Revolution Radio: Theatre Reviews (Northampton)

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.

The Cast

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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)

Trailer

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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Friends - The Musical Parody

Chris Gregg — Tue, 13 Jan 2026 23:15:11 +0000

FRIENDS! The Musical Parody at Milton Keynes Theatre is a highly entertaining, affectionate pastiche that will delight fans even when it occasionally wobbles. Eva Hope and Alicia Belgrade were particularly impressive — their Rachel and Monica impersonations captured mannerisms and comic timing in a way that felt lovingly accurate rather than merely impressionistic. Edward Leigh’s take on Gunther was the evening’s highlight, especially when he sang a parody from The Little Mermaid which was brilliant.

The show skips through key scenes from across the ten seasons of Friends, knitting them into a fast moving montage without recreating every moment. Creatively, it leans on adapted numbers from well-known musicals — a tango riff on Chicago to puncture Ross-and-Rachel angst landed brilliantly, and a Rent pastiche at the close had the audience laughing.

There are plenty of little Easter eggs for superfans, and the production is smart enough to update or wink at jokes that haven’t aged well, never taking itself too seriously.

Pacing is brisk and the ensemble work is solid, though not every gag hit its mark; the humour is broad by design.

Overall it’s a nostalgic, good-humoured night out — perfect for anyone who loves the TV series and fancies a musical-shaped walk down memory lane.

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FRIENDS! The Musical Parody

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Mog's Christmas

Chris Gregg — Sat, 13 Dec 2025 19:25:00 +0000

Judith Kerr's Mog’s Christmas at The Royal & Derngate is a gentle, joyful festive treat that feels perfectly pitched for its very young audience. Beautifully put together and thoughtfully staged, this is a highly visual production that brings together three much-loved Mog stories in a way that is easy to follow, warm in tone and full of charm.

With a small cast playing multiple roles and live music performed on stage at the piano by musical director and actor Daniella Agredo Piper, the show feels intimate, playful and reassuringly handcrafted.

Faye Lord is outstanding as Mog. Her physical performance is full of detail, with expressive facial reactions and perfectly judged movement that capture Mog’s forgetful yet stubborn nature brilliantly. Using a full range of miaows, she holds the audience’s attention throughout, supported by clever choreography and climbing all over the cleverly designed set.

The rest of the cast switch roles seamlessly, keeping the pace lively with inventive use of props that allow everyday objects to transform into something magical. Tom England gives a confident performance as the postman to open the show, and Mog's family are brilliantly portrayed by Jesse Meadows (Nicky), Aimee Louise Brown (Debbie), Heather Porte (Mrs Thomas) and Ben Vardy (Mr Thomas)

There is plenty here to keep little ones fully engaged, with some great original songs that will get everyone joining in and a beautiful final scene with snow falling and twinkling lights filling the theatre is genuinely heart-warming and met with wide-eyed delight.

This is a lovely example of locally produced theatre done exceptionally well, and a production the company should be very proud of. Mog’s Christmas holds its audience from start to finish, offering a calm, magical introduction to theatre for little ones that will bring your family together this Christmas.

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. Mog’s Christmas – L-R Heather Porte, Ben Vardy, Faye Lord, Aimee Louise Bevan and Jesse Meadows – photo by Manuel Harlan

Goldilocks and the Three Bears

Chris Gregg — Wed, 10 Dec 2025 22:23:00 +0000

Brian Conley’s return to Milton Keynes Theatre is nothing short of joyous. From the moment he appears as Billy Barnum, he’s clearly in his element. The laughs come thick and fast, his singing is on point, and his trademark warmth fills the stage. The tightrope routine is a real highlight — a brilliant nod to his time in Barnum — and the audience loved every second. He anchors the show beautifully, giving it real heart as well as plenty of mischief.

The circus theme works a treat. The Big Top atmosphere is created with clever staging and lighting, but it’s the acts themselves that really delight. The Timbuktu Tumblers bring stunning athleticism, with acrobatics that raise the energy of the whole theatre. Phil Hitchcock, as The Magical Mysterioso, provides some genuine wow moments: doves seem to appear from thin air and the floating fire illusion had the crowd whispering in amazement.

Lucy Conley makes a warm and engaging Goldilocks, and her natural on-stage rapport with Brian adds an extra charm to their scenes together. David Robbins, as Dame Betty Barnum, delivers all the traditional silliness you want from a panto dame, while Gary Milner gives just the right amount of villainy as Baron Von Blackheart.

One of the show’s biggest strengths is that it doesn’t try to cram in too much story. Instead, it leans into what makes pantomime fun — proper laughs, big musical moments, and room for the circus performers to shine. Everything feels well balanced, and the whole production runs with a lovely flow that keeps the audience hooked.

This is a great night out for families, full of colour, spectacle and big-hearted fun. The children in the audience were completely transfixed, and the adults didn’t stop smiling either. A magical, feel-good pantomime that’s well worth seeing.

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Mary Poppins

Chris Gregg — Fri, 31 Oct 2025 21:41:00 +0000

Mary Poppins has flown into Milton Keynes Theatre, bringing with her an evening of pure theatrical enchantment that’s nothing short of supercalifragilisticexpialidocious. This stage spectacular captures every ounce of the Disney magic and more, with dazzling choreography, awe-inspiring effects, and the sort of heart-warming storytelling that leaves audiences grinning from ear to ear.

The production opens like a pop-up storybook – literally – with Bob Crowley’s stunning set design revealing new surprises at every turn. From drawings that transform before your eyes to park scenes bursting into colour and imagination, the visual creativity is breathtaking. The magic moments that fans know and love from the film are all there – Mary’s carpet bag producing hat stands, statues coming to life, and of course, the famous flight across the stage that never fails to draw gasps.

Stefanie Jones is every bit the “practically perfect” Mary Poppins, combining warmth, poise, and that touch of mysterious sparkle, while Jack Chambers brings charm, wit, and astonishing dance talent as Bert – his chimney sweep tap routines are worth the ticket price alone. Michael D. Xavier and Lucie-Mae Sumner give moving performances as George and Winifred Banks, and the children playing Jane and Michael - Connie Jones and Oli Manning on press night - deliver standout performances with great confidence and energy. The supporting cast, from Patti Boulaye’s tender Bird Woman to Rosemary Ashe’s scene-stealing Mrs Brill, are also all superb.

Every element of this production – from the intricate choreography by Matthew Bourne and Stephen Mear to the lush orchestrations and nostalgic score – comes together perfectly. If, like me, you have fond memories of the movie from childhood, you won't be disappointed by the performances of the classic songs like “Jolly Holiday,” “Step in Time,” and “Feed the Birds” and there are plenty of new original songs that fit neatly alongside the classics..

This isn’t just a night at the theatre – it’s a magical experience that really does feel like you've stepped into the film. With jaw-dropping stagecraft, timeless music, and heartfelt performances, Mary Poppins at Milton Keynes Theatre is one of the most joyous and visually stunning shows you’ll ever see. A treat for the whole family – don’t miss it.

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The Bodyguard (2025)

Chris Gregg — Tue, 21 Oct 2025 22:13:00 +0000

The Bodyguard at Milton Keynes Theatre is an enjoyable, crowd-pleasing night out with a clear story and a capable, musical cast. It’s part of the new UK and Europe tour and is led by Sidonie Smith and Adam Garcia, with Sasha Monique as Nicki Marron and Matt Milburn as Sy Spector; the production is directed by Thea Sharrock and produced by Michael Harrison and David Ian.

Sidonie Smith sings well and carries the role with confidence. She doesn’t quite have the same powerhouse feel that previous local leads brought (e.g. Alexandra Burke, Melody Thornton or Zoe Birkett), but she gives a steady, listening performance and keeps the show moving. On the other hand, Sasha Monique really stands out: her vocals are a highlight and she brings warmth to the smaller moments. On press night a wayward spotlight caught her at times, but it was a hiccup rather than a disaster and didn’t spoil the evening.

Adam Garcia makes Frank Farmer easy to watch. He’s charming and grounded, and his chemistry with Rachel helps sell the romance even when the character makes questionable choices. The thriller elements work well enough to keep the pace brisk, and the band backs the singers solidly through the big hits.

The staging is polished and leans into the familiar songs — from “I Have Nothing” to “I Will Always Love You.” The final image is ambitious: Rachel rising on a smoking column with a large film image of Frank's head behind her. It feels a touch overblown, even slightly comic, but it lands as a showy, memorable curtain call rather than a misstep.

Overall, this production delivers an entertaining evening. The cast and crew handle the score and spectacle with confidence, and despite a few rough edges it’s a satisfying, singalong-friendly night at the theatre.

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1. Sidonie Smith and Adam Garcia. Credit Paul Coltas

Agatha Christie's Death On The Nile

Chris Gregg — Tue, 14 Oct 2025 21:56:00 +0000

Fiery Angel’s new staging of Agatha Christie’s Death on the Nile at Milton Keynes Theatre is a thoroughly entertaining and unexpectedly fresh take on a familiar murder mystery. Ken Ludwig’s adaptation, under Lucy Bailey’s direction, opens up Christie’s tightly wound plot imaginatively - a clever multi-level set neatly depicts the different decks of the steamer, letting characters cross, collide and eavesdrop in plain sight, while lighting and sound sell the relentless Egyptian heat and the cooler, more dangerous nights aboard ship.

Mark Hadfield’s Hercule Poirot is an absolute joy — precise, slightly bumbling and quietly thoughtful. His amusing monologue early on (in which he declares, “Shakespeare was no Agatha Christie”) sets the tone: playful, self-aware and a touch mischievous. Glynis Barber’s Salome Otterbourne adds glamour and sparkle, and Bob Barrett’s Colonel Race is the dependable rock the plot needs. The supporting cast slip seamlessly between suspects, lovers and secret-holders.

Bailey’s production makes smart use of some new material bookending the original play which adds additional motive and context. The pacing is thoughtful — the plot remains refreshingly easy to follow without ever losing momentum — and there are well-judged moments of romance and action that lift the proceedings beyond mere puzzle-solving into proper theatrical entertainment.

All performances were excellent, and the audience response — including a small, heartfelt standing ovation from the front row — felt perfectly apt for a show that balances wit, heart and theatrical invention. Whether you come as a devoted Christie fan or simply for a night of absorbing theatre, this Death on the Nile is worth the trip.

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Cirque Éloize

Chris Gregg — Sat, 11 Oct 2025 10:18:00 +0000

Brilliant from the first beat — Cirque Éloize’s iD Reloaded at Milton Keynes Theatre is a fizzing, high-octane blend of street dance and jaw-dropping circus that never lets up.

The show feels familiar in format — each artist gets their moment to shine — but a strong urban New York thread, vivid video projections and a pulsing soundtrack keep everything knitted together into a coherent, thrilling whole. The piece is a compact, breathless 75-minute rush that packs an astonishing amount of invention into a short running time.

Standout moments are many: slick b-boying from Bryan “Slinky” Boyer, fearless trial-bike wizardry from Trevor Bodogh, and Alexia Medesan’s sinuous contortion and aerial work. JP Deltell’s juggling sequences are inventive throughout, but the show’s highlight — genuinely original and dangerously beautiful — is a building-site juggling tableau where performers carry panes of glass and use them as surfaces to bounce the balls off. It’s theatrical, precarious and utterly memorable. The choreography by Elon Höglund and the soundtrack by Jean-Phi Goncalves and Alex McMahon fuel the action with real attitude and heart.

Tightly directed by Jeannot Painchaud and presented with flair and technical polish, iD Reloaded is cult-classic Cirque Éloize — fresh, funny, occasionally breath-stopping and hugely entertaining.

Two nights only at Milton Keynes Theatre — final performance tonight, Saturday 11 October — go if you can.

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Archive photo of artistic director Jeannot Painchaud by Pierre Arpin

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Top Hat

Chris Gregg — Tue, 23 Sep 2025 22:17:33 +0000

Top Hat at Milton Keynes Theatre is a dazzling celebration of golden age glamour that sweeps you away to the world of Fred Astaire and Ginger Rogers.

This Chichester Festival Theatre production sparkles with energy, wit and romance, brought vividly to life by its exceptional cast and creative team.

Phillip Attmore makes a superb UK debut as Jerry Travers, his effortless charisma and impeccable tap skills lighting up the stage. Opposite him, Amara Okereke is radiant as Dale Tremont, combining elegance with sharp comic timing. Together, their chemistry makes this unlikely tale of mistaken identity both captivating and thoroughly entertaining.

The choreography is a highlight – perfectly synchronised tap routines delivered with flair and precision, backed by Irving Berlin’s timeless score featuring Cheek to Cheek, Puttin’ on the Ritz and Let’s Face the Music and Dance. Kathleen Marshall’s direction ensures each number feels fresh yet faithful to its 1930s inspiration.

Visually, the production is a feast: Peter McKintosh’s art deco sets and lavish costumes shimmer under Tim Mitchell’s lighting design, with clever revolving staging that whisks the audience from London to Venice with cinematic style.

Supported by a strong ensemble including Sally Ann Triplett as the formidable Madge Hardwick and James Hume as the bumbling Horace, Top Hat captures the spirit of a bygone era while offering a joyous theatrical escape. Elegant, exhilarating, and endlessly entertaining, it is musical theatre at its most stylish.

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2:22 A Ghost Story

Chris Gregg — Mon, 15 Sep 2025 23:24:00 +0000

2:22 A Ghost Story at Milton Keynes Theatre is a gripping, spine-tingling ride from start to finish – a play that masterfully blends suspense, drama and moments of dark humour. The brilliance lies not just in Danny Robins’ clever, taut script, but in the way the characters’ relationships unravel as belief collides with scepticism, each dinner guest forced to take sides on whether ghosts are real.

Stacey Dooley shines in the lead role as Jenny, bringing an authenticity and natural warmth that makes her plight deeply relatable. Opposite her, Kevin Clifton is superbly insufferable as Sam, the smug, know-it-all scientist whose condescension keeps the audience both amused and infuriated. Their real-life chemistry enhances the authenticity of the couple’s friction, making the cracks in their marriage feel all the more believable.

Supported by Grant Kilburn as Ben and Shvorne Marks as Lauren, the ensemble captures the play’s mix of banter, tension, and mounting dread with flair. The atmosphere, heightened by clever staging and sharp sound design, has the audience holding their breath in anticipation of what might emerge in the silence before 2:22.

It’s a rare play that manages to be thought-provoking, frightening, and laugh-out-loud funny in equal measure. But what lingers long after the curtain falls is its disturbing final twist – one that will haunt you well beyond the theatre doors.

2:22 A Ghost Story is not just a ghost play – it’s a modern classic of suspense

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The Lightning Thief - The Percy Jackson Musical

Chris Gregg — Thu, 04 Sep 2025 09:47:53 +0000

The Lightning Thief: The Percy Jackson Musical has stormed into Milton Keynes Theatre with a bolt of energy, humour and heart, delivering a spectacular and uplifting night of theatre. Based on Rick Riordan’s bestselling novel, this show is more than just a musical – it’s a fast-paced, inspirational tale about identity, friendship, and discovering strength in the very differences that make you stand out.

From the very first number, the production bursts with a quirky spirit and infectious energy. Vasco Emauz shines as Percy Jackson, capturing both the vulnerability and bravery of a teenager who suddenly discovers he is the son of Poseidon. His charisma and comic timing made the audience instantly root for him, and his vocals carried the weight of Percy’s journey with ease.

Kayna Montecillo brought sharp wit and wisdom to Annabeth, balancing Percy’s impulsiveness with intelligence and grit, while Cahir O’Neill as Grover provided warmth, humour, and a huge heart. Together, the trio had an undeniable chemistry, their bond forming the emotional backbone of the story as they embarked on their quest. The way their different strengths combined to overcome obstacles highlighted the show’s central message: embracing who you are is the key to becoming a hero.

The supporting cast brought Camp Half-Blood to life with colour and personality, from Ellie-Grace Cousins’ fiery Clarisse to Simone Robinson’s compassionate Sally Jackson. The ensemble, too, gave the show an unstoppable energy, seamlessly moving between characters and scenes while adding humour and vibrancy.

Visually, the production made clever use of staging and effects. Ryan Dawson Laight’s set and costumes captured the mythical-meets-modern world with style, while Tim Deiling’s lighting and Matt Powell’s video design whisked us into Percy’s larger-than-life adventure. Add to that Rob Rokicki’s catchy rock-inspired score and Lizzi Gee’s slick direction and choreography, and the result was a show that never let the pace drop.

What stood out most, though, was the heart of the story. Beneath the monsters, gods, and quests lies a deeply human message about the pressures of living up to expectations – especially parental ones – and the liberation that comes from embracing your true self. It’s inspirational without being heavy-handed, delivered with warmth, wit and plenty of laughs along the way.

The Lightning Thief: The Percy Jackson Musical is a joyous adventure that appeals to fans of the books, newcomers to the story, and anyone who has ever felt like they didn’t quite fit in. With its combination of infectious songs, clever storytelling, and a cast brimming with talent and chemistry, it’s a magical, high-voltage night at the theatre that left the audience cheering for more.

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