Posts with the label theatre
Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts

Tuesday, 28 April 2026

Mean Girls The Musical Tour Review: A Fetch, Funny and Fierce Touring Triumph



A Fantastically Fetch Touring Production
Mean Girls (Tour) | Woking Theatre | ★★★★


Ever since Mean Girls made the leap from screen to stage, it has felt like a musical destined to evolve. From its Broadway beginnings at the August Wilson Theatre to its glossy West End run at the Savoy Theatre, the show has constantly refined itself. Now out on tour, it proves that North Shore High travels extremely well.


Touring productions sometimes feel like scaled-down versions of the real thing, but Mean Girls makes the transition feel surprisingly natural. The changes introduced since the original Broadway production remain firmly in place and continue to work brilliantly. The storytelling feels tighter, the comedy sharper, and the pacing keeps everything moving at exactly the right speed. While this version is slightly less glitzy than the West End production, with fewer big dance breaks and a little less visual sparkle, it never feels lacking. Instead, it leans into character and ensemble storytelling, which turns out to be one of its greatest strengths.


It is often the smallest details that make this production shine. One of my favourite running touches is the way members of the ensemble slowly begin adopting Karen’s signature style throughout the show. It is subtle, silly, and completely in keeping with the world of the musical. There are also constant interactions happening across the stage, little reactions, shared looks, and background moments that make the school feel alive rather than staged. You get the sense that every performer has built a fully realised student at North Shore.


The ensemble deserves huge praise. They bring relentless energy from start to finish and commit fully to every number. Even transitional scenes feel vibrant because the company never lets the momentum drop. Their enthusiasm is infectious and gives the show a joyful heartbeat.



Not every joke lands perfectly. There are still a handful of lines that make you cringe slightly, but honestly, that awkwardness feels very Mean Girls. The humour has always lived somewhere between clever satire and teenage chaos, and those occasional groan-worthy jokes somehow add to the charm rather than detract from it. The show knows exactly what it is, and it embraces that with confidence.


At the heart of this story is Emily Lane as Cady Heron, guiding the show fantastically with a performance full of warmth and sincerity. She brings a wonderfully bubbly infectiousness to Cady, making her journey feel genuinely heartfelt rather than naive. Her vocals are beautifully clear and assured, anchoring the production emotionally while matching the show’s high-energy comedy beat for beat. Across the entire company, the vocal standard is astonishing. This really is a 10/10 cast who serve some of the most outstandingly effortless, consistent and healthy belting you could hope to hear, creating a sound that feels powerful yet completely sustainable night after night.


Leading The Plastics is Vivian Panka as Regina George, and she is phenomenal. Her effortless belt is astonishing to witness live, soaring through the theatre with ease. What really impresses, though, is her control. She glides around the stage with quiet authority, conveying Regina’s icy judgment through the smallest facial expressions. A glance or slight curl of the lip says more than any line ever could.


Fresh from playing Andie Sacks in The Devil Wears Prada, Georgie Buckland steps into Janis like it was written especially for her. Her vocals are faultless, but it is her character work that really stands out. She balances humour with vulnerability beautifully, giving us a Janis who is funny, bitter, insecure, fiercely loyal and completely human. It is a layered and deeply engaging performance.


As Damian, Max Gill radiates joy. They use every second of stage time to its fullest potential, adding warmth and playful energy that lifts every scene they're in. Their presence brings lightness to the show and creates some of its biggest laughs.



Rounding out The Plastics, Kiara Dario is utterly charming as Gretchen, capturing both her desperation to belong and her comic panic perfectly, and Sophie Pourret delivers a Karen who is as adorably clueless as you could possibly hope for. She is sweet, dozy, and completely lovable. Duh.


It is remarkable to think how the original Mean Girls has grown into a stage musical with its own identity and legacy. What began as a cult teen comedy has become a theatrical comfort show for many audiences, constantly adapting while keeping its sharp humour intact.


This touring version might not have quite the same level of sparkle as the West End production, but it captures the heart of Mean Girls beautifully. It is funny, energetic, occasionally chaotic, and full of personality.


It is definitely a marmite show. Some people will never quite click with its heightened style or unapologetic teen humour. Personally, I am firmly on the loving side. This production is fetch, funny, and packed with talent, and I would absolutely recommend grabbing a seat at North Shore High while you can!


Reviewed on Monday 27th April 2026 by Olivia
Photo Credit: Paul Coltas
{AD PR Invite- tickets gifted in exchange for honest review}
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Mean Girls The Musical Tour Review: A Fetch, Funny and Fierce Touring Triumph

Tuesday, 28 April 2026

Tuesday, 21 April 2026

A Slice of Comfort: Why Waitress on Tour Still Feels Like Coming Home


A Sweet, Emotional and Vocally Stunning Return
Waitress (Tour) | Woking Theatre | ★★★★


Ten years after first opening up, Waitress remains one of the most quietly revolutionary musicals of the modern era. Celebrating its 10th anniversary, the current UK tour (currently playing at Working Theatre before continuing across the country) proves that this show hasn’t simply endured; it has deepened, matured, and somehow become even more nourishing.


Seeing Waitress again feels less like revisiting a hit musical and more like returning to a favourite café where the staff remember your order and the pie is always warm.


Based on the film of the same name, Waitress tells the story of Jenna Hunterson, a gifted pie maker trapped in an unhappy marriage and an unexpected pregnancy. Dreaming of escape, she pours her emotions into baking, crafting pies that become emotional diary entries disguised as desserts.


The musical, featuring music and lyrics by Sara Bareilles, walks a delicate line between romantic comedy, small-town drama, and personal awakening. Yes, there are questionable ethical choices along the way- particularly Jenna’s complicated relationship with her doctor- but and the show never pretends that decisions are simple or entirely admirable. That moral messiness is part of what makes Waitress resonate. Life isn’t tidy. Healing rarely arrives wrapped in perfect decisions. Beneath the imperfect choices lies a deeply human story about reclaiming agency, rediscovering self-worth, and learning that kindness, especially toward yourself,  can be revolutionary. Ultimately, it’s a heartwarming tale. One that earns its emotional payoff honestly.


At the centre of the production is Carrie Hope Fletcher as Jenna, delivering a performance that beautifully balances personality, humour, and raw vulnerability. Jenna lives in contradiction, moving between warmth and emotional detachment and Fletcher leans fully into those complexities. One of the most exciting aspects of Waitress is seeing how different performers interpret Jenna, and Fletcher’s portrayal stands out for the way she approaches Jenna’s pregnancy. Rather than playing immediate maternal sentimentality, her Jenna begins from a place of emotional indifference, even quiet resentment. It’s a bold and refreshingly honest choice that makes the character’s journey feel incredibly impactful. As Jenna slowly reconnects with hope and agency, the emotional shift lands with genuine weight. Fletcher allows us to watch a woman rediscover herself in real time, and the result is deeply moving without ever becoming overly sentimental.



Returning to the role of Dawn, Evelyn Hoskins is sheer delight. Her performance is packed with charm, precision comedy, and heartfelt awkwardness. Dawn’s social anxieties and earnest optimism are played with affectionate detail, never reducing her to caricature. Opposite her, Mark Anderson as Ogie proves comedic gold. Together, the pair achieve impeccable timing; their scenes erupt with laughter while remaining irresistibly sincere. Their relationship becomes one of the musical’s purest sources of joy. Eccentric, wholesome, and utterly lovable.


As Becky, Sandra Marvin delivers powerhouse presence. She grounds the show with warmth, wit, and emotional honesty, bringing both humour and lived experience to the role. Becky’s resilience and no-nonsense compassion shine through every interaction, making her both hilarious and quietly profound.


Dan Partridge captures Dr Pomatter’s sincerity and endearing bumbliness perfectly. His portrayal avoids cliché, instead presenting a man who is awkward, emotionally open, and entirely believable. Crucially, Partridge shares an effortless, natural chemistry with Fletcher’s Jenna. Their scenes feel spontaneous and human, which helps the show navigate its ethically complicated romance with empathy rather than judgement.


On the darker end of Jenna’s world, Mark Willshire gives a chilling performance as Earl. Rather than leaning into overt villainy, Willshire builds the character through unsettling subtleties- small physical movements, twitchy gestures, and shifts in tone that reveal Earl’s manipulative nature. His portrayal captures the reality of emotional abuse with uncomfortable accuracy, making Jenna’s longing for escape all the more urgent.


Meanwhile, Dan O'Brien shines as Cal, bringing surprising depth to a role that could easily become one-note. His gruff exterior slowly gives way to warmth and humour, adding another layer of humanity to the diner’s ecosystem.


The diner trio -Jenna, Becky, and Dawn-  provide some of the evening’s most grounding emotional moments. Their camaraderie embodies the show’s wholesome core: women supporting one another not through grand speeches or theatrical declarations, but through everyday loyalty, teasing humour, and shared survival.


There is an ease between Fletcher, Marvin, and Hoskins that makes their friendship feel entirely authentic. You believe these women have worked side by side for years, carrying each other through heartbreaks, bad shifts, and small victories. Their scenes offer comfort as much as comedy, reminding us that sometimes community is the real love story.


Even beyond the central characters, the production excels in its attention to ensemble storytelling. Every secondary role feels thoughtfully realised, from fleeting diner customers to background interactions that quietly enrich the world of the show. No performer feels incidental; each contributes to a town that feels specific, affectionate, and recognisably human.


It’s this collective commitment that makes the touring production so effective. Rather than relying solely on star power, the company builds a living, breathing community; one that audiences are invited into from the moment the lights rise.



Every time I see Waitress, I’m struck anew by how Jenna’s emotional world is physically expressed onstage. Through clever stagecraft, her environment subtly grows larger or smaller depending on who she’s with. Moments of confinement tighten the space around her, while scenes of possibility quite literally open the world up. The attention to detail extends everywhere: the comforting glow of the diner, the tactile realism of the kitchen, and the seamless transitions that keep the story moving like a perfectly timed recipe. The staging never overwhelms the narrative; instead, it quietly mirrors Jenna’s inner life.


Bareilles’ score remains one of contemporary musical theatre’s finest achievements. Songs unfold like conversations rather than showstoppers, allowing audiences to slip into Jenna’s thoughts rather than watch them from afar. Numbers arrive exactly when emotions can no longer stay unspoken.


The 10th anniversary tour reminds us why Waitress became such a beloved phenomenon in the first place. It’s funny without cruelty, romantic without fantasy, hopeful without denying hardship and as sweet as pie in all the best ways.


Yes, the story contains morally complicated relationships. Yes, its characters make imperfect choices. But beneath everything lies a message that continues to resonate: people deserve second chances, especially the chance to choose themselves.


In an era of spectacle-driven musicals, Waitress remains disarmingly sincere. It doesn’t shout for attention; it invites you in, offers you something warm, and leaves you feeling just a little more hopeful than when you arrived.


Reviewed on Monday 20th April 2026 by Olivia
Photo Credit: Matt Crockett
{AD PR Invite- tickets gifted in exchange for honest review}
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A Slice of Comfort: Why Waitress on Tour Still Feels Like Coming Home

Tuesday, 21 April 2026

Thursday, 5 March 2026

Review: Single White Female on tour

"slightly melodramatic, and occasionally unintentionally comedic"


Single White Female (Tour)
New Victoria Theatre

Just back from seeing Single White Female at Woking — and I have to say, I have mixed feelings.

I was really looking forward to it. I remember the film from years ago and loved the psychological tension, so I was curious to see how it would translate to the stage. The atmosphere was definitely there — the lighting and sound design created some genuinely eerie moments, and you could feel the audience leaning in during the more intense scenes. There were points where the suspense simmered beautifully, and the claustrophobic feel of the set really helped build that sense of unease.

However… I didn’t quite connect with the acting. For me, some of the performances felt a little forced, and it made it harder to fully believe in the friendship-turned-obsession dynamic at the heart of the story. In a psychological drama you really need that chemistry and subtlety, and at times it just didn’t land. A few emotional beats felt rushed, which meant the shift from companionship to fixation didn’t feel as gradual or as unsettling as it could have been. There were moments that should have felt more chilling but came across slightly melodramatic, and occasionally unintentionally comedic, which took me out of the tension rather than drawing me deeper into it.

What did, however, connect with me personally as a mum was the daughter’s role and her reactions to her mother. At times it genuinely triggered me into thinking I was watching my own life and how I try to navigate the joys of social media and the daily drama that comes with teenagers! That thread of the story felt authentic and surprisingly relatable, adding a layer of modern relevance that grounded the more heightened psychological elements.

I do admire the ambition of adapting such a well-known film for the stage- it’s not an easy thing to do, especially when audiences inevitably bring strong memories and expectations with them. Translating that kind of cinematic tension into a live setting is a challenge, and there were clear moments where the production showed real creativity and boldness in trying to make it work.

It wasn’t terrible by any means- just not quite as gripping as I’d hoped. That said, there’s always something special about live theatre and the shared experience of sitting in a room full of people, collectively holding your breath. Even when it doesn’t completely hit the mark, that sense of immediacy and connection is something you simply can’t replicate anywhere else

★★★
Reviewed on Tuesday 3rd March 2026 by Melanie Myers
Photo Credit: Chris Bishop


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Review: Single White Female on tour

Thursday, 5 March 2026

Wednesday, 18 February 2026

Matthew Bourne’s The Red Shoes Review- A Dazzling, Cinematic Ballet Masterpiece

Matthew Bourne’s The Red Shoes Review

A Perfect Balance of Cinematic Spectacle and Theatrical Magic 


There are some productions that entertain, and then there are those that completely transport you. Matthew Bourne’s The Red Shoes is firmly the latter. This exquisite ballet is a breathtaking fusion of storytelling, design, and choreography that feels both gloriously cinematic and intimately theatrical. It is a production that understands the power of visual narrative and trusts its audience to meet it halfway.

Inspired by the Powell and Pressburger film and Hans Christian Andersen’s dark fairy tale, The Red Shoes tells the story of Victoria Page, a young dancer torn between love and ambition. Under the watchful eye of the obsessive impresario Boris Lermontov, Victoria rises to stardom, but her heart is divided between her devotion to dance and her love for composer Julian Craster. As ambition, jealousy, and desire collide, the red shoes become a symbol of artistic obsession and sacrifice.

Act one carefully lays the groundwork. Bourne allows the narrative space to breathe, establishing character dynamics and emotional stakes with precision. It feels almost filmic in structure, with seamless transitions and sharply drawn relationships. The storytelling is rich but never heavy handed. Through nuanced physicality and expression, the cast communicates layers of longing, rivalry, and ambition without uttering a single word.

The ensemble scenes are meticulously staged. Corps de ballet formations are clean and intentional, often reflecting hierarchical tensions within the company. There are soaring legato lines matched with sharp musicality that keep the momentum alive and make for a truly exciting piece of theatre. Even in quieter passages, the dancers maintain a strong dramatic focus.

Act two, at just 35 minutes, is where the choreography truly takes flight. The emotional intensity deepens and the movement vocabulary expands into soaring pas de deux and sweeping ensemble work. Bourne’s choreography blends classical ballet technique with contemporary theatricality. The lifts feel weightless yet charged with narrative tension. Extensions are held just long enough to heighten drama. Turns are not simply virtuosic but emotionally motivated.


The central ballet sequence within the story is mesmerising. Here, the red shoes themselves seem to drive the choreography forward. The dancers move with urgency and abandon, their lines elongated and expressive. It is thrilling to watch technique used in service of storytelling rather than display alone.

The cast delivers extraordinary performances. The portrayal of Victoria Page is filled with vulnerability and steel in equal measure by Cordelia Braithwaite, who carries emotional weight in every moment. Andy Monaghan as Boris Lermontov commands the stage with icy restraint, conveying obsession through subtle shifts in posture and gaze. Julian Craster is portrayed with romantic sincerity by Dominic North, his partnering gentle yet assured.

What makes this production particularly remarkable is how strongly the performers act as well as dance. Ballet can sometimes feel emotionally distant to newcomers, yet here every performer inhabits their role fully, with facial expressions, breath, and timing become as vital as footwork. This strong acting and characterisation really helps the audience follow the story and get swept up in the drama of it. The humour woven throughout the production is a welcome surprise; with moments of wit and theatrical flair that lighten the tone without undermining the drama.

The soaring score, orchestrated by Terry Davies, elevates the production to another level. It swells and recedes in perfect harmony with the choreography, amplifying emotional crescendos and intimate exchanges. The music feels expansive and cinematic, yet perfectly suited to the stage.

The set and costume design are nothing short of brilliant. Thanks to Lez Brotherston's design, the stage transforms completely between scenes, shifting from rehearsal rooms to lavish theatre interiors with fluid precision. Partnered with Paule Constable's brilliant lighting design, the production is a multi-layered feast.


Costumes subtly chart character evolution. Small changes in silhouette, colour, and texture communicate shifts in status and emotional state. Victoria’s costumes in particular reflect her journey from hopeful ingénue to tormented star; and of course, the iconic red shoes themselves glow with symbolic power.

One of the greatest strengths of ballet is its refusal to spoon feed the audience, and this production embraces that fully. The story is clear yet layered. Viewers are invited to interpret glances, gestures, and motifs. It asks you to engage actively rather than passively consume. That sense of intellectual and emotional participation makes the experience deeply rewarding and I'd encourage people to take the step into the ballet world if they haven't previously.

Matthew Bourne’s The Red Shoes is theatrical magic at its finest. It balances cinematic grandeur with the immediacy of live performance. It delivers technical excellence, emotional depth, humour, and visual spectacle in equal measure.

This is ballet that feels alive, urgent, and utterly spellbinding- a triumph which reminds us why dance remains one of the most powerful storytelling forms on stage.

★★★★
Reviewed on Tuesday 17th February 2026 by Olivia
Photo Credit: Johan Persson

{AD PR Invite- tickets gifted in exchange for honest review}
Matthew Bourne’s The Red Shoes Review | Five Star Ballet
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Matthew Bourne’s The Red Shoes Review- A Dazzling, Cinematic Ballet Masterpiece

Wednesday, 18 February 2026

Wednesday, 11 February 2026

Dear England UK Tour Review: A Powerful, Timely Portrait of Modern Britain


Dear England (UK Tour)
New Victoria Theatre

When I saw Dear England in 2023, I was struck by just how urgently relevant it felt and seeing it again in 2026 inspired that same emotion. Written by James Graham and originally staged at the National Theatre, this sweeping, emotionally intelligent production captures the intricate fabric of contemporary Britain through the lens of football, and somehow makes it feel deeply personal.

At its heart, Dear England charts the journey of Gareth Southgate as manager of the England men’s national team, but this is far more than a sports story. Instead, it’s a thoughtful, layered exploration of British identity, national trauma, history, hope, and the complicated relationship between patriotism and progress.

"A Story That Seamlessly Blends Football and British Identity"

One of the production’s greatest strengths is its ability to move fluidly between past and present. Graham’s storytelling transports audiences across decades, linking Southgate’s own history- including that infamous missed penalty- with England’s broader national narrative. The result is a theatrical experience that feels modern, necessary, and culturally significant.

This isn’t just a play about football; it’s about immigration, activism, history, politics, and generational change. The ensemble cast bring these threads together beautifully, creating a vibrant tapestry of contemporary Britain. Each character feels authentic and grounded, representing different corners of the nation with nuance and care.

Leading the charge is David Sturzaker, whose portrayal of Southgate is both commanding and vulnerable. He anchors the production with emotional depth, drawing the audience into the psyche of a man carrying the expectations of an entire country. His performance elevates the ensemble, forging a genuine and often moving connection between stage and audience.

The production’s visual storytelling is equally compelling. Designed by Es Devlin, the set is unmistakably National Theatre in scale and ambition. Seamless transitions shift us across time and space with cinematic fluidity, while multimedia elements add interest and emotional weight.

Each transformation of the stage subtly alters the mood, reinforcing the play’s themes of change, reflection, and national reinvention. The design never overwhelms the story; instead, it enhances it, grounding big ideas in human experience.

James Graham’s writing is as sharp and insightful as ever. There’s a poetic quality to the dialogue, but it remains accessible and emotionally honest. Clever flashes of humour punctuate the heavier themes, preventing the production from becoming overly solemn.

That said, there are moments where the play feels a little bit on the cringe side. A handful of scenes don’t land with quite the impact they’re aiming for. But this is a minor quibble in a production that ambitiously attempts to encapsulate the essence of a nation.

Ultimately, Dear England succeeds because it dares to ask: what does it truly mean to be British today? And it does so in a way that feels inclusive, thoughtful, and surprisingly hopeful.

Dear England on its UK tour proves itself to be more than a hit play about football, it’s a cultural moment. With compelling storytelling, exceptional performances, and innovative staging, it stands as a testament to the power of theatre to mirror, challenge, and celebrate our shared story.

Whether you’re a football fan or not, this production resonates on a human level. It’s a touching, timely exploration of national identity that leaves you reflecting long after the final whistle.

★★★★
Reviewed on Tuesday 10th February 2026 by Olivia

Photo Credit: Marc Brenner
{AD PR Invite – tickets gifted in exchange for honest review}
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Dear England UK Tour Review: A Powerful, Timely Portrait of Modern Britain

Wednesday, 11 February 2026

Wednesday, 10 December 2025

Snow White and the Seven Dwarfs Pantomime at New Victoria Theatre | 5-Star Review

Snow White Pantomime Review | New Victoria Theatre
The Cast of Snow White and the Seven Dwarfs on stage at the New Victoria Theatre Woking

Snow White and the Seven Dwarfs (Pantomime)
New Victoria Theatre

We recently attended Snow White and the Seven Dwarfs at the New Victoria Theatre, and it was an absolutely fantastic pantomime experience from start to finish. Full of laughter, colour, energy and classic panto magic, this production delivered everything you could hope for from a festive family show and more.

This was clearly a modern take on Snow White, which may explain why there wasn’t as much focus on Snow White herself or the Dwarfs as in more traditional versions. However, this certainly didn’t detract from the enjoyment. Instead, the spotlight was firmly on the main characters, who carried the show brilliantly and kept the audience thoroughly entertained throughout.

Lesley Joseph was, as expected, a true professional and a joy to watch. She brought warmth, comedy and impeccable timing to her role, engaging effortlessly with the audience and delivering her lines with confidence and flair. Her experience in pantomime really shone through, and she was a constant source of laughter.

However, the real standout of the show for us was Rob Rinder. He showed a completely different side to himself that many of us hadn’t seen before, proving just how versatile and talented he is. His performance was confident, funny and surprisingly charismatic, and he absolutely stole the show. From his comic delivery to his interaction with the audience, Rob Rinder was a delight and, in our opinion, the true star of the production.

Aaron James also deserves huge praise for keeping the energy levels high from beginning to end. He had a fantastic rapport with the audience and played his role perfectly, especially during the sections involving audience participation. One of the highlights was when he brought the children up on stage near the end of the show, a moment that perfectly captured the heart of pantomime and brought smiles to everyone in the theatre.

The costumes were absolutely fantastic, colourful, creative and eye‑catching, adding to the magical atmosphere of the show. The group dance routines were slick, lively and very well performed, showing great teamwork from the cast and adding an extra layer of spectacle to the production.

Overall, this was a fun‑filled, joyful and highly entertaining pantomime that provided plenty of laughs and a wonderful sense of escapism. We thoroughly enjoyed every minute and would wholeheartedly recommend it to anyone looking for a great night out, whether as a family, a couple or with friends.

A truly enjoyable show and definitely worth going to.

★★★★★

Reviewed on Tuesday 9th December 2025 by Valerie Field
Photo Credit: 

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Snow White and the Seven Dwarfs Pantomime at New Victoria Theatre | 5-Star Review

Wednesday, 10 December 2025

Tuesday, 18 November 2025

Sadie Sink and Noah Jupe to Lead Romeo and Juliet in Major West End Production

Promotional artwork of Sadie Sink and Noah Jupe for Romeo and Juliet at the Harold Pinter Theatre

Sadie Sink and Noah Jupe Announced for Romeo and Juliet at the Harold Pinter Theatre

Empire Street Productions has announced an exciting new West End production of Romeo and Juliet, opening at the Harold Pinter Theatre in 2026. The production will star Sadie Sink and Noah Jupe, bringing together two of the most talked about young performers working today. Directed by the acclaimed Robert Icke, performances begin on Monday 16 March 2026 for a strictly limited 12 week season until Saturday 6 June 2026. A press night is scheduled for Tuesday 31 March 2026. Pre sale opens today, with general sale beginning tomorrow at 10am via romeojulietplay.com.

Sink, best known internationally as Max from Stranger Things, continues to build an impressive career across film, theatre and television. She began on Broadway and recently earned a Tony Award nomination for John Proctor Is The Villain. Speaking about her West End debut, Sink said:
“I was a Broadway kid, so I’ve always dreamed about doing a show in the West End. To get to do that in one of Shakespeare’s most famous plays under Rob's direction with Noah will be such an exciting challenge. London theatre has this incredible energy, and I can’t wait to be a part of it.”

 

A Major West End Debut for Two Rising Stars


Noah Jupe, known for A Quiet Place, Ford v Ferrari and the upcoming Hamnet, will make his stage debut in this production. Reflecting on his first experience with London theatre, Jupe said:
“Theatre is something I’ve always been intrigued by. It seems like such a challenging and rewarding experience for an actor. So I was very excited to hear about this project. The combination of Romeo, Rob and Sadie is an opportunity you simply cannot turn down.”

Director Robert Icke, known for his inventive approach to classic texts, also shared his enthusiasm for the project:
“This is one of the plays I’ve returned to again and again, and the opportunity to tackle it in London with two wonderful young actors is hugely exciting. It’s an explosive play, filled with heat and life, which confronts us with the fragility of our lives are and the momentousness of every last second. I can’t wait to get started.”

The creative team includes set and costume designer Hildegard Bechtler, lighting designer Jon Clark, sound designer Tom Gibbons and video designer Ash J. Woodward. Further casting will be revealed in the coming months.

Alongside the production, Empire Street Productions is launching a schools initiative titled Romeo and Juliet: The Star Crossed Projects, offering Key Stage 3 and 4 students access to workshops, performances and creative opportunities at the Harold Pinter Theatre. These programmes aim to make Shakespeare more accessible and will culminate in student sharings on 4 and 5 June 2026.

With a world class director, two acclaimed young actors and a creative team known across London theatre, this production of Romeo and Juliet is already shaping up to be one of the most anticipated shows of 2026.

Photo credit: Helen Murray
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Sadie Sink and Noah Jupe to Lead Romeo and Juliet in Major West End Production

Tuesday, 18 November 2025

Monday, 17 November 2025

1536 to Transfer to the West End After Acclaimed Sell Out Run at the Almeida

Production artwork for 1536 West End Transfer

1536 Transfers to the West End After Sell Out Almeida Run

Following a critically acclaimed and entirely sold out season at the Almeida Theatre, the gripping historical drama 1536 will officially transfer to the West End in 2026. The production, which explores the turbulent final months of Anne Boleyn’s life, has already developed a strong reputation for its commanding performances and rich, atmospheric staging. Its move to a larger London theatre marks a major milestone for a show that has quickly captured the attention of both audiences and critics.

Set during one of the most dramatic periods in Tudor history, 1536 focuses on the political tensions, personal betrayals and shifting alliances that define Anne Boleyn’s downfall. With a script praised for its emotional depth and sharp characterisation, the production offers a fresh take on a well known story, drawing out the humanity behind the historic events. Theatre fans have praised its combination of period detail and contemporary relevance, creating a piece that resonates strongly with modern audiences.

A West End Transfer Driven by Demand


Producers have noted that overwhelming audience demand played a significant role in the decision to move the production to the West End. The transfer will include members of the original Almeida cast, whose performances were widely celebrated, along with expanded design elements to suit the scale of a larger venue.

For fans of London theatre, the arrival of 1536 in the West End is an exciting opportunity to experience a bold and emotionally engaging interpretation of Tudor history. The show appeals to audiences who enjoy gripping drama grounded in real events, as well as those drawn to productions with strong visual and narrative impact.

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1536 to Transfer to the West End After Acclaimed Sell Out Run at the Almeida

Monday, 17 November 2025

Friday, 14 November 2025

Wicked Book Club 2025 Guide: Every New Wicked Book Release and Gift Idea for Oz Fans

A flat-lay of Wicked: For Good books including The Ultimate Pop-Up Book, Faces & Places of Oz, and Elphie surrounded by green and pink décor.

All the Book Releases to Dive into Alongside Wicked: For Good

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If you loved the world of Wicked on stage or screen, you need to explore the world of Wicked books which give us fans so many ways to stay in Oz. From collector editions and pop-ups to novel reissues and new prequels, here’s a full guide to what to look out for this season.


Wicked- Special 30th Anniversary Edition by Gregory Maguire

This gorgeous new hardback edition celebrates the original novel that inspired the show and films. Released 1 October 2025, it features a special ‘Glinda’ design with pink soft-touch casing, illustrated endpapers and ribbon marker.

Important note: This novel is aimed at adults, and the tone and content vary considerably from the musical version- so if you’re looking for something for younger readers, proceed with caution.


Elphie: A Wicked Childhood (2025)

This is the most recent release from Gregory Maguire, a prequel novel exploring the early years of Elphaba (before she becomes the famed witch).

If you’re doing Christmas shopping for a fan of the witches of Oz, this is a brilliant gift option, with fresh Ozian lore for 2025.


Wicked: The Ultimate Pop‑Up Book

For fans of visual spectacle, this upcoming December 2025 book by Matthew Reinhart folds out into a large map of Oz and brings to life key locations from the musical film with pop-ups on every page.  Ideal for gifting (especially around the holidays) and for fans of design and theatre alike.


Wicked: The Faces & Places of Oz

Arriving 18 November 2025, this book gives a photographic and visual tour of Oz- from Munchkinland’s cottages to the Emerald City’s fountains- and pairs characters and locations for fans who love immersive world-building.

Wicked the Musical Books 2025


Wicked: The Complete Screenplay

Released 21 October 2025, this hardcover offers the full script to Act I of the film adaptation, including song lyrics and behind-the-scenes notes. A great pick for theatre lovers and readers who want the “inside track” on the film. 


Paper Magic: Wicked – 160 Tear‑Off Pages for Writing, Crafting, and Sharing

This title adds a creative twist: a craft-and-writing pad inspired by the Wicked universe. It offers 160 tear-off pages themed around Oz for journaling, crafting and sharing.


Mary Man-Kong’s Wicked Children’s Books

Wicked: We Are Shiz- A picture book that explores the social life and early days at Shiz University. 
Wicked: I Am Fiyero- A children’s storybook celebrating Fiyero. Each of the main characters has a sweet book exploring their story alongside beautiful illustrations.

These editions are ideal for younger readers and fans looking for accessible, vibrant introductions to the Oz universe.


4 Books for Wicked Lovers


Quotes of Grandiosity

A playful gift book filled with iconic Wicked quotes paired with bold typography and vibrant art. This compact edition is perfect for fans who love theatre wisdom and good humour.


Wicked For Good: The Illustrated Lyrics

A stunning full colour book that brings the lyrics of the film to life through new illustrations inspired by Oz. This edition is ideal for musical lovers who want a beautiful keepsake for their shelves.



Wicked: The Illustrated Lyrics – Defying Gravity and For Good

A companion edition that focuses exclusively on two of the most beloved songs in musical theatre history. With lush artwork and annotated lyrics, this slim volume makes a perfect stocking filler or gift for fans who hold these songs close to their hearts.


Wicked Tarot Deck and Guidebook

A fully illustrated tarot deck inspired by characters, themes and symbolism from Wicked. Paired with a detailed guidebook, this set blends Oz storytelling with intuitive tarot practice. It is already becoming a favourite among collectors of themed tarot.


Wicked: For Good – Illustrated Lyrics Edition

A second illustrated lyric edition focused on the two title songs of the new film. With original artwork, handwritten style typography and elegant design, this version is ideal for collectors who enjoy the artistic side of musical theatre books.


Wicked: Deluxe Paper Dolls

A nostalgic yet modern collectible featuring detailed cut out figures of Glinda, Elphaba and other characters. Each doll comes with a wardrobe of costumes based on the upcoming film. A perfect pick for fans who love theatre memorabilia with a creative twist.


Wicked Illustrated Books



Also available are Replica pop-up editions such as Wicked: The Story of Oz & The Wonderful Wizard Replica Pop‑Up Book are also available. These extras make great add-ons or collector pickups alongside the main releases.

From dazzling pop-ups to script books and collector editions, the 2025 Wicked book releases span a wide variety of styles and reading experiences. Whether you’re shopping for yourself or someone else this Christmas, there’s something in Oz for every kind of fan.

If you're looking for other Wicked: For Good related items, either as gifts or for yourself, check out our list of the top Wicked: For Good Collaborations here.

Read post

Wicked Book Club 2025 Guide: Every New Wicked Book Release and Gift Idea for Oz Fans

Friday, 14 November 2025

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