Revolution Radio: Theatre Reviews (Northampton)

Matilda - The Musical

Chris Gregg — Thu, 29 Oct 2026 19:27:00 +0000

REVIEW: Matilda The Musical at Milton Keynes Theatre – A show that never disappoints

★★★★★ – 5/5 Stars

There are some musicals you can watch time and time again and never tire of, and Matilda The Musical is definitely one of them. Fifteen years after it first opened, the Royal Shakespeare Company's production remains one of the best family musicals around, and this latest visit to Milton Keynes Theatre is every bit as good as I remembered.

Based on Roald Dahl's much-loved book, the story follows the exceptionally clever Matilda Wormwood, whose dreadful parents have little interest in her talents. Things don't get much better when she starts school under the terrifying Miss Trunchbull, but with the help of the lovely Miss Honey, Matilda discovers she has the power to change things.

Mollie Hutton was outstanding in the title role at the performance I attended. It's quite something to see someone so young carry such a big production with so much confidence. Her singing, acting and comic timing were excellent, and she really captured Matilda's cheeky but determined personality.

The role is shared equally throughout the run by four young performers: Felicity Brown, Petra Hutchings, Mollie Hutton and Caroline Ravansari.

Richard Hurst is superb as Miss Trunchbull, delivering a wonderfully over-the-top performance that's both hilarious and suitably terrifying. He certainly makes the most of one of musical theatre's great villainous characters.

Tessa Kadler brings real warmth to Miss Honey, with some lovely vocal moments, particularly during My House. Meanwhile, Adam Stafford and Rebecca Thornhill are excellent as Matilda's awful parents, Mr and Mrs Wormwood, providing plenty of laughs with their larger-than-life performances.

Kobi Lau also deserves a special mention as Bruce Bogtrotter, particularly during the famous chocolate cake scene, which remains one of the funniest moments in the show. The role of Bruce is shared equally by Jett Austin-Richards, Isaac Cruickshank, John Johnson and Kobi Lau.

The entire young cast is incredibly talented, and the standard of singing and dancing is remarkable. The big ensemble numbers are performed with so much energy and precision, particularly the fantastic Revolting Children, which is a real highlight.

Tim Minchin's music and lyrics are as clever as ever, with Naughty, School Song and When I Grow Up among the standout numbers. The latter, with its famous swings, is still one of my favourite moments in any musical. It's beautifully staged and surprisingly moving.

The staging throughout is excellent, with the clever use of alphabet blocks, imaginative scenery and some brilliant theatrical effects. The choreography is equally impressive, and everything moves along at a cracking pace.

What I particularly love about Matilda is that it's just as entertaining for adults as it is for children. There's plenty of humour that will go over younger heads, some genuinely touching moments and a great message about standing up for yourself.

Having seen the show before, I knew exactly what to expect, but it still managed to make me laugh, impress me with its staging and leave me thoroughly entertained.

Matilda really is one of those musicals that never disappoints. It's funny, clever, full of great songs and performed by an exceptionally talented cast. Whether you've seen it before or are discovering it for the first time, I'd thoroughly recommend catching it while it's in Milton Keynes.

An easy five stars from me.

Matilda The Musical is at Milton Keynes Theatre until Saturday 14 November 2026.

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Mamma Mia

Chris Gregg — Wed, 14 Oct 2026 21:57:00 +0000

A feel-good explosion of ABBA hits, infectious humour and heartfelt performances, MAMMA MIA! returns to Milton Keynes Theatre with a superb cast who bring plenty of energy, laughter and emotion to this much-loved musical.

More than 25 years after it first opened in the West End, MAMMA MIA! continues to prove why it remains one of the world's most successful musicals. With its irresistible collection of ABBA classics, a wonderfully entertaining story and a talented cast who clearly relish every moment on stage, this latest UK tour is a thoroughly enjoyable night at the theatre.

The story centres on Sophie Sheridan, a young woman preparing for her wedding on a beautiful Greek island. Having discovered that one of three men from her mother's past could be her father, she secretly invites all three to the wedding in the hope of discovering the truth. Naturally, things don't go quite according to plan, leading to plenty of hilarious situations, romantic complications and some surprisingly touching moments.

At the heart of the production is Jenn Griffin as Donna Sheridan, Sophie's fiercely independent mother. Griffin is absolutely terrific in the role, effortlessly moving between the comedy and the more emotional scenes. Her powerful voice does full justice to ABBA's biggest numbers, particularly a stunning rendition of The Winner Takes It All, which is delivered with real passion and emotional intensity. She's equally convincing in the quieter moments, portraying a mother who has spent years raising her daughter alone and is now facing the prospect of letting her go.

There's wonderful chemistry between Griffin and Sarah Earnshaw as Tanya and Lauren Woolf as Rosie, Donna's two best friends and former singing partners, the Dynamos. The three work brilliantly together, creating a believable friendship full of affectionate teasing, shared history and plenty of laughs. Earnshaw brings a delightfully confident, glamorous presence to Tanya, while Woolf makes Rosie a particularly entertaining character, with some excellent comic timing. Their scenes together are amongst the highlights of the show, and their musical numbers are an absolute joy.

The same can be said for the three potential fathers, played by Richard Taylor Woods as Sam, Simon Victor as Bill and Arvid Larsen as Harry. Each brings a distinct personality to his character, and the interaction between the three men is wonderfully entertaining. Their chemistry is just as convincing as that of Donna and her friends, with plenty of humour as they attempt to make sense of the increasingly complicated situation in which they find themselves.

Hazel Baldwin is excellent as Sophie, capturing both the excitement of a young woman about to get married and her growing uncertainty about her family and future. Her relationship with Donna provides some of the production's most touching moments, particularly during Slipping Through My Fingers. Samuel George Downey also impresses as her fiancé Sky, while the supporting cast bring tremendous enthusiasm to the energetic ensemble numbers.

What makes this production particularly successful is just how well everyone has been cast. There isn't a weak link amongst the principal performers, and the relationships between the characters feel completely natural. The humour is delivered with confidence, often producing some genuinely laugh-out-loud moments, without ever undermining the emotional side of the story.

Of course, the music is the real star of MAMMA MIA!, and the show delivers hit after hit. From Dancing Queen and Super Trouper to Voulez-Vous, Money, Money, Money and Gimme! Gimme! Gimme!, the songs are woven cleverly into the story, often taking on new meaning through the characters and their relationships.

The staging is relatively simple but extremely effective, transporting the audience to a sun-drenched Greek island through its whitewashed scenery and colourful costumes. The choreography is energetic and slick, with the larger production numbers filling the stage with movement and colour.

Perhaps the greatest achievement of MAMMA MIA! is that beneath all the outrageous humour, colourful costumes and familiar pop songs, there is a genuinely touching story about family, friendship, love and growing older. The production balances these elements beautifully, allowing the audience to laugh one moment and feel genuinely moved the next.

And when the story is over, the show transforms into a full-blown ABBA party, with a spectacular finale that makes it almost impossible to remain seated.

MAMMA MIA! is everything you could want from a feel-good musical. It's funny, uplifting, brilliantly performed and bursting with songs that audiences of all ages know and love. This touring cast brings fresh energy to a familiar show, with Jenn Griffin's outstanding performance and the excellent chemistry between the principal characters making it particularly enjoyable.

A glorious evening of musical theatre that sends you home smiling, and quite possibly singing ABBA songs for the rest of the week.

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The Curious Incident Of The Dog In The Nighttime

Chris Gregg — Tue, 06 Oct 2026 21:50:00 +0000

There's always a danger when revisiting a play as acclaimed as The Curious Incident of the Dog in the Night-Time. The original National Theatre production became renowned for its groundbreaking staging, so any new interpretation has an enormous amount to live up to. Thankfully, this new production from Birmingham Rep and Melting Pot doesn’t try to recreate what came before. Instead, it takes the story apart and rebuilds it in its own wonderfully inventive way.

The biggest change is immediately apparent. Chris Boone is now a teenage girl, rather than the Christopher of Mark Haddon’s original novel. It is a bold decision, but one that feels much more than a simple gender swap. It adds a fresh dimension to the character and the story, particularly in the way Chris experiences and responds to the world around her.

The result is a Chris who feels completely her own. The performance captures the intelligence, determination, vulnerability and sheer bewilderment of a teenager trying to make sense of a world that often seems impossibly complicated. It is an enormously demanding role, requiring the performer to carry almost every aspect of the story, and the central performance is utterly compelling.

But it is the staging that really makes this production stand apart.

Gone is the famous neon grid of the original production. In its place is a much more stripped-back and imaginative approach, where seemingly simple objects become whatever the story needs them to be. A large foam block at the back of the stage is transformed repeatedly throughout the evening, becoming part of the environment, a piece of furniture, a train and much more.

It is a brilliant example of theatrical imagination: rather than throwing a realistic set at the audience, the production asks us to use our own imagination alongside Chris.

The most effective sequences come when the outside world becomes too much for her. Plastic balls are fired onto the stage, representing the huge volume of information and sensory input bombarding Chris. What might initially look playful quickly becomes overwhelming, giving the audience a physical sense of what it is like to experience the world through her eyes.

It is clever, occasionally funny, frequently chaotic and, at times, genuinely uncomfortable.

That approach extends throughout the production. Video, sound, movement and an ensemble who constantly shift between characters combine to create a world that can change in an instant. There is a real sense that we are not simply watching Chris navigate her surroundings; we are being invited to experience them with her.

And despite all the visual invention, the storytelling never gets lost.

At its heart, The Curious Incident of the Dog in the Night-Time remains an extraordinarily powerful story about family, trust, independence and discovering that the adults you rely on do not always tell you the truth. The murder mystery provides the hook, but it is Chris's journey that gives the play its emotional weight.

There are moments of genuine humour, moments of anxiety and some beautifully tender scenes, but the production never feels afraid to make the audience sit with Chris when the world becomes frightening and incomprehensible.

For anyone who has seen the original production, this is not simply a refreshed version. It is a genuinely new interpretation. The decision to place a female Chris at the centre and the completely reimagined visual language give the play a different identity, while retaining the extraordinary storytelling that made it such a theatrical phenomenon in the first place.

Most importantly, the creative choices serve the story rather than distracting from it. The foam block, the flying balls, the physical theatre and the constantly shifting stage picture might sound like gimmicks when described individually, but together they create an extraordinarily effective representation of Chris's world.

Nearly fifteen years after the stage adaptation first premiered, The Curious Incident of the Dog in the Night-Time still has the ability to surprise. This new production proves that a story so familiar can still be told in a completely different way — and that, when theatre is this inventive, sometimes less really can become much, much more.

A clever, moving and visually inventive production that gives a much-loved story a fresh identity without losing its emotional power.

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Silence of the Lambs

Chris Gregg — Mon, 28 Sep 2026 22:26:00 +0000

Bringing The Silence of the Lambs to the stage was always going to be a huge challenge. Jonathan Demme’s 1991 film is one of those rare pieces of cinema where the performances of Anthony Hopkins and Jodie Foster have become so deeply embedded in popular culture that their characters are almost impossible to separate from the actors who played them.

So how does a stage production tackle it? In this case, with plenty of ambition, some impressive theatrical trickery and a willingness to take the story somewhere slightly different.

This new production, written by Gina Gionfriddo from Thomas Harris’s original novel and directed by Nikolai Foster, is a very well-produced piece of theatre. The set, lighting, sound and projections combine to create an impressively dark and cinematic world, and there are some genuinely effective special effects.

It is also not afraid to be disturbing.

Some of the depictions of Hannibal Lecter’s crimes and Buffalo Bill’s victims are particularly unsettling, and there are moments where the theatre becomes an uncomfortable place to be. Rather than simply relying on the audience’s familiarity with the film, the production uses the possibilities of live theatre to create its own shocks and atmosphere.

The stage design is one of the real strengths of the production. Scenes move rapidly between locations, while the clever use of levels, projections, lighting and moving scenery gives the show a scale that could easily have been lost in a straightforward stage adaptation. There is a distinctly cinematic quality to the production,

At the heart of the story is Clarice Starling, and Mollie Gallagher is excellent.

She brings real vulnerability and determination to the role, while also giving Clarice plenty of emotional depth. Her performance manages to make the character feel like much more than the FBI trainee simply trying to catch Buffalo Bill. The relationship between Clarice and Lecter is central to the story, and Gallagher gives the audience a character we can genuinely invest in.

For me, however, the biggest problem with the production is Hannibal Lecter.

John Partridge is clearly an experienced and accomplished performer, and there is absolutely nothing wrong with an actor wanting to put their own interpretation on such an iconic character. In fact, some critics have praised him specifically for avoiding an Anthony Hopkins impersonation and creating something different.

The problem is that, for me, he goes too far in the opposite direction.

This isn't really the Hannibal Lecter I went to see.

Partridge's Lecter is louder, more aggressive and considerably more theatrical than the character we know from Hopkins's Oscar-winning performance. There is nothing inherently wrong with that interpretation, but it felt so far removed from the elegant, chilling, quietly calculating Lecter that the character was almost unrecognisable.

Anthony Hopkins made Lecter terrifying precisely because he didn't need to shout. The menace was in the stillness, the eye contact, the tiny changes in expression and the sense that he was always completely in control. That version of Lecter could make a polite conversation about dinner feel more frightening than an outright threat.

Here, Lecter feels much more overtly sinister.

I can appreciate the argument that this is a stage adaptation of Thomas Harris's novel rather than a recreation of the film, and there is certainly merit in giving the character a new interpretation. But when a character is this iconic, audiences inevitably arrive with certain expectations. For me, the gap between what I expected to see and what was presented was simply too wide.

That said, this is still an impressive piece of theatre.

The production looks fantastic, the atmosphere is often superb and there are some genuinely disturbing moments that demonstrate just how effectively horror can work on a live stage. Gallagher is excellent, and the supporting cast help keep the story moving at a brisk pace.

A slick, atmospheric and often disturbing production, with some outstanding stagecraft and a terrific central performance from Mollie Gallagher — but for me, its new take on Hannibal Lecter is simply too far removed from the iconic character I was hoping to see.

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Waitress

Chris Gregg — Tue, 22 Sep 2026 21:10:00 +0000

There’s something very likeable about Waitress. It’s funny, feel-good and packed with catchy songs, but underneath all the fun is a surprisingly powerful story about friendship, relationships, motherhood and finding the strength to change your life.

Based on the 2007 film, the musical follows Jenna, a talented pie maker stuck in a loveless and abusive marriage. When a new doctor arrives in town and a local baking competition gives her something to aim for, she starts to see that perhaps there is a way out.

The standout performance for me was Jenna. She was incredibly sympathetic and really drew you into her story, particularly during the more emotional moments. She Used to Be Mine was especially powerful and was one of those moments where the theatre seemed to completely fall silent.

The rest of the cast were excellent too, with everyone really embodying their characters. There’s plenty of comedy, particularly from Dawn and Ogie, while the friendship between Jenna, Becky and Dawn gives the show a lovely warmth.

It was a shame that Les Dennis was replaced by his understudy Dan O’Brien tonight, as I was looking forward to seeing Les in the role of Old Joe. That said, O’Brien stepped in and gave a solid performance.

Sara Bareilles’ music is another huge strength of the show, with a great mix of upbeat numbers and more emotional songs. The staging looks fantastic and the whole production has a lovely energy which keeps things moving.

Waitress manages to be funny without losing sight of its more serious story, and emotional without becoming overly heavy. It’s a really enjoyable night at the theatre, with a brilliant cast and plenty of heart.

And yes, you’ll probably leave wanting pie.

Paranormal Activity

Chris Gregg — Tue, 15 Sep 2026 21:56:00 +0000

If you think you know what to expect from Paranormal Activity, forget everything you have seen on screen. This is not a stage adaptation of one of the films, but a completely new story inspired by the franchise – and it delivers an experience that is unlike almost anything else you are likely to encounter in a theatre.

Paranormal Activity has transformed the stage at Milton Keynes Theatre into something extraordinarily convincing: a fully realised house, complete with kitchen, living space, staircase, upstairs bedroom and bathroom. It doesn't feel like a theatre set. It feels like a real home.

And that is absolutely crucial to what makes this production work.

James and Lou have moved from Chicago to London to escape their past, and as the audience watches them settle into their new home, the opening scenes feel remarkably ordinary. You are effectively watching two people simply living their lives. There is an intimacy to it that makes you feel as though you are an unseen presence inside their house.

Then things begin to change.

What follows is a masterclass in building tension. Rather than bombarding the audience with constant jump scares, the production understands that sometimes the most frightening thing is waiting to see what might happen next. A seemingly insignificant moment can suddenly become deeply unsettling, and the smallest movement or sound can have the entire audience holding its breath.

The realism of the set makes everything even more disturbing. When something inexplicable happens in that house, it doesn't feel as though a theatrical trick has just taken place – it feels as though something has actually happened inside the home you have been watching.

And there are some extraordinary theatrical tricks.

The illusions, created by Chris Fisher, are genuinely jaw-dropping, while Felix Barrett's direction makes brilliant use of the theatre space. There are moments when you will find yourself wondering how on earth something has just happened, followed by the realisation that you have absolutely no idea how they could possibly have done it.

Sound and lighting are equally important weapons in the production. Gareth Fry's sound design creates an atmosphere that can go from unsettling to downright terrifying, while Anna Watson's lighting repeatedly plunges the audience into darkness.

And when I say darkness, I mean complete darkness.

There are moments when even the emergency exit signs disappear, leaving the entire theatre pitch black. You can hear the audience around you reacting to what is happening – people jumping out of their seats, gasping and, at several points, genuinely screaming.

It is that collective reaction that makes experiencing horror in a theatre so different from watching it at home.

You aren't alone on a sofa, able to pause the television or turn on the lights. You are sitting in a room full of strangers, all experiencing exactly the same thing at exactly the same moment. When somebody several rows away suddenly screams, you don't necessarily know what caused it – which can make the anticipation even worse.

James Bye and Hannah Sinclair Robinson are excellent as James and Lou, creating believable characters whose relationship feels grounded and natural. That sense of authenticity is essential because the more convincing their ordinary domestic life becomes, the more unsettling it is when the ordinary starts to become very, very wrong.

The production also demonstrates just how powerful live theatre can be when it comes to horror. Cinema has cameras, editing and visual effects at its disposal. Theatre has none of those things – and yet Paranormal Activity manages to exploit that limitation brilliantly, making your imagination do much of the work.

There are certainly moments when the show feels like a haunted house attraction, but it is far more sophisticated than that. There is a proper story underneath the scares, with psychological tension, relationships and questions about what might actually be happening. The horror isn't simply something happening around the characters; it becomes increasingly personal.

And that is why the experience doesn't necessarily end when the curtain falls.

There is something deeply unsettling about walking out of the theatre afterwards and remembering that the house you have just been watching looked so real. The sounds, the darkness and the things you have seen – or think you have seen – stay with you.

In fact, you might want to keep the lights on when you get home.

Paranormal Activity is an incredible and genuinely unique theatrical experience. It is clever, brilliantly staged, technically astonishing and, at times, seriously frightening.

If you enjoy horror and want something more immersive than simply sitting back and watching a film, hold your nerve and see this in the theatre.

Just don't blame me if you struggle to sleep afterwards.

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Barnum

Chris Gregg — Tue, 08 Sep 2026 21:32:00 +0000

Step right up – Barnum has arrived at Milton Keynes Theatre, bringing with it circus acts, acrobatics, live music and the larger-than-life story of the man who inspired the phrase "the greatest show on earth".

But while there is plenty of energy and undeniable talent on stage, this production doesn't quite deliver the spectacular theatrical experience you might expect from a musical about P.T. Barnum.

Cy Coleman and Michael Stewart's Barnum tells the story of the legendary showman through a combination of dialogue, music and spectacle. It's a show where the songs aren't simply musical interludes – they are an important part of the storytelling. Unfortunately, that's where this production presented its biggest problem for me.

The words were often extremely difficult to hear when the characters were singing.

The production uses a cast of actor-musicians, with the performers playing their instruments live on stage. It's an impressive concept, but the balance between the band and the singers didn't always work. At times, the instruments simply drowned out the vocals, meaning that lyrics, jokes and important parts of the narrative were lost.

That's particularly frustrating in a show like Barnum, where so much of the character development and storytelling is contained within the songs. Rather than being able to follow the story, I found myself occasionally trying to work out what had actually been sung.

There is plenty of talent on display. The ensemble are accomplished performers who sing, act, dance and play instruments, often changing roles and instruments with impressive speed. The staging also keeps the production moving, and there are some strong musical numbers, including Join the Circus, Colours of My Life and Come Follow the Band.

The circus element, however, was something of a disappointment.

There are acrobatics, juggling and circus skills incorporated into the production, but they largely remain in the background. Given that we're watching a show about P.T. Barnum, and given the production's emphasis on circus spectacle, I expected these moments to be much more spectacular.

Instead, the circus acts felt more like decoration around the musical rather than a central part of it. They were certainly good, but rarely produced the sense of wonder or danger that you might hope for from a show promising a dazzling world of circus entertainment.

Matt Rawle's performance as Barnum also didn't quite have the charisma I expected from the central character.

P.T. Barnum is, by definition, a showman – someone who could command a room, persuade people to part with their money and convince an audience that they were witnessing something extraordinary. While Rawle gives a perfectly competent performance, I didn't always feel that larger-than-life magnetism from him.

Monique Young brings more warmth and emotional depth to Charity Barnum, providing an important counterbalance to her husband's ambition. There are also some strong performances throughout the ensemble, and the actor-musician concept is undoubtedly one of the production's most interesting features.

Visually, there are some attractive touches, with Lee Newby's costumes and set creating an appropriately theatrical circus atmosphere. The choreography is energetic and the production moves at a good pace.

Barnum is an ambitious production with some excellent performers and flashes of spectacle, but I came away feeling that the greatest show on earth was still waiting to appear.

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Dirty Dancing – The Classic Story on Stage

Chris Gregg — Thu, 27 Aug 2026 21:59:00 +0000

There are some films that are so iconic that bringing them to the stage feels like a dangerous game. Dirty Dancing is one of them. Get the casting, dancing or chemistry wrong and the magic could disappear. Thankfully, this production gets it spectacularly right.

Opening its UK and Ireland tour in Milton Keynes this week, Dirty Dancing – The Classic Story on Stage is a joyous, energetic and thoroughly entertaining celebration of everything audiences love about the movie. The production retains the much-loved characters and original dialogue from Eleanor Bergstein’s film, while bringing those familiar moments to spectacular life on stage.

The casting is simply perfect. Joel Benjamin makes an utterly convincing Johnny Castle, while Charlie Varlet brings warmth, innocence and determination to Baby. Together, they have the chemistry needed to make the central love story work, while Ellie Fergusson is superb as Penny.

And then, of course, there is the dancing.

Impeccable choreography, energetic ensemble numbers and some seriously impressive physical performances make this a show that barely gives you time to catch your breath. There are the moments everyone has come to see – the watermelons, the dancing, Hungry Eyes, Do You Love Me?, and, yes, that lift – but seeing them performed live gives them a completely different energy.

And there are certainly plenty of moments for the audience to appreciate Johnny's rather impressive physique too, with more than a few glistening pectoral muscles on display!

What makes the production work so well is that it doesn't simply try to recreate the film. It pays homage to those favourite moments that audiences know and love, but uses the theatre to make them feel fresh, immediate and genuinely exciting. The live music, choreography and performances combine to create an atmosphere that is infectious from beginning to end.

By the time I've Had the Time of My Life arrives, the audience is completely won over – and the standing ovation at the end felt thoroughly deserved. What's particularly lovely is how much the cast appear to be enjoying themselves. That enthusiasm is infectious and makes the whole production feel like a celebration rather than simply a recreation of a beloved film.

Dirty Dancing has opened its latest UK and Ireland tour in Milton Keynes before heading around the country, with the current production directed by Federico Bellone and choreographed by Austin Wilks.

If you're a fan of the movie, this is definitely one not to miss. Even if you've seen Dirty Dancing countless times, there's something rather special about watching Baby and Johnny come to life right in front of you.

★★★★★

A spectacular, nostalgic and hugely entertaining night at the theatre – and one that absolutely deserved its standing ovation.

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Annie

Chris Gregg — Tue, 21 Jul 2026 22:02:00 +0000

There's a good reason Annie has remained one of the world's most loved musicals for nearly 50 years. Packed with unforgettable songs, larger-than-life characters and a heartwarming story of hope, this latest touring production proves that the classic still has the power to delight audiences of all ages.

Set against the backdrop of 1930s New York during the Great Depression, the story follows young orphan Annie as she escapes the miserable clutches of the drunken Miss Hannigan and finds herself in the care of billionaire Oliver Warbucks. Along the way come mistaken identities, villainous schemes and, of course, plenty of opportunities for some of musical theatre's most iconic songs, including It's the Hard Knock Life, Easy Street and the timeless Tomorrow. Under Nikolai Foster's direction, the production retains all the warmth and charm of the original while feeling fresh, colourful and full of life.

The real star of the evening was Sophia Saravanan in the title role (which she shares with three other young actors). Annie is a demanding part for any young performer, requiring confidence, humour and a remarkable vocal ability, and Saravanan delivers all three in abundance. She lights up the stage from her very first entrance and gives a performance that feels completely natural. One moment summed up her professionalism perfectly: during one scene, Sandy became a little over-excited, repeatedly jumping up at her, yet Saravanan never missed a beat, continuing to sing flawlessly while staying completely in character. It's the sort of composure many seasoned performers would envy.

Alex Bourne is equally impressive as Oliver Warbucks. He captures the character's transformation from stern businessman to devoted father figure with warmth and sincerity, while his rich singing voice adds genuine emotion to the role. His chemistry with Saravanan develops beautifully throughout the evening, making the relationship at the heart of the show thoroughly believable.

Claire Sweeney certainly throws herself into Miss Hannigan with absolute commitment. Her performance is broad, outrageous and often hilarious, bringing an almost drag queen-style flamboyance to the role that generates plenty of laughs from the audience. While she perhaps feels a little too youthful to completely embody the world-weary, washed-up character traditionally associated with Hannigan, there's no questioning her energy or commitment, and she clearly relishes every moment on stage.

The supporting cast are consistently strong, particularly the talented young ensemble playing the orphans. Their infectious enthusiasm shines through in every musical number, while Nick Winston's energetic choreography keeps the action moving at a brisk pace. The production values are exactly what audiences expect from a major touring musical, with Colin Richmond's striking sets creating an ever-changing New York landscape and colourful costumes bringing the era vividly to life.

Of course, no production of Annie would be complete without Sandy. The canine star won over the audience from the moment he appeared, even if he occasionally decided to improvise. Those unscripted moments only added to the evening's charm and were handled brilliantly by the cast. The combination of talented young performers, vibrant choreography and a lovable dog makes this production hugely enjoyable.

This is an energetic, feel-good production that reminds you exactly why Annie has become such an enduring family favourite. Whether you're introducing a new generation to the musical or revisiting it yourself, you'll leave the theatre humming Tomorrow with a smile on your face.

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The Spy Who Came In From The Cold

Chris Gregg — Tue, 14 Jul 2026 21:48:00 +0000

Adapting one of the greatest espionage novels ever written for the stage is no easy task, but David Eldridge's version of The Spy Who Came In From The Cold certainly captures the bleak, morally ambiguous world that made John le Carré's masterpiece a Cold War classic.

This touring production, directed by Jeremy Herrin, is stylish, atmospheric and impeccably crafted, even if it never quite delivers the emotional punch it promises.

Ralf Little leads the cast as weary British intelligence officer Alec Leamas, and it is a commanding performance. Better known to many for his television work, Little throws himself completely into the role, portraying Leamas as a man worn down by years of deception and impossible choices. His commitment is unquestionable, nowhere more so than during a genuinely disturbing interrogation scene in the second half, where Leamas is subjected to what appears to be an attempted drowning in a bucket of water. It is so convincingly staged that it becomes one of the evening's most unforgettable moments.

Visually, the production is superb. Max Jones' minimalist yet constantly shifting set, combined with Azusa Ono's moody lighting and Paul Englishby's haunting score, creates an atmosphere of paranoia and menace that hangs over every scene. The entire production feels drenched in Cold War tension, with shadows, smoke and stark lighting doing much of the storytelling. It is slick and stylish, with a tense atmosphere and meticulous staging.

The adaptation itself remains faithful to le Carré's intricate plotting, but that complexity comes at a price. The script demands absolute concentration as alliances constantly shift and motivations are revealed and concealed through rapid-fire dialogue. While fans of le Carré's writing will appreciate the intellectual challenge, newcomers may occasionally find themselves struggling to keep pace as characters move swiftly between loyalties and betrayals.

Where the production falls short is in its emotional core. Despite strong individual performances, there is surprisingly little chemistry between many of the principal characters. Relationships that should carry genuine emotional weight instead feel functional, making it difficult to become fully invested in the personal stakes behind the espionage.

That lack of connection also weakens the ending. Le Carré's conclusion is intentionally bleak and morally uncompromising, but here it lands with less impact than expected. Rather than feeling devastating, the final moments feel oddly unsatisfying, perhaps because the emotional groundwork has never been fully established.

None of that should detract from the production's considerable strengths. This is an intelligent, atmospheric evening of theatre that refuses to simplify its source material. Ralf Little delivers an excellent central performance, supported by outstanding technical design that evokes the chilling uncertainty of Cold War espionage with remarkable effectiveness.

It may leave you admiring it more than loving it, but for those willing to immerse themselves in le Carré's morally murky world, The Spy Who Came In From The Cold offers a compelling, thought-provoking night at the theatre.

Matthew Bourne's The Car Man

Chris Gregg — Tue, 07 Jul 2026 21:21:00 +0000

Matthew Bourne has built a reputation for taking familiar stories and reinventing them in bold, unexpected ways, and The Car Man remains one of his most daring creations. Loosely inspired by Bizet's Carmen, this is less a ballet than a cinematic dance thriller, transporting audiences to the dusty, grease-stained town of Harmony, USA, where lust, jealousy and revenge simmer beneath the surface.

If you've experienced Bourne's work before, you'll know exactly the kind of theatrical magic to expect. His trademark blend of innovative contemporary dance, expressive acting and razor-sharp storytelling is present throughout. Every glance, every gesture and every carefully choreographed movement tells part of the story, proving once again that words are almost unnecessary in the hands of this remarkable company.

From the moment the audience enters, Harmony already feels alive. Mechanics tinker away in the garage, waitresses bustle around the diner and relationships quietly unfold before the main story even begins. Lez Brotherston's atmospheric set and Chris Davey's evocative lighting create a convincing slice of small-town America, while Terry Davies' adaptation of Bizet's iconic music drives the action with relentless intensity.

The arrival of the mysterious drifter Luca sends shockwaves through the town, unleashing a chain of events fuelled by desire, betrayal and violence. Bourne cleverly blends film noir with dance theatre, delivering a production that constantly shifts between moments of sensuality, humour and shocking darkness.

This is undeniably one of Bourne's racier productions. It's unapologetically steamy in places, with sexuality woven naturally into the narrative rather than included simply for effect. The production also embraces themes that were groundbreaking when it premiered 25 years ago, with relationships portrayed honestly and without fanfare. None of it feels gratuitous; instead it reinforces the dangerous passions driving the story.

Despite the dark subject matter, there are welcome flashes of comedy. Bourne has an uncanny ability to inject subtle humour into even the tensest moments, often through clever character observations or perfectly timed choreography. Those lighter touches provide welcome relief before the next dramatic twist arrives.

The performances from the New Adventures company are, as always, exceptional. Every member of the ensemble commits fully to their character, creating a believable community where every individual has their own story. The dancing is athletic, expressive and emotionally charged, but it is the acting through movement that elevates the production above many traditional dance performances. You genuinely become invested in the characters' fates.

Perhaps the greatest achievement of The Car Man is how accessible it is. Even those who rarely watch dance can easily follow the plot thanks to Bourne's gift for visual storytelling. Every scene flows effortlessly into the next, creating an experience that feels closer to watching a classic Hitchcock-inspired thriller than a conventional ballet.

Twenty-five years after its premiere, The Car Man still feels bold, provocative and thoroughly modern. It's sensual, stylish, darkly funny and packed with unforgettable imagery. Another classic Matthew Bourne production that demonstrates why New Adventures continues to redefine what dance theatre can be.

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1. Matthew Bourne's THE CAR MAN. Nikolas Shikkis, Jack Widdowson, Danny Reubens and Harrison Dowzell. Photo by Johan Persson

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I'm Sorry, Prime Minister

Chris Gregg — Tue, 30 Jun 2026 21:18:00 +0000

More than four decades after Yes, Minister first graced our television screens, Jonathan Lynn's I'm Sorry, Prime Minister proves that Jim Hacker and Sir Humphrey Appleby still have plenty to say. While this is billed as the final chapter for Britain's most celebrated political double act, it is far more than a nostalgia trip. It's a surprisingly moving comedy that explores ageing, friendship and the ever-changing social landscape with warmth as well as wit.

Set in retirement rather than Westminster, the story sees former Prime Minister Jim Hacker facing a very modern crisis after falling foul of contemporary attitudes and "cancel culture". The resulting culture clash could easily have descended into caricature, but Lynn's script keeps every character grounded and remarkably likeable. Even when opinions differ sharply, there's an underlying humanity that makes the debates entertaining rather than divisive. It gently pokes fun at both generations without ever becoming heavy-handed.

The audience at Milton Keynes Theatre reflected the show's heritage, with many long-time fans of the original television series filling the auditorium. Their reactions were fascinating to watch. The older generation clearly recognised elements of themselves in Hacker and Sir Humphrey, responding sympathetically to their struggles with growing older, changing values and feeling increasingly out of step with the modern world. The laughter was frequent, but there were also moments of genuine poignancy.

One of the evening's biggest talking points came before the curtain even rose. Following a cast change, Robert Kitson stepped into the role of Jim Hacker in place of Simon Rouse. Remarkably, Kitson wasn't even the production's understudy, making his achievement all the more extraordinary. Learning such a dialogue-heavy role at short notice would be an enormous challenge for any actor, yet you would never have guessed. His performance was confident, natural and utterly convincing, capturing Hacker's familiar blend of bluster, vulnerability and comic timing with what appeared to be a flawless performance. It was an exceptional piece of professionalism.

Alongside him, Clive Francis once again demonstrated why Sir Humphrey Appleby remains one of British comedy's greatest creations. His famously labyrinthine speeches were delivered with impeccable precision, earning some of the evening's biggest laughs, while the chemistry between the two old adversaries remained as delightful as ever.

There's also an outstanding performance from Princess Donnough as Sophie, Hacker's Care Worker who puts forward the Millennial point of view and effortlessly keeps up with the pair.

The production balances sharp political satire with something more reflective. Beneath the jokes lies a story about friendship, relevance and finding your place in a world that has moved on. That emotional depth gives the play a satisfying weight, particularly as it builds towards its touching conclusion.

Whether you're a lifelong devotee of Yes, Minister or have never watched a single episode, I'm Sorry, Prime Minister stands comfortably on its own. Existing fans will appreciate the callbacks and familiar verbal sparring, while newcomers will simply enjoy an intelligent, funny and surprisingly heartfelt comedy.

Lord Of The Dance

Chris Gregg — Tue, 23 Jun 2026 23:03:00 +0000

Thirty years after Michael Flatley first introduced Lord of the Dance to the world, this anniversary production proves that the phenomenon has lost none of its ability to thrill an audience. While Flatley himself has long since retired from performing, his influence is stamped on every beat, every leap and every thunderous burst of synchronised footwork.

The story – a simple battle between good and evil inspired by Irish folklore – has never been the show's strongest asset, and it still serves largely as a framework to link together the spectacular dance sequences. But nobody comes to Lord of the Dance expecting a complex plot. They come for breathtaking precision, infectious music and moments that make the hairs stand up on the back of your neck, and this production delivers them in abundance.

The dancers are extraordinary. Their stamina alone is astonishing as they execute impossibly fast routines with military precision, making the famous rapid-fire footwork appear almost effortless. The ensemble moves as one, creating wave after wave of perfectly timed taps that reverberate around the theatre. It is impossible not to admire both the athleticism and discipline required to maintain such relentless energy throughout the performance.

The 30th Anniversary Tour introduces refreshed choreography alongside updated lighting, video effects and costumes. Rather than trying to reinvent the show, the creative team has carefully modernised it, allowing the production to feel contemporary while remaining faithful to the spectacle that made it a worldwide sensation. The lighting design is particularly impressive, creating striking visual tableaux that enhance the atmosphere without distracting from the performers.

The music remains one of the evening's greatest strengths. The familiar Celtic melodies, pounding percussion and soaring vocals provide an emotional backdrop that elevates every dance sequence. Combined with dramatic pyrotechnics and clever staging, there are several moments that genuinely feel epic in scale.

What makes *Lord of the Dance* endure after three decades is its sheer confidence. It knows exactly what it is. There are no attempts to be ironic or self-conscious; instead it embraces theatrical spectacle wholeheartedly. The audience responds in kind, with spontaneous applause erupting throughout the performance and a well-deserved standing ovation at the finale.

Those expecting subtle storytelling may find the narrative a little dated, but it hardly matters when the dancing is this exceptional. Like many critics have noted throughout the tour, the production continues to impress through its astonishing technical excellence, visual spectacle and the remarkable commitment of its cast.

Whether you're revisiting a show you first saw in the 1990s or experiencing it for the first time, this anniversary production reminds you why Lord of the Dance became one of the most successful dance shows in theatrical history. Thirty years on, it still has the power to captivate, excite and leave audiences marvelling at what the human body can achieve.

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Karate Kid - The Musical

Chris Gregg — Wed, 17 Jun 2026 11:32:02 +0000

Turning a beloved 1980s film into a stage musical is always a risky move. The Karate Kid carries with it a devoted fanbase, iconic characters and one of cinema's most memorable underdog stories. Fortunately, this UK premiere production largely succeeds in capturing the heart of the original while adding enough theatrical flair to justify its journey from screen to stage.

At its core, the story remains reassuringly familiar. Daniel LaRusso arrives in California struggling to fit in, only to find himself in conflict with local karate champion Johnny Lawrence and the intimidating Cobra Kai dojo. What follows is a tale of friendship, resilience and self-discovery, guided by the wisdom of Mr Miyagi.

Making his professional stage debut, Gino Ochello brings an appealing sincerity to Daniel. He convincingly portrays the character's vulnerability and determination, ensuring audiences quickly invest in his journey. Abigail Amin provides warmth and charm as Ali, while Joe Simmons delivers a suitably swaggering Johnny Lawrence, balancing menace with youthful arrogance.

The standout performance of the evening comes from Adrian Pang as Mr Miyagi. Pang avoids caricature and instead creates a deeply human mentor figure whose quiet dignity and emotional depth anchor the production. His scenes with Ochello provide the show's strongest moments and give genuine weight to the central relationship.

What truly distinguishes this adaptation is its movement. Choreographers Keone and Mari Madrid have created an energetic fusion of dance and martial arts that often proves exhilarating. The ensemble work is sharp throughout, particularly during the Cobra Kai sequences, where athletic choreography and stylised combat combine to create some genuinely thrilling stage pictures.

Visually, the production is impressive. Derek McLane's versatile set, enhanced by Peter Nigrini's projections, allows the story to move fluidly between locations without sacrificing pace. Combined with Bradley King's atmospheric lighting and Ayako Maeda's period-inspired costumes, the production successfully evokes the California of the original film while maintaining a contemporary theatrical style.

The musical score by Drew Gasparini is perhaps the show's weakest element. While there are several strong ballads and emotionally effective moments, few songs linger in the memory after the curtain falls. The score serves the narrative well enough but lacks the knockout numbers that might elevate the production to the next level. This is a criticism echoed by several reviewers across the tour, many of whom have praised the performances and choreography more enthusiastically than the music itself.

However, the emotional storytelling compensates for any musical shortcomings. The production places greater emphasis on Daniel's grief and Mr Miyagi's past than many audience members may remember from the film, adding extra layers to their relationship and providing some genuinely moving moments.

Fans hoping for a faithful recreation of the film will leave satisfied, while newcomers will find an engaging family-friendly musical with plenty of heart. The final tournament sequence is particularly effective, generating genuine excitement and sending the audience home with the uplifting sense of triumph that has made The Karate Kid endure for more than forty years.

The Karate Kid – The Musical may not quite earn a black belt as a musical, but thanks to its strong cast, inventive choreography and emotional sincerity, it certainly proves itself a worthy stage adaptation of a much-loved classic.

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Operation Mincemeat

Chris Gregg — Mon, 08 Jun 2026 21:53:00 +0000

Operation Mincemeat has arrived at Milton Keynes Theatre carrying an extraordinary reputation. Winner of Olivier Awards, Tony Awards and countless five-star reviews, it comes with the sort of hype that can sometimes feel impossible to live up to. Yet this touring production doesn't merely meet expectations – it exceeds them.

Based on the astonishing true wartime deception that helped pave the way for the Allied invasion of Sicily, Operation Mincemeat takes a story that sounds too bizarre to be true and transforms it into one of the most inventive, energetic and laugh-out-loud funny musicals currently on any stage. The remarkable achievement is that it manages to be a farce, a spy thriller, a history lesson and a genuinely moving piece of theatre all at the same time.

What immediately stands out is the sheer energy of the production. With just five principal performers playing dozens of characters between them, the pace rarely drops for a second. Costume changes happen in the blink of an eye, characters appear and disappear with dazzling speed, and the cast attack every scene with an infectious enthusiasm that sweeps the audience along. Reviewers across the country have praised the cast's stamina, precision and versatility, and it's easy to see why.

The genius of Operation Mincemeat lies in its inventiveness. What began life as a fringe production still retains that wonderfully creative spirit. Rather than relying on spectacle for spectacle's sake, the show constantly finds clever theatrical solutions that are far funnier and more engaging than expensive effects ever could be. Scene changes become part of the comedy, props take on unexpected importance, and the staging is packed with visual gags and moments of theatrical brilliance. Critics have repeatedly highlighted the show's ingenuity and self-aware theatricality, and this touring production delivers both in abundance.

Most importantly, it is genuinely hilarious. The audience at Milton Keynes Theatre erupted with laughter throughout, and deservedly so. The script is packed with razor-sharp one-liners, absurd situations and brilliantly observed character comedy. Yet the humour never undermines the story. Instead, it enhances it, making the emotional moments land with even greater impact when they arrive. Like many of the best comedies, Operation Mincemeat understands that laughter and heart are not opposites but perfect companions.

The music deserves special praise too. The score effortlessly shifts between parody, musical theatre spectacle, heartfelt balladry and outright silliness. Every song feels purposeful, advancing the story while providing another opportunity for the cast to showcase their talents.

It's easy to understand why the show has developed such a devoted following in the West End, on Broadway and now across the UK. Online theatre fans routinely describe it as one of the best shows they have seen in years, praising its cleverness, humour, emotional depth and originality.

Quite simply, Operation Mincemeat is one of the most enjoyable musicals to visit Milton Keynes Theatre in recent years. Bursting with creativity, packed with laughs and performed with extraordinary commitment, it proves that sometimes the most improbable stories make the most entertaining theatre.

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Theatre Review: Les Ballets Trockadero de Monte Carlo

Chris Gregg — Tue, 02 Jun 2026 22:08:00 +0000

There are few productions that can genuinely claim to offer something you've never quite seen before, but Les Ballets Trockadero de Monte Carlo certainly falls into that category. The internationally renowned all-male ballet company arrived at Milton Keynes Theatre with its trademark blend of classical dance, parody and theatrical mischief, delivering an evening that was as entertaining as it was unusual.

Celebrating more than fifty years of delighting audiences around the world, the company has built its reputation on affectionately sending up the traditions and conventions of classical ballet while simultaneously demonstrating considerable technical skill. Their programme included excerpts from Swan Lake, Go For Barocco, the legendary Dying Swan and Walpurgisnacht, providing plenty of opportunities for both dance and comedy to take centre stage.

The comedy element is undoubtedly what attracts many audience members. From deliberately exaggerated facial expressions and mock diva behaviour to perfectly timed pratfalls and visual gags, the production rarely takes itself seriously. The audience responded warmly throughout, with several moments provoking genuine laughter. However, while the humour is consistently playful and charming, it is perhaps more comical than outright hilarious. Some jokes feel familiar and occasionally linger a little longer than necessary, but the company's infectious enthusiasm ensures the evening never loses momentum.

Where the show succeeds most is in its ability to celebrate ballet while gently poking fun at it. The dancers clearly possess a deep understanding and respect for the art form, allowing them to parody its traditions without ever descending into mockery. The famous Dying Swan remains a particular highlight, combining technical accomplishment with wonderfully absurd comic timing.

Those expecting the artistic standards of companies such as the Royal Ballet, English National Ballet or the imaginative storytelling of Matthew Bourne may find themselves adjusting expectations. While the dancing is accomplished and often impressive, it does not consistently reach the breathtaking technical heights associated with the world's leading ballet companies. The focus here is firmly on entertainment rather than artistic perfection.

That said, comparing The Trocks directly with traditional ballet companies arguably misses the point. This is a production that occupies its own distinctive space between dance, comedy and cabaret. Its appeal lies not in delivering definitive performances of classical masterpieces but in offering a witty and accessible celebration of them.

The company's origins as a trailblazing ensemble challenging conventions around gender and performance continue to give the show an added layer of significance, although today's audiences are more likely to appreciate the production simply for its joyful sense of fun and individuality.

Ultimately, Les Ballets Trockadero de Monte Carlo provides a thoroughly enjoyable evening that is refreshingly different from almost anything else currently touring. It may not leave you marvelling at the finest ballet technique you've ever witnessed, nor will every joke have you doubled over with laughter, but it offers something equally valuable: two hours of light-hearted escapism, delivered with charm, personality and plenty of tutus.

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Choir of Man

Chris Gregg — Tue, 26 May 2026 22:36:00 +0000

There’s a moment before The Choir of Man even officially begins where you realise this is going to be a very different night at the theatre. As the audience walks into Milton Keynes Theatre, the cast are already on stage inside the fully working pub set, pulling pints, chatting to audience members and creating the warm chaos of a Friday night down the local. By the time the lights properly go down, the atmosphere is already electric.

Set inside fictional pub “The Jungle”, The Choir of Man doesn’t really have a traditional plot – and it doesn’t need one. Instead, it’s a celebration of friendship, community, vulnerability and music, held together by poetic interludes from Lewis Dragisic as The Poet, whose heartfelt monologues give the evening emotional weight amongst the singalongs and choreography.

The nine-piece cast are phenomenal throughout. Their harmonies are spine-tingling, whether tackling rock anthems, emotional ballads or pub classics, and the sheer versatility on display is astonishing. One minute they’re delivering thunderous percussion routines on the bar, the next they’re producing delicate vocal arrangements worthy of an a cappella concert. The show’s song choices bounce between Queen, Sia, Adele, Avicii and more, but every number feels rooted in the spirit of togetherness.

What makes The Choir of Man so effective is its complete rejection of cynicism. In lesser hands, an all-male pub choir singing crowd-pleasers could easily descend into laddish cliché. Instead, this show becomes an antidote to toxic masculinity — a celebration of men being open, supportive, emotional and joyful together. There’s real poignancy beneath the laughter too, particularly in its reflections on the slow disappearance of British pubs and the role they play as community hubs, sanctuaries and places of connection.

The audience interaction is brilliantly judged. A few lucky theatregoers are brought on stage to join in the fun, pints are handed out, and there’s an infectious sense that everyone in the room is part of the same gathering rather than simply watching a performance. It genuinely feels like being inside your favourite local boozer — just with much better singing.

Tuesday night’s performance also featured a very special surprise. Hundreds of singers from local choirs Collaboration Choir and The Busketeers joined the cast for an extraordinary rendition of Sia’s Chandelier, filling the theatre with a wall of sound that was genuinely breathtaking. It transformed an already uplifting evening into something unforgettable.

The Choir of Man may not tell a conventional story, but what it delivers is something far more powerful: a reminder of the importance of community, kindness, music and human connection. Funny, moving, immersive and packed with astonishing vocal talent, this is one of the most joyous nights currently touring the UK.

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To Kill A Mockingbird

Chris Gregg — Tue, 19 May 2026 22:49:00 +0000

Aaron Sorkin’s stage adaptation of To Kill a Mockingbird arrives at Milton Keynes Theatre carrying the weight of enormous expectation, and rightly so. After acclaimed runs on Broadway, the West End and a major UK tour, this production remains one of the most powerful and sharply relevant theatrical retellings of Harper Lee’s classic novel.

Set in 1930s Alabama, the story follows Atticus Finch as he defends Tom Robinson, a Black man falsely accused of assault, while his children Scout and Jem begin to understand the complexities of justice, prejudice and morality in a divided society. Sorkin’s script does not simply recreate the novel page by page; instead, it reshapes it into a tighter, more urgent courtroom drama while retaining the emotional heart of Scout’s coming-of-age story.

What makes this production especially compelling is how contemporary it feels. Themes of racial injustice, systemic inequality and moral courage are as uncomfortable and necessary now as they were in Harper Lee’s original work. Sorkin’s dialogue brings a modern sharpness to the text, giving characters greater complexity and making Atticus Finch less saintly and more human — a thoughtful dramatic choice that adds depth rather than diminishing his integrity.

Visually, the production has earned praise across its previous runs for its elegant staging and restrained design, allowing the performances and script to carry the emotional weight. The courtroom scenes are reportedly gripping, building tension with measured pacing rather than melodrama. The balance between intimate family moments and larger social commentary gives the play both warmth and devastating impact.

The touring production, directed by Bartlett Sher with its distinguished creative team including scenic designer Miriam Buether, costume designer Ann Roth and lighting designer Jennifer Tipton, maintains the prestige of its Broadway and West End pedigree. With Richard Coyle leading the cast as Atticus Finch on this tour, the production brings a strong dramatic centre to one of theatre’s most enduring stories.

At nearly three hours including an interval, this is not light entertainment, but it is deeply rewarding theatre. The subject matter — including racism, violence and references to sexual abuse — is difficult, yet the production handles it with seriousness and purpose.

To Kill a Mockingbird stands as a compelling, intelligent and emotionally resonant drama. More than a faithful adaptation, it is a timely examination of empathy, justice and the cost of doing what is right. For audiences seeking theatre that challenges as much as it moves, this is an essential watch.

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Aaron Shosanya (Tom Robinson) in To Kill A Mockingbird. Photo by Johan Persson (2)

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Welsh National Opera - Flying Dutchman and Blaze of Glory

Chris Gregg — Sun, 17 May 2026 21:42:00 +0000

Welsh National Opera’s return to Milton Keynes Theatre formed part of the company’s landmark 80th anniversary season, bringing together two productions that celebrated both the scale of grand opera and the warmth of Welsh musical storytelling.

Across two very different performances, audiences were treated to the stormy emotional power of Wagner’s The Flying Dutchman and the uplifting community spirit of Blaze of Glory! Together, the productions reflected the company’s continuing commitment to combining world-class opera with stories rooted deeply in Welsh identity and culture.

The Flying Dutchman

WNO’s new production of The Flying Dutchman delivered a gripping and emotionally charged interpretation of Wagner’s haunting masterpiece. Director Jack Furness stripped the production back to its emotional core, allowing the music and performances to dominate the stage with remarkable intensity. Inspired by the Welsh coastline, the sleek and understated design created a bleak yet beautiful world that perfectly suited the opera’s themes of loneliness, obsession and redemption.

From the first crashing moments of the overture, the WNO Orchestra under the baton of Tomáš Hanus captured the restless force of the sea with tremendous energy and precision. Wagner’s score felt immense throughout, but there were also moments of striking delicacy that allowed the emotional vulnerability of the characters to shine through.

Simon Bailey brought commanding presence to the role of the cursed Dutchman, combining power and weariness in equal measure. Opposite him, Emma Bell was exceptional as Senta, delivering a performance filled with conviction and dramatic intensity. Her soaring vocals carried enormous emotional weight, particularly in the opera’s most climactic moments.

The supporting cast also impressed throughout. Leonardo Caimi gave Erik a strong emotional presence, while Trystan Llŷr Griffiths added warmth and clarity as The Steersman. The chorus, as always with WNO, sounded magnificent, filling the theatre with rich, powerful harmonies that added tremendous scale to the production.

Rather than relying on elaborate spectacle, this production focused firmly on human emotion and psychological drama. The result was a compelling and often mesmerising evening of opera that demonstrated exactly why The Flying Dutchman remains one of Wagner’s most enduring works.

Blaze of Glory!

If The Flying Dutchman showcased WNO’s dramatic grandeur, Blaze of Glory! revealed the company’s heart. This warm, funny and deeply moving production celebrated Welsh community spirit through the story of a group of miners rebuilding their male voice choir following tragedy.

Written by David Hackbridge Johnson with a libretto by Emma Jenkins, the show combined traditional Welsh choral music with touches of gospel, operetta, big band and 1950s-inspired harmony to create something both nostalgic and fresh. Under the direction of Caroline Clegg, the production balanced humour and emotion beautifully, never allowing sentimentality to overpower the sincerity at its core.

The performances were full of warmth and personality. Jeffrey Lloyd-Roberts was outstanding as chorus master Dafydd Pugh, bringing both authority and vulnerability to the role. Rebecca Evans added emotional depth as Nerys Price, while Mark Llewelyn Evans delivered plenty of charm and humour as Caradog Probert.

Musically, the production was hugely uplifting. The choral sequences were the undeniable highlight, filling Milton Keynes Theatre with rich harmonies and an unmistakable sense of pride and togetherness. The audience response reflected that warmth throughout, with many moments generating genuine laughter alongside quieter scenes of reflection and loss.

Blaze of Glory! felt especially fitting as part of WNO’s anniversary celebrations because it reflected the company’s own origins, founded by ordinary people united through a shared passion for music. The production served as both an entertaining evening of musical theatre and a heartfelt tribute to Welsh culture, resilience and community spirit.

Fawlty Towers - The Play

Chris Gregg — Tue, 28 Apr 2026 21:28:00 +0000

There’s always a risk when a beloved sitcom makes the leap to the stage that something essential might get lost along the way. With Fawlty Towers, that risk feels even greater given its near-mythical status in British comedy, but at Milton Keynes Theatre, this touring production which was adapted for the stage by John Cleese proves that not only can it work—it can thrive.

What makes this adaptation so effective is how intelligently it’s been constructed. Drawing from three classic episodes—The Hotel Inspector, The Germans, and Communication Problems—the play weaves multiple storylines into one seamless narrative. It never feels disjointed or rushed; instead, the threads are neatly knitted together, allowing the chaos to build in exactly the way fans will hope for.

The result is a relentless cascade of classic moments, delivered with precision. The familiar farcical tension is all there—the kind that has you almost wincing in anticipation as situations spiral out of control. Those wonderfully awkward, “you know what’s coming” scenarios land just as brilliantly as they ever did on television.

The cast capture their iconic roles with remarkable accuracy. Danny Bayne as Basil Fawlty is a standout, delivering a performance that channels the spirit and physicality of John Cleese without slipping into parody. It’s a fine balance, and one that speaks volumes about the care taken in bringing this to the stage. Across the board, every character feels authentic, from the exasperated Sybil (Mia Austen) and brilliantly unruffled Polly (Joanne Clifton) to the hopelessly confused Manuel (Hemi Yeroham).

One of the production’s cleverest touches is its pacing of the German storyline. The audience is teased throughout, with references and tension building steadily, all leading to the inevitable—and hugely satisfying—“don’t mention the war” moment as a grand finale. It’s handled with confidence and impeccable timing, earning exactly the reaction it deserves.

There’s also something undeniably joyful about seeing these moments recreated live. The physical comedy feels bigger, the timing sharper, and the audience response becomes part of the experience. It’s not just nostalgia—it’s nostalgia done properly, with respect for the original material and a clear understanding of what made it work in the first place.

Ultimately, this is an impeccable production: tightly constructed, brilliantly performed, and packed with the highlights that made Fawlty Towers such a landmark in British comedy. For longtime fans, it’s a hugely satisfying revisit; for newcomers, it’s a masterclass in farce. Either way, it delivers exactly what you’d hope for—an evening of expertly crafted chaos and laughter.

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Single White Female

Chris Gregg — Tue, 21 Apr 2026 22:30:00 +0000

This week at Milton Keynes Theatre, the stage adaptation of Single White Female arrives with all the expectation of its cult status, reimagined for a modern audience—and largely delivers an entertaining, if not especially surprising, night at the theatre.

On this particular performance, the absence of Lisa Faulkner could have been a stumbling block, but understudy Anna Reuben steps into the role of Allie with confidence and control. Her performance feels assured rather than tentative, anchoring the show effectively and ensuring the central relationship never loses its tension. Opposite her, Kym Marsh brings a compelling intensity to Hedy, creating a dynamic that steadily becomes more unsettling as the story unfolds.

Adapted for the stage by Rebecca Reid, the production smartly updates the original story into the digital age, weaving in themes of online identity and social media. There’s a particularly relevant thread around teenage bullying and the dangers of trusting people you meet online, adding a contemporary edge to what is otherwise a familiar narrative. It’s a clever touch that gives the story a little more weight, even if the overall plot remains fairly straightforward.

In terms of staging, the production leans into a sleek, stylised aesthetic. The set design, reminiscent of 2:22 A Ghost Story, creates a claustrophobic environment that mirrors the characters’ increasingly tangled lives. Scene changes are punctuated by loud music and bursts of flashing lights, heightening the sense of unease and keeping the pacing brisk. It’s effective, if occasionally a little heavy-handed.

Fans of the original film will recognise the trajectory here—this isn’t a show built on shocking twists, but rather on escalation. The tension simmers rather than explodes, with the drama noticeably ramping up as the interval approaches. From there, it becomes a more heightened, almost melodramatic ride, embracing its thriller roots without trying to reinvent them.

What stands out most is how watchable it all is. The performances are strong across the board, the themes feel current, and the production values keep things visually engaging. While it may not offer the kind of narrative surprises that linger long after the curtain call, it succeeds in doing exactly what it sets out to do: entertain.

For those heading in expecting a gripping but accessible thriller, this is a solid choice. It’s a fun night out—just don’t go in expecting anything too groundbreaking.

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Mean Girls

Chris Gregg — Tue, 14 Apr 2026 22:14:00 +0000

Mean Girls The Musical arrives at Milton Keynes Theatre with a confidence that matches its source material – bold, glossy and packed with attitude. Based on the cult 2004 film, this UK tour keeps the familiar story intact while giving it a contemporary twist, updating the world of North Shore High with smartphones, selfies and social media culture, which feels like a natural evolution rather than a gimmick. As with the original, it’s a sharp, funny exploration of teenage hierarchy, friendship and identity, now delivered with a pop-infused theatrical energy.

At the centre of the show is Emily Lane as Cady Heron, who brings a bright, engaging energy to the role. Her transformation from awkward outsider to fully-fledged Plastic is convincingly charted, balancing innocence with growing confidence as the story unfolds. The strength of her performance anchors the production, giving emotional weight to what is otherwise a fast-paced, high-gloss musical.

However, it’s Max Gill as Damian Hubbard who truly steals the show. With boundless energy and a brilliantly camp delivery, Gill commands every moment on stage, landing punchlines with precision and lifting the audience whenever he appears. It’s a performance that taps into what many reviews of the tour have highlighted – that the humour and iconic moments from the film remain some of the show’s strongest assets, often drawing the biggest reactions from the crowd.

Faye Tozer also deserves credit for her versatility, taking on multiple roles throughout the evening and shifting seamlessly between them. It’s a reminder of the depth of talent within the cast, which overall delivers a slick and committed performance. Supporting players, particularly those portraying the Plastics, bring the expected glamour and bite, helping to recreate the instantly recognisable dynamic at the heart of the story.

Visually, the production is vibrant and constantly moving, with slick scene transitions that keep the momentum high. The staging captures the heightened, almost cartoonish world of high school drama, while the costumes lean into the iconic pink-heavy aesthetic fans will expect. Musically, the show blends pop-style numbers with theatrical storytelling, delivering plenty of energy, even if – as some critics have noted – the songs don’t always linger in the memory as much as the dialogue and one-liners.

That said, Mean Girls knows exactly what it is. This isn’t a deep or groundbreaking musical – it’s a fun, high-energy night out that leans heavily into nostalgia while updating itself for a new generation. The humour lands, the pace rarely dips, and the audience response reflects just how beloved this story remains.

Overall, this touring production delivers a lively and entertaining adaptation that stays true to the spirit of the film while giving it a modern theatrical edge. With standout performances, particularly from Max Gill and a strong central turn from Emily Lane, Mean Girls proves that, even years on, being “fetch” still works on stage.

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Here and Now - The Steps Musical

Chris Gregg — Tue, 31 Mar 2026 23:13:09 +0000

There’s a moment early on in Here & Now – The Steps Musical where everything clicks — the tone, the energy, the sheer sense of fun — and from that point on, the audience at Milton Keynes Theatre are completely along for the ride.

This is a jukebox musical that knows exactly what it is. Built around the back catalogue of Steps, it leans unapologetically into colour, nostalgia and feel-good escapism. The story follows a group of friends chasing love, happiness and second chances, and while it doesn’t aim for gritty realism, it does have just enough heart to keep you invested.

What really makes it work is the atmosphere. It’s gloriously camp, knowingly over-the-top, and packed with energy from start to finish. Big dance routines, bold costumes and a constant stream of familiar hits create a show that feels less like traditional theatre and more like a party — and the Milton Keynes audience fully embraced that.

The music is, of course, the main event. Songs like One For Sorrow, 5,6,7,8 and Chain Reaction are woven into the story with a playful confidence. Sometimes it’s slick, sometimes it’s a little cheeky, but it always lands because the show never takes itself too seriously. It understands that these songs are the reason people are there — and it delivers them with style.

Performance-wise, the cast strike a strong balance between comedy and sincerity. Lara Denning’s Caz gives the show its emotional core, bringing warmth and depth to the character, while River Medway is a standout, injecting humour and charisma into every scene. Across the board, the ensemble is tight, energetic and clearly having as much fun as the audience.

There are moments where the storyline feels a little thin, and occasionally it bends to accommodate the next big number rather than the other way around. But that hardly detracts from the experience. This isn’t a show built on complex plotting — it’s built on connection, nostalgia and joy.

And that’s what it delivers in abundance. Beneath the glitter and choreography, there are flashes of genuine emotion and relatable themes around friendship, loss and starting again, giving the show more substance than you might expect.

Ultimately, Here & Now is exactly what you want it to be — a vibrant, high-energy, feel-good night out. It’s bold, it’s camp, it’s a little bit chaotic at times, but it’s also hugely entertaining.

A joyful celebration of pop and friendship that sends you out of the theatre smiling — and very likely singing all the way home.

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Sunny Afternoon

Chris Gregg — Tue, 24 Mar 2026 22:24:00 +0000

Sunny Afternoon arrives in Milton Keynes as a high-energy celebration of The Kinks, and it delivers exactly what audiences will be hoping for – a loud, lively and thoroughly entertaining night driven by the band’s music.

From the opening moments, the production leans into its biggest strength: the sound. With the actors performing as the band themselves, there’s a raw authenticity to the music that gives the show a real edge. It doesn’t feel like a traditional musical with a hidden orchestra; instead, it plays out like a live gig unfolding on stage, full of swagger and punch. When the show embraces that concert feel, it becomes genuinely exhilarating, with the biggest numbers landing with real impact and lifting the atmosphere in the auditorium.

The cast carry this brilliantly. There’s a strong sense of chemistry between the band members, and the performances are confident, energetic and musically tight. Vocally, the show rarely puts a foot wrong, and the commitment to playing live throughout adds an extra layer of credibility that keeps you engaged.

The music itself does much of the heavy lifting. With a catalogue as strong as The Kinks’, the show is packed with familiar hits that bring both nostalgia and excitement. Even for those who may not know every song, there’s an undeniable momentum that builds as the evening goes on, culminating in a finale that leaves the audience buzzing.

Where the production is slightly less convincing is in its storytelling. The narrative, charting the band’s rise and internal tensions, occasionally feels a little uneven. The first half can take time to settle, and some of the more complex relationships and conflicts don’t always land with the depth they perhaps deserve. That said, once the show finds its rhythm, the second half brings everything together far more effectively.

Overall, Sunny Afternoon is an enjoyable and energetic musical that thrives on its music and performances. It may not always dig as deeply into the drama as it could, but when the guitars kick in and the band hits its stride, it becomes exactly what it should be – a vibrant, feel-good celebration of one of Britain’s most iconic groups.

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Inspector Morse - House of Ghosts

Chris Gregg — Tue, 17 Mar 2026 22:34:00 +0000

Inspector Morse: House of Ghosts arrives at Milton Keynes Theatre with plenty of expectation, bringing one of Britain’s most iconic detectives to the stage for the first time. Unfortunately, this production never quite lives up to the legacy it’s trading on.

At its core, the biggest issue is the writing. What should be a gripping mystery quickly becomes unnecessarily complicated, with a plot that feels more tangled than intelligent. Rather than inviting the audience to piece together clues alongside Morse, the story leans on coincidence and exposition. The pivotal revelations don’t come through clever detective work but are instead handed to him, removing any sense of satisfaction or intrigue.

Tom Chambers gives a committed performance, but he never quite convinces as Morse. Visually and in manner, he feels far removed from the character audiences know, making it difficult to fully buy into him in the role. Much of his stage time is spent in a cycle of brooding – pinching the top of his head, looking strained, or retreating to the pub with Lewis – rather than demonstrating the sharp intellect and quiet authority that define the character.

The portrayal also leans heavily into Morse’s emotional past, with a recurring thread of him pining over a former love. While adding depth can be effective, here it feels overplayed and out of character, further distancing this version from the Morse many will recognise.

There are solid elements within the production. The supporting cast, including Tachia Newall as Lewis, bring energy and presence, and the staging moves fluidly between scenes and the 'play within a play' performance of Hamlet is excellent. However, the constant transitions and interruptions in the first half create a frantic pace that rarely allows the drama to breathe.

Overall, it’s a production that feels contrived rather than compelling. Despite a strong premise and a talented cast, the lack of a satisfying mystery and a central performance that never quite lands make this a disappointing outing for such a beloved detective.

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Legally Blonde - The Musical

Chris Gregg — Tue, 10 Mar 2026 23:00:00 +0000

Legally Blonde The Musical has arrived at Milton Keynes Theatre in a whirlwind of pink, sparkle and high-energy musical theatre, bringing the much-loved story of Elle Woods back to the stage with plenty of style and enthusiasm.

Based on the hit film, the show follows fashion-loving sorority girl Elle Woods as she enrols at Harvard Law School in order to stalk her ex-boyfriend. What begins as a quest for love quickly becomes a journey of self-discovery as Elle proves she has the intelligence, determination and confidence to succeed on her own terms.

This new touring production certainly wastes no time getting going. From the opening moments the show throws itself forward at full pace, and the first half in particular feels relentless. Songs are frequently interrupted by dialogue and the stage shifts rapidly from one scene to the next, creating a production that rarely pauses for breath. At times the pace can feel almost frantic, but it also gives the show an infectious momentum that keeps the audience engaged.

Amber Davies takes on the iconic role of Elle Woods and brings a huge amount of energy and charisma to the part. Her dancing is excellent and she throws herself fully into the role, capturing Elle’s optimism and determination with infectious enthusiasm and she clearly relishes leading such a lively production.

Around her is a strong supporting cast who keep the pace and humour flowing. George Crawford’s Emmett provides a grounded counterpart to Elle’s exuberance, while Karen Mavundukure makes a memorable impression as Paulette, bringing warmth and comic flair to the role.

Musically the show remains a crowd-pleaser. Laurence O’Keefe and Nell Benjamin’s upbeat score is packed with memorable numbers, and the ensemble deliver them with impressive precision and enthusiasm. The choreography is sharp and energetic throughout, matching the show’s non-stop pace and helping maintain its bright, feel-good tone.

Director Nikolai Foster’s staging embraces the fast-moving style of the piece, with colourful design and slick transitions that allow the story to jump quickly between locations. It’s visually vibrant and constantly in motion, which suits the musical’s playful spirit.

At its heart, Legally Blonde remains an uplifting story about confidence, self-belief and proving people wrong when they underestimate you. Despite the breathless pace, that message still shines through clearly.

This production delivers exactly what audiences expect from Legally Blonde – a lively, colourful and entertaining night at the theatre, bursting with energy, humour and plenty of pink.

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Amber Davies as Elle Woods (front) & cast in LEGALLY BLONDE, credit Marc Brenner

Horrible Histories The Concert

Chris Gregg — Fri, 27 Feb 2026 23:43:00 +0000

Horrible Histories – The Concert at Milton Keynes Theatre is exactly the kind of energetic, gloriously gruesome family show you’d hope for from the CBBC favourite — and it delivers in style.

Although billed as a concert, this is far more than a straightforward singalong. There’s a loose but effective storyline running throughout as William Shakespeare — played brilliantly by Richard David-Caine — attempts to pull together the greatest show on earth while battling interruptions from history’s most unruly characters. It gives the evening a welcome theatrical spine and plenty of comic moments between the musical numbers.

The live band, under the musical direction of Richie Webb (who wrote the songs for the TV series), is outstanding. The sound is punchy, polished and genuinely exciting, bringing the much-loved Horrible Histories songs to life with real energy. The mostly school-age audience absolutely loved it, singing along enthusiastically, laughing loudly and reacting with delight to the show’s trademark gory facts and cheeky humour.

Performance-wise, the cast are uniformly strong, clearly relishing the chance to bring these larger-than-life historical figures to the stage. Inel Tomlinson is a standout as Mansa Musa with I Like To Spend It — a brilliantly funny parody of I Like To Move It Move It that had the audience fully engaged. Meanwhile, Ethan Lawrence brings the house down as Henry VIII with the ever-popular Divorced Beheaded Died, which remains one of the show’s biggest crowd-pleasers.

What makes this production particularly special is the rare opportunity to see the familiar CBBC stars performing these songs live on stage. For younger fans especially, that connection creates a real buzz in the auditorium.

Fast-paced, funny and packed with catchy tunes and revolting historical nuggets, Horrible Histories – The Concert proves that learning about the past can still be wildly entertaining.

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01. Horrible Histories - The Concert cast. Photo by Matt Crockett

Horrible Histories - The Concert cast. Photo by Matt Crockett

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Matthew Bourne's The Red Shoes

Chris Gregg — Tue, 10 Feb 2026 22:09:00 +0000

Matthew Bourne’s The Red Shoes has arrived at Milton Keynes Theatre in a blaze of theatrical imagination, and it’s a production that absolutely revels in the magic of performance itself.

It’s visually rich and easy to follow, drawing the audience into both the glamour of performance and the reality behind the scenes.

A standout feature is the revolving proscenium frame designed like theatre curtains. As it turns, the focus shifts smoothly between the ballet being performed and the backstage world around it. This clever staging keeps the “show within a show” idea clear and adds a cinematic feel to the production. You really sense the excitement, pressure and ambition that drive the characters.

There are also several wonderfully inventive scenes that bring colour and variety. A beach sequence, complete with carefully choreographed beach balls, is playful and visually memorable. The cabaret scene provides a burst of humour, with exaggerated Egyptian sand dancers, strong men and burlesque performers creating a lively contrast to the more serious moments. These lighter touches make the emotional story even more effective.

The ballet sequences from The Red Shoes itself are dramatic and stylish, showing the pull of art and ambition at the heart of the story. Everything builds towards a final scene that is both shocking and beautifully staged, leaving the audience in stunned silence before the applause begins.

This production proves why Bourne’s version remains so popular. It’s entertaining, inventive and visually beautiful, while still telling a story that stays with you long after the curtain call.

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Tina - The Tina Turner Musical

Chris Gregg — Wed, 28 Jan 2026 23:17:00 +0000

TINA – The Tina Turner Musical has roared into Milton Keynes Theatre with the electricity, grit and heart you’d hope for from a show about the Queen of Rock ’n’ Roll — and then cranks it up even further.

At the centre is an astonishing performance from Elle Ma-Kinga N’Zuzi in the title role. Vocally, she is phenomenal, delivering Tina’s iconic songs with power, control and raw emotion, never slipping into impersonation but fully embodying the spirit and fire that made Tina Turner a legend. It’s a relentlessly demanding role — she’s rarely off stage, navigating rapid costume changes, intense choreography and deeply emotional scenes — and she handles it with stamina and star quality to spare.

The production doesn’t shy away from the darker chapters of Tina’s life. Her turbulent and abusive relationship with Ike Turner is portrayed with uncomfortable honesty, and David King-Yombo gives a chilling, complex performance that shows both the charisma and the cruelty of the man behind the music. In contrast, Lola McCourtie is a standout as young Anna Mae, bringing warmth, innocence and a powerful voice that makes Tina’s early years especially moving.

What makes this show more than a jukebox musical is its storytelling. We follow Tina’s journey from a child with big dreams to a woman who loses everything, then fights her way back to become a global solo icon. It’s inspiring without being sentimental, and the emotional payoff feels earned.

Then comes the finale — and it’s pure concert magic. The stage transforms into a full-blown arena show, complete with live band energy, dazzling lighting and hit after hit. The audience on its feet, singing and dancing, feels less like theatre etiquette and more like a Tina Turner gig.

A powerful, polished and exhilarating night out, this is a musical that tells a tough story but leaves you buzzing. Absolutely one to catch.

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TINA - THE TINA TURNER MUSCIAL. Elle Ma-Kinga N’Zuzi (Tina) and Ikettes. Photo by Johan Persson (1)

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Dear England

Chris Gregg — Tue, 20 Jan 2026 23:19:57 +0000

Dear England at Milton Keynes Theatre is a gripping, surprisingly emotional piece of theatre that works just as well for non-football fans as it does for those who can recite England’s penalty history in their sleep. At its heart is Gareth Southgate, a man still haunted by his infamous miss in 1996, stepping into the job that nobody wants and attempting to reshape not just a team, but a national psyche.

What could have been a predictable sports drama becomes something far richer. James Graham’s script delves into identity, pressure, masculinity and mental health, examining how a culture of fear and blame can quietly sabotage even the most talented group of people. Southgate’s decision to bring in psychologist Pippa Grange becomes the emotional backbone of the story, taking the crippling pressure off the team and removing the expectation to win.

The staging is brilliantly inventive. Rather than literal recreations of matches, the production uses flashing lights, pulsing music and immersive sound design to evoke the tension and drama of penalty shootouts. It’s theatrical, cinematic and hugely effective, bringing you straight back to moments of shared national anxiety. There’s also plenty of humour, particularly in the sharply observed characterisations of the players and the parade of Prime Ministers during Southgate’s tenure, giving the whole thing the feel of a whirlwind tour through recent British history.

David Sturzaker delivers an outstanding performance as Southgate, capturing both his quiet, thoughtful leadership and the weight of expectation that never quite leaves him. Eastenders' Samantha Womack is equally compelling as Pippa Grange, grounding the production with warmth, intelligence and emotional clarity. Together, they anchor a strong ensemble who bring real energy and authenticity to the piece.

Even though the broad strokes of the story are familiar, the play never feels predictable. It’s not really about winning trophies; it’s about what success means, how we process disappointment, and what happens when we choose compassion over criticism. By the end, Dear England feels less like a sports drama and more like a hopeful meditation on change.

Uplifting, funny, and deeply human, this is a must-see production that proves you don’t need to love football to be completely won over.

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Matilda - The Musical

REVIEW: Matilda The Musical at Milton Keynes Theatre – A show that never disappoints

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