With music and lyrics by Sara Bareilles and a book by Jessie Nelson, the show is based on the 2007 film of the same name, written by Adrienne Shelly. It tells the story of Jenna Hunterson, a baker and waitress in an abusive relationship with her husband, Earl. After Jenna unexpectedly becomes pregnant, she begins an affair with her doctor. Looking for ways out of her troubles, she sees a pie baking contest as her chance.

Waitress premiered at the Brooks Atkinson Theatre on Broadway in April 2016 and opened its West End run at the Adelphi Theatre in 2019. Nominated for four Tony's and a Grammy, it's won the hearts and minds of a generation - a feat exemplified by the current UK tour which put the biggest, cheesiest grin on the face of everyone in the theatre this evening.

First thing's first - this piece of theatre is special.

Bareilles has constructed something that is the perfect mix of laugh-out-loud funny and heart wrenchingly sad and it's a sight to behold. This is a show that's devoid of an overbearing light show and reams of glitz and glam. It's perfect in its simplicity and it's a real story about people you can relate to. Everyone has a Jenna, Dawn and Becky in their lives.

The choreography of the action on stage is worth a mention on its own. If you rate the chair dance in Come From Away, the sugar-sifter equivalent is a sight to behold. Put simply, it elevates the piece and gives it a dream-like quality which resonates with the themes of the show perfectly.

Plus it's the cast who are an integral part of that choreography - and what a cast it is.

Sandra Marvin and Evelyn Hoskins are back in the roles they belong in. Having portrayed Becky and Dawn in the West End production of the show and the last UK tour, their performances this evening further emphasise why they are the perfect fit. Their comic timing is exquisite and, whilst they're working with a phenomenal script and outstanding score, they own the stage from the first bar.

Dan Partridge shines as Dr Pomatter, bringing incredible comic timing and a loveable quality to a role which could almost have been written for him. Team that with a strong vocal and a phenomenal chemistry with Jenna and you know you're on to a good thing.

However, for me, Carrie Hope Fletcher steals this show from the start and is, quite simply, outstanding.

So many people have their Jenna; a group of phenomenal women who have taken on a physically and vocally challenging role over the years. An elite club which Fletcher has won a lifetime membership to.

There are few equivalent parts which take both the audience and the performer on such an emotional journey and it's one that Carrie handles with an apparent ease. We laughed until we cried and then cried until we cried some more.

The stand out moment of the evening was her performance of 'She Used To Be Mine'. It was the prat of the show that the audience was waiting for and you could hear a pin drop through an emotionally charged vocal that set the standard for others to follow. The ovation that followed was thoroughly deserved.

Fletcher is clearly loving her time on stage and is leading a company in the role she was born to play.

However what needs to be credited here is the amazing work of the entire cast as a wider ensemble. Carrie's performance is only what it is because of the support, and connection with Marvin and Hoskins as well as the wider ensemble. This is honestly the tightest, best cast company I've seen in a LONG time and I could watch this production over and over without getting bored.

Waitress is a show that relies on trust and understanding and each person on stage requires so many others to be able to perform their role - and the entire cast performed their hearts out this evening.

It's rare to find a show which deserves its standing ovation as much as this one - and long may they continue.

If a six-star review was a thing, this is where it should be applied.

Waitress plays at Birmingham Hippodrome until Saturday 2nd May. For more information, or to get tickets, head online to birminghamhippodrome.com.

For a generation, this show has been synonymous with showmen. Whether you saw Michael Crawford in the 80s, Paul Nicholas in the 90s or Brian Conley in 2014, Barnum's raison d'être is to bring the circus to town...and it did that tonight, and then some!

Barnum is based on the life of showman P. T. Barnum, covering the period from 1835 through 1880 in America and major cities of the world where Barnum took his performing companies. The production combines elements of traditional musical theatre with the spectacle of the circus, including jugglers, trapeze artists and clowns.

Alongside the glitz and glam, the emotional core of the story lies in Barnum's relationship with his wife, Charity, whose grounded morality balances his relentless ambition.

This production fully embraces the circus roots of the material. The set design is vibrant and the lighting adds a rich, almost magical glow to proceedings. Capturing the traditional signage and carnival atmosphere of a circus on a theatre stage is no mean feat - but one this production nails. It's an immersive world that feels part theatre, part big top and which draws the audience into Barnum’s imagination from the moment the curtain rises.

One of the standout elements is the sheer physicality of the show. The integration of acrobats and circus performers is seamless, bringing an energy and authenticity to the production. Complementing this is an extraordinary company of actor-musicians, who not only perform but play an astonishing array of instruments live, adding a real musicality to numbers like Come Follow the Band and Join the Circus.

Leading the show is Lee Mead as P.T. Barnum, delivering a charismatic and engaging performance. Mead captures Barnum’s charm and complexity - both dreamer and showman - with an effortless ease in a role that it feels like he was born to play.

Vocally strong and physically agile, Mead commands the stage and looks like he's having the best time from start to finish - he draws the audience into Barnum’s world with a magnetic presence that makes you root for him and want him to win.

Equally compelling is Monique Young as Charity. Her performance provides the emotional anchor of the show, bringing sincerity, strength, and warmth to the role. Young beautifully conveys Charity’s inner conflict - her love for Barnum alongside her discomfort with his methods - and her performance of The Colours of My Life alongside Mead was a standout moment in act 2.

That said, as with the circus itself this is truly an ensemble piece. Each person on stage is integral to the shows success and it's the melting pot of talent that makes Barnum what it is - a truly captivating, fun and, at times, emotional piece of theatre.

This production is full of heart. It balances showbiz flare with real emotion and storytelling, and delivers an evening that leaves you smiling long after the final curtain.

Barnum plays at Birmingham Hippodrome until Saturday 25th April 2026. For more information or to get your tickets, visit birminghamhippodrome.com.

It tells the story of Elle Woods, a sorority girl who enrols at Harvard Law School to win back her ex-boyfriend Warner. She discovers how her knowledge of the law can help others, and successfully defends exercise queen Brooke Wyndham in a murder trial.

The show premiered in San Francisco, before a move to Broadway in 2007, receiving seven Tony nominations. The West End production opened in 2010 and was nominated for five Olivier Awards, winning three including 'Best New Musical'.

And that's a point I think we need to stress that 'Legally Blonde' is so much more than a pink, fluffy love story. The show has sequins and sparkle, but its also a vocally demanding, high energy salute to equality and not judging a book by its cover. It deals with some important issues and is as relevant today as it was when it made its debut almost two decades ago.

In fact, I'd go so far as to say that this production fixes so many of the issues I've seen in previous shows, and adds an extra layer of sparkle on top.

The design for this show is the first thing that hits you. There are differences between this production and previous incarnations, some of which have drawn criticism for losing a 'period' feel. Whilst there's definitely a charm to the original 2000s vibe of previous staging choices, and a clear link back to the film, I'm not convinced that the 'new look' Legally needs to stick to that to be relevant and enjoyable.

Part of the principle of this show is that Elle could be anybody in any decade and the push back's she's subject to aren't exclusive to a specific generation. It's also important to note that this is a young cast - a number of whom have a presence online which is bringing younger audiences into theatres and that's never something to be scoffed at. If adding some neon lights and reimagining a few lines will do that, then count me in!

That said, what really makes a show like this is the cast and with some slick choreography and some incredibly energetic musical numbers, nobody has a place to hide. Without doubt, the company on stage at The Alex tonight definitely show why British theatre is right at the top of its game. They gave us a world class performance - if there was an award for casting, the Legally team should take it home!

Karen Mavundukure takes on the role of Paulette and grabs it with both hands. An immediate hit with the audience, Mavundukure has a strong, soulful singing voice and her presence on the stage is commanding. She moulds into every facet of Paulette's character and creates a believable and strong female rather than, what can sometimes be, an exaggerated character who is played just for laughs.

George Crawford is exemplary as Emmett, giving the character a 'misunderstood' edge. Having already performed with our leading lady in a previous show, their connection and chemistry is palpable meaning Crawford is more than a safe pair of hands for the role.

We also need to mention Annabelle Terry who absolutely knocks it out the park as Vivienne this evening - there's a couple of belting high notes that we're all waiting for, but also her style and sass in the role are superb.

Our three Delta Nu's are also exceptional. Again, a role that, in other productions can be glossed over, this interpretation really makes full use of them - something the show benefits massively from. Rosanna Harris, Remi Ferdinand and Hannah Lowther bring a new edge, incredible talent and a dynamic that hits differently.

Lowther in particular, who alternates the role of Elle with Amber Davies for one show a week, should be given special mention. Because of illness, she's probably played the lead as much as she's played Margot so to be on par with her contemporaries showcases her undeniable talent and stamina.

Be under no illusion. There is nothing ‘stunt’ about Hannah’s casting. The only justification for her being there is her infectious talent.

Talking of Davies, what an incredible talent. At 29-years-old she already has a CV that many performers would kill for, and from the moment she opened her mouth in 'Omigod You Guys' to the end of the final medley, she had the audience in the palm of her hand. Put the reality TV days to one side - Amber is one of the new generations of leading lady without a doubt and her version of Elle is quite easily the best I’ve seen.

As well as being a confident and endearing actress, Davies' vocals tonight were simply stunning. Her rendition of the shows title song was nothing short of breathtakingly poignant and she had the audience hanging on every word - and anyone who takes us by surprise with an incredible opt-up in the opening song is really setting her stall out for the next two hours.

I've never seen a performer evoke so much solidarity to a character as Davies does and, with so much of the show hanging on Elle, her performance was nothing short of a masterclass in musical theatre - a sentiment echoed across the entire cast.

One thing I think it's also worth mentioning is the amount of non-sensical press coverage that this musical has gotten, for all of the wrong reasons.

There is so much within the production that the media should be giving column inches to but seemingly that's not their agenda. Our two leading ladies have been critiqued relentlessly, purely for personifying the character they play - and whilst anyone would think that wasn't right, people who have seen the show know it's incredibly unfair.

Both Lowther and Davies have a following on social media that numbers into the millions, but to suggest a decent TikTok audience gets you a gig like Elle Woods is demeaning to their talent and to the team behind the show.

Maybe in years to come, someone will write a musical about a woman who aspires to dream big and has to push back against criticism and glass ceilings just to get the job she deserves? Sarcasm intended.

Legally Blonde plays at the Alexandra Theatre until Saturday 4th April. For more information and tickets, visit atgtickets.com.

Performed predominantly as a two-hander, The Signalman is a dark and haunting production with a stunning set split into two distinct parts - the signal box and the tracks, between which the action takes place.

The staging was impressively minimal yet incredibly effective, allowing the tension of Dickens’ story to take centre stage. Clever lighting and sound design created a sense of isolation and unease that lingered throughout, perfectly complementing the slow-building dread that meant every moment of silence made the audience expect the worst. Every shadow and echo felt intentional, heightening the sense that something was never quite right.

This is a story that's about more than first meets the eye. Calling on themes of loneliness and mental trauma, The Signalman broaches topics which are still as relevant in 2026 as they were when the story was conceived.

Chris Walker brings our signalman to life, with a particularly compelling portrayal. Importantly, he didn't over-egging the pudding - so easily, his part could descend into fantasy and exaggeration and it's so important for the story that his anguish is believable.

John Burton plays the Traveller and somewhat of a social conscience for the audience and for society to lean on. Acting as a confidant for the signalman, Burton does a stellar job of humanising the audience's feelings throughout.

What stood out most was the production’s restraint. Rather than relying on theatrics, it trusted the power of suggestion and atmosphere, which made the story all the more unsettling. The result was a performance that felt intimate, intelligent, and genuinely spine-tingling.

For me, the only thing that does slightly let the production down is the sometimes basic nature of the 'scares' which don't always match the build up. 

Silence is the sound department's greatest tool in a story like this - indeed, the first 3-4 minutes have no dialogue, just the intentional quiet of the auditorium coupled with some beautifully timed sound effects and background tension. This is repeated through the piece, but often the point where the build up topples over into the bit that's meant to make you jump...it doesn't always land perfectly.

The Signalman plays at Wolverhampton Grand Theatre until 28th March 2026. For more information, visit grandtheatre.co.uk.

Adapted from Stephen Elliott's 1994 film The Adventures loo oh of Priscilla, Queen of the Desert, the stage musical tells the story of two drag queens and a transgender woman, who contract to perform a drag show at a resort in Alice Springs, a resort town in the Australian desert.

As they head west from Sydney aboard their bus, the three 'friends' come to the forefront of a comedy of errors, encountering a number of strange characters - as well as homophobia - while widening comfort zones and finding new horizons.

After a successful run in Australia, 'Priscilla' enjoyed a two-year West End stay in addition to its Broadway debut in 2011. The show was nominated for the Laurence Olivier Award for Best New Musical as well as two Tony Awards, winning these awards in the costume design categories.

It feels like I've seen so many incarnations of this show, but it's safe to say it never get's old. Priscilla is the gift that keeps on giving, with probably some of the best costuming, staging and scores of any theatre show. This is a high-octane rollercoaster of emotion with the cast taking you from poignant to disco in any given five minutes!

One thing I think it's important to note is the scale of this production. Priscilla has always been a very OTT offering, but this production in particular feels next level in terms of staging and energy. In particular, the lighting and set design is exquisite and Andrew Exeter deserves a round of applause for a significant development in the shows visuals.

Some productions of the show have teetered on the edge of caricature when it comes to accents and mannerisms and, whilst Priscilla certainly needs to emphasise it's Aussie connection, it can sound slightly jarring to a British audience. This production avoided that and managed to hit just the right level without over-doing things, which was welcomed by the audience.

The role of Tick, in the stage musical was written for Jason Donovan so, in any production, the man who fills his boots (literally!) needs to have the impact to pull it off. Strictly legend-turned-theatre superstar, Kevin Clifton is definitely in that bracket, slipping into sequins and feathers with ease.

Clifton is made for the role which, considering he's been doing this professionally for a smidge over seven years, is testament to his talent.

His co-stars; Nick Hayes (Felicia/Adam) and Adèle Anderson (Bernadette) were equally as strong and, in a show where so much is placed on the shoulders of the three leads, it was pleasing to see such credible talent come to the floor. Switching between bitchy and tender in a heartbeat they managed to show both vulnerability and sassiness in equal parts.

A particular audience favourite being Anderson's delivery of the ultimate comeback in the outback bar - but I'll leave you to find out what that is for yourselves! Her chemistry with Hayes is palpable and their delivery of lines was casual, believable and perfectly done.

It's also incredibly refreshing to see the role of a trans woman in the show being played by a trans woman - that lived experience really makes Anderson's performance stand out for all the right reasons and long may it be a tradition that continues in future productions.

However the trio can't do what they do without the other members of the cast supporting them and that support came in droves this evening. Special mention should go to Leah Vassell, Bernadette Bangura and Jessie May as our incredible Diva's who's voices were simply outstanding.

In fact the entire cast seemed to 'click' perfectly to produce a slick, rehearsed and crowd pleasing show. The supporting cast had an infectious energy that spread like wildfire around the room - every single person in that auditorium was on there feet during the finale and the deafening screams at the end capped off an evening of amazing entertainment.

To put it bluntly, this production reminds you why theatre is so beloved across the UK.

I’ve NEVER heard an audience reaction like the one in Birmingham this evening. The ovation at the finale sounded like an arena applauding - and the emotional release was astonishing. I’ve no doubt this production will stay with people for a long time.

In 2026 there are still countries where it would be illegal to stage a show like this and we should be incredibly proud that not only is it staged in the UK, it's celebrated.

Priscilla runs at Birmingham Hippodrome until Saturday 28th March. For more information, or to get your tickets, head to birminghamhippodrome.com.

Described as a perfect blend of Mel Brooks, Six and Hamilton (with a side order of One Man, Two Guvnors), the show opened in London in 2019 before moving to the West End in 2023 and Broadway in 2025. Amongst it's many award nods are two Olivier's and a Tony, sat on a shelf alongside a heap of praise from critics.

Based on a true story, Operation Mincemeat was a successful British deception operation of the Second World War to disguise the 1943 Allied invasion of Sicily. Two members of British intelligence obtained the body of a homeless man who died from eating rat poison, dressed him as an officer of the Royal Marines and placed personal items on him identifying him as the fictitious Captain (Acting Major) William Martin.

The Nazi's discovered his body floating in the sea, leading Germany to divert forces to Greece and leaving Sicilian beaches less defended.

It's fair to say I wasn't entirely sure what I was going to see on stage this evening. Mincemeat is a comedy, come musical, come historical retelling - and it does all of these things impeccably.

The stage is seemingly simple, with much of the action happening in a black box with a light wall and moveable furniture - that is until the finale, where the back wall opens to reveal an exceptionally sumptuous glitzy staircase, light-up sign and flying harness...an exceptional amount of excess for a 3:30 dance break, but also a beautiful example of the quirky, fun nature of Mincemeat!

With a small, but perfectly formed, cast, this production is a fast-paced laugh-a-minute extravaganza, with quick witted jokes, a good dose of satire and a brilliant soundtrack, it's immediately evident why this show is so unbelievably popular.

Songs like 'Born To Lead' and 'Making A Man' still play in your ears long after you walk out of the auditorium - and their delivery, from a stunning cast, is the reason why.

It seems insincere to try and select individuals for praise because - more than many shows - this is an ensemble piece. Full credit should be given to each of the five cast members who have a title character and a number of other supporting roles which they switch in and out of. Many of those switches are hidden in full view of the audience with exquisite blackboard choreography.

This show is fast-paced, well rehearsed and INCREDIBLY funny. I'm talking clever comedy that gives you full belly laughs and that is so welcome.

Operation Mincemeat plays at Wolverhampton Grand Theatre until 21st March 2026. For more information, or to get your tickets, visit grandtheatre.co.uk.

However it not only managed to fend off the bad reviews, it had praise heaped upon it for being the feel-good smash hit we all needed...and in 2026, as it's mid way through a UK tour, that enthusiasm for 90s pop shows no signs of stopping!

Here & Now is based in a seaside superstore; Better Best Bargains, and follows the story of Caz, who discovers that the shelves of the store are stocked with lies and betrayal and the summer of love she and her friends dreamed of suddenly feels like a tragedy - all pun's intended!

Back in 2024, the show played to a theatre filled with invited guests, paying audience members and the band themselves - so the stage was set for a great evening but with an audience who are primed for a positive outcome. This time round, Here & Now is on its own - but it managed to prove itself and captured Wolverhampton under its spell!

Here & Now remains a beautifully constructed riot of colour, fun and music from the first beat to the very last bar.

This show is unashamedly camp, brash and in your face and every member of the audience was absolutely there for it. The laughs, applause and camaraderie was palpable and created an unbeatable atmosphere.

The first point of congratulation has to go to Shaun Kitchener who wrote the book, and what a brilliant job he's done. Here & Now takes the audience on an emotional rollercoaster with belly laughs coupled with tears and that's predominantly down to Kitchener's funny, clever and elegant script.

This musical is as hilarious as it is heart-warming and it hits all of the right notes effortlessly. Whilst it's absolutely down to the cast to deliver what's on the page, Kitchener should be applauded for giving them the tools to do that so well.

Talking of the cast, they are very much the backbone of the show - and what a slick, well choreographed bunch they are - and one who seem to be having the time of their lives on stage.

Jacqui Dubois, Rosie Singha and Blake Patrick Anderson take on the roles of Vel, Neeta and Robbie respectively and are just brilliant. This is a story about camaraderie and solidarity and you could feel the energy and see the chemistry between the trio.

However, for me, the night belonged to Lara Denning who was, quite simply, world class.

The audience was a real mix of generations - primarily kids of the 90s who were reliving their childhood, but also younger people who might have heard a few songs and older age groups who were the parents of the Steps generation. What Denning managed to do this evening was unite all three generations together with a stunning vocal performance.

Her rendition of One For Sorrow was a stand-out moment with silences that allowed you to hear the tears flowing in the auditorium. What Denning did with that song vocally was incredible and I could happily listen to it over and over and never get bored.

In fact, talking of music Here & Now has a predictably brilliant soundtrack with some incredibly strong arrangements. The show takes a cross section of some of Steps' biggest hits and re-jigs them to fit the show.

The narrative weaves lyrics into the characters lines and immaculately hypes up the auditorium who erupt into applause almost spontaneously after each track. Iconic dance routines are sacrificed, with the ensemble instead taking inspiration and incorporating some of the moves (you can't sing Tragedy without the hands, right?!) but this isn't a Steps gig on stage.

Equally, whilst some of the songs are big dance numbers there are also a handful which are stripped back to just a voice and single instrument and that really exposes the lyrics of the songs and the storytelling nature of so many of them.

Songs you'd never normally give a second thought to whilst you do the hand movements at a gig, or when you hear them on the radio - but when a show deconstructs Heartbeat and aligns it to a story about baby loss, you very quickly realise the poignancy of the words and they take on a very different meaning.

Here & Now is a masterclass in jukebox musical theatre and not just a show for Steps fans, it's a show for anyone who loves the genre and should definitely be one on your to do list.

Here & Now plays at Wolverhampton Grand until 15th March 2026. For more information, or to get your tickets, visit grandtheatre.co.uk.

The original production premiered in 2011 and opened at the Milton Keynes Theatre before transferring to the Aldwych Theatre in London's West End, winning multiple Olivier Awards

The show tells the story of Broadway sensation, Jerry Travers, who dances his way across Europe to win the heart of society girl, Dale Tremont. It brings the glamour of Hollywood’s golden age and the glorious, tap-dancing magic of Astaire and Rogers to the stage in one of the greatest dance musicals of all time.

Top Hat has an immediate fix of the glamour of classic musicals. The set, the costumes and the energy in the auditorium threw you immediately back to classic Hollywood glitz. The production has more sequins and feathers than you knew you needed - but it's unashamedly beautiful.

Phillip Attmore takes on the role of Jerry Travers alongside Amara Okereke as Dale Tremont. Both are exceptionally skilled performers with a natural chemistry which shone on stage. Their physical and vocal ability shone through this evening in roles which are anything other than laid back. The stamina you require to take on these characters alone is worth five stars so to see that reflected in a seemingly effortless performance was a joy.

James Hume and Kirsty Sparks are comedy personified as Horace and Madge Hardwick. Their timing is exceptional and they brought an effortless charm to the piece - alongside James Clyde as Bates, the long-suffering man servant who's sporadic appearances are an absolute joy.

Clyde's delivery is on another level and at one point near the end of the second act had the entire audience in fits of laughter.

Top Hat is a beautiful mix of exquisite dancing, laughs and proper 30's cinematic flair - in fact there's not many marks this show doesn't hit and the reaction of the audience this evening cemented that feeling.

Top Hat plays at Birmingham Hippodrome until Saturday 7th March. For more information, or to get your tickets, head to birminghamhippodrome.com.

With 12 episodes spanning two series, Fawlty Towers is one of the greatest British sitcoms of all time. 

Having won BAFTA's for Best Scripted Comedy and Best Entertainment Performance, the show was ranked first on a list of the 100 Greatest British Television Programmes drawn up by the British Film Institute in 2000.

In fact the BBC profile for the series calls it "the British sitcom by which all other British sitcoms must be judged" and so much of that is based on the characters who inhabit this fictional Devonian hotel.

This production is a joyous reminder of just how indestructible this classic comedy is when it’s placed in the right hands. From the moment the curtain rises, it’s clear that this cast understands the fine balance required; honour the original characters while still letting the performances feel alive, immediate and theatrical.

At the centre of it all is an outstanding performance from a duo playing the most recognisable married couple on TV.

Mia Austen is outstanding as Sybil, a character who dominates the stage with pitch-perfect authority. Her devastating put-downs and effortless control of both Basil and the audience are a constant delight - and her rendition of Sybil's laugh at the start meant those naysayers in the stalls gave a huge sigh of relief straight away!

Alongside Sybil, Danny Bayne is exceptional as Basil. Incredibly, he captures his volcanic blend of arrogance, panic and barely suppressed rage with astonishing precision. The physical comedy is razor-sharp as well. Every twitch, glare and spluttering outburst lands perfectly and he has Cleese's mannerisms down to a tee.

But from both Austin and Bayne it’s the pacing that really impresses. The performance never becomes an impersonation; instead, it feels like the duo have leapt fully formed from the screen onto the stage, still gloriously unpredictable and permanently on the brink of collapse.

We also need to pause to reflect on Joanne Clifton's near-perfect take on Polly. Her mannerisms and voice were so spot on, it could easily have been Connie Booth on stage this evening.

What makes this production such a success is how confidently the cast inhabit these iconic roles. They clearly respect the original performances while injecting enough energy and spontaneity to make the show feel fresh for a live audience.

Whether you're a die-hard fan or just someone who appreciate's a good laugh - this play is everything you want it to be...and so much more.

Fawlty Towers The Play runs at Wolverhampton Grand Theatre until 21st February 2026. For more information, visit grandtheatre.co.uk.

The Woman in Black is the West End's second longest running a stage play, first performed in 1987 and based on the 1983 book of the same name by English author, Susan Hill. 

The Woman in Black is also notable for only having two actors perform the entire piece alongside an incredibly simple set with very few props.

The story follows Arthur Kipps, a junior solicitor, as he journeys to the small market town of Crythin Gifford to attend the funeral of a client - Alice Drablow. At the funeral, he sees a young woman with a wasted face, dressed all in black, standing in the churchyard.

Bemused by the villagers' reluctance to speak of the 'woman in black', Arthur goes to Eel Marsh House, Mrs. Drablow's former home which is an old building in the middle of a marsh, cut off from the mainland at high tide. Sorting through her papers, he finds a box of letters, and ultimately discovers the dreadful secret of the woman in black – to his own cost.

The first point of note is that a very large portion of the success of this production is the exquisite use of sound and lighting. this is a piece which takes the basics of theatre and capitalises on them. There's no special effects and nothing flying in from above the stage - and so rarely nowadays do you find a show that relies on these conventions. The manner in which they were executed was a key part of the success of the piece.

However absolute credit has to go to John Mackay (Arthur Kipps) and Daniel Burke (The Actor) for their outstanding portrayal of the two lead roles.

Both had a daunting enough time leading a two-man show, let alone having to play such a large variety of characters. Their performances were slick, polished, well rehearsed and with such gravitas that, as a member of the audience, you felt compelled to watch their every move.

This piece is also insanely wordy; for two actors to effectively perform concurrent monologues for almost two hours must be an exhausting task, but such was the talent of those fulfilling the roles that the energy never dipped and the pathos never faltered.

This production has been described as 'one of the most brilliantly effective spine chillers you will ever encounter' and, I have to admit, the part of me that was trepidation free (and that's a very small part!) was wary about how well a show that's been running for three decades would stand up in 2026. That fear was very much misplaced, though.

This isn't a play that's 'ghost train' or 'zombie film' scary - it's a piece of theatre that plays with your emotions and lulls you into a false sense of security. It heightens your senses and makes you question every creak of the auditorium seating. 

However don't let that stop you buying tickets - to see two acting greats on stage. Although some said there was a third performer...but my programme disagrees...

The Woman In Black plays at The Alexandra until 31st January 2026. For more information, or to get your tickets, visit atgtickets.com/birmingham.

There's a number of ways that Six reinvents musical theatre. From Tudor Queens to Pop Princesses, the six wives of Henry VIII take to the mic to tell their tales, remixing five hundred years of historical heartbreak into a 75-minute celebration of 21st century girl power.

With five Olivier nominations and eight from the Tony's (including two win's!) Six is very much a tour de force and a piece of theatre to be reckoned with.

Staged in the style of a concert, this production is loud, seductive and in your face, commanding your attention from the moment the first note hits.

The show mixes the historical aspect with a myriad of modern references and a nod to the fact that, even a few hundred years later, there's still a lot of relevance in this story.

It's clear to see why SIX has become one of the most popular shows on the planet. With catchy songs, amazing choreography and six of the most talented women in musical theatre on stage, alongside an all female band, this is ultimately the show that so many musicals wish they could be. And what's more, it's captured the heart of a nation and brought a whole new audience into theatres - the Queendom really know how to show their love.

What makes this show tick is the energy and the chemistry between all six of our leading ladies. There is no stand out because this is an ensemble piece with equal weighting given to our sextet of leads. Each had an exceptional voice, commanding stage presence and bought a personality-driven slant to the roles which was well received by the audience.

Lucia Valentino stepped in as Anne Boleyn and proved why the Six super swing is legendary.

Valetino has achieved the indescribable and played all six queens across the last few months and her sassy, quick witted interpretation of Bobo is brilliant. Alongside an equally up front performance from Sammy Timbers as Katherine Howard the pair bring a sense of outlandish fun to the production.

Lasasha Aldredge brought a powerful vocal to Catherine of Aragon and Eve Kitchingman excelled as the only queen who managed to outlast the king.

However, for so many in the audience, the powerhouse vocals of Emily Dawson as Jane Seymour, alongside the loud and proud performance from Jodie Knight as Anna of Cleeves really stole the show.

With equally stunning staging and lighting, SIX The Musical is a behemoth of a production which doesn't rely on anything other than pure, driven talent to succeed. And long may their reign at the top of the tree last. 

SIX The Musical plays at Wolverhampton Grand Theatre until Saturday 31st January 2026. For more information, or to get your tickets, head online to grandtheatre.co.uk.

Every year we sit down to watch the Hippodrome panto, and every year we come away convinced they've raised the bar as high as it can go. We're sold on the fact they may as well not bother next year, because nothing will ever beat what came before...and then, twelve months later, the team behind the show prove that we were way off the mark!

In keeping with tradition, Robin Hood arrives in Birmingham direct from the London Palladium. The story has been adapted, the jokes have been localised but the glitz, glamour and sheer scale of this show remains phenomenal. To say the audience was overwhelmed is an understatement.

As one person in the audience said before the curtain went up - this is the show that the Palladium panto is the warm-up for...and he was right.

What was immediately evident was the sheer scale of the production. The costumes are lavish, the set is spectacular and the production values are second-to-none which left the audience (specifically the younger generations) in awe at what was before them.

It sounds incredibly cliché to say this is the first experience many young people have of theatre, but it's also true and what was amazing to see was the sheer joy and awe of kids walking out of the theatre, grinning ear-to-ear.

Full to the brim (probably more than ever!) of double entendre's, the adults in the audience were laughing until they cried and their kids were looking bemused at the spectacle!

First thing's first, the sheer scale of the production is mind-blowing. It uses every inch of the Hippodrome stage to create the magic. This is a multi-million pound show of epic proportion.

Another thing that's epic is the cast - and this year they seem to have struck gold.

Matt Slack is back for his 12th consecutive year and the response to his entrance onto the stage was deafening. There were swathes of the audience in their Matt Slack merch who were there primarily to see his performance - and what a show he puts on. Slack has funny bones. His physical, intelligent brand of comedy is so incredibly suited to panto that he is, without a doubt, one of the best panto comics in the country. 

What's incredible is he knows exactly how far he can push something and is the master of innuendo - which serves him well alongside Gok Wan who is an equally inspired piece of casting. Acting very much as a foil to Slack's humour, Aunty Gok is in his element. With an infectious laugh and an incredibly likeable personality, Slack and Wan would be welcome back on stage together any time.

Pop music royalty, Faye 'from Steps' Tozer plays Maid Marion and it's a part which allows at least two of the bands greatest hits to echo around the auditorium! Her scene with Slack where they try and sing an Elvis classic and end up swapping voices is comedy brilliance and showcased Tozer's acting prowess. Whilst being part of one of the biggest pop groups of a generation is an easy reference point, Tozer proved she is a rounded performer who's more than just a name on an album.

An honourable mention must go to panto royalty, Christopher Biggins who immediately won the hearts of the audience from the moment he walked...or, more accurately, the moment he was pushed - on to stage. Look, if I'n honest, I think Biggins could have entered stage left, waved and left on the other side and still got a standing ovation, but his casting was perfection.

Not taking on a massive role, because of recovery from knee replacement surgery, his character plays on his SIXTY year career in the genre, and portrays him as a performer who's so desperate to get back on stage that htey'll show up at any point, in any costume to try and make an entrance. The name Biggins is so synonymous with panto that his presence in a show feels like a royal visit - but he absolutely showcased why he's the best in the biz!

What Robin Hood really provides is two hours of pure escapism at a show that you won't be able to stop grinning at. The Hippodrome knows how to do world class panto and this is an exceptional case in point.

Robin Hood runs at Birmingham Hippodrome until Sunday 1st February 2026. For more information, or to get your tickets, visit birminghamhippodrome.com.

Fiddler is an instantly recognisable story, set in Imperial Russia around 1905. The story centres on Tevye, a milkman in the village of Anatevka, who attempts to maintain his Jewish traditions as outside influences encroach upon his family's lives.

The original Broadway production opened in 1964 and was the first musical theatre run in history to surpass 3,000 performances, and held the record for the longest-running Broadway musical for almost 10 years. It won nine Tony Awards, including best musical, and ultimately spawned five Broadway revivals and a highly successful 1971 film adaptation. Fiddler opened in the West End in 1967, and has since had four revivals in the capital.

From the moment the first notes hit in an otherwise silent auditorium, Fiddler transports you into a world of tradition, love and longing.

The staging is evocative and atmospheric: the set design, under the creative eye of Tom Scutt, is as beautiful as it is simple. Iconic songs like If I Were A Rich Man and Tradition speak to a time and a culture of living within your means and the staging, albeit a spectacle, isn't shrouded in glitz and glamour.

But what truly makes this production soar is the strength and heart of the performances, especially from the leads.

So often I talk about productions being ensemble pieces and, whilst there are clearly performers who portray the characters at the heart of the tale, this is a story about community. It's a 'group performance' like no other and to put it simply - Fiddler is reliant on the strength of its chemistry.

Matthew Woodyatt's performance as Tevye is mesmerising. He is a physical and vocal powerhouse and brings the character to life with a visible warmth and humour, alongside a subtle dignity. This is clearly a character who wants to be the father his daughters need but who's depth of tradition is so woven into his soul that he struggles to articulate that desire. Woodyatt personifies everything I want Tevye to be and everything Tevye wants to be himself - and this show absolutely belongs to him.

Jodie Jacobs as Golde is the perfect counterpart to Woodyatt. Their performance together is heartfelt and authentic and in particular their rendition of Do You Love Me hits every beat and portrays every emotion it needs to. This is a husband and wife who were put together in the same way that Tevye is expected to match his own daughter to a suitor. For him, at the height of his confusion, to turn to his wife and ask "I know we're married but do you actually love me?" is an incredibly poignant moment, handled incredibly by the pairing.

Golde isn’t just Tevye's wife: she’s a woman rooted in tradition but who is also clearly the matriarch of the family. Her sarcastic response to Tevye trying to assert his authority in the family, when she say's "...yes, I'm very frightened of you. After we finish supper, I'll faint" was delivered so perfectly it sliced through the tension like a knife through butter.

What I love most about this production is how it makes the timeless themes of tradition vs change feel deeply human. At times you're laughing and at others you're deathly silent. Alongside the tradition of family lies the tradition of persecution and it's fair to say you leave the theatre hopeful and moved.

Fiddler On The Roof plays at Birmingham's Alexandra Theatre until Saturday 3rd January 2026. For more information, or to get your tickets, visit atgtickets.com/birmingham.

A few years back, The Grand took a decision to move its panto away from being a generic off-the-shelf show to be a self-produced in house piece. That comes with benefits but also a number of risks.

Would the theatre be able to create something of scale every twelve months and would they be able to attract writers and performers of a calibre that the city commands?

That decision turned out to be one of the best moves the theatre has ever made - and the production on stage this year exemplifies the reason why.

Sleeping Beauty is two hours of laughs, amazement and ear-to-ear grins which is testament to the drive of Ian, Tam and the creative team to develop an annual production that Wolverhampton deserves.

First thing's first, the set is stunning. Jutting out into the auditorium, this is the biggest, flashiest backdrop to a Wolverhampton pantomime I've seen in a long while and it sets the tone of the show perfectly. The lighting and sound design complement the visuals so before a foot has touched the boards, we're already starting from a good place.

Cue the music, up goes the curtain and we're treated to a sensory overload (in the very best way!) that gives you a snapshot of what's to come.

We also need to credit our writing team who are charged with creating something new every year and who, incredibly, seem to push the boundaries of what can be done more and more.

Last year I said Tam and Ian had smashed the script out of the park. This year they've run and collected it, brought it back and done it a second time. 

The story brings together a good number of local nods, the perfect complement of innuendo, a brilliantly executed run of political satire and comedy which isn't so silly it's unwatchable.

So many other shows around the country hang their hats on using their celebrity lead as a foil for the comedian's one liners. Where this show differs is the comedy is clever; it's old school pantomime jokes that aren't over-egged and land perfectly.

What's also spot on is the casting and, for the third year running, the team have brought together a number of performers who are both well known...and also really good at what they do!

Debra Stephenson takes on the role of The Queen and delivers a stellar performance. Whether you know her from Bad Girls or Corrie, or one of the myriad of voices she brought with her to Wolverhampton, you won't leave disappointed. She also worked seamlessly alongside Wolverhampton's very own Zak Douglas, who swapped the big screen for the stage playing The Herald - a role with a twist and one which he excelled in. 

As well as putting pen to paper, Ian and Tam are back as mother and son - Mickey Fortune and Dame Mary Fortune. Make no bones about it, this pair are pantomime in Wolverhampton. On paper, having the same dame and comic back year in, year out could become stale very quickly - however Ian and Tam manage to keep it effortlessly fresh and the audience love them for it. 

It's also evident that they love what they do and that filters through their performance, and the performances of everyone else on stage. It's an infectious love for the genre and the venue which just can't be learnt and goes such a long way to make the show what it is.

Georgia Iudica-Davies and Solomon Davy bring the best of the West End to The Grand as our Prince and Princess. Both are incredible young talents who have the perfect chemistry together and perfectly matched out veterans when so many others would get lost in the mix.

And then we have Danny Beard.

I have to confess, Drag Race UK has never been on my watch list and Big Brother just doesn't float my boat. However, Danny's performance as Carabosse was exceptional.

When I interviewed them at the press launch, they said their interpretation would be glamorous and evil in equal measure, but with a bit of heart too - and that's exactly what was delivered.

There was nothing cheesy of over the top about Danny's performance - instead they brought an immaculate level of sass, timing and charisma, plus a phenomenal singing voice. It was easily the best panto villain I've seen on stage - and whoever takes on the role next year will have a long way to go to beat it.

What's incredible about the Grand Theatre pantomime is the lack of pretentious characters and the excitement of everyone involved to create the show.

Last year I said this was the regional pantomime that all others look to for inspiration - and I stand by that. If anyone wants to understand how to create a pantomime which works for their theatre and its audience then this is the text book that should be studied.

To quote Danny Beard; this is a pantomime for Wolverhampton, by Wolverhampton, with love poured through it on every level.

Sleeping Beauty plays at Wolverhampton Grand until 4th January 2026. For more information, or to get your tickets, visit grandtheatre.co.uk.

Brought to life by Birmingham and Midland Operatic Society, Gary Barlow and Tim Firth’s musical is based on the worldwide big-screen phenomenon of the same name. It charts the story of a group of ordinary ladies who did something extraordinary when Annie's husband dies from leukaemia.  

Her fellow WI member - and best mate - Chris decides they need to create a calendar with a difference - a ‘nude’ calendar to raise money for the local hospital. They come up against a raft of opposition but, ultimately, support and perseverance pays off.

Before now, I’ve singled out Calendar Girls as the show that never quite got the run it deserved. Opening in Leeds and Salford in 2015, it moved to the West End in 2017 lasting just 6 months before it toured the UK with a raft of stars including Leslie Joseph, Denise Welch and Ruth Madoc.

It’s a heart-warming and hilarious story which, combined with Barlow’s music and lyrics, make the societies return to The Cornbow Hall one not to be missed.

Having never been to The Crescent Theatre before, I was pleasantly surprised! As soon as you enter the auditorium you’re cast into the Yorkshire Dales with a set which is visually beautiful. Simplistic yet functional, it provides a perfect backdrop to the performance.

However, what makes this production so special are the people on stage. A cast who are, quite simply, exceptional.

It sounds cliche, but I still find it astounding that the majority of them hold down a day job to pay the bills such is the calibre of the performances we saw this evening.

It feels callous to have favourites because Calendar Girls really is an ensemble piece. So much of the humour is derived from situation and delivery that everyone needs to bring a consistent a-game...and bring it they did.

Jo Smith gave a larger than life, vivacious and hilarious portrayal of Chris. Her interpretation of the role was exceptional and amongst the best I've seen. Her stage presence was commanding and you could honestly have told me she'd played the part for years in the capital and I wouldn't have batted an eyelid.

Alongside Michelle Worthington as Annie, who delivered a performance which was a perfect balance of emotional and raw coupled with quick-witted and brave. It was the natural chemistry of these two key ladies that made the show so special.

Jaz Davison deserves a mention too for her brilliant one liners as retired head mistress, Jessie. A role often overlooked, it suited Davison perfectly.

Sarah Russell and Sarah Morris gave brilliant performances as Cora and Celia respectively taking on some of the best songs in the show - and adding in some choreography too which is a first for me when it comes to Calendar Girls...but it works so well!

Special mention also needs to go to Charlie Pugh, Emerson Clarke-Selby and Jessica Smith who were 'the kids' of the show - Danny, Tommo and Jenny. Again - three roles which so often get no praise but which this trio absolutely smashed out of the park. The banter and humour between them was brilliant and their future with BMOS looks bright.

Calendar Girls is an incredibly special piece of theatre. After this many years of reviewing it's not always the case that you feel compelled to go back to see a show, in the same venue for a second time. This incarnation of the show gives you that feeling and proves the professional production's run ended too soon.

Some shows make you laugh, some make you cry - Calendar Girls does both, and quite often simultaneously. BMOS should give themselves a huge pat on the back for a job very well done.

Calendar Girls plays at The Crescent Theatre until the 29th November 2025. For more information, or to get your tickets, visit crescent-theatre.co.uk.

Photos: @withthisringphotography.

The production describes itself as a 'universal and timeless theatrical poetic spectacle'. First conceived in 1993, Slava's Snow Show has been seen in hundreds of cities across dozens of countries resulting in millions of ecstatic spectators

The show surrounds you (quite literally) with somewhat of a visual and sensory overload, scratching an itch in your brain you didn't realise you had. Everything about Snow Show is simple.

From the personalities of the clowns to the set and props. Whether it's a bed becoming a boat, cotton webs engulfing the audience or giant inflatables being let loose, this production takes you back to the childhood innocence you had in your early years.

The performers, however, are what bring this piece to life. All of them absolute masters of their craft, the subtlety of a head tilt, or a change of expression changed the mood of an entire auditorium - and they do it so well. The audience had genuine empathy for each and every one of them and they rewarded us with a stunning performance.

Every scene brought a sense of wonder and intrigue, along with a strange feeling of calm. A number of set pieces are synonymous with the show and none more so than the snowstorm of tiny white paper flakes and the giant inflatable balls bouncing around the auditorium at the end.

This show promises to make you walk out of the theatre smiling, and during that climax in particular, there were grown adults running round like children and it was a joy to see.

Slava's Snow Show plays at The Alexandra until Saturday 15th November. For more information, or tickets, visit atgtickets.com/birmingham.

Based on the 2003 film of the same name, Elf The Musical is a heartwarming, family-friendly extravaganza! It follows Buddy, a human raised as an elf at the North Pole, as he embarks on a journey to New York City to discover his true identity and rekindle the Christmas spirit.

This is a show packed with catchy songs, choreography and laugh-out-loud comedy - plus Santa himself soaring across the stage in his sleigh.

It's fair to say the audience was a mixed bunch. Some people who were die-hard fans of the movie and some, like me, who had never met Buddy before - but all of us left the theatre beaming from ear to ear.

Elf is the perfect combination of light-hearted fun and heartwarming story which doesn't take itself too seriously and within seconds of the opening bars hitting, had the audience in the palm of it's sparkly, snow-covered hand!

Jordan Conway is an absolute sensation as Buddy and is clearly having the time of his life. Having played the role before, what's evident is his love for a part he's comfortable in and a part he's free to play around with. It would be incredibly easy to compare his take on the role to Will Ferrell but this isn't an attempt at a recreation. This is clearly Conway's take on a well-loved character that evokes the response he deserves.

Conway is supported on stage by an incredible ensemble cast, not least Kelly Banlaki who plays his long-suffering girlfriend, Jovie. With a stunning singing voice and a brilliant comedic presence, she's the perfect foil to Conway's comedy and the two play off each other amazingly.

Elf is exactly what the world needs right now - silly, clever fun that plays to its own strengths and just makes the audience happy. Is it Sondheim? No. DId everything go to plan? Absolutely not.

Did the entire audience clap and cheer along at every opportunity - you bet your life they did.

Elf The Musical plays at Wolverhampton Grand until 16th November 2025. For more information or to get your tickets, visit grandtheatre.co.uk.

Moulin Rouge is (shamelessly!) a jukebox musical, based on the 2001 film directed by Baz Luhrmann. Set in Paris, it follows Christian - a young composer who falls in love with Satine, the star of the Moulin Rouge cabaret.

The musical premiered in 2018 in Boston before beginning performances on Broadway the following year. The production won ten of its fourteen Tony nominations and opened in the West End in 2021.

If there's one thing this show is renowned for, it's the spectacular surroundings the action takes place in. The creative team have all but transformed the space at the show's London home, the Picadilly Theatre into the Parisienne venue and the same can be said for the auditorium of the Hippodrome this evening. 

Aside from a brightly lit, red and white spectacular on stage, the boxes were adorned with both a giant windmill and what looked to be a full size elephant's head, both of which quickly proved to be showstoppers in their own right as the crowd took their seats.

What was also show-stopping was the action on stage this evening in what can only be described as a world-class performance.

Moulin Rouge is very much a show which relies on its ensemble, with a number of high energy, fast paced and lengthy choreography pieces to contend with. Performed to a soundtrack which largely comprises mash-up style tracks, the pace and stamina required feels superhuman - but is also something the cast took in their stride.

Which brings me to the incredible performers on the stage this evening. Every single person should be commended for the part they played in an outstanding production.

Cameron Blakely grabbed the role of Harold Zidler with both hands and wouldn't let it go. In the most sublime piece of casting I've seen in a long time, Blakely embodies the part perfectly bringing a camp, extravagant and quirky stance to the character - but with a softer edge which gave a feeling of safety and security, no matter how much of a showman was 'out front'.

However, stealing the show this evening were Verity Thompson and Nate Landskroner playing Satine and Christian respectively.

Their performance this evening was nothing short of exceptional. Throwing their characterisation back to the 2001 film, there was an essence of Nicole and Ewan but with a fresh, independent slant.

What stood out was their seemingly effortless vocals with both showcasing the most perfect voices for their respective roles. Thompson in particular sounded like a Disney princess but with the strength and power of an opera star. However, what was most noticeable was their incredible chemistry on stage - switching in a heartbeat from new lovers to established romantics, their performance set the stage alight this evening.

Moulin Rouge plays at Birmingham Hippodrome until 15th November 2025. For more information, or to get your tickets, visit birminghamhippodrome.com.

2:22 is written by award-winning writer Danny Robins and is directed by Matthew Dunster. Brilliantly funny and intriguing, the audience are in for an adrenaline-filled night where secrets emerge and ghosts may, or may not, appear. It's also a piece which stays with you - sitting and writing about the production, and reliving the action on stage, still sends shivers down my spine!

The plot is straightforward. Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their dinner guests - old friend Lauren and her new partner Ben - when Jenny reveals she hears footsteps and crying in their daughters bedroom each morning at exactly 2:22am. 

Throughout the evening, belief and scepticism clash. Sam is a man of science who has to have an explanation for everything, whilst the other three in the room have more faith in the supernatural. But something feels strange and frightening, and that something is getting closer. So they’re going to stay up until 2:22….and then they’ll know.

First thing's first - this is a stunning piece of theatre.

2:22 began its West End run in 2021 before productions opened as far afield as Australia and Singapore. For a long time it was the show to see in London, so much so that at the end of its initial engagement the demand meant it had to move to a new venue - a feat it repeated a further four times.

The previous UK tour back in 2024 received standing ovations every night so it's fair to say there's been a lot of expectation placed on the production.

The intrigue and mystery behind the story is akin to The Mousetrap's 'whodunnit' element. In fact it's incredibly difficult to talk about the action on stage without making reference to spoilers that don't need to be revealed!

Having seen the previous tour, I took my seat this evening with the anticipation of seeing the things I missed first time round. However that lasted about 30 seconds because this is a piece you can't help but be absorbed in, whether you've seen it once or a hundred times.

2:22 is synonymous with misdirection and psychological subtlety. In some cases, throwaway reference to things or scenarios which seem meaningless are actually the complete opposite - incredibly meaningful, and it's that which makes this show stand out in a crowded marketplace.

Whilst 2:22 certainly fulfils its 'thriller' remit well (and has some great jump-scares) the real aesthetic of this production is it's creepy, haunting nature. It makes you question your understanding and drip feeds you the information you need to make judgements, whilst also being very funny at the same time.

One liners often take the place of an expected shock and as the piece progresses you can see audience members start to sink into their seat as the eerie music draws to a climax, only to be met by a joke rather than a scare. It's that variety that, for me, sets this show apart from many of its contemporaries.

Kevin Clifton is exceptionally well cast as Sam, alongside Stacey Dooley as Jenny. Clearly their chemistry is exceptional, but what is also impossible to believe is that this is their first shot at 'straight' acting. In particular, Dooley's final five minutes of the show are mind-blowingly good and gave a real gravitas to the plot twist. 

Equally glorious to watch were Grant Kilburn and Shvorne Marks as Ben and Lauren respectively. Marks gave us a beautifully layered characterisation of Lauren and Kilburn showed his acting prowess with a hilarious portrayal of Ben.

2:22 is a story of mystery and intrigue and, whilst in hindsight there is only one possible ending, the creatives threw in a curve ball when the audience least expected it. 

It's very rare that, in a review, I urge you to get tickets but I'll happily make an exception for this show. This is a wonderful piece of theatre that should be seen at least once by everyone.

And if you do go, theres a few top tips to bear in mind. Question everything, trust nobody and remember - you're being told what's happening constantly...you just can't see it yet!

2:22 A Ghost Story runs at The Alexandra Theatre until Saturday 18th October 2025. For more information, or to get your tickets, visit atgtickets.com/birmingham.

The internationally award-winning musical is based on the film of the same name, released in 1992. It tells the story of former Secret Service agent turned bodyguard, Frank Farmer, who is hired to protect superstar Rachel Marron from an unknown stalker but, as you'd expect with two big personalities, each of them expects to be in charge - but what they don’t expect is to fall in love.

The story is beautifully interwoven with a soundtrack that comes with a pedigree that so many other jukebox musicals don't. When you start with a catalogue of Whitney Houston classics, including So Emotional, I Wanna Dance With Somebody and one of the greatest songs of all time - I Will Always Love You - you're almost guaranteed a hit show.

However what that pedigree also delivers is an expectation. After all, whilst the 1992 film had a solid storyline it was ultimately the soundtrack that received the majority of its award nominations.

But, where the musical is concerned, from the ensemble to the leads it’s the cast on stage tonight took that to another level.

Sidonie Smith takes the lead role on this tour, one she's played before and her confidence shows. Her charisma and chemistry with her peers shines through and with her history with the show, it's clear she's at a point where she's able to enjoy playing Rachel and belting out those songs - it’s as though she’s been Queen of the Night for decades.

That said, one thing that's definitely worth noting is that Smith isn't playing Whitney. Such is the strength of the link between Houston, The Bodyguard and a soundtrack of her own hits, it's a point that can often be overlooked. However Smith is playing her version of the character - a moe which is to be applauded.

Theatre stalwart, Adam Garcia plays Frank Turner and, with a list of credits as long as your arm, his experience is clear to see. Frank is the archetypal 'gentleman' and Garcia fits that persona perfectly. What is strange is to see someone with this breadth of experience in the role - one which requires a two-time Olivier nominee to be 'bad' at singing and dancing. If we could drop a quick dance break into the story, that would be brilliant...!

Special mention should go to Sasha Monique as Rachel's sister, Nicki. A part which often gets overlooked when you've got a 'Whitney-esque' character on stage, Monique excelled this evening and gave a beautiful vocal performance with her rendition of Saving All My Love For You being a stand out moment of the show.

An element The Bodyguard is well known for is its staging, lighting and effects. From the subtleties of the productions mood lighting to the out and out stadium level extravaganza that plays through the first number, this show is visually beautiful and pushes the boundaries of most peoples understanding of musical theatre.

In previous reviews of earlier productions of the show I mentioned there was a noticeable difference in the set in comparison to previous tours. Seemingly a lot more basic, there were also points where a usually slick scene change became less so.

This incarnation of the show does seem to have fixed many of the points that seemed overlooked last time round and, even with those subtle changes, the production is back where it belongs.

That said, this show never stops and there's no lull's in the score to allow you to catch your breath. This really is intense and, even for the non-Whitney fans in the audience, you can't deny that this is hit after hit from an artist who sold almost 200 million records in her time.

The Bodyguard plays at The Alexandra until Saturday 27th September. For more information, or to get your tickets, head online to atgtickets.com/birmingham.

First staged back in 1961, Calamity Jane is inspired by the 1953 film starring Doris Day...and it still packs a punch in 2025.

The story is based on the historical figure of frontierswoman, Martha Jane Canary who lived from 1852-1903. The musical's plot is the epitome of artistic licence, being non-historical and somewhat farcical, offering an exaggerated view of relationships and events of the time.

The stage musical made it's debut in 1961 in Texas before making its way to the UK for a 1974 outing in Sheffield. A number of tours followed, including the last commercial production with Jodie Prenger playing Calamity back in 2014 - this production is a revival of that run, 11 years later.

When it comes to well trodden paths, Calamity Jane is one of the most well-worn, but also one of the most well-loved. There's something warming and charming about seeing a Western on stage, and the stage is the first huge plus point for this production.

Designed as a theatre inside a theatre, the creative team have done an outstanding job of making the set convey an atmosphere which suits the production down to the ground. 

All of the action takes place in that singular space, with props used to create movement and to signify a switch to another location - the set design maintained a perfect balance of simplicity and functionality.

So rarely nowadays do you get to see a production twice and be blown away even more-so the second time around. Calamity is nearing the end of its run. Having kicked off almost nine months ago, Wolverhampton is it's third to last stop - but the cast and crew show no signs of slowing down!

A number of the performers on stage are actor-musicians - that simple adjustment brings an entirely new dimension to proceedings and serves to form a chemistry and bond between everyone on stage. It feels like a community and, to be blunt, a hoedown in a mid-Western saloon wouldn't be played by a band in an orchestra pit!

It's important to say that the entire company are sublime. What makes this show work so well is the chemistry and camaraderie between the ensemble and is something they've got in bucket-loads. The family-feel with this group of individuals is palpable and that essence goes such a long way in winning the audience over. I believed they'd known each other for years.

However, once again tonight belonged to the duo of Carrie Hope Fletcher and Vinny Coyle who continue to pull off this phenomenal double act night after night. The pair are friends and have a history on stage together, and that inadvertently serves them well. 

Coyle is a formidable Wild Bill, and after recently having an enforced few weeks off it was a pleasure to see him back in the suit and hat tonight. He manages to strike an incredibly difficult balance between alpha male and caring friend with a progression which gave the character a new depth I'd not considered before.

We all know parents who comes across as brash and demanding when you're young, but more often than not it's because they want the best for you and want to protect you - a sentiment that Coyle's interpretation of Bill manifested for Calamity throughout the production.

Equally, Fletcher has an incredible talent, one where she manages to make every role she plays stand out. That's not to say that she pushed the rest of the cast into the background - quite the opposite.

When you see a confident and self-assured leading lady, sometimes the show can become more about them and their performance than anything else, not least when their name is 'above the door'. 

However Carrie manages to give us a Calam' that feels like she's leading the pack. Her vocals are outstanding throughout, but especially in 'Secret Love' when she finally gets to let out the belt she's synonymous with, to rapturous applause. Her humour is on point, her dancing is brilliant and it's evident she's having a blast on stage.

Fletcher is one of the best leading-ladies in the industry at the moment, her partnership with Coyle is awesome and, along with the rest of the company, they delivered an absolute masterclass in musical theatre this evening.

A special nod should also go to Samuel Holmes as Francis Fryer - the actor who shows up but who isn't the actor they wanted to show up! Holmes is a brilliant comedic actor and his subtle facial expressions and overtly camp characterisation of Fryer is a joy to watch!

This show is a slickly choreographed masterclass which deserves a 2026 West End run.Whether you're a fan of the story or just someone who loves a good musical - get your tickets. It'll be the best money you've spent this year!

Calamity Jane plays at Wolverhampton Grand until Saturday 13th September 2025. For more information, or to get your tickets, visit grandtheatre.co.uk.

Considering this show represents a period of just 18 months, the ground it covers is phenomenal. Buddy tells the story of one man's meteoric rise to fame. From his early influences to becoming an international star, right up until his legendary final performance at the Surf Ballroom in Clear Lake, Iowa – and tragic, untimely death at the age of just 22.

In that short time frame, the boy from Texas revolutionised an entire genre. He changed how music was written, recorded and performed in ways that are still relevant today. Holly influenced everyone from The Beatles to Bob Dylan, the Rolling Stones to Fleetwood Mac and this production capitalises on the respect and adoration that the public still have for him so perfectly.

It's local lad, AJ Jenks who takes on the titular role; one he's performed on numerous occasions before - and it shows. The ease with which he slips into character makes for a solid and comfortable performance - comfortable because there's a die-hard audience of Holly fan's who want to hear their heroes back catalogue and see his story come to life. Jenks' care and attention to detail, without becoming a parody of the legend, is admirable and his vocals are perfect.

Making up the comparatively small cast are an equally talented bunch of actor-musicians who bring the full rock 'n' roll experience to Brum. Joshua Barton returns to the role of Big Bopper and mesmerises the audience with his rendition of Chantilly Lace, alongside the insanely energetic Niguel Angel as Richie Valens - however it's the chemistry of the full ensemble that brings this piece to life so mesmerisingly.

Buddy really punches above its weight. Although it's visually beautiful - and of its time - it's not got set pieces flying in and light shows that would make Glastonbury look like Pontins. This production relies on sheer talent and experience to portray the story of a musical icon in easaily one of the best shows on the road this year.

Buddy - The Buddy Holly Musical plays at Birmingham Hippodrome until Saturday 30th August. For more information or to get tickets, head to birminghamhippodrome.com.

The Last Laugh is described as a 'laugh-a-minute play' which reimagines the lives of three of Britain's comedy heroes – Tommy Cooper, Eric Morecambe and Bob Monkhouse.

When I say icon's, that's a phrase that's incredibly overused - but I think you'd struggle to overestimate the impact these three individuals had on comedy during their reign. They were at the top of their respective games for decades and were some of the last of a generation of 'old skool' comedians to grace our screens.

Whether it was a stroke of luck, or an intentional coup, the make-up of this show is perfect. The three protagonists are representative of three distinct styles of comedy. Cooper was a more physical stand-up, whilst Morecambe is best known as one half of the greatest double-act of all time. Monkhouse sits somewhere in the middle - probably best known to most for his work as a TV host, he was a lover of the art of comedy, analysing why things were funny and crafting jokes that, by his own admission, he would labour over for hours.

Cooper and Morecambe died within months of each other in 1984, whilst Monkhouse passed away aged 75 in 2003 - so to see them portrayed in a (fictitious) dressing room story is a dream. However, whilst circumstance and material play a part, it's the cast on stage who hold this piece together. Plucked from various one-man shows where they portrayed their alter ego, the performances given this evening were on another level.

Damian Williams takes on Tommy Cooper - a role which is arguably the hardest to portray. Cooper was well known for being physically funny, often not needing to say a word to get a laugh. His mannerisms went before him, and the same can be said for Williams who channels the comedian's comedian with apparent ease. Giving the audience the catchphrases and physicality they crave, his performance takes us from funny to poignant as the show draws to a close.

Bob Golding plays Eric Morecambe and, arguably, has the hardest job to do. So many of those in the audience know Morecambe as half of a double act rather than on his own, but to see the vulnerability of the man and the fragility of his desire to be the best at what he does come through was inspiring.

However, whilst Williams and Golding did an incredible job, special mention has to go to Simon Cartwright who's impersonation of Bob Monkhouse was second to none. His look and mannerisms were spot on, but his voice was perfection. For me, Bob was a gameshow host who could make an audience smile, but to so many he was a first class comedian in his own right - something which came across in Cartwright's performance, as he showed us a comic who was scared he wouldn't be remembered in the same way his contemporaries would - a beautiful performance.

The Last Laugh is a beautifully written, excellently performed and perfectly crafted piece of theatre which is as poignant as it is hilariously funny. What also stood out is the distinct lack of swearing and innuendo. In the 80 minutes these three men were on stage, nothing that was even moderately PG in nature came out of their mouths as they told jokes that made the audience cry wit laughter. It's an out and out triumph that should be high on your list of must-see's.

The Last Laugh plays at The Alexandra until Saturday 26th July. For more information, or to get your tickets, visit atgtickets.com/birmingham.

I don't care what the rules are - this show deserves six stars.

Mary Poppins is a fusion of elements of the 1964 Disney movie and the original series of children's books by P. L. Travers.

The original West End production opened in December 2004 and won two Olivier Awards, one for Best Actress in a Musical and the other for Best Theatre Choreographer. A Broadway production with a near-identical creative team opened in November 2006, with only minor changes from the West End version. It received seven Tony nominations, including Best Musical, and won for Best Scenic Design in a Musical.

I don't think I'm over-exaggerating when I say that this production is quite literally the most magical thing I've ever seen on stage. Having caught glimpses of the West End production, there was a concern that many of those moments of wonder - and the technology behind them - may not travel well and we might get a slimmed down version. How wrong can I be?!

Forget practically perfect, this show is a spectacular, feel‑good masterclass in musical theatre.

Stefanie Jones embodies the iconic nanny with extraordinary poise, vocal power, and charm. Her mannerisms, facial expression and timing mimic Julie Andrews so beautifully but stop short of becoming a caricature.

Her voice is captivating, and her handling of complex choreography is mind-blowing. Working predominantly in a partnership with Jack Chambers as Bert, he delivers a refreshingly charismatic, comedic version of Bert with an astonishing aptitude for dance!

Similarly to Jones, Chambers' vocals on songs like like Chim Chim Cher‑ee and, in particular, Step In TIme are breathtaking.

They lead a cast of exquisite performers, especially our to youngest cast members; Olive Harrison and Oliver Benson as Jane and Michael Banks respectively. The pair are superstars with confident, assured performances with Benson in particular delivering some killer lines!

Set designer, Bob Crowley’s folding doll‑house aesthetic brings the Banks home to life in storybook fashion, unfolding on stage with explosion of colour, movement, and mechanical magic that astonishes young and old alike. In fact the choreography was so perfectly timed and the scene changes so exquisitely executed, this was a non-stop cascade of colour and joy with shocked looks on the faces of the adults, let alone their children!

Walking into the auditorium tonight, I've never been so excited to see a show. Such is the enormity and spectacle of the job at hand, it felt like we'd sat through an entire production by the time the interval rolled round! However, when those first chords of the overture ring out, and when you see the scene setting up for Supercalifragilisticexpialidocious, your entire body develops goosebumps upon goosebumps.

And the ending...is just the greatest conclusion I've seen to a story which fights to stay true to the nuances we know and love.

If you’re looking for a show brimming with magic, emotional heart, dazzling dance and a sublime soundtrack, this one delivers without compromise.

Mary Poppins runs at Birmingham Hippodrome until Saturday 23rd August. For more information, or to get your tickets, visit birminghamhippodrome.com.

The production brings to life the legendary anthems of Meat Loaf and Jim Steinman and follows Strat, the forever young leader of rebellious gang ‘The Lost’ as he falls in love with Raven, the beautiful daughter of the tyrannical ruler of Obsidian.

This is a stage full of motorbikes, fire, stunning lighting and intelligent alternatives to 'standard' staging. It's visually stunning and from the start, the atmosphere in the auditorium is electric.

It's also fair to say that this production is an amped up reimagining of previous tours, incorporating the band and handheld mics for our leads, giving a true rock experience.

What Bat Out Of Hell has managed to do is create a story which has introduced a new generation of theatre-goers to the music of Steinman and, by extension, Meat Loaf, as well as reignite the passion for those songs in existing fans.

In a similar vein to shows like We Will Rock You, this is a two-hour rock opera with anthems that often send shivers down your spine. I've seen Bat Out Of Hell on a good few occasions, but the opening chords of the title track still make your whole body tingle.

Steinman's music encapsulates an era of excess and his iconic lyrics have a pedigree of their own as individually exquisite examples of storytelling. In fact his collaboration with Meat Loaf has been called one of the top 10 most important moments of rock history - and it's plain to see why.

This is a writer who's records have sold over 190 million copies worldwide including nine number one's which encapsulate some of the biggest songs of all time. As one guy said to his friends in the row in front, "...it's almost impossible to overestimate just how important Jim Steinman's contribution to music was".

It must be near impossible to pick and choose which of the star's hit's to include, but with song's like I’d Do Anything For Love (But I Won’t Do That), Dead Ringer For Love and Bat Out of Hell on offer, coupled with an outstanding cast the producers own description of 'an exciting over the top theatrical spectacle unlike any other' definitely rings true.

Leading our cast were Glenn Adamson as Strat and Katie Tonkinson taking on Raven. Adamson has been with the show for a number of years, taking Strat across the world via the West End. Tonkinson is comparatively new to the partnership, but both look like they could have been performing together for an eternity. With an incredibly demanding sing for both of them, their stamina and talent was infectious and it was almost impossible to take your eyes off them.

Rob Fowler (Falco) and Sharon Sexton (Sloane) are somewhat more accustomed to their roles, having originated them and subsequently played them for a number of years. It's clear playing the duo is second nature to them, which gives them licence to play around with the characters and really enjoy themselves - they're having a blast, something the audience definitely picked up on and both delivered an outstanding vocal performance, taking us on a journey of strong, belt-filled showstoppers alongside more timid, sweeter numbers.

Georgia Bradshaw and Ryan Carta gave a stunning performance as Zahara and Jagwire. Playing a classic 'boy wants girl but girl's not fussed' couple, their duets were simply outstanding. In fact, with an incredibly empowering take on the characters the entire cast made a connection with the Wolverhampton crowd tonight that meant they deserved every second of their standing ovation.

We should also give a special mention to Wolverhampton's own Sophie-Rose Emery, who understudied Valkyrie this evening and absolutely brought the house down. Her vocals were insane and to see her representing the region, on Black Country Day, was extra special. Welcome home, Bab!

Finally, we need a moment for the ensemble who must be amongst the hardest working in the business! rarely getting chance to pause, their performances gave an extra edge to the show - especially Gerogia Iduica-Davies and Carla Bertran who seem to teleport around the stage and bring an incredible buzz of energy throughout!

Let's be absolutely clear. This isn't Sondheim. This is a fairly solid plot anchored by some of the biggest rock anthems on the planet - and that's no bad thing. There wasn't a soul in The Grand this evening who wasn't blown away and didn't impulsively rise to their feet for the bows.

There's something about this cast and this soundtrack that lends itself beautifully to a musical theatre themed, ensemble led, 20-odd part harmony and we're all absolutely there for it.

Bat Out Of Hell plays at Wolverhampton Grand Theatre until Saturday 19th July. For more information, or to get your tickets, visit grandtheatre.co.uk.

Two years (almost to the day!) since Peter James' stories last graced The Alex's stage, an all star cast, which includes George Rainsford (Casualty), Ore Oduba (Pretty Woman) and Fiona Wade (2:22 A Ghost Story) bring the 19th book in his series of Roy Grace novels to life.

Back home in Brighton, DSI Grace investigates a cold case that leads him to the secretive world of fine art, but beneath the respectable veneer lurks a dark underworld of deception and murder.

When one unsuspecting couple unearth a potentially priceless masterpiece, they discover that their dream find is about to turn into their worst nightmare, and only Grace can stop them from paying the ultimate price.

Taking place on a single, imposing set, Picture You Dead is a simple premise but one which is executed, in every way, with a great deal of skill. The action takes place on two sides of a large space - which acts as a beautiful metaphor for the audience, truly showing the two sides to the story. It allows us to glimpse into the lives of protagonists who aren't currently front and centre of the stage which is a novel - but welcome - point of difference.

The show is very much a piece of two halves. Act 1 set's up the story with act 2 adding meat to the bones and leading to an explosive conclusion.

Rainsford shines as Roy Grace - a role which he plays in a significantly different way to that which was seen in the recent ITV drama series. He gives the character a believability and a loveable side which means he has the audience in the palm of his hand from his first moments on stage.

Wade brings a multi-faceted take on Freya, darting from frantic to reassuring and every emotion in between. Oduba brings a charm and sophistication to the role o Stuart Piper, the man pulling the strings and receiving the boo's from the audience however special mention has to go to Jodie Steele who was phenomenal as Roberta. 

Embodying 'hench-woman' and giving just the right mix of sass to confidence, I've only ever seen her in musicals (where she takes the roof off night after night) so it was lovely to see her acting prowess at the forefront.   

All in all, whilst the story is simple, Picture You Dead perfectly balances humour, drama and suspense - attributes which make it probably one of the best productions of its kind touring the UK at the moment.

Picture You Dead plays at The Alexandra until Saturday 28th June 2025. For more information and to get your tickets, head to atgtickets.com/birmingham.

The musical had its world premiere in 2018 at the Aldwych Theatre in London with the Broadway production opening the following year. The show has spawned a number of successful European productions, plus a run in Australia, culminating in this new UK tour.

Let's set our stall out from the beginning. Tina Turner is an icon.

From humble beginnings in Tennessee, to her triumphant transformation into a multi award-winning global superstar, Tina Turner didn’t just break the rules, she rewrote them.

TINA is set to the soundtrack of her iconic hits, including The Best, What’s Love Got To Do With It? and River Deep, Mountain High and takes you on the ultimate rollercoaster of emotion. From shock to empathy to adulation - this is a show which has everything the audience is after.

To some extent it's difficult to know where to begin because there are so many stand-out elements to this show that merge to create what is nothing short of incredible,

Mark Thompson, Bruno Poet and Nevin Steinberg have excelled themselves with the staging, lighting and sound design respectively. The stageing does an excellent job of switching from house to studio to concert venue in a beautifully choreographed movement. 

However, as you would expect, it's the cast that make this show what it is.

David King-Yombo plays Ike Turner with the depth and manipulation that you'd expect, not shying away from representing the brutality that Tina was put through. His chemistry on stage with our leading lady was incredible - never before has the realism been so stark that it felt like you were watching a documentary unfold.

Which brings us to our leading lady, Jochebel Ohene MacCarthy and, make no bones about it, MacCarthy's performance is out of this world. It would be so easy to become a Tina Turner mimic in this show, such is the unique nature of the subject matter. Turner was known for her eccentricity, gravelly vocals and choreography, all of which MacCarthy has down to a tee, but without looking like a tribute act, which is an incredibly fine line to tread.

Tonight felt like we were watching the legend herself on the Hippodrome stage, and that's testament to the skill and ability of all of our performers. TINA is a powerful, bold and confident piece which doesn't shy away from the reality of domestic violence - but also portrays a strong, resilient woman who overcomes that life and becomes one of hte most successful entertainers of all time.

TINA - The Tina Turner Musical plays at Birmingham Hippodrome until Saturday 20th June 2025. For more information, or to get your tickets, visit birminghamhippodrome.com.

Set in early 19th Century France, Les Miserables follows the story of Jean Valjean, a French peasant released in 1815 after serving nineteen years for stealing a loaf of bread for his sister’s starving child.

Valjean breaks his parole to restart his life, but is relentlessly pursued by policed inspector Javert. Set in revolutionary France, their paths cross via student revolutionaries and a street barricade in France.

Les Mis has been seen worldwide by an audience totalling over 120 million people, in 52 countries and is often referred to as a super-musical. This is the first time the rights to the full show have been made available, and just 11 groups around the UK have the privilege of bringing this masterpiece to life.

I have to say, that whilst BMOS shows are always first class, I did take my seat with an air of trepidation. There was a very realistic chance this could be a step too far for any company of this type - but as those opening chords struck and the first few bars of the prologue began - so did the goosebumps that covered my entire body for the next two hours.

To say this production is a triumph would be a catastrophic understatement. This production is, hands down, the best piece of amateur theatre I have ever seen.

In fact, I'd go so far as to say that many of the performers on stage this evening - specifically the principal cast - performed to a higher standard than some pro's I've seen in the West End.

Robbie Love took on the role of Javert, the character I maintain has the best song in the entire show; Stars. Love gave us a confident and assured take on the 'baddie' of the piece, balanced with some exquisite tender moments. 

Ismay Dudzinski-Grubb shone as Cosette, with an outstanding soprano voice, coupled with Luke Griffiths interpretation of Marius. The latter is a role which so often seems to be given to performers with a timid, airy tone to their voice - however Griffiths embodiment gave his voice chance to shine.

Tim Jones and Sophie Grogan brought the laughs as Monsieur and Madame Thenardier, perfectly hitting every beat and milking the laughs for all they were worth. We also had an assured performance from Annabel Pilcher, who joins a long list of stand-out performers to play Fantine. Pilcher gave us a much more thought-out performance than we might have seen from some other companies, really delving into the heartache and pain she feels.

Special mention has to go to Beth Dickson and a stunning performance as Eponine. Alongside I Dreamed A Dream, Eponine's performance of On My Own is a moment the audience are waiting for - and definitely one which requires a strong and confident performer, both of which are qualities you can easily attribute to Dickson.

In a long list of women who have put on the coat and hat, Dickson's performance easily stands up alongside those of performers like Samantha Barks and Carrie Hope-Fletcher, giving the audience all they wanted and more.

However, the stand out performance of the evening has to be that of Wil Neale. Jean Valjean is a behemoth of a character - as iconic as names like Eva Peron and Elphaba and renowned for being just as challenging to perform. Neale's performance this evening was incredible; from dramatic monologues to a beautiful falsetto, he embodied everything this role needed.

I've only seen an audience give a standing ovation mid-show on two occasions, and after tonights performance of Bring Him Home we nearly made that three. Just brilliant.

You expect so much when you see Les Mis and this production exceeds those expectations effortlessly.

If these performers are the future of British theatre, we are in incredible hands.

Les Miserables plays at The Alexandra until 14th June 2025. For more information, or to get your tickets, visit atgtickets.com/birmingham.

The plot is fairly straight forward - Kathryn Merteuil goads her step brother, Sebastian into attempting to seduce Annette Hargrove, the headmaster’s virtuous daughter. However, their crusade wreaks havoc on the students at their exclusive Manhattan high school and it’s not long before the duo become entangled in their own web of deception and unexpected romance, with explosive results.

Cruel Intentions made its off Broadway debut in 2017 and was extended three times, through to April 2018. The show had its UK debut in August 2019 as part of the Edinburgh Fringe and opened at The Other Palace in January 2024.

What really comes across in this production is a deep sense of nostalgia, which is punctuated by the clothing, the references and the soundtrack as well as a stunning set by Polly Sullivan. The whole show is a personification of MTV, skateboards and Walkmans - and the audience lap up every moment.

Staying true to the film, with just some slight British tweaks (I'm thinking Spice Girls!) the cast are sublime.

Nic Myers plays Kathryn and, alongside Will Callan's Sebastian, brings us a deranged double act that are are cliche as they are brilliant. Vocally strong and with a phenomenal chemistry on stage, they had some of the cleverest moments which make this show shine.

Equally as brilliant are the West Midlands' own, Joe Simmons as Greg and Luke Conner Hall as Blaine - providing comedy and sassy one-liners, each are strong but as a twosome, their slick, well rehearsed take on these characters is refreshing. Their storyline was fairly concise in the film so it's pleasing to see it fleshed out for the musical.

We should also spare a moment for the soundtrack, which takes us on a rollercoaster of 90s emotion and, pleasingly, not always with obvious choices. Spice Girls and TLC are mixed in with Goo Goo Dolls and The Cardigans. Whilst some tracks are shamelessly crowbarred in to fit the narrative, there are some stand-out moments, including the finale with a stunning rendition of Bittersweet Symphony and a full dance routine for Bye, Bye, Bye!

Let's be clear - this isn't Shakespeare. Whilst the film is a cult classic, the storyline is fairly plain sailing and we don't come to learn a huge amount about the characters, so it can be difficult to form any sort of emotional attachment. Sebastian's attempts to woo Annette are a key part of the plot, but are condensed into a handful of short scenes with a song or two, after which he's madly in love and trying to stop her leaving.

However, what this production really serves as, is a vehicle for a period in time to be celebrated. This is a sassy, sexy and brash show which is a time capsule of nostalgia and a brilliant night out at the theatre. It's an exaggerated take on teenage life which had the audience on their feet spontaneoulsly.

Cruel Intentions plays at Birmingham Hippodrome until Saturday 7th June. For more information, or to get your tickets, head online to birminghamhippodrome.com.

Marie & Rosetta is a double header with Wolverhampton's greatest export, Beverley Knight taking to the stage alongside Ntombizodwa Ndlovu in a 'sparkling, intimate portrait' of Rosetta and her beloved singing partner, Marie Knight.

Set in Mississippi in 1946, Sister Rosetta has changed the face of gospel music with her exuberant, electric guitar-playing style. However, at the same time she has shunned by strait-laced church folk for glorifying rhythm and blues. She’s managed to persuade a saintly young singer named Marie to join her on a tour of the segregated southern states...but first she has to give her a little more swing!

To say this show is a masterpiece would be incredibly understated.

What we are presented with is just under two hours of pure perfection which see's neither performer leave the stage, nor have chance to pause for breath as they deliver line after line and song after song in a beautifully written and exceptionally directed piece of theatre.

Ndlovu shines as Marie Knight, with a strong singing voice, brilliant characterisation and a charm and charisma which more than matches that of her on-stage partner. Having only graduated four years ago, her talent is exceptional and its clear to see there's a stellar career ahead of her.

Then we come to Knight who, quite simply, is sublime. Her on-stage presence is compelling and her command of the audience is second to none. Granted she has a home crowd this week, but in many ways that's more of a risk for a performer. For many around the world, she's a multi-award winning performer but round here she's Bev from Wolverhampton - but she more than satisfied the audience from the moment the lights went down.

Her acting is top notch but her vocal ability is world class. Her effortless renditions of Tharpe's back catalogue, many with a soulful upgrade, were so well received that each could have spawned its own standing ovation.

However, what is truly special here is Knight and Ndlovu's chemistry on stage. Each is a phenomenal talent but the duo are at their best singing together. They bounce off each other so well you can tell they're great friends - but more importantly, you can see that Tharpe and Knight live on in these two incredible women.

I feel incredibly lucky to have seen this show - firstly because Wolverhampton is the second of just three stops on the tour, but also because this is a story beautifully told, with an ending that I'm still processing but a story arc which was beautifully portrayed.

Marie and Rosetta plays at Wolverhampton Grand Theatre until 31st May 2025. For more information, or to get your tickets, visit grandtheatre.co.uk.