Showing posts sorted by date for query musical theatre. Sort by relevance Show all posts
Showing posts sorted by date for query musical theatre. Sort by relevance 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.
Thursday, 9 October 2025
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
Macbeth-Inspired Pop Musical Weird Unveils Creative Team Ahead of 2026 Premiere
A bold new British musical is on its way. Weird, a contemporary, pop-driven reimagining of Shakespeare’s Macbeth, will premiere at the Newcastle Theatre Royal from 28–31 January 2026.
Created by Nick Butcher, Kerri Watt, and Fraser Watt, Weird retells the classic tragedy through the eyes of the three witches, blending Shakespeare’s dark magic with a modern pop soundtrack.
Directed by Tim Jackson (Two Strangers Carry a Cake Across New York) and choreographed by Alexzandra Sarmiento (42 Balloons), the production boasts a powerhouse creative team including Andrew Exeter (set design), Gabriella Slade (Starlight Express, costume design), Howard Hudson (Great Comet of 1812, lighting), Paul Gatehouse (Mary Poppins, sound), and Joe Beighton (Six the Musical, orchestrations).
Tickets for Weird sold out months in advance, but due to overwhelming demand, a limited number of additional seats for the Friday 30 January matinee will be released today.
In an inspiring educational partnership, over 5,000 schoolchildren from across the North East will attend free weekday performances, thanks to producer Michael Harrison and Newcastle Theatre Royal.
Casting will be announced soon.
Wednesday, 8 October 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
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.
Friday, 29 August 2025
Chicago the Musical UK Tour Review- A Stylish Revival That Could Use a Refresh
Chicago (Tour)
New Victoria Theatre
Chicago the Musical has been dazzling audiences for decades, whether in the West End, on Broadway, or touring across the UK. With its sultry jazz score, iconic choreography by Bob Fosse, and razor-sharp satire on fame and corruption, it remains one of the most recognisable and beloved musicals in theatre history. But while the current UK tour delivers plenty of strong performances and polished staging, it also feels like a production in need of a little reinvention.
The cast is undoubtedly the show’s strongest asset. Janette Manrara, best known from Strictly Come Dancing, brings a sparkly energy to Roxie Hart. She dances with precision and charisma, and her playful stage presence makes Roxie’s rise to fame feel believable. Opposite her, Djalenga Scott gives a powerful, magnetic turn as Velma Kelly, oozing confidence in every number. Their chemistry makes “Nowadays” and “Hot Honey Rag” a real highlight of the evening.
Joshua Lloyd is excellent as Amos Hart, delivering a heartfelt “Mr. Cellophane” that drew genuine warmth and sympathy from the audience. Meanwhile, Jordan Lee Davies makes a memorable Mary Sunshine, balancing comedy with soaring vocals. Together, this principal cast keeps the familiar story moving with energy and style.
The ensemble deserves particular praise. Chicago is a show that lives or dies on its ensemble work, and here the dancers shine. The choreography, all sharp angles, slick jazz hands, and sultry lines, is executed with impressive precision. Numbers like “Cell Block Tango” and “All That Jazz” still have that punch-you-in-the-gut impact that makes Chicago what it is.
But here’s the sticking point: this is very much the same Chicago audiences have seen for years. The minimalist staging, the all-black costumes, the iconic chair choreography- it all works, of course, but it hasn’t really evolved. For longtime fans, it’s like slipping into a familiar pair of shoes. For newcomers, it’s stylish and sharp. But in 2025, with so much happening in the world of celebrity, media, and corruption, the show’s themes feel ripe for a fresh take. Imagine a Chicago updated with modern parallels to social media culture, influencer scandals, or the obsession with instant fame, it could bring a whole new edge to a story that’s already so relevant.
That said, there’s no denying the production still delivers the iconic moments we know and love. The band on stage is brilliant, giving that brassy, bold sound that drives the show. The stripped-back staging also keeps the focus firmly on the performers, which works well for a show that thrives on attitude and precision.
Overall, this UK tour of Chicago is enjoyable, polished, and packed with strong performances. It’s faithful to the original vision, which is both its greatest strength and its biggest weakness. Fans of the musical will leave satisfied, but for those who’ve seen it before, it might feel a little too familiar. Perhaps it’s time for Chicago to take a daring step into something fresher, while still honouring the timeless brilliance of Fosse’s original.
★★★
Reviewed on 28th July 2025 by Olivia
Photo Credit: Paul Coltas
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: Chicago the Musical UK Tour review, Janette Manrara Roxie Hart, Djalenga Scott Velma Kelly, Joshua Lloyd Amos Hart, Jordan Lee Davies Mary Sunshine, Chicago musical cast 2025, UK touring musicals review, Chicago the Musical choreography.
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.
Thursday, 22 May 2025
Review: Shucked at Regent’s Park Open Air Theatre: A Theatrical Kernel of Joy
Shucked
Regent's Park Open Air Theatre
There’s a whole lot to shuckin’ love about Shucked, now lighting up the stage at Regent’s Park Open Air Theatre. In a world that too often feels dark, this radiant, knee-slappin’, corn-fed musical comedy offers a buttery escape- warm, golden, and just the right amount of corny. Under the ever-imaginative direction of Jack O’Brien, this UK premiere pops with joy, brilliant choreography, and heartfelt hilarity that leaves you grinning from corn ear to corn ear.
Originally grown on Broadway, Shucked is a musical that never takes itself too seriously, and that’s its biggest strength. The show, with book by Tony winner Robert Horn and music and lyrics by the Grammy-winning country duo Brandy Clark and Shane McAnally, is a jubilant celebration of community, connection, and corn. Yes- corn. And trust us, you’ll never look at maize the same way again.
Choreograper Sarah O’Gleby, brings her trademark flair for physical comedy and visual storytelling. From toe-tapping hoedowns to sly little winks in the movement, his direction ensures the action never goes stale. Every beat feels fresh and full of flavour. The choreography is sharp and satirical, leaning into the show’s knowingly silly tone without letting it tip into parody. It’s a-maize-ing how balanced the humour is.
The open-air setting is the perfect patch for this rural romp. Regent’s Park Open Air Theatre has always been a magical venue, but here, with Japhy Weideman’s sunshine-drenched lighting design and Scott Pask’s witty, vibrant set, it becomes a heartland paradise. There’s real theatrical alchemy in watching a musical about growing things, bloom under actual summer skies.
The cast are ear-resistible. Sophie McShera leads with pluck and power as Maizy, delivering powerhouse vocals with a wink of mischief. Ben Joyce is gloriously goofy as Beau, while Monique Ashe-Palmer and Steven Webb- playing the narrators- steal scenes with quick-fire delivery and impeccable comic timing. Their banter snaps, crackles, and pops. Georgina Onuorah shines as Lulu, delivering a performance that’s as crisp and charismatic as fresh-popped corn- her powerhouse vocals and razor-sharp comic timing make her an undeniable stand-out amongst a stellar cast.
Musically, the score is an earworm-stuffed delight. The blend of bluegrass, country, and pop feels authentic and catchy, with standout numbers like 'Independently Owned' getting well-deserved rounds of applause. The band, brings an infectious energy to the whole affair.
What makes Shucked more than just a corny joke-fest is its kernel of sincerity. Amid the pun-filled gags and outrageous plot twists, there's a surprisingly poignant message about the power of community and listening- especially when the world feels like it’s cracking at the seams.
Yes, some of the jokes may make you groan before you giggle, and yes, the plot is bonkers. But that’s the whole point of it. This is a show that dares to be joyful- and in these sometimes difficult times, that’s something worth celebrating.
So grab your friends, head to Regent’s Park, and let Shucked butter you up. It might not change the world, but for a couple of hours, it sure makes it feel a whole lot brighter.
★★★★
Reviewed on 21st May 2025 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: Shucked review, Regent’s Park Open Air Theatre, Drew McOnie choreography, London theatre 2025, Georgina Onuorah Shucked, feel-good musicals London, summer theatre London, West End musicals, drew mconie musical, comedy musical review UK.
Wednesday, 7 May 2025
Bat Out Of Hell 2025 Review: Killer Score, But What Happened to the Set?
Bat Out of Hell (Tour)
New Victoria Theatre
Bat Out Of Hell has never pretended to be a subtle piece of theatre. It’s loud, it’s chaotic, it’s over-the-top, and when it leans into those extremes, it can be glorious. The 2025 tour keeps the heart-pounding spirit of Meat Loaf and Jim Steinman’s bombastic score alive and well. But while the music remains the show’s undisputed heart, this scaled-back tour suffers from a lack of cohesion in its storytelling and staging, and some puzzling creative decisions that dull the production’s edge rather than sharpen it.
Gone are many of the more lavish set pieces from earlier versions. Raven’s once-gothic bedroom is now reduced to a few scattered boxes, and in one unintentionally comic moment, poor Falco is left wheeling on a crate in place of a sofa. It’s a stripped-back aesthetic that might work in a musical with a stronger plot to fall back on, but Bat has never been about narrative clarity. With this reduction, the production’s structural weaknesses are exposed: transitions between scenes are clunky, and what little dialogue remains often feels amateurish and stilted. Without the visual grandeur of past runs to distract us, the cracks are harder to ignore.
Perhaps the most jarring change is the prominent use of handheld microphones. While they work in conjunction with in-ear monitors to create a stunningly well-mixed sound—easily one of the best elements of the show—they’re stylistically out of place. It's never made clear why they’re being used within the world of the show, and watching characters like Tink wave them around during emotional scenes only pulls the audience further out of the moment. They add a layer of disconnect, making it feel more like a concert with awkward scene breaks than a piece of music theatre. In combining the previous tour and the International arena tour, the show has become a weird mish-mash that doesn't quite work.
That said, the score remains killer. Steinman’s songs are packed with drama, emotion, and sheer rock-and-roll punch. Even though they rarely serve the plot in a traditional sense, each number stands on its own as a mini-epic. And the cast? They do not disappoint. Every vocal was delivered with power, control, and intent. The arrangements remain mostly true to form but benefit from the show’s stripped-back nature- revealing gorgeous musical moments that previously got buried in the chaos. A standout example is the delicate piano work in 'What Part of My Body Hurts the Most,' which offered a rare, emotionally resonant pause in an otherwise thunderous night.
Brilliant performances came from Katie Tonkinson as Raven, bringing vulnerability and defiance in equal measure; Harriet Richardson-Cockerline as Sloane, who balanced brittle humour with aching depth; Rob Fowler as Falco, whose vocals were consistently commanding; and Ryan Carter as Jagwire, whose tone and presence added welcome gravitas and provided many of the stand out moments. The undeniable star of this performance was Luke Street as Strat, who fully embodied the anarchic, eternal-teen spirit of the role. His vocals were ironclad, but even more impressively, every movement and line felt fully intentional. Street didn’t just sing the score- he lived it.
There’s still plenty of enjoyment to be found here, especially for fans of the music. If you're coming for the songs, and many are, you’ll probably leave satisfied. But this tour’s theatrical elements feel underdeveloped and inconsistent, giving off the sense of a rock opera that’s lost some of its bite. The bones of the show are still there, but without a coherent structure or compelling visuals to support them, Bat Out Of Hell in its current iteration feels more like a fever dream than a fiery fantasy.
★★★
Reviewed on Tuesday 6th May by Olivia
Photo Credit: Chris Davis Studio
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 15 April 2025
Ghost the Musical UK Tour: Great Cast, Ghostly Magic, But Time for a Refresh? | REVIEW
Ghost the Musical (Tour)
New Victoria Theatre
Based on the beloved 1990 film starring Patrick Swayze and Demi Moore, Ghost the Musical first premiered in Manchester in 2011 before transferring to the West End and Broadway. With a book by Bruce Joel Rubin (who also penned the original screenplay) and a pop-infused score by Dave Stewart and Glen Ballard, the musical brings romance, loss, and the supernatural to the stage. The current UK tour proves there's still plenty of love for this story and though a few creaky moments show its age, the emotional core and a jaw-dropping central performance keep it engaging and enjoyable.
This touring production is anchored by a genuinely great cast, with standout performances across the board. At the heart of it all is the phenomenal Rebekah Lowings, whose portrayal of Molly is nothing short of spellbinding. Her vocals are among the best I’ve ever heard. Rich, emotional and technically flawless, she brings such raw depth to the role that you can’t help but root for her from her very first note. Honestly, I want to see her in everything from now on.
Josh St. Clair also provides some great vocal moments and makes for a compelling Sam, navigating the tricky emotional beats of his spectral role with sensitivity. As Carl, James Mateo-Salt is a real standout, bringing a great intensity to the role and some top level vocals to match, while Jacqui Dubois as Oda Mae delivers excellent comic timing and vibrant charisma, perfectly lifting the mood just when it’s needed. The show benefits from this balance of emotional sadness and humour, which helps it maintain a fairly fast pace and keeps the audience emotionally invested throughout.
That said, Ghost the Musical does show its age in places. Some moments feel a little on the cringe-worthy side, especially in the dialogue and transitions, and it’s easy to imagine how a subtle modern refresh-whether through design or direction- could polish off the rougher edges. The choreography also feels a little mismatched with the tone of the piece; while the dance breaks are energetic, they often feel more suited to a pop concert than a supernatural love story.
Despite that, the show offers some strong technical elements. The special effects (particularly those ghostly illusions) are slick and satisfying, and the lighting does a lot to establish mood and movement. While the sound mix could use some fine-tuning (a few ensemble lyrics got lost in the score), the overall production values are solid for a touring show.
Ultimately, this Ghost might not be reinventing the wheel, but it’s still an entertaining and emotionally satisfying night at the theatre. With a cast this talented, and a leading lady who deserves every starring role coming her way, it’s easy to overlook some of the creakier bits. Whether you’re a die-hard fan of the film or simply in the mood for a musical that blends romance, comedy, and a touch of the otherworldly, this tour is worth catching.
★★★
Reviewed on Tuesday 15th April by Olivia
Photo Credit: Alastair Muir
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 25 March 2025
Five Reasons Why Austenland is Going to Be Your New Favourite Musical
Austenland
Savoy Theatre
Last night, I had the absolute pleasure of attending the world premiere concert version of Austenland: The Musical- though calling it a 'concert' feels like a stretch. Directed fantastically by Jonathan O'Boyle this was an almost full-fledged, gloriously staged spectacle, complete with choreography, costumes, and a cast who threw themselves into the period-drama-meets-modern-romcom chaos with raucous enthusiasm. The result? An evening of sheer delight that left me grinning ear to ear.
So with that being said, here’s why Austenland is about to be your next musical obsession:
1. The Songs Are Instantly Addictive
From swooning ballads to toe-tapping ensemble numbers, Austenland delivers a diverse soundtrack that sticks with you long after the final bow. Thanks to the creative team- Jodi Picoult (co-librettist), Timothy Allen McDonald (co-librettist), Elyssa Samsel & Kate Anderson (song writers)- the score feels fresh, interesting and exciting. At times it's a little bit too try hard for me but whether it’s the Regency-style waltz that morphs into a pop anthem or Manly's hilariously over-the-top song dripping with melodrama, every number feels like a hit waiting to happen.
2. It’s Jane Austen… But Make It Hilarious
Austen adaptations often lean into the drama, but this musical leans hard into the comedy- and it absolutely works. The show revels in the absurdity of Austen-obsessed tourists attempting to live out their fantasy in a Regency holiday retreat, complete with exaggerated social etiquette, scandalous misunderstandings, and a delightful send-up of brooding leading men.
3. The Cast Brings the House Down
The performances were electric, blending impeccable comedic timing with genuine heart. Lucie Jones (who I would quite literally listen to if she sung the phonebook) as leading lady Jane delivered a pitch-perfect mix of modern cynicism and romantic longing, while the ‘perfect’ Mr. Darcy-esque love interest (Oli Higginson) was both swoon-worthy and delightfully self-aware. Laura Baldwin and Cassidy Janson were gloriously funny as Miss Heartwright and Aunt Carolyn/Wattlesbrook. As Elizabeth Charming Alex Young was an absolute scene-stealer, milking every single moment for maximum comedic effect. Not a second of stage time was wasted- she wrung every syllable of the script dry, crafting a performance that was equal parts razor-sharp and utterly ridiculous in the best way. As Manly, Idriss Kargbo also took every moment and ran with it in the best way, infusing every moment with energy and draaaaaama. The entire ensemble did a wonderful job, especially given the short rehearsal time and were truly impressive.
Of course, we don’t yet know who will be starring in future productions, but with this incredible cast laying the groundwork, Austenland is already shaping up to be a must-see hit.
4. A Feast for the Eyes
Even in this so-called ‘concert’ setting, the production values were on point. The period-inspired costumes added flair, while clever staging and super fun choreography (Joanna Godwin) gave the show a dynamic, refreshing feel. Mention must also go to the sound (Sound Quiet Time), which was the best I've heard in a concert version in a long time! If this was just a taster, I can’t wait to see what a full-scale production will look like.
5. It Balances Romance and Satire Perfectly
Austenland manages to poke fun at the tropes of romance novels while also delivering a genuinely satisfying love story. Just when you think it’s all ridiculous escapism, the show hits you with a moment of sincerity that reminds you why we all love a good Austen-inspired romance in the first place. Plus of course, all of us romance girlies get what we crave, a swoony story with a Hand Flex included.
Now, I won’t say Austenland is a flawless masterpiece just yet. The pacing needs a little fine-tuning, some songs need altering and a few jokes could land better with some tweaking. But with a few adjustments, this could very well be a 10/10 musical the next time we see it. And honestly? I can’t wait for that moment.
Article written by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 25 February 2025
Calamity Jane 2025 Tour Review: A Rootin’-Tootin’ Revival Where Carrie Hope Fletcher Shines
Calamity Jane (Tour)
New Victoria Theatre
The 2025 UK tour of Calamity Jane bursts onto the stage with energy, charm, and a dose of old-fashioned Wild West fun. Led by the ever-brilliant Carrie Hope Fletcher in the title role, this revival brings a fresh spark to the beloved musical while staying true to its classic appeal. With impressive orchestrations, great lighting design, and dynamic staging, the production proves that Calamity Jane is as entertaining as ever.
If there was ever a performer perfectly suited to bring Calamity Jane to life, it’s Carrie Hope Fletcher. Best known for her powerhouse performances in Les Misérables, Heathers, and The Addams Family, Fletcher steps into the buckskins of the iconic frontierswoman with charisma and confidence. Her portrayal balances tomboyish bravado with heartfelt vulnerability, making her Calamity both lovable and layered.
Vocally, Fletcher is sensational. She delivers showstoppers like 'The Deadwood Stage' and 'Secret Love' with clarity, warmth, and emotional depth. Her rendition of 'My Love Is Higher Than a Hawk' is a standout moment, showcasing her ability to blend rich storytelling with soaring vocals. She brings a modern sensibility to the role without losing the charm and humour that make Calamity such an endearing character.
The production’s lighting design is a major highlight, transporting the audience from the dusty streets of Deadwood to the glittering backstage in Chicago. Soft amber tones create a rustic, sun-drenched frontier feel, while dramatic spotlighting enhances the emotional weight of key scenes. During the climatic 'Secret Love', the transition from warm candlelight to a radiant glow beautifully mirrors Calamity’s personal transformation.
The staging is dynamic and well-paced, with director Nikolai Foster and Co-Director Nick Winston ensuring seamless transitions between the saloon, the theatre, and the open plains. The use of multi-level sets adds depth to the storytelling, and the clever choreography breathes life into the ensemble numbers. The bar fights and comedic misunderstandings play out with precision, bringing a sense of playfulness to the production without feeling over-the-top.
Under the musical direction of Catherine Jayes, the orchestrations remain faithful to the show’s roots while injecting a fresh vibrancy. The lush string and brass arrangements add richness to the score, making classics like 'Windy City' feel both nostalgic and exhilarating. The live band, positioned on stage at times, adds an immersive element, reinforcing the raw, unpolished energy of the Wild West setting.
The 2025 tour of Calamity Jane delivers a highly entertaining, well-executed revival of this beloved musical. Carrie Hope Fletcher leads the charge with a captivating performance, supported by stunning visuals, lively orchestrations, and seamless staging. Modern touches and attitudes mix perfectly with the classic story and show, ensuring a night of laughter, romance, and unforgettable music.
Whether you're a longtime fan of Calamity Jane or discovering it for the first time, this tour is well worth saddling up for. Get ready for a rootin’-tootin’ adventure full of heart, humour, and standout performances.
Reviewed on Tuesday 25th February 2025 by Olivia
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 24 January 2025
2025 Theatre: West End and Broadway Shows Opening This Year
2025 is set to be another brilliant one for theatre fans, with both Broadway and the West End set to welcome a host of exciting new productions. From fresh adaptations of beloved classics to innovative original works, the stages are primed to dazzle audiences worldwide.
Here's a list of seven shows we're excited to see open in 2025:
1. The Great Gatsby- West End Premiere
F. Scott Fitzgerald's timeless novel, The Great Gatsby, is set to dazzle the West End in a new musical adaptation. Following a successful Broadway run, this production will grace London's London Coliseum from 11th April. Audiences can expect a lavish portrayal of the Roaring Twenties, complete with opulent sets, period costumes, and a jazz-infused score that brings the enigmatic Jay Gatsby and his world to life. This adaptation promises to capture the essence of the classic tale, exploring themes of love, ambition, and the American Dream.
2. Hercules- Disney's Mythical Musical
After a long wait, Disney's animated favorite, Hercules, is making its way to the West End stage in a grand musical way. Set to open at the Theatre Royal Drury Lane on 6th June, this production reimagines the legendary tale of the demigod Hercules on his quest for heroism. Directed and choreographed by Casey Nicholaw, with music by Alan Menken and lyrics by David Zippel, the show promises a blend of humour, heart, and high-energy numbers. Audiences can look forward to beloved songs from the original film, such as Go the Distance, alongside new compositions crafted for the stage.
3. Dirty Dancing- A Classic Reimagined
For film fans, the iconic love story of Dirty Dancing returns to the stage, offering fans a fresh take on the beloved 1987 film. Opening on 23rd October, 2025, at the newly established Capital Theatre in Westfield London, this production invites audiences to relive the romance of Baby and Johnny, whilst experiencing a new theatre too. With its memorable dance sequences and a soundtrack featuring hits like (I've Had) The Time of My Life, the show captures the essence of the original while introducing innovative choreography and staging. The Capital Theatre, a state-of-the-art venue, promises an intimate experience, ensuring every seat offers a prime view of the performance.
4. The Picture of Dorian Gray- Broadway's Bold Adaptation
After a hugely successful West End run, Oscar Wilde's classic novel, The Picture of Dorian Gray, receives a contemporary twist in this bold Broadway adaptation. Previews begin on March 10th, 2025, at the Music Box Theatre, with an official opening on 27th March. Starring Sarah Snook, renowned for her role in Succession, the production features her in an impressive 26 roles, showcasing her versatility and depth as a performer. Directed by Kip Williams, the play delves into themes of vanity, morality, and the consequences of eternal youth, offering a poignant reflection on society's obsession with appearance.
5. Buena Vista Social Club- A Musical Journey to Cuba
Transporting audiences to the vibrant streets of Havana, Buena Vista Social Club is a new musical inspired by the Grammy Award-winning album of the same name. Set to begin previews on 21st February, 2025, at the Gerald Schoenfeld Theatre, with an official opening on March 19th, the production celebrates the rich musical heritage of Cuba. Produced by John Leguizamo, the show features a live Afro-Cuban band and a cast that brings to life the stories of the legendary musicians who made the album a global sensation. Audiences can expect a rhythmic journey filled with soulful melodies, vibrant dance, and a narrative that honours the resilience and passion of Cuban artists.
6. Operation Mincemeat- The Little Show That Could
Making its Broadway debut after a successful run in London's West End, Operation Mincemeat is a musical comedy that brings to light one of World War II's most audacious deceptions. Previews commence on 15th February, 2025, at the Golden Theatre, with an opening night on 20th March. The story follows a daring British intelligence operation that aimed to deceive the opposition, turning the tide of the war. With a blend of sharp wit, engaging music, and historical intrigue, the production offers a fresh perspective on a remarkable true story, making it a must-see for history buffs and theatre lovers alike.
7. Stereophonic- A Rock 'n' Roll Stage Experience
After garnering critical acclaim and multiple Tony Awards on Broadway, Stereophonic is set to electrify London's West End in May 2025 at the Duke of York’s Theatre. Written by David Adjmi, the play immerses audiences in the dynamic world of a 1970s rock band as they navigate the tumultuous process of recording their second album. Featuring original music by Will Butler of Arcade Fire, the production delves into themes of ambition, creativity, and the personal struggles that come with fame. The show's innovative staging and compelling narrative promise an unforgettable theatrical experience that resonates with music enthusiasts and theatre-goers alike.
This is just a small taste of what's on offer this year, and there's so much more across the UK and USA. Whether you're a fan of dramatic storytelling, musical extravaganzas, or historical tales brought to life, the stages of Broadway, the West End and beyond are set to offer something truly special this year. And of course, we'll be covering as much as we can on Rewrite This Story.
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