Cambridge Arts Theatre, Cambridge – until Saturday 25th April 2026

Reviewed by Steph Lott

5*****

There’s always a moment of anxiety when a beloved television series makes the leap to the stage. Will it feel like a pale imitation? Will you spend the whole evening mourning the absence of the original cast? I’m delighted to report that with Midsomer Murders: The Killings at Badger’s Drift, written and directed by Guy Unsworth, those fears evaporated within minutes of the curtain rising.

Based on Caroline Graham’s original novel — and yes, the one that started it all — this production delivers exactly what it promises: a return to the cosy, gently eccentric world of Midsomer, complete with suspicious villagers, dark secrets, and that particular brand of very English mayhem. The audience settled into it like a favourite armchair, and the warmth in the auditorium was palpable.

Central to the production’s success is the relationship between Daniel Casey as Inspector Tom Barnaby and James Bradwell as Detective Sergeant Gavin Troy. These are not impressions of their television predecessors — they are fully realised performances in their own right. Casey makes the switch from sidekick to lead with panache and style. Casey and Bradwell bring a wonderful steadying contrast to the gleeful eccentricity around them, grounding the comedy and the mystery with just the right measure of sincerity. They made the characters entirely their own, and I mean that as high praise.

And what characters surround them! The rest of the ensemble attack their roles with infectious relish, delivering a multi-coloured array of Midsomer grotesques with tremendous energy. John Dougall deserves a particular mention — his turn as Iris Rainbird was a genuine star performance, with a healthy sprinkle of brilliant comic nuttiness. Julie Legrand was simply wonderful as Lucy Bellringer, bringing quirky charm, impeccable timing and a lovely natural poise to every scene she was in. Rupert Sadler demonstrated impressive range across two contrasting roles — Dennis Rainbird and Michael Lacey — making each entirely distinct and believable.

Much of the production’s comedy and momentum depends on the speed and ingenuity of its costume changes, and here a very special tribute must go backstage. Head of Wardrobe Chloe Willis and Head of Wigs, Hair and Make-Up Florencia Melon have performed something close to a miracle. The speed at which actors transformed from one character to another was, quite genuinely, a total marvel — the kind of thing that makes you want to applaud the dressing rooms as well as the stage.

David Woodhead’s set design deserves equal celebration. Ingenious is exactly the right word — it manages to evoke multiple locations with elegance and wit, serving the storytelling beautifully without ever drawing undue attention to itself.

This is theatre that knows precisely what it wants to be and delivers it with real polish and affection. It’s great entertainment — funny, warm, clever and thoroughly satisfying. If you love Midsomer, go. If you’ve never seen a single episode, go anyway. You’ll have a marvellous time.

STORYHOUSE, CHESTER UNTIL – SATURDAY 25TH APRIL 2026

REVIEWED BY MIA BOWEN

5****

Every so often, one has the privilege of witnessing a theatrical performance that feels truly remarkable. Last night’s rendition of The Beekeeper of Aleppo was one of those extraordinary productions. Its impact lingered long after the final applause, and I found myself needing a moment to wipe away my tears and gather my composure before leaving my seat. Having heard such glowing reviews of the novel by Christy Lefteri, I had been eagerly looking forward to seeing it adapted for the stage, and it certainly did not disappoint.

As I took my seat, I was immediately struck by the simplicity of the stage, beautifully designed by Ruby Pugh. At first glance, it seemed minimalist, featuring two gentle sand dunes and furniture that appeared almost sculpted from the sand itself. Behind them stood a structure reminiscent of an old building, quietly grounding the scene. However, this simplicity contributed to its beauty. Throughout the performance, the structure came alive through projected images, lighting and subtle details that guided the audience through various locations and moments in time. As the story unfolded across vastly different countries, the staging adapted seamlessly, making each new setting feel vivid and authentic while maintaining its understated elegance.

In the stage adaptation brought to life by Nesrin Alrefaai and Matthew Spangler, the story gains immediate emotional resonance. It follows Nuri, a beekeeper, and his wife Afra, who are compelled to flee their home in Aleppo after experiencing devastating loss.

Their journey is portrayed with intimacy and rawness, immersing the audience in their experiences of fear, love, and survival. From the outset, it is clear that they reach the United Kingdom, yet this does not provide comfort. It is their treatment and the events they, along with countless other refugees and displaced persons, encounter along the way that truly shape the narrative. The play refrains from offering easy solace, instead gently yet powerfully reminding us that safety does not merely hinge on arrival. What makes this adaptation particularly poignant is its ability to convey the emotional weight of trauma. Nuri’s fragmented memories and Afra’s quiet suffering are expressed with a tenderness that resonates in both silence and dialogue. Through minimalist staging and profoundly human performances, the audience is encouraged not just to observe, but to experience—sharing in moments of hope, despair, and resilience.

I was utterly entranced by Adam Sina’s portrayal of Nuri—his performance was profoundly moving and imbued with quiet emotional depth. From the outset, one can sense the pain he bears from the loss of his son, and every word he utters feels authentic and lived-in. Similarly, Farah Saffari’s performance as Afra is equally compelling; she conveys immense loss and resilience with striking honesty. Together, they craft a truly unforgettable experience—an emotional journey that resonates long after it concludes.

Ultimately, this stage version is not simply a retelling, but an intensely moving experience that underscores the humanity behind the headlines, leaving a lasting impression of empathy, loss, and the enduring strength of love.

Theatre Royal, Nottingham – until Saturday 25th April 2026

Reviewed by Chris Jarvis

3.33***

2:22 A Ghost Story was written by award-winning writer Danny Robins, creator of Uncanny – the hit BBC Radio 4 podcast which explores real life paranormal and supernatural phenomena. Tonight I was looking forward to testing my own beliefs in such happenings.

Directed by Matthew Dunster and following seven seasons in the West End, a record-breaking tour of the UK and Ireland and thirty productions around the world, my expectations were high for the “adrenaline filled night” of fear and unexplained occurrences that was promised!

As soon as you enter the theatre you are immediately drawn into Anna Fleischle’s set – a partly renovated room in an old house with an original stained-glass door above which a digital clock with large fluorescent red digits attracts your attention. The rest of the room is a modern kitchen/living area with huge patio doors onto the garden.

The play starts quietly with Jenny (Shorvne Marks) finishing off some decorating in the early hours of the morning while her husband Sam (James Bye) is away on business in Sark and her baby daughter sleeping upstairs, monitored by the baby monitor on the table. As Jenny goes to bed for the night and the clock clicks over to 2:22 we hear unexplained noises through the baby monitor, tension builds and the quiet is replaced by the most piercing shriek and total blackness with a vivid fluorescent red strip light surrounding the stage and the audience ‘jumping out of their skin’.

The shriek certainly made me jump and set my teeth on edge, but was I frightened? When this ear-piercing shriek and blackness was used between each act, it lost something for me.

A dinner party hosted by Jenny and Sam on his return from Sark made up most of the remainder of the play and the second act opened with Jenny and their guests Lauren (Natalie Casey) – an American psychotherapist and Ben her partner (Grant Kilburn) – a builder who’d grown up in that area of London. We could hear Sam upstairs via the baby monitor reading a bedtime story to his daughter having arrived home late and unannounced as he’d lost his phone, while Jenny voiced her concerns that the house they were renovating was haunted.

While Sam was in Sark, she’d heard unexplained footsteps in the baby’s bedroom and a man crying, but when Sam joined them for dinner it became obvious that the four characters had different views on whether ghosts exist. Tempers frayed fueled by numerous bottles of wine mostly consumed by Lauren, but tensions built between Sam and Jenny, Lauren and Sam and Sam and Ben – Sam being a common factor despite him not drinking!

Throughout the repeated arguments between the believers and Sam the sceptic time marched on, as the digital clock reminded us. However, there were many hours to go until 2.22 – the time that Jenny said the events occurred. The four agreed to stay together until then and the audience listened to the continued disagreements, revelations from the past, humour and some great one-liners, even a séance suggested by Ben who claimed to have inherited spiritual inclinations from his mother.

I was avidly anticipating the end as I knew there had to be something more to this record-breaking acclaimed play than I’d been watching!

When it came, I was surprised – an ending I hadn’t expected. Despite the great acting, particularly Shvorne, and the clever plot, I think I missed something on the night! Since seeing the final twist, I’ve enjoyed thinking about the whole play and discussing with friends who saw it on the same night and comparing the clues that escaped us during the performance but revealed themselves later.

I think that maybe I should see it again, knowing the ending?

Birmingham Hippodrome – until 25th April 2026

Reviewed by Emma Millward

4****

Barnum – The Circus Musical arrived at Birmingham Hippodrome this week, telling the story of the ‘Greatest Showman’ P.T. Barnum. Directed by Jonathan O’Boyle, with a book by Mark Bramble, lyrics by Michael Stewart, and music by Cy Coleman. From the start the circus comes to life through constant movement, with acrobats and other performers weaving in and out of scenes. This truly adds to the excitement and unpredictability of the show, making it feel alive and dynamic. However, there are times when the sheer amount of action on stage can become a little too much, and it can be hard to pay attention to the narrative.

Lee Mead leads the production with confidence and charm, clearly comfortable in Barnum’s larger-than-life shoes. He brings the expected warmth and charisma to such a well-known role. His portrayal captures the showman side of Barnum, but the more thoughtful aspects of the character don’t always have the same impact, making some parts of the character feel a little underexplored. Alongside him is his wife Charity (Monique Young), who disagrees with his use of “humbug” and hype to further his career. Along the way Barnum introduces us to General Tom Thumb (Fergus Rattigan) and Joice Heth (Dominique Planter), allegedly ‘the oldest woman alive’. He also promotes and begins an ill-advised dalliance with Swedish opera singer Jenny Lind (Penny Ashmore). The three leading ladies all have their chance to showcase their vocal talents, especially Penny Ashmore during the musical number ‘Jenny Lind’s Obbligato’

Lee Newby’s set and costume design are vibrant and eye-catching. Newby’s creative set design makes it easy to move from one scene to the next. Jai Morjaria’s beautiful lighting adds to the sense of spectacle and helps set different moods. Choreographers Oti Mabuse and Matt Nicholson and Circus Director Amy Panter take every opportunity to add dancing and circus craft into the show including an inventive section where a restaurant table is set by the acrobatic performers. Special mention must be given to puppet designers Mervyn Millar and Tracy Waller who brought Jumbo the Elephant to life for a brief, but awe-inspiring moment in the show that clearly wowed the audience. I also enjoyed noticing that Jumbo had his own credit in the show’s programme!

There are recurring mentions of Barnum’s ambition, and the risks that come with them, but they aren’t explored as deeply as they could be. Because of this, some of the more important moments don’t have the impact that they could have. The ensemble and supporting cast bring plenty of energy, especially in the bigger musical numbers.  The cast sing and perform (on over 150 instruments) with clear enthusiasm, even if the songs aren’t always the most memorable.

That being said, it’s hard not to get caught up in the show’s energy. The audience is always enthusiastic, and there is a real sense of fun that runs through the performance. It might not be perfect, but it knows how to be entertaining. Barnum is a colourful, energetic show that fully embraces the spectacle of the circus, even if it frequently feels like it’s trying to do too much at once. It’s a fun and enjoyable production that has a lot to offer, even if it doesn’t always reach the emotional depth it appears to be aiming for. Bright, bold, and often a little too busy, Barnum still delivers a delightful night at the theatre, packed with strong performances and theatrical flair.

#BarnumMusical #BirminghamHippodrome #LeeMead #MoniqueYoung #FergusRattigan #DominiquePlanter #PennyAshmore #JonathanOBoyle #MarkBramble #MichaelStewart #CyColeman #LeeNewby #JaiMorjaria #OtiMabuse #MattNicholson #AmyPanter #MervynMillar #TracyWaller

Wycombe Swan, High Wycombe – until Saturday 25th April 2026

Reviewed by Rachel Clark

5*****

The multi award winning musical is in Wycombe! This story was written by Willy Russell in 1981 and first performed as a musical in 1983. The musical is set in the North of England. Willy Russell came from Liverpool and the City of Liverpool appeared in the stage background. This musical tells a story of twin brothers, separated at birth and they grow up leading totalling different lives, one rich one poor. They come together unintentionally but to what cost? Mickey Johnstone and his family represent the working class that were affected by the economic downturn which happened in the 1980’s whilst his brother Edward Lyons grew up with a middle-class family that thrived.

This musical has the luxury of a live orchestra, that you don’t always get and they were superb, the Musical Director being Matt Malone.

It started with the Narrator who was Richard Mundy and he was very good, dressed to impress and he had a clear voice with a slight Liverpudlian accent – ‘Did you ever hear the story of the Johnstone twins?’ Then Mrs Johnstone played by Vivienne Carlyle came on stage, her voice was so clear and projecting she was a wonderful singer. All cast played exceptionally well, Laura Harrison as Mrs Lyons and then we had Mickey, what a character he was played by Sean Jones, you got taken in by believing he was ‘7 nearly 8’. Mickey’s brother Eddie was played by Joe Sleight and Linda was played exceptionally well by Gemma Brodrick. Alex Harland played the teacher as well as the policeman, it made me giggle when one minute he was the teacher at the private school and then the teacher at Mickey’s school and to transform from one part to the other he ruffled his hair!

The set was like a permanent stage, very well done and the props were moved on and off mainly by the narrator, to which you barely noticed.

This is a superb musical so well done that got a standing ovation, a true classic not to be missed and plenty of school children attended the show as it is part of the school curriculum, by the clapping and cheering at the end they thoroughly enjoyed it. There were lots if different age groups in the theatre which is lovely to see, all the different generations enjoying an amazing musical.

Hull New Theatre – until 26th April 2026

Reviewed by Dawn Bennett

5*****

The musical is inspired by the iconic songs of Steps, which alone is reason enough to attend. However, the show offers far more than just nostalgic tunes: the cast, storyline, costumes, lighting and set design all come together to create an unmissable production. The set, designed by Tom Rogers, and the lighting, by Howard Hudson, were especially striking, featuring vibrant pinks and blues that truly captured the audience’s attention.

The story unfolds in the Better Best Bargains supermarket, following the lives of Caz (Lara Denning), Vel (Jacqui Dubois), Neeta (Rosie Singha), and Robbie (Blake Patrick Anderson) as they work with their exasperating boss Patricia (Sally Ann Matthews). Central to the plot, Caz is determined that, before her fiftieth birthday in a few weeks, her friends should “take a chance on a happy ending.” Neeta is encouraged to pursue a relationship with Ben (Ben Darcy), Vel is advised to end things with her partner Lesley (John Stacey), and Ben is urged to find a boyfriend who he won’t dump. Caz’s own marriage to Gareth (Chris Grahamson) seems secure, with their adoption process running smoothly, until Max (Edward Baker-Duly) appears, complicating matters. The arrival of Jem (River Medway) and Tracey (Lauren Woolf) adds further excitement, ensuring the fun never stops.

The narrative is moving at times, with Lara Denning’s storytelling and solo performances standing out as particularly stunning moments within the production.

Vocally, the cast excelled; the singing throughout was exceptional, with clear voices and impressive harmonies that highlighted the talent on stage.

The ensemble deserves special mention for their outstanding abilities. Their dancing, choreographed by Matt Cole, was outstanding and energetic, adding a dynamic element to the performance.

The show’s finale, a medley of Steps hits, brought the audience to its feet. It was a vivid reminder of the group’s extensive and brilliant musical legacy and capped off a fantastic night at the theatre.

WAGNER JOHNSON PRODUCTIONS, WESSEX GROVE, SONIA FRIEDMAN PRODUCTIONS, RUNYONLAND, SPARK PRODUCTIONS, JOHN MARA JR. AND THE ROYAL COURT THEATRE

ANNOUNCE

THE WEST END TRANSFER OF

KIMBERLY BELFLOWER’S

JOHN PROCTOR IS THE VILLAIN

DIRECTED BY TONY AWARD-WINNER

DANYA TAYMOR

AT WYNDHAM’S THEATRE

FOR A STRICTLY LIMITED 12-WEEK SEASON

FROM 2 FEBRUARY UNTIL 24 APRIL 2027

TICKETS ON SALE AT 2.00PM TOMORROW,

TUESDAY 21 APRIL 2026

The producers of Kimberly Belflower’s JOHN PROCTOR IS THE VILLAIN, directed by Tony Award-winner Danya Taymor, are delighted to announce that following a critically acclaimed, sold out run at the Royal Court Theatre, the production will transfer to the West End. It will play a strictly limited 12-week season at Wyndham’s Theatre,a Delfont Mackintosh Theatre, from Tuesday 2 February until Saturday 24 April 2027 with tickets on sale at 2.00pm tomorrow, Tuesday 21 April 2026. Sign up for priority access at johnproctoristhevillain.com. Casting for the West End transfer is to be announced.

Kimberly Belflower and Danya Taymor said today:

“Bringing John Proctor is the Villain to the West End is a true honour and profound joy for us, especially on the heels of its very witchy UK debut in the Royal Court’s 70th anniversary season. The play has been igniting London audiences, and we have fallen deeply in love with this great city. We are so grateful that our spells worked and more people will be able to see the play here—and come back again and again—at the incredible Wyndham’s Theatre in 2027.”

One small town. A soundtrack of pop, adrenaline and barely-contained rage, five young women reveal something darker is stirring. As long-buried truths rise to the surface, they begin to question everything and take control of the narrative for themselves.

Heralded as one of the most compelling new plays of recent years, the production offers a poised and piercing exploration of girlhood, power, and the courage to question what we think we know.

JOHN PROCTOR IS THE VILLAIN premiered on Broadway in March 2025 at the Booth Theatre, where it was nominated for seven Tony Awards, including Best Play. It had its London premiere at the Royal Court Theatre on 20 March 2026 where it continues to play to sold out audiences until this Saturday 25 April. Critical acclaim from its run at the Royal Court includes:

Financial Times ★★★★★

‘a joyous, blazingly intelligent play’

London Theatre ★★★★★

‘It’s not just a drama: it’s a revolution.’

WhatsOnStage ★★★★★

‘Absolutely essential… this is art that helps us to understand life’

Time Out ★★★★

‘The hype is real’

Scenography is by AMP, featuring Teresa L. Williams, the costume design is by Sarah Laux, the lighting design is by Natasha Katz, the sound design and original composition is by Palmer Hefferan, projection design is by Hannah Wasileski and movement direction is by Tilly Evans-Krueger. The Voice and Dialect Coach is Gigi Buffington, the Casting Director is Julia Horan, CDG, with dramaturgy by Lauren Halvorsen.

JOHN PROCTOR IS THE VILLAIN is presented by Wagner Johnson Productions, Wessex Grove, Sonia Friedman Productions, Runyonland, Spark Productions, John Mara Jr. and the Royal Court Theatre.

THEATRE ROYAL WINDSOR 

ANNOUNCES

ALL-STAR CASTING FOR THE MARQUISE

ORIGINATING IN WINDSOR AND TOURING THE UK IN 2026 FROM 27 MAY

Tickets on sale now.

Theatre Royal Windsor, one of the only unsubsidised producing theatres to operate all year round in Britain, today announces the star casting for Noël Coward’s witty romantic comedy The Marquise. The show gets a vibrant 1930s twist in this new production originating at Theatre Royal Windsor, from Wednesday 27 May – Saturday 6 June 2026, before touring to Oxford Playhouse (Tuesday 9 – Saturday 13 June), Theatre Royal Bath (Tuesday 16 – Sunday 20 June), Yvonne Arnaud Theatre Guildford (Tuesday 23 – Saturday 27 June) and The Arts Theatre Cambridge (Tuesday 30 June – Saturday 4 July)

When a widowed Count tries to marry off his daughter to the son of his best friend, it seems like a perfectly sensible plan. But with both young lovers secretly pining for others, their entangled affections cause chaos. Just as their scheme to break free begins, the Countess Raoul’s former lover, the spirited Marquise Eloise de Kestournel, bursts back into their lives, wielding her wit and charm and turning their carefully laid plans upside down.

The all-star cast features BAFTA Award-winning Juliet Aubrey (Middlemarch, BBC; Primeval, BBC) as ‘The Marquise Eloise de Kestournel’, Simon Shepherd (Peak Practice, ITV; Casualty, BBC) as ‘Raoul de Vriaac’, Tristan Gemmill (Coronation Street, ITV; Casualty, BBC) as ‘Esteban el Duco Santaguano’, Albie Marber (Scenes on the Sand, Arcola, Donkey Heart, Old Red Lion / Trafalgar Theatre) as ‘Jaques Rijar’, Eva O’Hara (Hollyoaks, Channel 4; The Great Gatsby, Theatre Royal Windsor) as ‘Adrienne’. They are joined by Martin Carroll (Richard II, The Bridge Theatre; Birdsong, UK Tour) as ‘Father Clement’, Barnaby Tobias (The Great Gatsby, Theatre Royal Windsor; Cymbeline, Royal Shakespeare Company) as ‘Miguel’, Lee Peck (Filumena, Theatre Royal Windsor; Sleuth, Bill Kenwright Ltd) as ‘Hubert / Understudy Jaques and Miguel’, and Holly Smith (Just Between Ourselves, UK Tour; Killing Eve 2, Sid Gentle Films Ltd) as ‘Alice / Understudy Marquise’, James Smalley (Cinderella, Theatre Royal Windsor; Romeo and Juliet, UK Tour’ as ‘Understudy Hubert and Father Clement’, and Amy Utting (The Secret Garden, The Ambassadors Theatre; Honk, Alexandra Theatre) as ‘Understudy Alice and Adrienne’.

A sparkling and sophisticated tale of old secrets, impulsive passion and eternal youth, the production is directed by Philip Wilson, with set and costume design by Colin Falconer, lighting design by Nick Richings, Sound Design by Andy Graham, and Associate Sound Design by Pierre Flasse.

The Marquise forms part of the Theatre Royal Windsor Season on Tour, comprising three productions originating at the theatre and touring the UK in 2026. It joins Graham Greene’s Our Man in Havana, opening in July 2026, and the return of Royce Ryton’s acclaimed thriller The Anastasia File, which opens in September 2026, before touring across the UK.

Theatre Director and Head of Venues for Bill Kenwright Ltd, Anne-Marie Woodley said, “We are proud to present our fifth consecutive Season, which has grown far beyond its Windsor beginnings and continues to attract increasing demand to tour. We are thrilled to welcome Philip Wilson as our Director for The Marquise, and we are especially excited by the exceptional calibre of our cast and creative team. With acclaimed performers including Juliet Aubrey, Simon Shepherd, Tristan Gemmill, and Eva O’Hara, supported by a superb ensemble of both returning and new talent, The Marquise is a production not to be missed!”

Theatre Royal Windsor sits at the heart of the town, carrying over 200 years of history behind its doors.

It is one of the UK’s only year-round producing theatres operating without public funding. As part of The Bill Kenwright Group, Theatre Royal Windsor has built a reputation for standout productions and an ability to attract top tier talent to its stage — solidifying its position as one of Britain’s leading regional theatres.

https://theatreroyalwindsor.co.uk

Full tour dates for the three shows can be found via https://www.kenwright.com/ 

OLIVIER AWARD-NOMINATED STAR

MARISHA WALLACE

JOINS THE PREVIOUSLY ANNOUNCED

JASON MANFORDANDRICHARD FLEESHMAN

IN

SOMETHING ROTTEN!

THE UK PREMIERE OF AWARD-WINNING COMEDY MUSICAL

OPENING IN MANCHESTER THIS JUNE

IN A WORLD WITHOUT MUSICALS,
TWO BROTHERS DARED TO DREAM A DREAM.

somethingrottenthemusical.com

Olivier Award nominated star Marisha Wallace is today announced to join the company of the highly anticipated UK premiere of award-winning comedy musical Something Rotten!.

The side-splitting mash-up of song, dance and Elizabethan absurdity that tells the story behind the creation of the world’s very first musical, will open at the Manchester Opera House from 16 June to 19 July 2026, ahead of a West End run.

Actress and singer Marisha Wallace, acclaimed for her performances in shows includingGuys and Dolls, Oklahoma!, Waitress and Dreamgirls, will star as the musical’s leading lady Bea, having performed in Something Rotten! on Broadway before moving to UK.

She said: “I’m beyond thrilled to have been cast in the UK premiere of Something Rotten! It was pure joy to be a part of this hilarious musical on Broadway a decade ago – so now, to be joining this incredible company for the first time that UK audiences will get to see it, is a full-circle moment in the best way. I can’t wait to dive back in!”

Wallace joins the previously announced comedy, TV and musical theatre icon Jason Manford (Sweeney Todd, The Producers, Chitty Chitty Bang Bang) as Nick Bottom and  star of stage and screen Richard Fleeshman (Company, Ghost the Musical, Legally Blonde The Musical, Coronation Street) as William Shakespeare

Full cast is to be announced.

The ‘90s are back! The 1590s, that is. Brothers Nick and Nigel Bottom are desperate to write a hit play but remain stuck in the shadow of that pompous Renaissance rockstar Will Shakespeare. When a quirky soothsayer foretells an outlandish future for theatre – full of acting, singing and dancing all at the same time – Nick and Nigel set out to write this strange new creation called A MUSICAL! But amidst the scandalous excitement of Opening Night, the Bottom Brothers discover that reaching the top means being true to thine own self… and all that jazz.

Created by the award-winning team behind Mrs. Doubtfire: The Musical: Grammy award-winning songwriter Wayne Kirkpatrick (Change the World, Every Heartbeat), screenwriter Karey Kirkpatrick (Chicken Run, Over the Hedge,  James and the Giant Peach) and best-selling author and comedy scriptwriter John O’Farrell (Spitting Image, Have I Got News for You, Just For One Day), Something Rotten! was the toast of Broadway where it received 10 Tony Award nominations. 

This new production, which follows the acclaimed 2023 WhatsOnStage Award-winning concert version, is directed and choreographed by Tim Jackson (Merrily We Roll Along, Two Strangers Carry a Cake Across New York) and presented by Broadway and West End producers, Kevin McCollum of Alchemation and Joshua Andrews of JAS Theatricals. This production is licensed by Music Theatre International. 

Manchester Abid has supported the Opera House’s Manchester Gets it First programme to help bring Something Rotten! to Manchester.

LEICESTER’S GOT THE GOLDEN TICKET!

CURVE ANNOUNCES NEW PRODUCTION OF

ROALD DAHL’S

CHARLIE AND THE CHOCOLATE FACTORY

DIRECTED BY NIKOLAI FOSTER

RUNNING THIS CHRISTMAS

21 NOVEMBER 2026 – 9 JANUARY 2027

Leicester’s got the golden ticket this Christmas as Curve has announced a brand-new production of Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY will run 21 November 2026 to 9 January 2027.

Directed by the theatre’s Artistic Director Nikolai Foster (KINKY BOOTS, LEGALLY BLONDE, THE SOUND OF MUSIC) with set design by Leslie Travers (ROAD, Royal Exchange Theatre, NATASHA, PIERRE AND THE GREAT COMET OF 1812, Donmar Warehouse), the musical is based on Roald Dahl’s beloved tale of Charlie Bucket’s magical adventure to Willy Wonka’s Chocolate factory.

This new production has a book by David Greig, music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, as well as the iconic songs from the 1971 film, WILLY WONKA & THE CHOCOLATE FACTORY, by Leslie Bricusse and Anthony Newley.

Speaking about the production, Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“CHARLIE AND THE CHOCOLATE FACTORY has long been a favourite novel for so many of us – possibly the first book to fire our imaginations and introduce us to the beauty of a world filled with pure imagination.

“Christmas is always such a magical time at Curve and with this scrumdiddlyumptious musical, it promises to be another golden year for families and friends of all ages to enjoy the power of live theatre together.

“This delicious musical celebrates the great songs from the Gene Wilder film, alongside sensational new songs from the hit-makers behind HAIRSPRAY, Tony award winners Marc Shaiman and Scott Wittman. And with a script by the acclaimed writer David Grieg, it’s a mouth-wateringly scrumptious recipe; we are looking forward to bringing the wonder of Wonka’s wonderful chocolate factory to life, in one of our most ambitious shows to date.”

Come with me and you’ll be in a world of Curve’s imagination.

Roald Dahl’s magical and much-loved story of CHARLIE AND THE CHOCOLATE FACTORY is spectacularly brought to life this Christmas in our thrilling new Made at Curve production.

Join Charlie Bucket, Grandpa Joe, Augustus Gloop, Veruca Salt, Violet Beauregarde, Mike Teavee and the Oompa-Loompas as we step through the gates of Willy Wonka’s marvellous chocolate factory into a world of pure imagination. From the banks of a scrumdiddlyumptious chocolate river to the dizzying heights of the Great Glass Elevator, nothing is quite as it seems in this wonderful Wonka wonderland.

Directed by Curve Artistic Director Nikolai Foster (KINKY BOOTS, LEGALLY BLONDE, THE SOUND OF MUSIC) and featuring songs including ‘The Candy Man’, ‘The Oompa Loompa Song’ and of course, the unforgettable ‘Pure Imagination’, this timeless classic is a dazzling mix of theatrical magic and sweet nostalgia for all the family, creating memories lasting longer than an Everlasting Gobstopper.

Book your Golden Tickets for the festive event of the year this Christmas at Curve.

Accessible performances will take place across the run, including British Sign Language interpreted (4 December, 7:15pm), Captioned (12 December, 7:15pm and 17 December, 2pm), Dementia Friendly (16 December, 2pm), Audio Described and Touch Tours (19 December, 2pm and 6 January, 7:15pm) and Relaxed (7 January, 2pm).

This new Made at Curve production will be complemented by wraparound learning and engagement activity delivered by Curve’s Creative Programmes team, including a free digital Education Pack and bespoke workshops for school groups, as well as a Theatre Day on 10 December, where school groups and audience members of all ages will be able to learn more about the creation of the production and behind the scenes insights from the show’s team.

CHARLIE AND THE CHOCOLATE FACTORY will run at Curve 21 November 2026 to 9 January 2027. Tickets will be on sale to Made at Curve Circle, Champions and Patrons from 22 April, to Curve Friends from 23 April, to Curve Loyalty Pass holders, Groups and Access Register customers from 24 April and on general sale from 28 April, all at 12pm midday. To find out more, visit www.curveonline.co.uk, call the Box Office on 0116 242 3595, or visit in-person.

ROALD DAHL’s

CHARLIE AND THE CHOCOLATE FACTORY

Book by DAVID GREIG Music by MARC SHAIMAN Lyrics by SCOTT WITTMAN & MARC SHAIMAN

Based on the novel by ROALD DAHL

Songs from the Motion Picture by LESLIE BRICUSSE and ANTHONY NEWLEY

Presented by arrangement with Music Theatre International