The Questors Theatre, Ealing – until 24th October 2026

Reviewed by Mike Linane

3***

Irish writer Brian Friel’s Faith Healer is not your normal run-of-the-mill sort of play. It is four interlocking monologues in which three voices revisit a shared past. We begin with Frank Hardy’s account of his life as a travelling faith healer and of his relationship with the woman in his life, Grace. We then go on to witness her version of the same past. The third account we hear is that of Teddy, Frank’s manager, and then we return finally back to Frank himself. As was once said most famously “recollections may vary” and in this play indeed they do. It is left up to the audience themselves to work out which account they believe is the true one – or should they take bits of each retelling to form their own, unique version of what they believe to be the truth.

This is not an easy play to watch. The first two monologues are very long indeed and demand total concentration from the audience to ensure they don’t miss a slight aside that might just alter your opinion of the account being told. I must admit I did struggle at times to keep focussed on everything that was being said.

The Questors Theatre has an excellent reputation for staging first-class plays. I wonder if with this production director Roger Beaumont has been a bit too ambitious. The three cast members (David Lemkin as Frank the faith healer, Sarah Sharpe as Grace and David Erdos as Teddy, the agent) certainly give excellent performances worthy of gracing any stage but it was the material they were working with that left me feeling somewhat remote from feeling totally involved in the action.

If you are looking for a night out at the theatre that will leave you feeling entertained and that you have had an enjoyable experience this may not be the play for you. If, on the other hand, you want to see something that will make you work hard and concentrate as if your life depended upon it then this will be right up your street.

Gemma Sutton as Reno Sweeney


and Josh St Clair as Billy Crocker


lead the cast
in Cole Porter’s
ANYTHING GOES
at The Mill at Sonning

Thursday 19 November 2026 – Sunday 17 January 2027 

and Saturday 28 November at 2.15pm

Directed by Joseph Pitcher

Choreographed by Gary Lloyd

Gemma Sutton and Josh St Clair

Gemma Sutton as Reno Sweeney and Josh St Clair as Billy Crocker lead the cast in The Mill at Sonning’s new production of Anything Goes, Cole Porter’s classic musical comedy. 

Directed by Joseph Pitcher (behind so many of The Mill’s adored Christmas musicals, including Gypsy, winner of the 2023 UK Theatre Award for Best Musical Production, My Fair Lady, Singin’ in the Rain, High Society and Guys & Dolls) and choreographed by Gary Lloyd (White Christmas at The Mill at Sonning, Heathers and Thriller Live, both West End), the production runs from 19 November 2026 to 17 January 2027.Join nightclub singer Reno Sweeney, wide-eyed stowaway Billy Crocker, and a ship-full of colourful characters as they navigate mistaken identities, madcap schemes, and unexpected love aboard the luxurious S.S. American. With sparkling wit, glamorous costumes, and Porter’s irresistible score, this is musical comedy heaven.

Packed with dazzling choreography, knockout vocals, and beloved classics including “I Get a Kick Out of You,” “You’re the Top,” and the show-stopping title number “Anything Goes,” this all-singing, all-dancing extravaganza will be the perfect festive treat.

CAST 
Gemma Sutton (Reno Sweeney) played Young Sally in Follies at the National Theatre, Kate Draper in Girl from the North Country in the West End and Toronto, and Angel in The Rink at Southwark Playhouse, winning an Offie Award. 

Josh St Clair (Billy Crocker) was in the original West End cast of Frozen, and his credits include Ghost (UK tour), Glory Ride (Charing Cross Theatre) and Kinky Boots (original UK tour).

Lulu-Mae Pears plays debutante Hope Harcourt, with Martin Allanson as wealthy Englishman Lord Evelyn Oakleigh and Elizabeth Elvin as Hope’s widowed mother, Evangeline Harcourt. Chris Grahamson is hapless gangster Moonface Martin, Public Enemy No. 13; Jessica Lim plays gangster’s moll Erma Latour; and Jo Servi is tycoon Elisha Whitney.

The company also includes Jon Bonner as the ship’s Captain, Rob Gathercole as the Purser, Kristian Jacobs as Minister Henry T. Dobson, Sam Khadirian and Lorenzo de Liso as New York street toughs Spit and Dippy, and Pamela Blair and Tara Yasmin as showgirl Angels in Reno’s act. Jamie Jonathan completes the company. Lorenzo de Liso makes his professional debut in the production.

CREATIVE AND PRODUCTION TEAM
Director – Joseph Pitcher
Choreographer – Gary Lloyd
Set Designer – Diego Pitarch
Costume Designer – Natalie Titchener
Orchestration, Arrangements and Musical Supervision – Charlie Ingles
Musical Director – Jemma Starling
Lighting Designer – Chris Mould
Sound Designer – Chris Whybrow
Casting Director – Jane Deitch
Assistant Director – Richard Carson
Assistant Choreographer – Lauren Gore
Sound Number One – Bertie Pugh
Sound Number Two – Evan Bevis
Production Manager – Joan Farnese
Company Stage Manager – Natalie Evans
Deputy Stage Manager – Charlotte Antingham

LISTINGS INFORMATION
The Mill at Sonning presents
ANYTHING GOES
Music and Lyrics by Cole Porter
Original Book by P.G. Wodehouse & Guy Bolton
and Howard Lindsay & Russel Crouse
New Book by Timothy Crouse & John Weidman

This version of Anything Goes was adapted from the 1987 Broadway revival,
originally produced by Lincoln Center Theater.

Directed by Joseph Pitcher
Choreographed by Gary Lloyd
19 November 2026 – 17 January 2027
The Mill at Sonning, 
Sonning Eye, Reading RG4 6TY
www.millatsonning.com

Performances and booking
Evening performances at 8.15pm; regular matinees at 2.15pm. Visit the booking page for the full schedule, additional performances, show-only matinees and dining options.

NATHALIE HARRISON JOINS JESSE TYLER FERGUSON

IN JAY PRESSON ALLEN’S TRU

AT THE MENIER CHOCOLATE FACTORY

The Menier Chocolate Factory today announces that Nathalie Harrison will join multi-award-winning Jesse Tyler Ferguson in Jay Presson Allen’s play Tru to complete the run – she takes over from Charlotte d’Amboise as The Swan. Directed by the award-winning Rob Ashford, Tru opened to critical acclaim last month, and runs until 14 November.

Drawn entirely from Capote’s own words, Tru was originally staged in 1989. Ashford, Ferguson and d’Amboise collaborated on this new production in March at House of the Redeemer’s Library in New York City.

The Menier Chocolate Factory presents

in association with Seaview, OHenry Productions, Mickey Liddell & Pete Shilaimon and A Kid Named Beckett Productions

TRU
By Jay Presson Allen

Until 14 November 2026

Cast: Jesse Tyler Ferguson and Nathalie Harrison

Director: Rob Ashford; Set Designer: Paul Farnsworth; Costume Designer: Jaimal Odedra;

Lighting Designer: Jamie Platt; Sound Designer: Adam Cork; Associate Director/Swan Walking Cover: Kate Tydman

It’s December 1975 and Truman Capote is alone in his New York apartment, reeling from a crisis that cost him friendship of the elite social circle he adored. Drawn entirely from Capote’s own words, this funny and heartbreaking play is an unflinching portrait of an artist at his breaking point, confronting the consequences of his most scandalous work.

Jesse Tyler Ferguson is a Tony-Award winning actor, author, producer and host known not only for his creative work but, for his ongoing advocacy in the LGBTQIA+ community. On stage, Ferguson is currently playing King Herod in Jesus Christ Superstar at The London Palladium; and recently made his West End debut starring in Stephen Sondheim’s final work, Here We Are, at the National Theatre. This past summer he helped reopen NYC’s famed Delacorte Theatre in Central Park with a star-studded production of Twelfth Night. For his turn as accountant Mason Marzac in the revival of Richard Greenberg’s Tony-winning play Take Me Out, he earned a Tony Award in the category of Best Performance by an Actor in a Featured Role in a Play. The acclaimed performance also earned him the Outer Critics Circle Award and a Drama League Distinguished Performance Award nomination.

Ferguson currently serves as producer and host of the podcast Dinner’s on Me, now in its third season from Sony Music Entertainment. He was featured in Universal’s Cocaine Bear directed by Elizabeth Banks, and his scripted podcast Gay Pride & Prejudice was released exclusively on Spotify. Ferguson also produced the documentary Broadway Rising which premiered at the Tribeca Film Festival in 2022. In addition, Ferguson served as an executive producer on David France’s BAFTA-winning and Emmy-nominated documentary, Welcome to Chechnya, based on the anti-gay purges in Chechnya of the late 2010s. Ferguson also released his first cookbook in 2021, Food Between Friends.

Ferguson starred as the widely beloved character Mitchell Pritchett on the award-winning ABC comedy Modern Family, which ran for an impressive 11 seasons. The show earned five Emmy Awards for Outstanding Comedy Series, a Golden Globe Award for Outstanding Comedy Series and four Screen Actors Guild Awards for Outstanding Performance by an Ensemble in a Comedy Series. Ferguson has also received five Emmy Award nominations and four People’s Choice Award nominations on behalf of the show.

Ferguson made his Broadway debut at the age of 21 as Chip in George C. Wolfe’s revival of On the Town. He later went on to originate the role of Leaf Coneybear in the Tony Award—winning Broadway musical The 25^th Annual Putnam County Spelling Bee. He has also worked extensively with The New York Public Theatre’s Shakespeare in the Park in various notable productions.

A longstanding advocate for marriage equality and LGBTQIA+ rights, Ferguson co-founded Pronoun, previously known as Tie the Knot, in 2012 with his husband Justin Mikita. The organization has proudly raised over $1.5 million and has supported important and impactful LGBTQIA+ organisations across the nation.

Nathalie Harrison is a former dancer with The Royal Ballet, where she enjoyed a career spanning nearly 20 years, performing extensively on the world’s leading stages in a wide range of classical and contemporary repertoire. Since leaving The Royal Ballet, Harrison has developed a diverse career as a creative producer, movement director and actor, working across theatre, music, concerts, film and live performance. In 2025, she produced the premiere of Quadrophenia: A Mod Ballet, created in collaboration with orchestrator Rachel Fuller and writer and musician Pete Townshend.

Nathalie made her stage acting debut in 2012 in Timon of Athens at the National Theatre, directed by Nick Hytner and starring Simon Russell Beale. Drawing on her extensive experience as a performer and her understanding of movement, storytelling and stagecraft, she continues to work across disciplines, collaborating with artists and creative teams on a wide range of projects for stage, screen and live performance.

Jay Presson Allen (1922-2006) was a playwright, novelist and screenwriter. Her first novel, Spring Riot, was published in 1948. Her plays include The First Wife which was turned into the 1963 film Wives and Lovers; and for television, Family and Hothouse. Her adaptations include The Prime of Miss Jean Brodie – produced in the West End, on Broadway and on screen with Maggie Smith winning the Oscar for her role; Forty Carats – for which Julie Harris won a Tony Award and was later filmed; Travels With My Aunt directed by George Cukor and starring Maggie Smith; the film version of Cabaret, directed by Bob Fosse for which she received an Academy Award nomination; Marnie directed by Alfred Hitchock.  She also wrote the screenplay for Funny Lady.  She adapted her 1969 novel Just Tell Me What You Want for film director Sidney Lumet.  They also collaborated on her adaptation of Robert Daley’s novel Prince of the City, for which she was nominated for an Oscar, and the screen adaptation of Ira Levin’s play Deathtrap.

Director Rob Ashford is an award-winning director and choreographer. London credits include The Winter’s Tale, Romeo & Juliet, The Entertainer, Harlequinade, Macbeth, A Funny Thing Happened on the Way to the Forum and the Olivier Award-winning productions of Anna Christie, A Streetcar Named Desire and Parade. Broadway credits include Cat on a Hot Tin Roof; Frozen; How To Succeed in Business Without Really Trying; Promises, Promises; Evita; Thoroughly Modern Millie (Tony Award for Best Choreography); Shrek;  Cry-Baby (Drama Desk and Outer Critics Circle Awards for Best Choreography); Curtains and The Wedding Singer. He directed and choreographed NBC’s Sound of Music Live! and Peter Pan Live!. He directed and choreographed Carousel, Carmen, and The Barber of Seville for Chicago Lyric Opera and Houston Grand Opera and choreographed Candide at La Scala, ENO, and the Châtelet in Paris. He choreographed and staged the 2009, 2013, 2014, and 2015 Academy Awards, winning an Emmy for his work on Baz Luhrmann’s 2009 production number featuring Hugh Jackman and Beyoncé. He has staged the Tony Awards for eight years and has also staged tributes at The Kennedy Center Honors for Barbra Streisand, Andrew Lloyd Webber, Jerry Herman, Barbara Cook, Tom Hanks, Shirley MacLaine and Meryl Streep. Films include choreography for Disney’s Cinderella, Beyond the Sea, A Million Ways to Die in the West, Ted 2, Murder on the Orient Express and Death on the Nile.

LISTINGS INFORMATION

MENIER CHOCOLATE FACTORY

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: @menierchocolatefactory

Company of Wolves stages their explosive retelling of The Bacchae across the UK

UK Tour: Tuesday 2nd March – Saturday 24th April 2027

Following a hugely successful Scottish tour, Glasgow’s acclaimed Company of Wolves is embarking on a 10-venue UK tour this spring with their fiery physical retelling of The Bacchae. Reworking Euripides’ ancient Greek tragedy, first performed in Athens in 405BC, The Bacchae is a powerful solo performance bringing to life the myth of Dionysos, the untamed god of theatre, wine and hedonism, through storytelling, movement and ancient song.

Written and performed by Ewan Downie (Julius Caesar, Achilles, Company of Wolves), The
Bacchae sees him embody five characters from Greek mythology, multi-rolling as Dionysus, his father Zeus, his mother Semele, her sister Agave and Agave’s son Pentheus, King of Thebes. With original songs by Ewan Downie and Anna Porubcansky (UNBECOMING, UK tour; Seven Hungers, The Barn Banchory), The Bacchae challenges conventional boundaries of gender and identity, taking audiences on a transformative journey from rejection and vengeance to rebirth.

The Bacchae is the final work directed by the late choreographer and creative director Ian Spink (A Mouthful of Birds, Young Vic; Petruska, Scottish Ballet), co-founder of the renowned dance company Second Stride, the first British contemporary dance company to tour the US. Spink was a significant creative influence on both The Bacchae and Downie’s previous solo work, Achilles (Edinburgh Festival Fringe 2018), and his legacy remains central to the production.

This rendition of the show is also being directed by Heather Knudtsen (The Believers are but Brothers, UK tour; Illegal, Scandal Theatre) and has been developed closely with the School of Classics at the University of St Andrews and Ancient Greek specialist Dr Michael Carroll. The creative team also includes set and costume designer Alisa Kalyanova (Supposing by Zinnie Harris, Traverse Theatre; Die Fledermaus, Opera Bohemia), sound designer Anna Porubcansky (UNBECOMING, UK tour; Seven Hungers, The Barn Banchory) and lighting designer Katharine Williams (Walk with Me, Bloomsbury Festival; Maggie & Me, The Enemy, National Theatre of Scotland).

Lead Artist and co-Artistic Director Ewan Downie comments, I first fell in love with this story 30 years ago, so making this show has been a long time coming. The story of a god who is so upset when he’s rejected that he takes terrifying and bloody revenge, has always rung true.

After reaching a huge range of audiences, from local to international, at the Edinburgh Fringe in 2025, and then touring to 13 venues Scotland-wide over Spring 2026, I’m delighted to now have the opportunity to take this show to people all across England.

Since we first made the show in 2023 it has only become more relevant, more urgent: in a time of relentless division, The Bacchae looks at what pushing others away costs, and what it might take for us to be whole again.

Festival Theatre, Malvern – 18th October 2026

Reviewed by Courie Amado Juneau

5*****

Jess Gillam’s saxophone, with Far Flung Trio’s violin, accordion and double bass… An intriguing combination.

First, Rossini’s Overture from The Barber of Seville. Anyone familiar with the opera would have been impressed with the humour and passion on show tonight. To get a full orchestra squeezed into these chamber forces was quite a feat and a surprise how effective the combination was. In fact it was amazing.

Jess Gillam took the stage for the second piece; Marcello’s Adagio and Presto from Oboe Concerto in D minor. A sumptuous concoction in which her instrument sounded amazingly like a Baroque trumpet! Showing effortless command of the music and long flowing lines; I was left to wonder how on earth Jess breathes whilst playing this stuff?

Jess introduced us to two composers whose music was unknown to me. In the first half it was Rudy Wiedoeft’s Valse Vanité. A revelation which produced at least one more fan! I had visions of Charlie Chaplin skating around a rink… Truly wonderful. Sydney Bechet’s Petite Fleur displayed his (and Jess’s) virtuosic sax tonguing techniques – thanks to the musicians for some helpfully background information from the stage. I will be seeking out Bechet’s other works/recordings, so from an artistic point of view it was job well done!

Violinist Katherine Hunka had numerous opportunities to shine including Saint-Saens Introduction and Rondo Capriccioso with its thrilling fireworks displays and Satie’s delicate Gymnopédie No 1 including gorgeous violin harmonics. The Three Bulgarian tunes almost destroyed Katherine’s bow – I don’t think I’ve ever seen so much hair hanging from a bow mid piece. Testament to an extremely passionate performance.

The first half concluded with Milhaud’s Braziliera from Scaramouche suite – a joyful carnival like atmosphere propelling us to the bar. After the interval, the evening took a dramatic turn with Nino Rota’s selection from The Godfather films. A fitting example of the range of the concert which also gave bassist Malachy Robinson the chance to show off his skills on the mandolin. After, he memorably regaled us with a humorous song that was not on the programme – “I Want To Be A Sideman” by Dave Frishberg. A most welcome addition.

All night the musicians were tighter than an unrepentant Scrooge, but the real delight was the humour which they imbued the performance – accordionist Dermot Dunne conducting with his eyebrows and using the top of the accordion as a cajon being particular joys. But, really, it was the sheer joy which they presented the music and interacted with each other that will live long in the memory.

The afternoon concluded with Danish String Quartet. Wow! What a finish. Like a snowball rolling down a hillside, so too this work. It left me wondering anew if Jess could breathe through her ears! Last but very much not least there was an encore – this time an extra special treat of a song written by Katherine about Malvern: “One for the Hills”.

So, did the ensemble forces live up to expectations? No. It far surpassed it! All I can say is what a concert. Thrilling from start to finish. I cannot recommend highly enough, nor wait for their next visit.

Grand Opera House York – until Saturday 24th October 2026

Reviewed by Michelle Richardson

4.5****

I was delighted to join York Stage for the opening night of its latest production, Everybody’s Talking About Jamie, at the Grand Opera House York. Under Nik Briggs’s direction, this wonderfully talented company brings local and professional performers together to create musical theatre to a superb standard.

Based on an idea by Jonathan Butterell, with book and lyrics by Tom MacRae, music by Dan Gillespie Sells, it is centred around a 16 year old schoolboy. Loosely based on the remarkable story Jamie Campbell and his mother Margaret, which hit the headlines after he wanted to go to prom in a dress.

Set in Sheffield, the story follows Jamie New (Frankie Bounds) and his classmates as they consider their future careers. Despite being teased for being gay, Jamie dismisses Miss Hedge (Katie Spencer), and the computer’s suggestion that he become a forklift driver and reveals his dream of becoming a drag queen. This creates even more ridicule, especially from Dean (Cain Branton), the school bully. He is supported throughout this turbulent journey by his best friend and aspiring doctor, Pritti (Roxanne Hall), his mum (Joanne Theaker), and close family friend Ray (Julie-Ann Smith). His dream begins to take shape when he meets Hugo and his drag alter ego, Loco Chanelle (Grant McIntyre). Through the challenges and triumphs that follow, Jamie discovers his authentic self and gains the confidence to embrace who he is.

Bounds grows confidently into the role of Jamie, embracing the character’s highs and lows with infectious enthusiasm. He shows off both Jamie’s confidence and vulnerability. He certainly rocks those vibrant crimson red stilettoes and sparkly eyelashes. Theaker gives a heart-wrenching performance as a mother who is barely making ends meet, yet supports her son in any way she can. Her rendition of He’s My Boy is stunningly powerful, I had goosebumps just listening to her. Smith, as Ray, delivers the sharpest one-liners, making her the kind of friend everyone would love to have. McIntyre is outstanding, I loved his portrayal of Hugo, giving Right Said Fred vibes during the finale, and as Loco Chanelle he looked utterly gorgeous. The other drag queens also deserve praise, particularly for letting it all hang out.

The three-part revolving set moves seamlessly between a classroom, garden, kitchen, Pritti’s bedroom and the Legs Eleven nightclub, to name just a few of the scenes. A live band, led by musical director Jessica Viner, adds real energy to the production. At times, however, the music is too loud, unfortunately drowning out some of the lyrics. AJ Powell’s choreography complements the score, while the energetic ensemble fully commits to every role and shines in group numbers, especially Everybody’s Talking About Jamie and The Prom Song.

Everybody’s Talking About Jamie will make you laugh, may bring a tear to your eye, as it celebrates individuality, inclusivity and acceptance. The enthusiastic, captivated audience was wonderful to see and hear. Once again, York Stage does not disappoint and has delivered another must-see production.

 Tabard Theatre, Chiswick – until 7th November 2026

Reviewed by Phil Brown

5*****

The 80+ seat Tabard Theatre above the Tabard pub in a grade 2 listed structure around the corner from Turnham Green station, is something of a bijou pleasure dome.  So intimate, the “fourth wall” doesn’t really exist, making for a particularly engaging and rewarding audience experience. 

Who Put the Bomp is a show in two exhilarating one hour parts.   I knew I would enjoy it, just from the title, but I didn’t expect to be completely bowled over by such an exuberant, accomplished and as far as I could tell, near perfect performance by a young cast, most of whom would have been born in the twenty first century – more than 50 years after the doo-wop genre became a thing.  I really can’t remember enjoying a show so much in ages.

There is a freshness, a zing and an energy that fairly explodes off the stage, possibly because several of the cast are making their professional debuts and adrenaline and commitment are off the scale.  Whilst being well rehearsed and superbly professional, there is a still a charming sense they can’t quite believe they’ve made it into a professional production and are having the best fun.  To use a musical term – this is song (and dance) con brio – molto brio.

There are few musical genres more gloriously infectious than doo-wop. It was born in US urban neighbourhoods and post-war ghettos, rising to prominence in the 1950s and early 1960s, with mainly young Black teenagers—often lacking money for instruments—practicing a cappella vocal harmony on street corners, in school gyms, and at subway entrances.  Key ingredients are harmonisation, nonsense lyrics (eg shboom, ram a lam a ding dong etc), and no or minimal instrumentation. It fundamentally shaped popular music. 

Writer and director Keith Strachan, whose previous musical successes include Dreamboats and Petticoats, and many associated record releases, clearly loves the music of the 1950s and 60s.   Rather than simply recreating a bygone era, his well written and structured production imagines a group of contemporary teenagers discovering doo-wop from their grandparents’ record collections, digging it, and having some fun recreating those swooning harmonies themselves.  Meanwhile, with progress posted on TikTok (other apps are available), they become unlikely stars in the world of social media earning a shock invitation to perform at the Brits!  

It may seem a touch unlikely, but it’s a plausible enough story that acts as a neat framework for the songs whilst covering themes of group dynamics and relationships, sexuality, responsibility, rehabilitation and social media.  It moves at pace, the dialogue feels authentic, the acting nicely nuanced and there is no shortage of laughs.  

There is a briefly awkward start where Billy Johnson (played by Billy Michael), a shy young man whose grandfather loved doo-wop, is playing it through his phone when cornered into revealing his hidden passion by secret admirer Summer Brown (Joy Silweya).   She teases him relentlessly but wants into the band Billy has in mind to form with choir soloist and school mate Cole Williams (Joshua Webster).  Cole duly rocks up, validates Billy through his own familiarity with the genre, and they break into a nicely arranged classic, Why Do Fools Fall in Love (Frankie Lymon & the Teenagers) unaccompanied.  The show is now off and running.  

Next to appear is the physically imposing, slightly cocky Danny Phillips (Aidan Spicer) who immediately tries to elect himself leader of the band.  Having enlisted the help of formidable school music teacher/choir convenor Miss McTavish (Marissa Landy) in exchange for choir attendance, Billy recruits wonderful bassman Jack B Smith (Finn Williams) who puts Danny firmly in his place and the group named the Doo-Woppers is complete and ready to rock.  In a reminder that we are actually in 2026, they are never without their mobile phones and naturally share song suggestions and details using group chat.  Summer is the unofficial content creator which does create some friction with Billy.

In a small space like the Tabard, there is no need for amplification although I thought I detected some echo at the start.  The sound is pure harmony singing with Summer on soprano voice, Billy and Danny on tenor, Cole on baritone plus Jack on basso profondo accompanied most of the time by Miss McTavish on piano.  I have to commend Strachan on the casting for this show.  He has assembled a team oozing talent.  The complementary personalities and voices work so well and the ensemble really does function like a well oiled team.  

As Miss McTavish points out early on, a doo-wop performance has to cover rhythm as well as harmony, and the ensemble performs an extensive catalogue of sophisticated arrangements to perfection.  These vocal performances are truly wonderful throughout the evening, across 29 or 30 first rate songs.   I particularly enjoyed It’s Only Make Believe (Conway Twitty), Be My Baby (Ronettes), Blue Moon (Marcels), My Prayer (Platters), and Crying (Roy Orbison).

Strachan or possibly Anne-Marie Lewis Thomas (Musical Supervisor) has exercised some artistic licence in stretching what is usually classed as doo-wop to include material that owes a debt to the genre but is probably seen more as straight ahead pop music – songs such as Be My Baby, Poetry in Motion (Johnny Tillotson), Shout (Isley Brothers), Going to the Chapel (Dixie Cups), Let it Be Me (Everlys) and Crying.  If anything it adds to the story and enjoyment, making for an evening rich in nostalgia.  The folk behind me couldn’t help but sing along.

Lighting (Callum Bruce) is spot on and costumes (Faith Powlett) are very fitting (boom boom).  The stage set is essentially done by projecting well rendered scenes onto the back wall which is not only incredibly effective (Charlie Stace) but maximises the performance area for some fabulous choreography (Carole Todd) which gets more elaborate as the group develops.  

This is a versatile group of performers.  At one point, Cole (Joshua Webster also acting as Dance Captain) did an impressively gymnastic solo combining break dancing and back flip and Marissa Landy as Miss McTavish performs a nice tap dance solo in the finale.  Finn Williams as Jack also springs a surprise in the second half of the show by taking over some of the piano duties

Congratulations to the outrageously talented cast and company of Who Put the Bomp for a sumptuous performance which deserves to be a huge hit.  Feel-good is overused as a sound bite to describe entertainment, but this is the real deal.  Trust me on this.  Whether or not you love doo-wop, I guarantee you will love this show.

Sheffield Crucible – until Saturday 31st October 2026

Reviewed by Claire Moore

5*****

Following their recent production of King Lear, Sheffield Theatres’ Shakespearean company returns to the Crucible, but this time with something a little more light-hearted.

Twelfth Night is one of Shakespeare’s best-known comedies, full of mistaken identities, practical jokes, romance and plenty of confusion. When Viola (Bebe Sanders) is shipwrecked and separated from her twin brother Sebastian (Harry Redding) she disguises herself as a man and takes a job working for Duke Orsino (Fode Simbo). But when she falls for the Duke, who is himself in love with Olivia (Justina Kehinde), things soon become rather complicated!

Following Ian McDiarmid’s appearance in King Lear, another familiar face joins the company, with Mathew Horne, best known for Gavin and Stacey, taking on the role of Malvolio. A rather serious, self-important character, Malvolio finds himself on the receiving end of a particularly cruel practical joke. Horne takes us from laughing at him to genuinely feeling sorry for him as the joke goes further than anyone expected.

Shakespeare once again feels right at home in the round at the Crucible. The set is simple, with just three movable benches and the occasional prop, but that’s all it needs. The direction makes full use of the space, with the cast coming and going through the various entrances and exits, keeping the action moving at a good pace. At times, it feels as though there are far more people on stage than there actually are.

It’s great to see so many of the actors from King Lear taking on completely different roles. Katie Wimpenny is a perfect example, going from the cold-hearted Goneril to the mischievous Maria. She’s full of energy, clearly enjoying every moment of Maria’s scheming and bringing plenty of laughs along the way.

The whole cast is superb, but Milo Twomey and James Chetwood as Sir Toby Belch and Sir Andrew Aguecheek are particularly entertaining. They’re a hilarious pairing, with excellent comic timing and some wonderful mannerisms, especially from Sir Andrew. Their scenes together provide some of the biggest laughs of the evening.

Another lovely touch is having the musicians on stage. The music adds so much to the show, captivating the singing voice of David Birrell as Feste.

The lighting is equally impressive, especially during the prison scene, where it completely changes the atmosphere. It shows just how much can be achieved without an elaborate set. The more contemporary costumes also fit perfectly, giving the production a modern feel without taking anything away from Shakespeare’s story.

I’m no Shakespeare expert, and I’ll be honest, there are times when the language still leaves me completely baffled! But that’s what makes this production so good. The characters, the performances and the way the story is told mean that even when you don’t understand every word, you still know exactly what’s going on and can enjoy every minute of it.

My five stars aren’t just for a fantastic production of Twelfth Night. They’re also for making Shakespeare accessible, entertaining and enjoyable for everyone. So even if you’re not a Shakespeare fan, don’t dismiss this one — you’ll be missing a real treat.

Cambridge Arts Theatre – until Saturday 17 October 2026

Reviewed by Steph Lott

5*****

The Cambridge Greek Play is something of a survivor. Since 1882, when undergraduates first staged Sophocles’ Ajax in the original Greek, the university has kept returning to the ancient stage, settling into a three-yearly rhythm that has outlasted two world wars and many changes in how the classics are taught. Over the years it has drawn on remarkable talent: Vaughan Williams wrote his still-popular overture for the 1909 Wasps, and the tradition of commissioning new music continues this year with a score by Richard Causton. There is a pleasing symmetry in this year’s choice, too. Ion was last performed here in 1890, so Rosalind Parker’s production is a return to one of the tradition’s earliest chapters and a rare chance to see a play that seldom reaches the stage in any language.

Anyone wary of an evening in Ancient Greek need not be. I loved simply listening to the language, its rhythms and textures, while the subtitles were clear, well-timed and never distracting. What impressed me most was how the young cast handled the challenge. Delivering every line in a language no one has spoken for two thousand years could easily sound stilted or recited. Instead, the dialogue was fluent and natural, spoken as if the actors had been arguing in Greek all their lives.

Causton’s score, under the musical direction of Elliot Park, was a real pleasure. The choice of instruments and the way the music supported the atmosphere did much to conjure the setting of Apollo’s temple at Delphi, shifting with the play’s changes of mood without ever overwhelming the words.

Among the cast, Dylan Hughes was particularly impressive as Ion, the foundling raised in the god’s service and now on the edge of adulthood. Iris Tadie gave a delicate, nuanced performance as Creusa, a woman carrying the long-buried trauma of Apollo’s assault and the loss of her child. It is a demanding role, and she never tipped it into melodrama. The chorus was outstanding. They moved and spoke with striking unity and their presence on stage was genuinely unsettling, a reminder of how powerful the Greek chorus can be when it is fully realised rather than treated as a convention. And when Daphne Stavride appeared as Athena, she was truly goddess-like; her entrance was one of the evening’s most memorable moments.

Ion is often described as a play with a “happy ending”, and in one sense it is: no one dies. Yet the reconciliation it offers is far from comfortable, and Creusa is given no real resolution for what she has suffered. The production’s decision to close with the fourteenth Homeric Hymn, To the Mother of the Gods, felt fitting on several counts. As a call to the divine feminine, it was a lovely resonance with a play so centred on motherhood. It acknowledged Creusa’s lack of closure rather than papering over it. And it eased the audience gently out of the world of Ancient Greece and back into our own.

This was a thoughtful, beautifully performed production that does credit to a tradition now almost 150 years old. If the Greek Play continues to be staged with this much skill and imagination, its future looks as secure as its past is distinguished.

STORYHOUSE THEATRE, CHESTER – UNTIL 17TH OCTOBER 2026

REVIEWED BY MIA BOWEN

5*****

Last night, I had the great pleasure of watching Blood Brothers on press night, and what a night it was! The theatre was packed, with row after row filled with students studying for their courses, alongside an audience who clearly knew exactly what they had come to see. This was my second time seeing Willy Russell’s iconic musical, and as I took my seat, I could hear people around me telling each other how many times they had seen it. Seventeen times was the record I heard! That says everything about just how loved Blood Brothers is here in the North West.

And it’s easy to understand why. People know the lines off by heart, yet the story still has the power to make an audience laugh, wince and ultimately break their hearts.

Set in 1960s Liverpool, Blood Brothers follows Mrs Johnstone, played brilliantly by Vivienne Carlyle, a mother struggling to raise her growing family. When circumstances lead her to make an extraordinary decision concerning one of her newborn sons, the twins grow up in very different worlds, unaware of the connection between them. Sean Jones’ Mickey and Joe Sleight’s Eddie grow up on opposite sides of the social divide, while Beth Danher’s Linda becomes an important part of their shared childhood and, later, their lives. Meanwhile, Tricia Adele Turner’s Mrs Lyons finds herself increasingly consumed by the consequences of the decision she has made. Michael Gillette’s Sammy brings another layer to Mickey’s journey as the brothers grow older.

What follows is a powerful exploration of nature versus nurture, social class, friendship, love, jealousy and fate. It’s a story that gradually tightens its emotional grip, showing how two children raised in completely different circumstances can still be connected by an unbreakable bond.

Sean Jones, Beth Danher and Tricia Adele Turner were particular standouts for me. Sean Jones and Joe Sleight portraying Mickey and Eddie at seven years old, nearly eight, were fantastic — capturing the innocence, mischief and unmistakable bond of childhood beautifully.

And then there is the music. It doesn’t simply accompany the story; it tells it. Marilyn Monroe, Easy Terms and Tell Me It’s Not True had me reaching for the tissues. The music carries so much of the emotion, making the story’s quieter moments just as powerful as its biggest scenes.

The set deserves a special mention too, creating a wonderful backdrop to this very Liverpool story, with the Liver Building proudly standing in the background.

And that ending… Even when you’ve seen Blood Brothers before, and you know that gunshot is coming, somehow, it still catches you out. You find yourself holding your breath, hoping that perhaps this time it will be different — even though you know it won’t.

As the Narrator delivered that final line, some of the audience were already on their feet, applauding, and a standing ovation quickly followed. As people began making their way out, I could hear members of the audience crying. That, to me, says everything.

Funny, powerful, beautifully performed and utterly heartbreaking, Blood Brothers remains a true North West favourite for very good reason. A timeless piece of musical theatre that still packs one hell of an emotional punch.