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Wednesday, 15 October 2025

UK Premiere of Daniel’s Husband Brings Award-Winning Off-Broadway Play to London Theatre

Plastered Productions has announced the full cast for the highly anticipated UK premiere of Michael McKeever’s Daniel’s Husband. The hit Off-Broadway play arrives at London’s Marylebone Theatre, directed by Alan Souza, and promises a deeply emotional exploration of love, identity, and conviction.

The acclaimed cast includes three-time Olivier Award winner David Bedella (& Juliet), Luke Fetherston (Big Mood), Raiko Gohara (A Good Girl’s Guide to Murder), Joel Harper-Jackson (Cock), and Olivier winner Liza Sadovy (Cabaret). Together, they will bring to life McKeever’s powerful examination of relationships, choices, and the human heart.

At its core, Daniel’s Husband follows Daniel and Mitchell, a couple whose seemingly perfect life is shattered by an unexpected crisis. As their love is tested, the play delves into the meaning of commitment, the fragility of security, and what it truly means to be a family.

Originally debuting in the US to critical acclaim, Daniel’s Husband has won multiple awards and captivated audiences with its honesty and emotional impact.

Plastered Productions shared that they chose the play as their inaugural London production to “inspire reflection on love, morality, and connection.”

A moving addition to the London theatre landscape, Daniel’s Husband invites audiences to confront both the beauty and complexity of love.

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Tuesday, 28 February 2023

Oklahoma, Wyndham's Theatre | Review

Rodgers & Hammerstein's Oklahoma

Wyndham's Theatre

★★★★

One of the most exciting and invigorating productions of recent time, Oklahoma at the Wyndham's theatre is truly a spectacle of theatre which uses a number of engaging elements to transform this old school show, into something which feels fresh and bracing.

Directed by Daniel Fish, the reimagined musical has lot of interesting moments and is a deliberately unsettling and provocative piece of theatre. This is a show which delivers some interesting social commentaries and has been updated to be relevant for contemporary audiences. As a commentary on mob mentality and societal positions, it's very effective and well done; and the plot/character change to the end completely turns the show on its head and leaves the audience to draw its own conclusions on right and wrong- a very impressive ending.

Among the changes, are those to the score which is totally switched up from how it's classically been heard. Daniel Kluger's arrangements allow the music to soar in a completely different way and make it sound as though it was written today. Hearing it like this, it's quite unbelievable that this is one of the first ever book musicals and even more so that it feels so relatable. One of the biggest differences is the vocal style of leading lady Anoushka Lucas as Laurey who in contrast to the usual soprano performance, sings the songs like the singer/songwriter she is; and really grounds the music in reality. Alongside Arthur Darvill who also plays the guitar on stage, there is an incredible level of vulnerability and angst shown throughout.

The rest of the cast are astounding and do an excellent job of interpreting the musical in their own way. As Ado Annie Georgina Onuorah is incredibly witty as well as being a vocal powerhouse, her rendition of I Can’t Say No is an absolute stand out and highlight of the show. Liza Sadovy is a powerful presence on stage and gives Aunt Eller a lot more autonomy than usual, especially in her romantic endeavours. As Will Parker James Patrick Davis is gloriously clueless whilst Stavros Demetraki is his own worst enemy. There's also a moving section with the dream sequence dance which Marie-Astrid Mence performs excellently. You couldn't ask for a better gelled, and talented cast.

Whilst there are humourous moments, the show could lean into the comedy more and have some more ramped up moments. The subdued moments work very well and the tension is continually built up but there aren’t any hugely contrasting moments of joy. The cast are unanimously strong but due to the stylistic choices of the show, there’s rarely a truly positively moment and at times it feels like the cast are constrained by the intense nuance and darkness.

The use of lighting (Scott Zielinski) is one of the most effective and exciting parts of the show. Beginning with the house lights up and the whole audience in plain view, the sudden changes to an eerie green hue and later on full blackouts, have an amazing influence on the story and how the audience feel about the characters. It’s quite incredible how a small lighting change can completely subvert a song and show it, both literally and figuratively, in a new light. The initial blackout which features Curly (Arthur Darvill) and Jud (Patrick Vaill) creates a theatrical atmosphere like no other. In a sort of asmr style moment, the full darkness, with even the fire exit signs turned off, means you can’t help but focus completely on the actor’s voices as they boom out via handheld mics. The already tense scene becomes completely unnerving for the audience and is a theatrical moment that will stay with audiences for a long time.

This is a very different Oklahoma to the one your grandparents know so you may want to consider that before booking (especially if planning on taking children) but for the boldness and pure invigoration that this show brings, it’s definitely worth seeing. A non-traditional production which is jarringly dark, Oklahoma will give you a theatrical experience like no other and is a stunning addition to the West End.

Reviewed on Saturday 25th February

photo credit: Marc Brenner

{AD PR Invite- tickets gifted in exchange for honest review}

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