Zeller’s trademark psychological insight and biting humour, and translated by Christopher Hampton, The Truth is a witty exploration of love, deception, and the fragile stories we tell ourselves. Lindsay Posner (A View From The Bridge, Theatre Royal Haymarket; Noises Off, Phoenix Theatre) directs the new staging, with Set and Costume design by Lizzie Clachan, Lighting Design by Richard Howell and Sound Design by Adam Cork.

Four of the UK and Ireland’s most beloved stage and screen performers reunite to bring their formidable comic talents to this sophisticated and fast-paced comedy. Tony Award-nominated Stephen Mangan stars as ‘Michel’alongside Ardal O’Hanlon as ‘Paul’, Sarah Hadland as ‘Alice’and Janie Dee as‘Laurence’.

Producer Simon Friend says: “The Truth was a sell-out sensation over its run at the Apollo Theatre, which finished a few weeks ago, and our magnificent cast had such fun with Florian’s comic masterpiece that they’re reuniting to bring more gales of laughter to the West End. We’re enormously grateful to Len Blavatnik and Danny Cohen for welcoming the show into the Theatre Royal Haymarket for another season next year before heading out across the country.”

At the centre of The Truth is Michel, a man who embarks on an affair with his best friend’s wife while attempting to convince himself—and everyone around him—that honesty is overrated. As the web of deception grows increasingly tangled, the audience is left delightfully off-balance and questioning who is deceiving whom.

Florian Zeller is widely regarded as one of the most exciting contemporary dramatists, with international successes including The Father and The Son. The Truth showcases his gift for blending comedy and psychological tension into an evening of theatre that is as uproariously entertaining as it is thought-provoking.

The Truth is produced by Simon Friend and Hanna Osmolska for Melting Pot, the company behind the sold-out 2016 production of Florian Zeller’s play The Height of the Storm at Wyndham’s Theatre. Melting Pot also produced the West End stage productions of The Father at Wyndham’s Theatre and Duke of York’s Theatre, as well as its double Oscar- and BAFTA-award-winning film adaptation starring Anthony Hopkins and Olivia Colman.

The Truth is produced by Simon Friend and Hanna Osmolska for Melting Pot in association with Len Blavatnik and Danny Cohen for Access Entertainment, Gavin Kalin Productions, Fiery Dragons and Keren Misgav.