Caroline Lamb Wins Inaugural Will Nelson New Writing Award as Off Cut Festival 2026 Concludes

53two is delighted to announce that Caroline Lamb has been named the first recipient of the Will Nelson New Writing Award, following her success in winning the Panel Award for Writing at the sold-out Off Cut Festival 2026 Final on Sunday 12 July.

Created in memory of Will Nelson and Kayleigh Smith, the award celebrates their shared passion for championing new writing, emerging artists and the power of creativity and community. It provides the winning writer with £1,000 worth of professional mentoring and development support from an established writer working across stage and screen, helping them develop the work first showcased during Off Cut.

Will and Kayleigh were both passionate supporters of the arts, with Will in particular recognised as a tireless champion of new writers and emerging voices. The award has been made possible through an in memoriam fundraiser by Glenn Meads, a friend of Will’s, who wanted to create a lasting legacy that directly supports the next generation of playwrights and theatre-makers.

Caroline received the award for her play Undeniable Proof, making it one of the standout productions of this year’s competition from all of the 20 plays performed at the festival.

The Off Cut Festival 2026 was judged by, amongst others, Joanne Moss from ITV and Nick Bagnall, the newly appointed Artistic Director of Oldham Coliseum. With a capacity audience filling 53two, the evening celebrated the very best in new writing, directing and performance from across the festival.

The full list of award winners selected by the panel was:

• Will Nelson New Writing Award: Caroline Lamb – Undeniable Proof

• Directing Award: Luke Walters – Undeniable Proof

• Ensemble Acting Award: Anne Baron, Geoff Baron and Rowe David McClelland – Eggshells

• Special Commendation for Directing: Carole Shinkfield – Staircases

In addition to their awards, these artists become 53two Associate Artists, joining the theatre’s growing network of creatives who receive ongoing support, development opportunities and access to rehearsal and creative space as they continue to develop their work.

The festival’s Best Play Award as voted for by the audience, was presented to Jane Martin’s Eggshells, which will now receive a full production at 53two in 2027, continuing the theatre’s commitment to developing exceptional new work beyond the festival stage.

53two is also looking forward to welcoming audiences back for Cryin’ Air, the winner of the 2025 Off Cut Festival, which receives its full production from 23–26 September 2026.

Creative Director of 53two, Simon Naylor, said ‘It’s an incredible festival that we’re proud to house. Daniel Brennan, co-creator, has formed something that is not only a celebration of the brilliant talent on offer in the North West, but, with all funds going to support 53two, it truly is our life-blood. We can’t wait to watch Cryin’ Air, then Eggshells and of course see how our associate artists develop.’

Off Cut has become one of the UK’s leading festivals for new writing, providing emerging playwrights, directors and performers with a platform to develop bold new work in front of industry professionals and audiences alike. This year’s sold-out final once again demonstrated the extraordinary breadth of talent emerging through the festival, with many artists now progressing into the next stage of their creative careers through the support of 53two.

‘OffCut 2026 has been such an incredible experience. An event that platforms and celebrates so many fantastic local creatives should be protected at all costs!

I’m blown away at being the panellists’ choice for the writing award – particularly when considering what it means. Huge thanks to Glenn Meads for bringing the accolade to life in honour of the memories of Will Nelson and Kayleigh Smith. We must keep making art for them – and to ensure sure the world retains its colour through dark times.’ – Caroline Lamb, Off Cut 2026 Recipient of Will Nelson New Writing Award

53two would like to congratulate all of this year’s finalists and winners and thank the artists, audiences, judges and supporters who made Off Cut Festival 2026 such a memorable celebration of new theatre.

Roast Productions and Tilted present

by special arrangement with TWTheatricals

DOG MAN: THE MUSICAL

• Production photography is released for the European premiere of ‘Dog Man: The Musical’ based on Dav Pilkey’s phenomenally successful children’s book series as the UK tour begins.
• New 2027 tour dates are also announced for February – June 2027.

New production photography has been released today, giving a first look at the European premiere of Dog Man: The Musical. This hilarious and heartfelt new musical is based on the worldwide bestselling book series by Dav Pilkey, also creator of Captain Underpants and Cat Kid Comic Club. Dog Man: The Musical comes to the UK after playing to packed houses in the US where it had multiple sell-out Off-Broadway seasons and US tours.

Dog Man: The Musical will run at Southbank Centre from 29 July – 16 August (Press Performance is 4 August at 2.30pm).  Currently running at Leicester Curve until 19 July, the tour will also visit Crewe Lyceum (21-23 July), Southend Palace (18-20 August), Hertford Beam (24-26 August), Wolverhampton Grand (28-29 August), Eastbourne Devonshire Park (4-5 September), Darlington Hippodrome (11-13 September), Torquay Princess Theatre (26-27 September), Halifax Victoria (3-4 October), Cambridge Arts Theatre (8-10 October), Cardiff Wales Millennium Centre (16-17 October), Fareham Live (23-25 October) and Wycombe Swan (26-28 October). Tickets are on sale at www.Dogman.live.

New tour dates are also announced today for 2027 and will include Basingstoke Anvil (5-7 February), Malvern Festival (12-14 February), Chester Storyhouse (19-21 February), Northampton Royal (26-28 February), Edinburgh Festival Theatre (5-7 March), Guildford Yvonne Arnaud (29 April-2 May), Blackpool Grand (14-16 May), Canterbury Marlowe (30 May-1 June), Southampton Mayflower (3-5 June), and Lichfield Garrick (10-13 June). With further 2027 dates to be announced.

This epic musical adventure has a book and lyrics by Kevin Del Aguila (two-time Emmy Award-winning writer of the PBS show Peg + Cat), music by Brad Alexander (Drama Desk-nominated See Rock City & Other Destinations); and is directed and choreographed by Jen Wineman (NY: Less Than 50%).

Since it launched to critical acclaim in 2016, Dav Pilkey’s international hit book series Dog Man has more than 70 million copies in print worldwide and has been translated into 48 languages, with five of the titles currently in the Amazon UK top 50 best-selling children’s books. The Dreamworks animated film based on the books was released earlier in 2025 to great acclaim and box office success. Dog Man: The Musical, originally produced by TheaterWorksUSA, premiered off-Broadway in June 2019 at the Lucille Lortel Theatre, extending due to popular demand. The production returned to New York at New World Stages in March 2023.

Best friends George and Harold have been creating comics for years, but now that they’re 10, they figure it’s time to level up and write a musical based on their favourite character, Dog Man, the crime-biting sensation who is part dog, part man, and ALL HERO!! How hard could it be?

With the head of a dog and the body of a policeman, Dog Man loves to fight crime and chew on the furniture. But while trying his best to be a good boy, can he save the city from Flippy the cyborg fish and his army of Beasty Buildings? Can he catch Petey, the world’s most evil cat, who has cloned himself to exact revenge on the doggy do-gooder? And will George and Harold finish their show before lunchtime?

Dav Pilkey was diagnosed with ADHD and dyslexia as a child. He was so disruptive in class that his teachers made him sit out in the hallway every day. Luckily, Dav loved to draw and make up stories, so he spent his time in the hallway creating his own original comic books – the very first adventures of Dog Man and Captain Underpants. Since then, Dav has written and illustrated a number of bestselling and award-winning children’s books, including the Caldecott Honor book The Paperboy. His Captain Underpants series and Dog Man graphic novels have sold millions of copies worldwide and have been translated into many languages. Dav lives in the Pacific Northwest with his wife. His stories explore universally positive themes that celebrate the triumph of the good-hearted.

The original creative team for Dog Man: The Musical also includes scenic design by Timothy R. Mackabee (Broadway’s The Elephant Man; Guards at the Taj, Lucille Lortel Award); costume design by Heidi Leigh Hanson (Regional: The Addams Family Musical, How I Learned to Drive); lighting design by David Lander (Broadway’s The Lightning Thief: The Percy Jackson Musical; Benghal Tiger at the Baghdad Zoo, Drama Desk Award); original sound design by Emma Wilk (NY: The Waiting Game, Regional: The Heiress); orchestrations by Lloyd Kikoler.  Paul Herbert (Rob Brydon Songs and Stories, UK, Australia, NZ tour and The Wipers Times, West End /UK Tour) has joined the team for the European premiere as Musical Director with Pearson Casting as Casting Director.

The cast includes Vanessa Dumatey (I’m Every Woman, Hackney Empire & UK Tour; The Tina Turner Musical, Aldwych Theatre, West End) as Flippy, Sam Kipling (Les Misérables, Sondheim Theatre; The Mikado Wilton’s Music Hall & UK Tour) as Petey, Peter Lavery (Becoming Nancy, Birmingham Repertory Theatre; Jack and the Beanstalk, Ipswich Regent Theatre) as Harold, Ricardo Mendes (Carmen, ENO London Coliseum; Pinocchio, The Alhambra Theatre) as George, Rebecca-Jo Roberts (Beauty and the Beast, The Theatre Chipping Norton; Stalled: A New Musical, King’s Head Theatre) as L’il Petey and Renan Teodoro (Anyone Can Whistle, Southwark Playhouse; I Am Harvey Milk, European Premiere) as Dog Man. The cast is completed by Richener Bissereth, Shannon Bourne and Robert Wilkes.

Dog Man: The Musical is produced by Roast Productions by special arrangement with TWTheatricals.

Dog Man: The Musical

Suitable for ages 5+

16 – 19 July 2026

Leicester Curve

https://www.curveonline.co.uk/whats-on/shows/dog-man-the-musical/

21 – 23 July 2026

Crewe Lyceum

https://trafalgartickets.com/lyceum-theatre-crewe/en-GB/event/family/dog-man-the-musical-tickets

29 July – 16 August 2026

Southbank Centre

Press performance: 4 August 2.30pm

https://www.southbankcentre.co.uk/whats-on/dog-man-the-musical

18 – 20 August 2026

Southend Palace

https://trafalgartickets.com/palace-theatre-southend/en-GB/event/family/dog-man-the-musical-tickets

24 – 26 August 2026

Hertford Beam

https://beamhertford.co.uk/whats-on/By-dog-man-the-musical

28 – 29 August 2026

Wolverhampton Grand

https://www.grandtheatre.co.uk/whats-on/dog-man-the-musical

4 – 5 September 2026

Eastbourne Devonshire Park

https://trafalgartickets.com/eastbourne-theatres-eastbourne/en-GB/event/family/dog-man-the-musical-tickets

11 – 13 September 2026

Darlington Hippodrome

https://www.darlingtonhippodrome.co.uk/whats-on/Dog-Man-The-Musical

26 – 27 September

Torquay Princess Theatre

https://www.atgtickets.com/shows/dog-man-the-musical/princess-theatre-torquay

3 – 4 October 2026

Halifax Victoria

https://www.victoriatheatre.co.uk/whats-on/dog-man-musical

8 –10 October 2026

Cambridge Arts Theatre

https://www.artstheatre.co.uk

16 – 17 October 2026

Cardiff Wales Millennium Centre

https://www.wmc.org.uk/en/whats-on/2026/dog-man-the-musical

23 – 25 October 2026

Fareham Live

https://trafalgartickets.com/fareham-live-fareham/en-GB/event/family/dog-man-the-musical-tickets

26 – 28 October 2026
Wycombe Swan

https://trafalgartickets.com/wycombe-swan-theatre/en-GB/event/family/dog-man-the-musical-tickets

5 – 7 February 2027

Basingstoke Anvil

https://www.anvilarts.org.uk/events/dog-man-the-musical

12 – 14 February 2027

Malvern Festival

On sale soon 

19 – 21 February 2027

Chester Storyhouse
https://www.storyhouse.com/whats-on/dog-man-the-musical/

26 – 28 February 2027

Northampton Royal

https://royalandderngate.co.uk/whats-on/dog-man-the-musical

5 – 7 March 2027

Edinburgh Festival Theatre

29 April – 2 May 2027

Guildford Yvonne Arnaud

On sale from 4 August

14 – 16 May 2027

Blackpool Grand
https://www.blackpoolgrand.co.uk/event/dog-man-the-musical

30 May – 1 June 2027

Canterbury Marlowe

3 – 5 June 2027

Southampton Mayflower

10 – 13 June 2027

Lichfield Garrick

On sale from 7 August

GROSVENOR PARK OPEN AIR THEATRE, CHESTER – UNTIL 23RD AUGUST 2026

REVIEWED BY MIA BOWEN

4****

The Grosvenor Park Open Air theatre is honestly one of my favourite experiences, I look forward to it every year like a child waiting for an ice cream! There is something magical about sitting under the stars, fully immersed in the show while also battling the elements like a true outdoor theatre warrior..

You don’t come here for elaborate sets or big, flashy theatrical tricks—you come for the experience. The exceptional cast, the joyful audience participation, the smell of fresh, wood-fired pizzas drifting through the air, and the wonderfully relaxed atmosphere all combine to create something truly special. It’s theatre at its most alive, shared and delightfully unpredictable.

I had the wonderful opportunity to attend the press night for Outlaws: A Robin Hood Story, the first of four productions showing this summer. I have always been a big fan of this medieval vigilante—essentially a tax-refunder for the working class!—so I was thrilled to be invited along. From the very first moment, the show sets its tone perfectly, opening with an energetic rendition of “Holding Out for a Hero”, which had the audience laughing and immediately on board for the fun ahead.

The plot follows the familiar tale of Robin Hood, his loyal companion Little John, and their band of merry ‘men’ as they steal from the rich and give to the poor—but with a playful Storyhouse twist that keeps things feeling fresh and modern. David Ahmad’s portrayal of King John was a particular highlight. Channelling the spirit of the greedy, childish, thumb-sucking lion from the 1973 Disney classic, his performance was deliciously over-the-top, packed with comedic timing, physical humour and just the right amount of villainous absurdity. He was a joy to watch and drew consistent laughs throughout.

Zoe Lambert (Much) and Robert Wade (Old Sheriff) were also standout performers. Both brought a natural comedic flair to their roles, effortlessly engaging the audience and delivering some of the biggest laughs of the evening whenever they appeared on stage.

As a whole, the entire cast was outstanding. Their chemistry, energy and commitment carried the show from start to finish, ensuring there was never a dull moment. A special mention must go to Lewis Baron and Rachel Uyigue, who made their professional stage debut as part of Storyhouse Young Company (SYC). Their confidence and presence on stage were incredibly impressive and a testament to the strength of the programme.

Outlaws is everything you want from an open-air theatre experience—fun, lively, and full of heart. Just don’t forget a blanket… and maybe some sunglasses!

PIXIE LOTT TO STAR
AS MARILYN MONROE IN
WHO KILLED MARILYN?

AT THE EMERALD THEATRE
FROM 15 AUGUST

whokilledmarilyn.uk

Producer Tegan Summer is today delighted to announce Pixie Lott will star as Marilyn Monroe in Who Killed Marilyn? when it makes it world premiere at The Emerald Theatre this summer from Saturday 15 August to Thursday 29 October 2026*. Tickets are available now from whokilledmarilyn.uk.

Joining Pixie Lott as Marilyn are principal cast members Julie Armstrong (Ballet Shoes, National Theatre), Benjamin Dilloway (Pride and Prejudice, Regents Park Open Air Theatre), Ryan Ellsworth (The Motive and the Cue, National Theatre/Noël Coward Theatre), Martin Hancock (Present Laughter, UK Tour), Paul Kane (The Contraception Fair, short film), Rob Maloney (A Clockwork Orange, Soho Theatre), Henry Proffit (A Sherlock Carol, Marylebone Theatre) and Mars Sams (in his professional stage debut).The company is completed by offstage covers Joshua Ford, Eliot Giuralrocca, Dean Michael Gregory, Emma Haines and Ricky Shah.

Pixie Lott is a singer, songwriter and actress with number one hits including ‘Mama Do’ and ‘Boys And Girls’ both of which featured on her hugely successful debut album ‘Turn It Up’. She made her West End debut starring as Holly Golightly in Breakfast at Tiffany’s at Theatre Royal Haymarket in 2016 and starred in Made in Dagenham at the London Palladium in 2024. She has appeared on screen in Christmas Karma, Past Life, McDonald and Dodd and That’s Just Me. As well as her musical and acting successes she has appeared as a judge and mentor on The Voice Kids and The X Factor. Last year she released another studio album ‘Encino’.

Pixie Lott commented:
“I am absolutely thrilled to be stepping into the iconic shoes of Marilyn Monroe for Who Killed Marilyn? at the Emerald Theatre in the West End. I have always loved Marilyn – she is such a fascinating, timeless legend, and bringing her complex story to life on this beautiful stage and being her every night is an absolute dream come true for me. I can’t wait for audiences to experience the mystery, the glamour, and the raw emotion we will be pouring into this incredible play.”

Producer Tegan Summer (Aspects of Love, For Black Boys…)added:
“Marilyn Monroe’s story has been told many times, but never like this. I couldn’t be more proud to bring it to the West End with the extraordinary Pixie Lott in the titular role. Sharleen Cooper Cohen has given voice to the woman behind the icon, and when I read her play, I knew it belonged on the London stage. Under Phil McKinley’s direction, audiences will question everything they thought they knew. Who Killed Marilyn? changes the conversation.”

Who Killed Marilyn? is a bold new play that dares to challenge the most enduring myth surrounding one of the twentieth century’s most iconic women. Drawing on decades of documented evidence, conspiracy, and cover-up, the production presents a vivid and provocative re-examination of the life and death of Marilyn Monroe, placing her at the centre of a web of power, politics, and desire that reached the highest levels of American government and organised crime.

Who Killed Marilyn? restores Marilyn Monroe to her rightful place, not as victim, but as a woman of extraordinary intelligence, wit, and force, whose story has never been fully told. Until now.

Joining book writer Sharleen Cooper Cohen and director Philip Wm. McKinley on the creative team are casting director Rob Kelly, set designer Justin Williams, costume designer Jasmine Swan, lighting designer Jack Weir, sound designer Christopher Reid and AV designer Libby Ward, withwigs, hair & make-up design by Jess Plews and Joanna Tomeo for JJ Wigs. Jordan Langford is associate director, intimacy director and resident director, and Pete Kramer is production manager.

Who Killed Marilyn? is produced by Tegan Summer Theatricals, with general management by Matty Hurst Productions.

*Please note: Pixie Lott will not be performing on Thursday or Saturday matinees or on 28 August, 29 August, 24 October, 25 October. At these performances the role of Marilyn will be played by Emma Haines.

York Theatre Royal – until 18th July 2026

Reviewed by Gretel Price

5*****

A Brief Case of Crazy at York Theatre Royal was an absolute delight from start to finish, delivering a fast-paced, slapstick comedy packed with energy, charm and laugh-out-loud moments. Produced by Mitch Donaldson and written, directed and choreographed by Rowan Armitt-Brewster (who also stars as the wonderfully chaotic Thomas) the production embraces classic physical comedy while adding its own fresh, inventive style. Every scene was able to radiate joy, infecting the audience with humour.

The performances from the three-strong cast were outstanding. Rowan Armitt-Brewster’s portrayal of Thomas was a masterclass in physical comedy, with wonderfully exaggerated facial expressions and flawless comedic timing that brought every joke vividly to life. Lennie Longworth was equally engaging as Daisy, bringing warmth, wit and excellent chemistry to the stage, while Sam Cunningham’s Simon provided the perfect counterpart as the antagonist, purposefully tormenting the bubbling protagonist, Thomas. Together, the trio demonstrated remarkable comic synergy, their finely tuned interplay creating an engaging stage presence that captivated the audience from start to finish. The movements on stage were completely synchronised; each cast member was able to replicate the jolts of a train ride or the circular motions of a fly as the characters watched it invisibly in the air.

One of the production’s most memorable features was the incredible use of the puppet, which represented Thomas, dressed in the same clothing, with the same hairstyle and glasses. The puppet was flawlessly integrated into the action, allowing the slow-motion movements to contrast with the upbeat dance moves of the cast. As the performance was completely non-verbal, the cast did a phenomenal job at ensuring the character’s actions, thoughts and intentions were fully understandable and received by the audience. This was successfully achieved by the sound effects, lighting changes and facial expressions which carried the narrative through till the end, courtesy of lighting designer Beth Scott and of course the marvellous cast.

The technical elements were just as impressive as the performances. The briefcase was of course a highlight and main feature of the show, moving in harmony with the sound effects and lighting to build anticipation before punctuating each moment with perfectly timed comic effects. These creative choices amplified the excitement and theatrical magic, enhancing the show’s playful atmosphere.

A Brief Case of Crazy was overall a wonderfully imaginative production that combines outstanding performances, inventive staging and nonstop laughter into a hugely entertaining theatrical experience suitable for all ages.

Festival Theatre, Malvern – 15th July 2026

Reviewed by Courie Amado Juneau

5*****

Tonight, at Malvern, we are blessed with one Mozart’s blockbusters – The Marriage of Figaro.

The story revolves around the titular marriage of Figaro to Susanna. Susanna objects to the room that they have been given and Figaro cannot fathom why, as it is so handy should the master or mistress of the house ring for them. Susanna then divulges that the master was not benevolent but selfish, in order to have her close for his amorous conquests. Figaro begins to hatch a plan for teaching him a lesson…

The first thing one notices about this Wild Arts production is that the orchestra is on stage, at the rear but in plain sight. Conducted by Orlando Jopling, from the keyboard, the small but perfectly formed chamber orchestra made a joyous sound. Never overpowering, always well balanced and bringing a clarity to the music which did the score justice.

The set was a minimal affair with just enough elements – wooden cubes, movable screens and some sheets – to tell the story, to not get in the way and cause scenery change dilemmas and for the actors to interact with it in a humorous fashion (especially in the last acts). A most inventive use of materials from Designer Laura Jane Stanfield.

The cast were all magnificent and it’s hard to single out anyone in particular since all were singing to the highest quality, with fabulous acting and comedic timing to boot. The gentlemen (Jack Sandison as Figaro, Timothy Nelson as Count Almaviva and Timothy Dawkins as Bartolo/Antonio) all had commanding, sonorous voices and stage presence. I really loved William Searle as Don Basilio – his dancing near the beginning was worth his inclusion alone. A deliciously slimy portrayal.

But it was the ladies who (for me) stole the show. Ellie Neate as Susanna had a voice to die for and she was one minute furious, the next playful and back again. Abbie Ward as Cherubino was obviously having a ball with a deliciously naughty, impish young man to portray. Olivia Ray (as Marcellina) and Eleanor O’Driscoll (as Barbarina) both had their pivotal moments in the opera and were indispensable. But the highlight was Countess Almaviva sung by Elinor Rolfe Johnson. Tender, full of emotion and pathos – hers was a spellbinding performance that was so delicate you felt that just turning up the lights a fraction would be enough to shatter the perfection. Her quiet notes brought a tear to this seasoned theatre goer’s eye!

The plot was a convoluted affair full of twists, misunderstanding (mostly through people jumping to conclusions before asking) and some lovely, deliberate, misdirection involving dressing as others and making assignations in the dead of night. A glorious farce that reminded me of a cross between No Sex Please, We’re British and Gilbert & Sullivan.

But, the true star of the show was the music. Tuneful in the extreme and rightly lauded – everyone helped bring this to life from page to stage. Bravo to everyone involved.

Worth a trip to the theatre (even risking finding out what the England score was)? …a total no-brainer. I cannot recommend this highly enough. A triumph from this incredible company.

Eleanor Lloyd Productions, Eilene Davidson Productions and PW Productions 

in association with Rupert Gavin/Mallory Factor, Curve Leicester, and Beverley Knight

present The Old Vic and ZooNation: The Kate Prince Company 

in association with Sadler’s Wells 

production of 

Sylvia

• Starring alongside Beverley Knight as Emmeline Pankhurst will be Naomi Katiyo as Sylvia Pankhurst as full casting is announced for Sylvia, the Olivier-nominated musical production which returns for a limited tour this Autumn ahead of five performances at the Royal Albert Hall from 13^th – 15^th November 2026.
• Produced in association with Curve, Sylvia will open in Leicester on 24 September, followed by Birmingham Hippodrome, Edinburgh Festival Theatre, Salford Lowry, Norwich Theatre Royal, Marlowe Theatre, Canterbury and close the tour at the Royal Albert Hall.
• The Royal Albert Hall was the home of over 20 suffragette rallies and some of the most historic speeches in the fight for women to gain the vote, and the suffragettes were banned from the Hall between 1913 and 1918.
• ‘Sylvia – The Essentials’ album, containing 14 selected tracks from Sylvia the musical starring Beverley Knight produced by Grammy award winner Martin Terefe is available on all streaming platforms here.

Sylvia Pankhurst. Activist. Rebel. Icon.

Today full casting is announced for Sylvia as it embarks on a UK tour this Autumn culminating in five performances only at the Royal Albert Hall this November. Joining the previously announced renowned singer/song writer and performer Beverley Knight MBE (Sister Act, The Drifters Girl, Memphis The Musical) who is reprising her Olivier Award-winning role as Emmeline Pankhurst is Naomi Katiyo (Hamilton, Just For One Day: The Live Aid Musical) who will play the role of Sylvia Pankhurst, replacing Sharon Rose who has withdrawn from the production.

Cast returning to Sylvia from The Old Vic production include Kelly Agbowu(Mrs Flora ‘The General’ Drummond/Betty Savoy), Claudia-Rose Carlier (Swing), Jaye Marshall (Swing), Kirstie Skivington (Adela Pankhurst) and Ellena Vincent (Christabel Pankhurst). The rest of the cast includes: Lauren Azania (Swing), Zion Battles (Swing), Ebony Clarke (Emily Davison/Daisy Parsons), Eloise Davies (Annie Kenney/Norah Smyth) Solomon Davy (Prime Minister Asquith/Richard Pankhurst), Collette Guitart (Clementine Churchill/Julia Scurr), Leah Hill (Edith Garrud/Mollie Bird), Nathan Louis-Fernand (Swing), Tachia Newall (Keir Hardie/Lord Cromer), Uzuazo O’David (Harry Pankhurst), Castell Parker (Winston Churchill/George Lansbury), Cleve September (Lloyd George/Lord Curzon), Kenedy Small (Jennie Churchill/Edna Payne/Sophia Singh) and Ivano Turco (Silvio Corio/Sir Almroth Wright).

Following its sellout world premiere production at The Old Vic in 2023, Sylvia will visit Leicester Curve (24 Sep – 3 Oct), followed by Birmingham Hippodrome (6 – 10 Oct), Edinburgh Festival Theatre (13 – 17 Oct), Salford Lowry (19– 24 Oct), Norwich Theatre (28 – 31 Oct), Canterbury Marlowe (2 – 7 Nov) before heading into the Royal Albert Hall on 13, 14 and 15 November 2026. Sylvia is supported by a grant from the Arts Council Incentivising Touring scheme.

Sylvia will host the UK’s largest ever education matinee on Friday 13 November. Delivered in partnership with Go Live Theatre and made possible through the essential support of The Garek Trust, the special performance will welcome almost 5,000 children and young people, with tickets priced at just £10, helping to make live theatre more accessible for young audiences.

The full creative team includes:

Kate Prince with Priya Parmar (Book), Josh Cohen and DJ Walde (Music), Kate Prince (Lyrics, Director & Choreographer), Ben Stones (Set and Costume), Natasha Chivers & Hector Murray (Lighting), Tony Gayle (Sound), Andrzej Goulding (Video and Animation), Cynthia De La Rosa (Wigs, Hair and Make-up), Mark Dickman (Orchestrations), Sean Green (Music Supervisor), Stuart Burt CDG (Casting) and Lolita Chakrabarti (Dramaturgy), Tachia Newall (Additional Lyrics).

Sylvia Pankhurst – fearless, flawed, and unforgettable. The untold story of the rebellious middle child of Emmeline Pankhurst takes centre stage in this irresistible hip hop, funk and soul musical that moves your feet and fires your spirit. Whilst her mother and sister battled for women’s suffrage, Sylvia ignited a revolution for the forgotten: working women, the impoverished, the silenced. Caught between her family and her beliefs, Sylvia risked it all to bring change to millions.

The Olivier Award-winning electrifying musical is fuelled by an irresistible soundtrack by Josh Cohen and DJ Walde that joyously unites hip hop, funk, and soul, and is brought to life by world-renowned choreographer and storyteller Kate Prince (ZooNation).

The Royal Albert Hall played a defining role in the campaign for women’s suffrage, serving as the backdrop for some of the most significant speeches and gatherings in the movement’s history. Between 1908 and 1913, the Hall hosted nearly thirty events linked to the fight for the vote, attracting both militant and pacifist suffrage groups — as well as the National League for Opposing Women’s Suffrage — who hired the venue for their meetings. The first meeting took place at the Hall in April 1908 and each event drew immense public interest; every seat was sold well in advance, with hundreds more turned away at the doors. According to accounts of the time, audiences were composed almost entirely of women, with 200 women stewards dressed in white overseeing proceedings.

Affectionately known by the Suffragettes as a “Temple of Liberty,” the Royal Albert Hall even appeared as their base in a popular board game of the era. However, following the intensification of militant tactics, the Hall’s trustees — like many London venues — banned Emmeline Pankhurst, her daughters, and the Women’s Social and Political Union from using the venue in April 1913. The Suffragettes thus became the first political group ever to be barred from the Hall. After the partial victory of 1918, when some women gained the right to vote, the Hall lifted its ban. On 16 March 1918, it hosted a special “Celebration of the Women’s Suffrage Victory” meeting, featuring addresses from Mrs. Pankhurst and her daughter Christabel — marking both a symbolic and literal return to the “Temple of Liberty.”

Listings:

For tour dates and on-sale information please visit http://sylviamusicaluk.com/

Curve Leicester

Thursday 24th September – Saturday 3rd October 2026

On sale now

Birmingham Hippodrome

Tuesday 6th – Saturday 10th October 2026

On sale now

Edinburgh Festival Theatre

Tuesday 13th – Saturday 17th October 2026

On sale now

Lowry, Salford

Monday 19th – Saturday 24th October 2026

On sale now

Norwich Theatre

Tuesday 28th -Saturday 31st October 2026

On sale now

Marlowe Theatre Canterbury

Monday 2nd November – Saturday 7th November 2026

On sale now

Royal Albert Hall

Friday 13th November (evening), Saturday 14th November (matinee and evening) and Sunday 15^th November (matinee and evening)

On sale now

RENT composer Jonathan Larson’s sister 

celebrates her birthday in London 

on opening night of THE JONATHAN LARSON PROJECT

The Jonathan Larson Project is a show about a young man following his heart in New York City trying to change the world. The show offers a rare and exhilarating window into Larson’s creative world, featuring previously unheard songs from the late composer’s archives. They illuminate the artistry, activism, and restless imagination of one of musical theatre’s most influential voices.

The 2026 London production holds special significance, marking 30 years since Jonathan Larson’s death in January 1996 from an aortic dissection just one day before Rent’s first performance in New York.

Cast:

Max Harwood (breakout star as Jamie New in the film Everybody’s Talking About Jamie), Marcus Collins (original West End cast of Kinky Boots), Natalie Kassanga (Satine in Moulin Rouge the Musical, Irene Roth in Crazy For You, Deena Jones in Dreamgirls), Michael Mather (Smoggie Queens on BBC3 and Fiyero on the international tour of Wicked), Imelda Warren-Green (Kathy and Stella Solve a Murder in the West End), plus Georgie Butler and Edward Flynn Haddon, who were chosen over 600 performers in an open search led by Emmy-nominated casting director Rob Kelly, making their professional debuts as covers.

Creative team:

Director John Simpkins

Musical Director Livi Van Warmelo

Movement Director Taylor Walker

Set Designer Nate Bertone

Lighting Designer  Sam Biondolillo

Costume Designer Jean Gray

Video Designer Alex Basco Koch

Casting: Rob Kelly

Production Manager Esme Driscoll

Producers: Thomas Hopkins  SAMS Entertainment

Co-Producer: Cason Cane

Executive Producer: Julie Larson

LISTINGS INFO

Thomas Hopkins  SAMS Entertainment

&

Julie Larson

proudly present

The Jonathan Larson Project

Music and Lyrics by Jonathan Larson

Conceived by Jennifer Ashley Tepper

By arrangement with

Music Theatre International

Directed by John Simpkins

Southwark Playhouse Borough

77-85 Newington Causeway

London SE1 6BD

Thursday 9 July – Saturday 22 August, 2026

7pm Monday  Saturday

2.30pm Matinee Tuesday & Saturday

How To Get There: The nearest stations are

Borough and Elephant & Castle

Tickets are available from: www.jonathanlarson.co.uk

Instagram: @jonathanlarsonproject

Ticket Prices: £10 – £35

Age Guidance: 12+

Running time:90 mins (no interval)

STEPHEN MANGAN 

WILL JOIN THE PREVIOUSLY ANNOUNCED 

KRISTIN SCOTT THOMAS IN

THE CHERRY ORCHARD

PRESENTED BY SONIA FRIEDMAN PRODUCTIONS
 BY ANTON CHEKHOV
IN A NEW ADAPTATION BY CONOR McPHERSON

DIRECTED BY IAN RICKSON

PLAYING AT THE HAROLD PINTER THEATRE 
FROM 3 OCTOBER 2026 – 9 JANUARY 2027

Stephen Mangan (The Split, Episodes, The Birthday Party) joins the previously announced BAFTA and Olivier Award-winning Kristin Scott Thomas (Electra, Slow Horses, Four Weddings and a Funeral) in The Cherry Orchard as Lopakhin, opposite Scott Thomas’ Lyubov Ranevskaya.

They will both be joined by further cast members; Ruby Bentall (Industry) as Sharlotta, Megan Cusack (Playboy of the Western World) as Dunyasha, Karl Johnson (King Lear) as Firs, Noof Ousellam (Macbeth)as Yasha, Nadia Parkes (Kidnapped) as Anya, Jack Riddiford (Stereophonic) as Trofimov, Vinette Robinson (Emilia) as Varya, Shubham Saraf (An Enemy of the People) as Yepikhodov and Peter Wight (Three Sisters) as Gaev. Complete casting will be announced in due course.

The production will run at the Harold Pinter Theatre from 3 October 2026 until 9 January 2027, with press night on 13 October. 

The Cherry Orchard will see Stephen Mangan reunite with Ian Rickson having previously worked with him on Pinter’s The Birthday Party in 2018. 

Ian Rickson (Uncle Vanya, Jerusalem) and Kristin Scott Thomas also reunite to bring another Chekhov classic to the stage, Scott Thomas having previously played Arkadina in Rickson’s acclaimed production of The Seagull which ran both in London and on Broadway; a role for which Kristin won the Olivier Award for Best Actress. 

The Cherry Orchard also sees Rickson and Conor McPherson (The Weir, Girl from the North Country, Uncle Vanya) working together again having had previous success on the 1997 production of McPherson’s critically acclaimed The Weir and Uncle Vanya in 2020. 

The Cherry Orchard,Chekhov’s final masterpiece, captures a world in delicate and inevitable transition, and remains as timeless and resonant as ever.

“Without the cherry orchard, life has no meaning to me”

When Lyubov Ranevskaya returns to her childhood estate after years abroad, she finds her family home and beloved cherry orchard under threat.

As old loyalties falter and new ambitions rise, a world of privilege begins to crumble. Can Lyubov embrace the future, or will the pull of memory prove impossible to escape?

The creative team for The Cherry Orchard includes: Director: Ian Rickson; Set Designer: Chloe Lamford; Costume Designer: Sussie Juhlin-Wallén; Lighting Designer: Bruno Poet; Sound Designer: Tom Gibbons; Composer: Stephen Warbeck; Movement Director: Shelley Maxwell and Casting Director: Amy Ball CDG.The Cherry Orchard will be produced in the West End by Sonia Friedman Productions and Winkler & Smalberg.

Chichester Festival Theatre – until Saturday 5th September 2026

Reviewed by Sally Lumley

5*****

My Fair Lady has opened at Chichester Festival Theatre, and my goodness what a production! Based on George Bernard Shaw’s Pygmalion, this classic musical from Alan Jay Lerner and Frederick Loewe tells the story of cockney flower girl Eliza Doolittle (Keziah Ibe) and her transformation into a lady under the tutelage of opinionated professor of phonetics Henry Higgins (Hadley Fraser). Packed with classic songs, clever staging and a top-notch cast, this production is wonderful from beginning to end.

Returning to Chichester for a fourth time, Hadley Fraser is absolutely at home as the cantankerous Henry Higgins. Higgins is condescending, rude and full of class prejudice, making his behaviour feel uncomfortable through modern eyes. However, Fraser finds every scrap of humour, while showing us glimpses of the insecurity and vulnerability that creeps out as he meets his match in Eliza.

The real revelation however, is Keziah Ibe, making an astonishing professional debut as Eliza Doolittle. Her Eliza is spirited and funny, capturing the flower girl’s rough-edged charm before beautifully conveying the inner conflict that comes with her transformation.

My Fair Lady has one of musical theatre’s greatest scores, including songs such as “Wouldn’t It Be Loverly?”, “I Could Have Danced All Night” and “On The Street Where You Live”. The ensemble numbers were absolute highlights for me, especially the big cockney knees-up “Get Me To The Church On Time” led by Gary Milner as Eliza’s ne’er-do-well father Alfred. This is simply joyous, with the stage full of energy and character that absolutely bought the house down.

Peter McKintosh’s elegant set makes superb use of the revolving stage, sweeping between Higgins’ wonderfully cluttered study and the lamplit street outside. His costume designs are also wonderful, with the Ascot and Embassy Ball sequences absolutely exquisite. The contrast between Eliza’s humble beginnings and her final transformation is wonderfully illustrated.

Chichester Festival Theatre has delivered another first-class production, making My Fair Lady the perfect treat for a summer’s evening. Highly recommended for a ‘loverly’ night at the theatre.