Posts with the label theatre
Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts
Saturday, 11 October 2025
Be More Chill Reunion Concert Returns to London with Original West End Cast
London audiences are in for a treat as Be More Chill returns for a one-night-only reunion concert at the Arts Theatre on 10 November 2025.
The cult-favourite musical, featuring a Tony-nominated score by Joe Iconis and a book by Joe Tracz, follows a socially awkward teen who takes a mysterious pill that promises instant popularity with chaotic results.
The concert marks the debut production from Teal Moon Productions and features much of the original West End cast, including Scott Folan, Miracle Chance, Blake Patrick Anderson, and Grace Mouat. They’ll be joined by Brandon Lee Sears, Eve Norris, Gabrielle Hinchcliffe, Jessica Lim, Christopher Fry, and Miles Paloma.
Musical direction comes from Louisa Green, with Christopher D. Clegg directing. The event is co-produced by Jeff Neuman (JJN Solutions) and Chance, with all profits donated to Young Minds, supporting youth mental health.
This special concert promises a night of infectious energy, hilarious storytelling, and the heartfelt message that made Be More Chill a phenomenon on both sides of the Atlantic.
Helen Flanagan to Make Stage Debut in Mrs Dalloway
Two landmark British stage productions are set to light up spring 2026, bringing classic and contemporary stories to northern stages, featuring Coronation Street's Helen Flanagan in her stage debut.
At Storyhouse Chester, Virginia Woolf’s Mrs Dalloway will be reimagined in a bold new adaptation by Kit Green and director Jen Heyes, running from 29 May to 6 June 2026 before a UK tour. Produced in collaboration with Harlow Playhouse and CutToTheChase Productions, this version blends Woolf’s poetic brilliance with striking visual design and modern resonance.
Meanwhile, Liverpool Everyman and Octagon Theatre Bolton unite for a 30th anniversary revival of Shelagh Stephenson’s The Memory of Water, a sharp, funny, and heartfelt exploration of sisterhood and memory. Directed by Lotte Wakeham, the production runs in Bolton (29 Jan–21 Feb 2026) before transferring to Liverpool (25 Feb–14 Mar).
The cast includes Vicky Binns, Victoria Brazier, Helen Flanagan, and Polly Lister, with more names to come. Set against the nostalgic backdrop of the 1990s, the play fuses laughter, tension, and emotion.
Friday, 10 October 2025
Cynthia Erivo Leads Animated Musical Bad Fairies with Songs by Six the Musical Creators
Academy Award nominee and Tony winner Cynthia Erivo is lending her voice to Bad Fairies, a brand-new animated musical film set for release on 21 May 2027.
Directed by Megan Nicole Dong (Centaurworld) and co-directed by Olivier Staphylas (Puss in Boots), the film features original songs by Toby Marlow and Lucy Moss, the award-winning creators of Six The Musical.
The story follows a rebellious fairy, Jayne Staplegun (voiced by Erivo), who sparks chaos in her magical world. The film blends sharp humour, fantasy, and contemporary pop-inspired music.
The creative team includes Isabella “Machine” Summers of Florence + The Machine (score), Deborah Frances-White (screenplay), and producers Carolyn Soper and DNEG Animation.
Erivo, who stars as Elphaba in Wicked: For Good later this year and the upcoming 2026 production of Dracula, continues her rise as one of today’s most dynamic performers.
ROYO Group Expands into Asia with Peaky Blinders and Rambert 100-Year Celebration
Global theatre producer ROYO Group has announced major new investment plans in Asia, led by its regional subsidiary RTS Entertainment.
The company will bring Rambert’s acclaimed production of Peaky Blinders: The Redemption of Thomas Shelby to China in spring 2026, celebrating Rambert’s 100th anniversary. Created by Peaky Blinders writer Steven Knight and choreographed by Benoit Swan Pouffer, the show follows the Shelby family from the battlefields of WWI to post-war Birmingham, set to a live band performing music by Nick Cave, Radiohead, and Anna Calvi.
The partnership marks ROYO’s fifth major Chinese presentation in 18 months, following productions like Life of Pi and Murder on the Orient Express.
ROYO CEO Tom De Keyser confirmed the expansion of RTS’s Shanghai office, saying the group is committed to helping British producers reach global audiences.
Aqua The Musical: Barbie Girl Hitmakers Bring Their Story to the Stage in 2028
The iconic Danish pop group Aqua who are known worldwide for infectious hits like "Barbie Girl" and "Doctor Jones" are heading to the stage in spectacular fashion. A brand-new jukebox musical, Aqua The Musical, will make its world premiere at Copenhagen’s Royal Opera House in 2028, bringing the band’s colourful story and unforgettable pop anthems to life.
Produced by AHA Creations, the show has been officially approved by the band, who are actively involved in shaping its creative journey. The production company holds global rights to the musical for at least 25 years and aims to transfer it to international stages, including London’s West End, Broadway, and major cities like Hamburg and Toronto.
Martin Palme Skriver, Executive Director of AHA Creations says:
“Aqua is one of Denmark’s greatest musical success stories... Their vibrant sound and larger-than-life universe are made for the stage, this is a once-in-a-generation opportunity to launch a Danish musical on the global map.”
Band members shared their excitement, saying, “We’ve had a wild ride filled with unforgettable experiences. Reliving it all through a musical is both surreal and emotional— a celebration of everything Aqua has been and still is.”
The production is being developed with Fredericia Musicalteater and will be directed by Thomas Agerholm, with a creative team including Claus Reenberg, Mads Æbeløe, and Nikolaj Tarp, and set design by Benjamin La Cour.
Fans can expect an energetic celebration of Aqua’s chart-topping legacy in a musical spectacle filled with nostalgia, fun, and heart.
Photo credit: Gudmund Thai
Thursday, 9 October 2025
RSC Announces Full Cast for The BFG Stage Adaptation Ahead of 2025 Premiere
The Royal Shakespeare Company (RSC) has revealed the full cast for its new stage adaptation of Roald Dahl’s The BFG, created in collaboration with Chichester Festival Theatre and the Roald Dahl Story Company.
John Leader stars as the Big Friendly Giant, alongside Helena Lymbery as The Queen. The role of Sophie will be shared between Elsie Laslett, Ellemie Shivers, and Martha Bailey Vine, while Maisy Lee, Charlotte Jones, and Uma Patel will alternate as Sophie’s friend Kimberley.
The production also features Richard Riddell, Sargon Yelda, Philip Labey, Luke Sumner, and an ensemble of talented performers.
Adapted by Tom Wells, the magical new version of The BFG opens at the Royal Shakespeare Theatre in Stratford-upon-Avon from 25 November 2025 to 31 January 2026, before transferring to Chichester Festival Theatre and then to Singapore’s Esplanade Theatre from 22 April 2026.
The creative team includes Toby Olié (puppetry director), Vicki Mortimer (set design), Kinnetia Isidore (costumes), Zoe Spurr (lighting), and Oleta Haffner (composer).
Tickets start at £16 and are on sale now.
RSC Announces Full Cast for The BFG Stage Adaptation Ahead of 2025 Premiere
Thursday, 9 October 2025
Cats: The Jellicle Ball Returns to Broadway in 2026 with André De Shields
Broadway’s about to get feline again. The acclaimed revival Cats: The Jellicle Ball will arrive at the Broadhurst Theatre in March 2026, with previews from 18 March and an opening night on 7 April.
After wowing audiences at PAC NYC, directors Zhailon Levingston and Bill Rauch return with their vibrant reimagining of Andrew Lloyd Webber’s Cats, inspired by New York’s Ballroom culture.
Tony, Grammy, and Emmy winner André De Shields reprises his celebrated role as Old Deuteronomy, joined by returning cast members Jonathan Burke, Sydney James Harcourt, Tempress Chasity Moore, Robert “Silk” Mason, and many others.
The creative team features Rachel Hauck (scenic design), Qween Jean (costumes), Adam Honoré (lighting), Kai Harada (sound), and Nikiya Mathis (hair and wig design). The show is produced by Michael Harrison and Mike Bosner for Lloyd Webber Harrison Musicals.
Tickets go on general sale 16 October 2025.
Photo credit: Matthew Murphy and Evan Zimmerman
Emma Kingston to Lead the Global Wicked Singalong Live from The O2 with Young Voices
Young Voices are thrilled to announce that Emma Kingston, one of the West End’s most dynamic and versatile leading ladies, will headline the Wicked Worldwide Singalong on Thursday 22 January 2026, broadcast live from The O2 in London.
Currently starring as Elphaba in the West End production of Wicked, Emma has captivated audiences with her soaring vocals and magnetic stage presence. Hand-picked by Andrew Lloyd Webber to play Eva Perón in the international tour of Evita, her credits also include In the Heights, Heathers: The Musical, Fiddler on the Roof and Les Misérables, establishing her as a true global theatre star.
At the Wicked Worldwide Singalong, Emma will lead hundreds of thousands of young singers around the world in a specially arranged Wicked Medley, celebrating the show’s timeless messages of friendship, courage, and self-belief.
“We are over the moon to have Emma join us for this special event,” said Ben Lewis, CEO of Young Voices. “Her talent and energy will inspire every child and choir taking part across the globe.”
Emma added:
“It’s an incredible honour to be part of the global Wicked Singalong. Knowing that children everywhere will be singing together with me in real time is magical—a true celebration of how music unites us.”
The Wicked Worldwide Singalong will connect schools and choirs across continents through a live broadcast from The O2, allowing participants everywhere to join simultaneously for free. Registered schools receive exclusive learning materials, including sheet music from Hal Leonard, rehearsal tracks, and classroom resources from Twinkl and Wicked.
📅 Date: Thursday 22 January 2026
🕒 Time: 3 pm GMT / 10 am ET / 7 am PT
🎟️ Sign up for free: youngvoices.co.uk/join-wicked-worldwide-singalong
National Theatre Announces Exciting 2026 Season with New Productions in London and New York
The National Theatre has unveiled further details about its 2026 season, marking a bold next chapter in the vision of Co-Chief Executives Indhu Rubasingham and Kate Varah to make world-class theatre accessible to audiences everywhere.
Deputy Artistic Director Robert Hastie will lead two major productions in spring 2026. In London, he directs Nina Raine and Moses Raine’s new adaptation of Maxim Gorky’s Summerfolk in the Olivier Theatre, a sharp, satirical look at class and complacency. Across the Atlantic, Hastie’s acclaimed production of Hamlet will transfer to BAM (Brooklyn Academy of Music), the first show in a new partnership that will see National Theatre productions transfer to BAM’s Harvey Theater and National Theatre Live screenings hosted at BAM’s Rose Cinemas.
Alongside performances, the National Theatre’s Learning team will collaborate with BAM on its (Re) Centering Theater) programme, giving Brooklyn students the opportunity to create, develop, and perform new work inspired by Hamlet. A free exhibition at BAM’s Rudin Family Gallery will also explore the legacy of Hamlet at both BAM and the National Theatre.
This collaboration with BAM and The Shed strengthens the National Theatre’s long-standing relationship with the US, celebrating 60 years of international productions. Further details about upcoming projects with The Shed will be announced soon.
“It feels deeply fitting to bring Hamlet to BAM next spring, especially as we mark 60 years of staging productions in the US”
said Indhu Rubasingham, Director and Co-Chief Executive of the National Theatre.
Kate Varah, Executive Director and Co-Chief Executive, added:
“Our goal is simple yet bold- to make world-class theatre accessible to everyone, everywhere. Through new partnerships with BAM, The Shed, and the Educational Theatre Association, we’re reaching thousands of schools and streaming our productions into homes across the US. This is theatre without borders.”
National Theatre 2026 Productions
Olivier Theatre: Summerfolk
From 6 March to 29 April 2026, Robert Hastie directs a fresh adaptation of Maxim Gorky’s Summerfolk by Nina Raine (Consent) and Moses Raine (Donkey Heart). Set in 1905 Russia, it follows a group of privileged friends whose summer of indulgence masks a looming storm of social change. The creative team includes Peter McKintosh (set and costume), Paul Pyant (lighting), and Nicola T. Chang (composer).
Lyttelton Theatre: Les Liaisons Dangereuses
From 21 March to 6 June 2026, Marianne Elliott (Angels in America) returns to direct a powerful new revival of Christopher Hampton’s adaptation of Pierre Choderlos de Laclos’ classic novel. The cast includes Lesley Manville, Aidan Turner, Monica Barbaro, and Gabrielle Drake, in a dazzling exploration of love, manipulation, and power.
Dorfman Theatre: Man and Boy
From 30 January to 14 March 2026, Anthony Lau (The Crucible) makes his National Theatre debut with Terence Rattigan’s Man and Boy, starring Ben Daniels and Laurie Kynaston. Set in 1930s New York, this gripping tale of ambition and betrayal follows a financier facing ruin during the Great Depression.
Dorfman Theatre: The Authenticator
From 26 March to 9 May 2026, award-winning writer Winsome Pinnock (Leave Taking) reunites with director Miranda Cromwell (Death of a Salesman) for The Authenticator, a gothic psychological thriller starring Rakie Ayola, Sylvestra Le Touzel, and Cherrelle Skeete. Set in a mysterious country estate, it explores buried secrets, artistic legacy, and truth’s dark corners.
Brooklyn Academy of Music (BAM), New York: Hamlet
From 19 April to 17 May 2026, Hiran Abeysekera (Life of Pi) reprises his role as Hamlet in Robert Hastie’s acclaimed production at BAM’s Harvey Theater. This bold interpretation of Shakespeare’s timeless tragedy launches the National Theatre’s new partnership with BAM, bringing British theatre excellence to New York audiences.
Tickets for all 2026 National Theatre productions go on general sale from 23 October 2025.
National Theatre 2026 season, National Theatre productions, National Theatre London, National Theatre New York, BAM Hamlet, Robert Hastie Hamlet, Nina Raine Summerfolk, Les Liaisons Dangereuses National Theatre, Marianne Elliott, Winsome Pinnock The Authenticator, Ben Daniels Man and Boy, Hiran Abeysekera Hamlet, Indhu Rubasingham, Kate Varah, National Theatre BAM partnership, British theatre in New York, National Theatre tickets, Olivier Theatre, Lyttelton Theatre, Dorfman Theatre, London theatre 2026
Wednesday, 8 October 2025
Sheridan Smith and Romesh Ranganathan to star in Alan Ayckbourn’s Woman in Mind at the Duke of York’s Theatre
The West End will get a dose of sharp wit and emotional depth this Christmas as Sheridan Smith stars in a brand-new revival of Alan Ayckbourn’s Woman in Mind. The acclaimed psychological comedy opens at the Duke of York’s Theatre from 9 December 2025 to 28 February 2026, before touring to Sunderland Empire (4–7 March 2026) and Theatre Royal Glasgow (10–14 March 2026).
Smith returns to the Duke of York’s following her sell-out run in Shirley Valentine; in Woman in Mind, she takes on the role of Susan, a woman whose reality fractures after a head injury, leading her to navigate two worlds: one mundane and one imagined. As the boundaries blur, Ayckbourn’s trademark humour and heartbreak come vividly to life.
Joining Smith in the cast are Romesh Ranganathan as Bill, Louise Brealey as Muriel, Tim McMullan as Gerald, Sule Rimi as Andy, Chris Jenks as Tony, Safia Oakley-Green as Lucy, and Taylor Uttley as Rick. Katie Buchholz and Michael Woolfitt complete the ensemble.
Ranganathan, making his professional stage debut, said:
“I’m honoured to be stepping onstage for the first time since primary school alongside the incredible Sheridan Smith and company. It’s both thrilling and terrifying in equal measure. Woman in Mind is an amazing play, and I can’t wait to help bring it to life- especially as I’m playing a doctor, which might finally make my mum proud!”
Directed by Michael Longhurst, the production features set and costume design by Soutra Gilmour, lighting by Lee Curran, sound by Paul Arditti, and casting by Jim Carnahan and Liz Fraser. It is produced by Wessex Grove and Gavin Kalin Productions.
Tickets are on sale now for what promises to be one of the most exciting West End productions of winter 2025.
The Lost Boys Musical Announces Broadway Premiere and Star-Studded Cast
Broadway is about to go darkly rock-and-roll. The highly anticipated musical adaptation of The Lost Boys, inspired by the 1987 cult vampire film, will begin previews at the Palace Theatre on 27 March 2026, ahead of an opening night on 26 April.
The cast is led by Caissie Levy as Lucy Emerson, alongside LJ Benet as Michael, Ali Louis Bourzgui as David, Benjamin Pajak as Sam, and Maria Wirries as Star. Rounding out the company are Paul Alexander Nolan, Jennifer Duka, Miguel Gil, Brian Flores, Sean Grandillo, and Dean Maupin.
Based on the original screenplay by James Jeremias, Janice Fischer, and James Boam, the new Broadway musical The Lost Boys tells the story of two teenage brothers who discover their new California town is overrun by vampires. The stage version features a book by David Hornsby and Chris Hoch, and an electrifying rock score by The Rescues.
Tony Award winner Michael Arden directs, bringing his signature cinematic flair to the gothic world of Santa Carla. The creative team includes Lauren Yalango-Grant and Christopher Cree Grant (choreography), Ethan Popp (music supervision), Dane Laffrey (set and video design), Ryan Park (costumes), Jen Schriever (lighting), and Adam Fisher (sound). Aerial effects are by Billy Mulholland and Gwyneth Larsen.
Prepare for a new kind of Broadway bite- The Lost Boys promises blood, rebellion, and unforgettable rock anthems.
Les Misérables Arena Concert Spectacular Announces New 2026 Dates in Dublin, Birmingham, London & New York
As the iconic London production of Les Misérables celebrates its 40th Anniversary tonight with a special Gala Performance at the Sondheim Theatre, producer Cameron Mackintosh, in association with Nick Grace Management, has announced exciting new tour dates for Boublil and Schönberg’s Les Misérables- The Arena Concert Spectacular.
Following a record-breaking global run, the Les Misérables Arena Tour will play at some of the world’s most prestigious venues in 2026, including:
3Arena, Dublin: Friday 29 May to Saturday 6 June 2026
Utilita Arena, Birmingham: Thursday 11 to Sunday 14 June 2026
Royal Albert Hall, London: Thursday 18 to Sunday 21 June 2026
Radio City Music Hall, New York: Thursday 23 July to Sunday 2 August 2026
Fans can sign up now at worldtour.lesmis.com for exclusive presale access starting Monday 20 October 2025.
Since the world tour opened in Belfast in September 2024, Les Misérables Arena Tour has sold over one million tickets worldwide, captivating audiences across 30 cities and 25 countries. These newly announced performances will mark the culmination of Les Misérables’ 40th Anniversary celebrations, honouring the world’s longest-running musical.
The London production has just entered its 41st year at the Sondheim Theatre, while Les Misérables was last seen on Broadway in 2016. Full casting announcements for the 2026 tour dates will be revealed soon.
Producer Cameron Mackintosh shared:
The Arena Concert Spectacular, which I put together as a World Tour to celebrate the incredible 40th year of Les Mis continuously running in London, has been a success beyond my wildest dreams, attracting capacity crowds around the world since it opened over a year ago - even in countries where the full stage production has never yet played.The Arena Tour has already sold over a million tickets, and the rapturous reception has been the same for over 300 performances in 30 cities across 25 countries around the globe wherever MIZ ROCKS is playing. Continuing what will have been an almost two-year record-breaking run, I am thrilled to announce that in 2026 we will be bringing home this iconic event to Dublin and Birmingham before it plays two of the World’s most iconic music venues – the Royal Albert Hall in London in June and Radio City Music Hall in New York in July.We haven’t played the Royal Albert Hall since the show’s legendary 10th Anniversary Concert (which has just been remastered and released on vinyl for the first time) and in New York, Les Misérables has not been seen for almost a decade since we closed our third triumphant run on Broadway. Even our return to Dublin, to the 3Arena (formerly the legendary Point), is full of Les Mis resonance as it is the place where our original Irish star, the great Colm Wilkinson, came home to play Jean Valjean – we hope to have another great Irish star to make the upcoming Dublin engagement equally memorable. We are putting together an incredible array of Les Mis alumni for these engagements and look forward to announcing our cast later in the year.I am especially excited about bringing this Arena production to New York as America is the only major English-speaking country in the world where I have not yet produced the concert. So, I was personally delighted that we were invited to do so by Radio City Music Hall where American audiences can see this spectacular event for the first time.To quote The Times, “Only Les Mis can generate an atmosphere between a rock concert and a football match – a hypnotic and virtuoso production”.Looking forward to seeing you roll up to MIZ ROCKS…. But hurry to avoid having to storm the barricades for a ticket!
With breathtaking staging, state-of-the-art lighting, and a world-class cast and orchestra, Cameron Mackintosh’s acclaimed production delivers Les Misérables on a scale never before seen- an electrifying celebration of one of the greatest musicals of all time.
Photo Credit: Danny Kaan
Keywords: Les Misérables Arena Tour 2026, Les Misérables 40th Anniversary, Cameron Mackintosh, Boublil and Schönberg, Les Misérables Royal Albert Hall, Les Misérables Radio City Music Hall, Les Misérables Dublin 3Arena, Les Misérables Birmingham Utilita Arena, Les Misérables New York 2026, Les Misérables tickets, Les Misérables world tour, Les Misérables concert spectacular, MIZ ROCKS, Les Misérables musical London, Les Misérables tour dates, Les Misérables presale, Les Misérables arena concert
Tuesday, 7 October 2025
Lulu and Wayne Brady Lead To Sir, With Love Musical in the West End
Producers have confirmed the complete cast for the West End premiere of To Sir, With Love- A New Musical, based on E.R. Braithwaite’s acclaimed memoir and the beloved 1967 film starring Sidney Poitier.
The story follows teacher Rick Braithwaite, a Cambridge-educated engineer and former RAF pilot, as he navigates the challenges of race, respect, and resilience in an underprivileged London school.
Making her triumphant return to the title song that made her an international star, Lulu will play Dale Evans, joined by five-time Emmy Award winner and Grammy nominee Wayne Brady in his West End musical debut as Rick Braithwaite.
The cast also features Jess Folley, George Maguire, Chelsea Halfpenny, Kara Lane, Michael Vinsen, and newcomer Elijah Millar, alongside a talented youth company from Italia Conti.
Directed by Sheldon Epps, the production features a score by John Farrar and Kara DioGuardi, choreography by Edgar Godineaux, and orchestrations by Joseph Joubert.
To Sir, With Love will play two concert performances at the Gillian Lynne Theatre on 24 November 2025.
Monday, 6 October 2025
Rachel Zegler London Palladium Review: A Luminous 5-Star Concert
Rachel Zegler
London Palladium
I honestly don’t even know where to begin with this review because yesterday’s concert at the London Palladium was nothing short of magical. If you’ve followed me for a while, you’ll know that my love for Rachel Zegler goes way back, right to 2017, when I stumbled across her cover of Anyway by Kerrigan and Lowdermilk. (I even featured her in a website post at the time.) Since then, I’ve been following her outrageously amazing career from YouTube videos in her bedroom to, well… global stardom. It’s somewhat depressing how little I’ve achieved in that same time while Rachel has basically achieved world domination… but hey, we won’t harp on that hahaha.
What I will harp on about is how utterly luminous she was on that Palladium stage during her debut solo concert. And luminous really is the word.
We all knew Rachel’s voice was spectacular; her run in Evita was proof enough of that (I’m still mourning the show's closing). But this concert felt like a complete vocal masterclass. Her tone is crystal clear, her breath control flawless, and the strength and health of her voice is something to marvel at. Every note rang out like it was the easiest thing in the world, yet full of emotion and nuance. Rachel’s voice doesn’t just sound beautiful, it feels like it’s telling you a story, every single time.
The setlist was an absolute dream. We got theatrical classics like Jason Robert Brown’s I Can Do Better Than That, a stunning duet from Sunday in the Park with George with none other than Ramin Karimloo (Phantom fans rise up), and a heartfelt tribute to her Taylor Swift YouTube cover days with You’re On Your Own, Kid.
She also gifted us with a gorgeous Amy Winehouse/Ariana Grande mashup (Just Friends/we can’t be friends) which was an inspired blend of styles. On top of all that, she introduced two original songs, both of which were glorious, beautifully written, and made it so clear that Rachel isn’t just an interpreter of music, she’s a creator too.
I truly loved all the choices, with tributes to key parts of Rachel’s career and life so far. There were nods to The Hunger Games, to her being a literal Disney princess, to her Broadway debut in Romeo and Juliet, and to the musical theatre legends who have shaped her artistry. It was like watching her personal and professional journey unfold in song. A reminder of just how much she’s done, and how much she loves what she does.
As dazzling as her voice is, what made this concert unforgettable was Rachel herself. Her banter, her humour and her vulnerability; she was so open, joyful, and clearly utterly in love with theatre and music. As long as I've followed and chatted to Rachel, she has always been so incredibly kind and giving, and that same spirit filled the Palladium. You didn’t just see a star performing; you saw a human being sharing herself with the audience, and it was beautiful.
Rachel joked at one point that Javert is a role she’d never get to play but honestly, having watched how she’s manifested the rest of her career, I wouldn’t be surprised in the slightest if it happens someday. She’s unstoppable.
This concert was a testament to everything Rachel Zegler is: luminous, powerful, generous, and truly unique. She is a once-in-a-generation talent, and I have no doubt she will continue to soar and shine (hopefully back on a West End stage in the not too distant future). Until then, I’ll keep cheering her on, as I always have, from that first Anyway cover in 2017 to now. Here's to continued Rachel Zegler world domination!
★★★★★
Reviewed on Sunday 5th October 2025 by Olivia
Photo Credit: Danny Kaan
Sunday, 28 September 2025
Swan Lake Review 2025: A Young Dancer’s Take on Matthew Bourne’s Iconic Ballet
Matthew Bourne's Swan Lake (Tour)
New Victoria Theatre
I didn’t really know what to expect when I went to see Matthew Bourne’s Swan Lake, but it totally blew me away. First of all, the swans were played by men, which was surprising at first, but actually made the story feel way more powerful and intense. The dancing was amazing – super sharp and full of emotion. You could really tell what the characters were feeling, even though there were no words.
I do ballet myself, so watching this was honestly really inspiring. It made me want to work harder in class and try new ways of expressing emotion through dance. The way the dancers moved was so strong and full of feeling – it wasn’t just about being perfect, it was about telling a story.
The swan costumes looked wild and kind of scary, but in a cool way. Their design was so free and the way the feathers moved as they jumped and spun was incredible.
The music by Tchaikovsky was beautiful and dramatic, and the way it matched the dancing gave me goosebumps. I found the dream scenes confusing and strange but I could still follow it. My favourite part was the mini play because it reflected the story in such a funny and amusing way and the reactions from the pink lady was so funny . I especially loved when she dropped the purse and the queen rolls her eyes at her.
Matthew Bourne's Swan Lake wasn’t like any ballet I’ve seen before, but I loved it. It was emotional, creative, and totally unforgettable.
★★★★
Reviewed on Tuesday 23rd September by Freya Myers
Photo Credit: Johan Persson
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday, 25 September 2025
50 First Dates Musical World Premiere Review: A Fun, Heartwarming New Rom-Com for the Stage
50 First Dates the Musical
The Other Palace
Walking into the world premiere of 50 First Dates: The Musical, I didn’t really know what to expect. I haven’t seen the original film, so I came in with fresh eyes and no preconceptions. What I got was a fun, heartwarming tale full of laugh-out-loud comedy, sweet romance, and a cast that truly pours their energy into every moment. It’s not perfect, but it’s definitely a crowd-pleasing new addition to the musical theatre scene.
The story follows Lucy, played by Georgina Castle, who is utterly charming in the role. She brings warmth, humour, and vulnerability to a character who could easily feel one-note. Opposite her, Josh St Clair shines as Henry, balancing comic timing with a sincerity that makes their relationship believable. Together, they make a likeable pairing, grounding the show’s quirkiness with genuine chemistry.
For me, though, the standout was Chad St Louis as Sandy, a Disney-loving character who lights up the stage every time he appears. His vocals are sublime, soaring, effortless, and memorable; and his comic flair makes him the kind of scene-stealer audiences will talk about afterwards. Natasha O’Brien is also perfectly cast as Delilah; she’s hilarious, bold, and brings a spark of chaos that keeps the momentum rolling. The rest of the ensemble is equally strong, with every performer pulling their weight to create a show that feels tightly knit and well-rehearsed.
At just one act and around 100 minutes, the show is lean and well-paced, managing to pack in both big laughs and tender moments. However, the ending does feel a little rushed, as if the creative team were racing to tie everything together before the curtain falls. Another ten minutes of breathing space might have allowed the conclusion to land with more emotional weight.
The music is fun and infectious in the moment, and the cast performs it with absolute gusto. The problem is that, like Lucy’s forgetful condition, none of the songs really stick in your head after you leave the theatre. They’re enjoyable while you’re watching, but there aren’t any standout motifs or melodies that elevate the show into instant-classic territory. A stronger, more memorable score would take 50 First Dates from enjoyable to unmissable.
Visually, the production is bright and colourful, with clever set design that helps transport the audience into its tropical, playful world without overcomplicating things. The choreography is light, cheeky, and matches the tone of the show, keeping things lively throughout.
In the end, 50 First Dates: The Musical is close to being exactly what you’d want from a rom-com on stage: it’s funny, heartwarming, and full of charm. The cast is excellent, the pacing is snappy, and there’s a lot of joy to be had in watching it. It might not yet be destined for the status of a theatrical classic, but it’s certainly a promising and highly entertaining premiere.
★★★
Reviewed on Wednesday 24th September 2025 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: 50 First Dates musical review, world premiere 50 First Dates stage show, Georgina Castle Lucy 50 First Dates, Josh St Clair Henry 50 First Dates, Chad St Louis Sandy Disney 50 First Dates, Natasha O’Brien Delilah 50 First Dates, new musicals 2025 review, rom-com musical UK premiere.
Sunday, 7 September 2025
Grease the Immersive Movie Musical Experience | REVIEW
Grease the Immersive Movie Musical
Battersea Park
If you’ve ever watched Grease and wished you could be part of Rydell High for a night, Grease: The Immersive Experience is exactly that dream come true. From the second you walk in, it’s like the movie has exploded into real life around you. The sets are ridiculously detailed- from the moment you walk in, it’s like the film comes alive! The set design is magical with full 50s fairgrounds, classrooms, and drive ins, the costumes are spot-on, and everywhere you look, there’s something happening. The diner is ready to serve you a milkshake, the lockers look like they’ve been there for years, and yes, Greased Lightning is sitting there in all its chrome glory. Even the little things, like the signs, the menus, and the jukebox lighting, feel spot-on.
One of the things that really blew me away was the casting. These actors don’t just play the characters, they look and act like the real deal. Danny has the swagger, Sandy has the sweetness, Rizzo has that perfect mix of sass and charm… it’s almost eerie how close they are to their movie counterparts. You can tell the casting team put a lot of thought into getting the right people for each role.
The way the show works is pretty clever, it’s happening all around you. Scenes are popping up in different corners at the same time, and you can choose where to go and who to follow. It’s exciting, but it also means you’ll miss things. You can’t possibly see it all in one go, but honestly, that’s part of the magic. You could come back three or four times and still spot new moments, new interactions, or even jokes you didn’t catch the first time.
Now, it wasn’t all perfect. At the start, there were some sound issues (a few lines got lost under the music) but as the night went on, it got much better. Once it clicked, the energy, the music, and the performances all came together beautifully.
If you know Grease, you’re going to have a blast spotting all the little nods to the movie. If you don’t know it, you might find the whole thing a bit confusing, because the show doesn’t really slow down to explain who’s who or what’s happening. But for fans? It’s pure joy.
Bottom line? Grease: The Immersive Experience is a big, loud, colourful party of a show. It’s chaotic in the best possible way, it’s packed with detail, and it’ll make you feel like you’ve just stepped into one of the most loved musicals of all time.
A must-do for film lovers, musical fans & immersive theatre junkies. Greased Lightning never looked so good!
★★★★
Reviewed on 6th August 2025 by Olivia
Photo Credit: Danny Kaan
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: Grease Immersive Experience London, Rydell High immersive theatre, immersive Grease review, Grease stage show, immersive musical London, Grease immersive cast, Grease theatre London review.
Saturday, 23 August 2025
Evita at the London Palladium: Rachel Zegler Soars in Jamie Lloyd's Bold, Electrifying Revival
Evita
London Palladium
Sometimes you sit in a theatre and know you are witnessing something truly historic. That’s exactly how it felt watching Jamie Lloyd’s new production of Evita at the London Palladium. This isn’t just another revival of Andrew Lloyd Webber and Tim Rice’s political rock opera, it’s a seismic moment in musical theatre, led by a cast who feel destined for greatness.
At the centre of it all is Rachel Zegler, who delivers a performance so thrilling, it’s hard to believe this is her London stage debut. I’ve followed Rachel’s journey since 2017, from YouTube covers to West Side Story, and to see her now, utterly at home on the Palladium stage, is nothing short of awe-inspiring. She looks and sounds like she was born for this exact role at this exact moment in theatrical history. Her Eva Perón is fierce, vulnerable, ambitious, and magnetic; and every note of “Don’t Cry for Me Argentina” soared as though it were written for her. We are watching the rise of a star, and how lucky we are to be along for the journey.
Alongside her, Diego Andrés Rodriguez is astonishing as Che. Wry, commanding, and vocally electric, he narrates Eva’s rise and fall with biting precision. At times sardonic, at times full of fire, his performance anchors the show with clarity and bite. Rodriguez is a talent I need to see as Jesus in Jesus Christ Superstar one day, his presence and vocals would be unforgettable. James Olivas also gives an excellent turn as Juan Perón, balancing political ambition with quiet tenderness. The chemistry between Zegler, Rodriguez, and Olivas is magnetic, their trio of performances form the show’s beating heart.
Musically, Evita remains as bold as ever. First staged in 1978, Lloyd Webber and Rice’s rock-opera score brings Eva Perón’s rise to power and enduring legacy to life with urgency and flair. From the bombastic “A New Argentina” to the delicate “Another Suitcase in Another Hall,” the music is at once energetic and informative, serving as both history lesson and thrilling theatre. What makes Jamie Lloyd’s revival so fascinating is its refusal to spoon-feed. The production embraces ambiguity, encouraging the audience to interpret rather than simply receive. For newcomers to the show, this approach might feel a little confusing at times, but for me it was exhilarating. It felt intelligent, trusting the audience to piece together the threads for themselves.
Visually and technically, the production is equally impressive. Jon Clark’s lighting is stark and expressive, shaping scenes with atmosphere and tension. Fabian Aloise’s choreography is muscular, dynamic, and precise. The ensemble moves like a single organism, their synchronicity so tight it’s genuinely breathtaking. Every gesture feels purposeful, from the smallest flick of a wrist to the explosive full-company numbers. The ensemble themselves are powerhouse performers, bringing passion and intensity to every scene. Their strength and unity echo the fervour of Eva’s Argentina, adding another layer of urgency to the storytelling.
Equally vital is Adam Fisher’s sound design, which balances the soaring vocals and Lloyd Webber’s powerful score beautifully. In a theatre as grand as the Palladium, clarity can sometimes be an issue, but here every lyric, every guitar riff, every heartbeat of percussion landed perfectly.
For those unfamiliar with Evita, the show traces the life of Eva Perón, Argentina’s First Lady from 1946 until her death in 1952. Born into poverty, Eva clawed her way into the limelight, first as an actress and then as wife of President Juan Perón, becoming a powerful, controversial figure adored by the working classes and reviled by the elite. Lloyd Webber and Rice’s score examines her legacy with both admiration and critique, embodied in the narrator Che’s cynical commentary. It’s part biography, part cautionary tale, part celebration and in Lloyd’s hands, it feels fiercely relevant once again.
This Evita is not just a revival; it’s a reinvention. Jamie Lloyd has stripped away the excess and laid bare the story, allowing the music, the cast, and the raw energy of the ensemble to speak for themselves. The result is electrifying- a production that feels both timeless and urgently modern.
Walking out of the Palladium, I couldn’t shake the feeling that I had just witnessed a career-defining moment for Rachel Zegler and a bold new chapter for Evita. It is an intelligent, gripping, and emotional triumph. Simply put, this is theatre at its most alive.
★★★★★
Reviewed on Tuesday 22nd July 2025 by Olivia
Photo Credit: Marc Brenner
Keywords: Evita London Palladium review, Jamie Lloyd Evita review, Rachel Zegler Evita London, Diego Andrés Rodriguez Che Evita, James Olivas Juan Perón Evita, Fabian Aloise choreography Evita, Jon Clark lighting design Evita, Adam Fisher sound design Evita, Evita 2025 revival London.
Thursday, 5 June 2025
Review: Joseph and the Amazing Technicolor Dreamcoat- A Joyous Revival that Shines Bright on Tour
Joseph and the Amazing Technicolor Dreamcoat (UK Tour)
New Victoria Theatre
Like so many theatre lovers, Joseph holds a special place in my heart. I must have worn out the DVD as a child, rewatching the dazzling colours, catchy tunes, and sheer joy of it all. To this day, I take great pride in knowing every single colour of that famous coat by heart, and one day, I’m convinced it will finally come in handy in a pub quiz.
Seeing the touring production felt like reconnecting with an old friend, and this version couldn’t feel more right for now. There are brief flashes of modern self-awareness that could veer into cringe- a wink here, a gag there- but they never overstay their welcome. It’s one of the rare revivals that manages to feel modernised without being try-hard or losing its sense of self. At its core, Joseph is still what it’s always been: a musical powered by joy, timeless melodies, and that signature blend of heart and humour.
The music, as ever, is the star. From 'Any Dream Will Do' to 'Go, Go, Go Joseph,' the songs are as infectious as I remembered. But what makes this version truly sing is how the whole thing feels so light on its feet. There’s a freshness to the production, a sense of play and invention that keeps it moving briskly and brightly.
Adam Felipe brings a charming sincerity to Joseph, with vocals that land with clarity and ease. He finds both the innocence and confidence in the role, and it’s easy to see why audiences root for him from the start. Joe McElderry’s Pharaoh is a crowd-pleasing standout, leaning into the Elvis pastiche with charisma and a wink that’s impossible not to enjoy. And in the role of the Narrator, Christina Bianco is the glue that holds the whole show together- commanding, warm, commical, and vocally impressive throughout.
Beyond the leads, it was an unexpected delight to watch the ensemble. There’s such care in their performances- it felt like many of them had created full little back stories for their characters. I caught moments between brothers, glances, physical comedy, even subtle through-lines. Honestly, I’d go back just to keep an eye on different people and see what else I might spot.
This show is a proven success, and this production shows exactly why. The audience- young kids, nostalgic adults, and everyone in between- were beaming throughout, myself included. It’s hard not to be swept up by it. This show is a real reminder that it’s a gift to sit in a theatre and just have a great time.
It’s not a reinvention of the wheel, but it doesn’t need to be. Joseph is a show that understands what it is, and this production delivers it with style, heart, and a technicolour sparkle that never fades.
★★★★
Reviewed on Wednesday 4th June 2025 by Olivia
Photo Credit: Tristram Kenton
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 28 May 2025
The Frogs at Southwark Playhouse: A Quirky, Clever Revival That Leaps at Points | Review
The Frogs
Southwark Playhouse
Currently playing at Southwark Playhouse, The Frogs is a spirited and unusual revival of Stephen Sondheim’s rarely-staged musical. It’s a show that wears its eccentricity proudly, and while it doesn’t quite stick the landing, there’s plenty to enjoy- especially in a first act that’s consistently hilarious, sharply performed, and full of unexpected delights.
Loosely based on Aristophanes’ classical Greek comedy, the musical follows Dionysos, the god of theatre, as he travels to the Underworld in search of a great playwright to bring back to Earth and save civilisation. He’s accompanied by his long-suffering servant Xanthias, and along the way they encounter an oddball cast of characters, including a musclebound Herakles, a chorus of glittering jazz-handed frogs, and ultimately, the ghosts of George Bernard Shaw and William Shakespeare, who must battle it out in a literary showdown.
What really shines in this production is the tone of the first half- it’s fast, funny, and refreshingly self-aware. Packed with clever gags, well-placed improvisation, and tongue-in-cheek musical theatre references (including a few knowing nods to Sondheim himself), the show frequently feels like it’s teetering on the edge of chaos, but in the best way. That sense of spontaneity works in its favour, helped along by a cast that clearly knows how to land a joke.
Dan Buckley is a charming Dionysos, blending comic cluelessness with likable energy. Kevin McHale is wonderful as Xanthias, with razor-sharp timing and a strong sense of physical comedy. Joaquin Pedro Valdes makes a memorable entrance as Herakles, playing up the bravado with just the right amount of exaggeration and all three have outstanding vocals to accompany their portrayals. The ensemble bring great versatility and enthusiasm to the staging, keeping the energy high even when the material veers into the absurd.
The design choices support the humour well. The spangly frog costumes are ridiculous in the best possible way, think glitter, jazz hands, and pure musical theatre camp; and moments like Ariadne’s “thread” being reimagined as a literal train trailing behind her costume add a cheeky visual wit to the direction. There’s an inventiveness to the staging that feels right at home in Southwark Playhouse’s flexible space, and the live band, under the direction of Yshani Perpinpanayagam, gives Sondheim’s challenging score the bounce and clarity it needs.
The second act, however, loses some of that initial spark. Once the plot shifts toward a philosophical debate between Shaw and Shakespeare, the momentum slows and the tone becomes more earnest. The satire is still there, but it feels a little more laboured and doesn’t quite recapture the breezy chaos of the first half. It’s a tricky balance, intellectually interesting, yes, but a shift that might leave some audience members wishing for more frogs and fewer speeches.
That said, this is a lively, cleverly staged production that knows exactly what it is. It leans into its own weirdness and largely pulls it off, thanks in no small part to a cast that’s clearly having fun. If you're in the mood for something quirky, referential, and genuinely funny (especially in its early scenes) The Frogs is worth a look. It may not be Sondheim’s most polished show, but in the right hands, like those at Southwark Playhouse, it makes for a surprisingly joyful evening.
★★★
Reviewed on Tuesday 27th May by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: The Frogs Southwark Playhouse review, Kevin McHale The Frogs, Sondheim The Frogs London, Dan Buckley theatre, Joaquin Pedro Valdes Southwark, Off-West End musicals 2025, Southwark Playhouse Sondheim, musical theatre reviews London, quirky musicals 2025, Greek mythology musical.
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