Jonathan Larson was both a legendary artist and a great man, who sadly died far too young at the age of 35, days before the first preview of what would arguably become his most influential masterpiece that defined a generation: RENT. His work's legacy may live on with upcoming revivals in the West End and beyond, but Jennifer Ashley Tepper's concept aims to further that: to glimpse into the fragments of genius (including moments that never came to be) across the titular writer and composer’s impactful career, and in doing so, to give fans of Jonathan Larson - and of musical theatre in general - a gift that they could never have anticipated.

Directed by John Simpkins, the project features 18 previously unheard or unseen songs from the archives, comprising of standalone tracks, pop songs, cut musical numbers, award entries, collaborations and unfinished projects. Whilst essentially an homage to Larson (and essential watching for any fan of his), the show also stands on its own merit of its musical strength. It respects the individual songs and boldly refuses to cram them into a narrative, instead letting the songs sing for themselves. And my, do they soar.

The narrative is loosely linked by but not necessarily consistent on themes, so we, the audience, are kept on our toes on what musical delights may await them next. Admittedly, not every song is of the strongest calibre, whether it be in the song itself or rather the at times abrupt placement in the piece, but it's worth remembering that the songs featured were often meant to be a part of, or cut from a larger piece for various reasons. On the whole, however, riveting performances make their presentation feel glorious.

Nate Bertone's use and adaptation of ‘The Large' in traverse configuration (defined by its permanent weathered brick wall) feels free, spacious and very New York, with a constant buzz of the city in the background. The cosy-looking set lends itself to a multitude of locations for various songs. Albeit tucked away in their own scaffolding towers in either high corner of the set, the onstage presence of the band really sells the young energy of the city. A large piano and cloth remain centre stage, with the latter doubling as a projection surface; Sam Biondolillo's gorgeous lighting (including a flow of warm, overhead lightbulbs) takes each song to emotional heights - blending colour, focus and effects to evoke rain and more. Likewise, Alistair Penman’s gentle traffic soundscape highlights the city jungle of New York and is a nice touch, but there are noticeable differences in sound quality for individual songs.

Alex Basco Koch’s video design serves as a quiet introduction for each song, though often fleeting for slower readers; some moments rely heavily on the projected text, which comes across well. Sophie Williams and Jean Gray's costumes and props respond to setting using old recycled wooden crates, rickety tables for props, and an array of “cool” outfits that anchors the piece firmly in the 90s.

The show gives its quintet of a cast (perhaps familiar of characters from RENT) their own moment to shine, each boasting incredible vocals. Michael Mather’s uniquely moving voice comes through in SOS (written in 1982 for a musical adaption of George Orwell’s 1984) and Valentine's Day (written in 1987, a cut song from RENT), bringing unmissable energy and an easygoing charm to the table.

Imelda Warren-Green nails Hosing The Furniture (penned in 1989 and later recipient Stephen Sondheim Award at a Musical Theatre Festival) with ease, comedic sense and a fast spiral into the insanity as the song becomes more manic; it is Break Out The Booze (penned in 1990 for a musical cabaret) that exposes killer husky vocals in a romantic and dangerous take.

Marcus Collins (having garnered attention from X-Factor and his own music in its own right) immediately stands out by transforming the relatively weaker Casual Sex, Pizza & Beer into an invite into an underground, bohemian, carefree world free of worries. Pure Vida is another standout, as is Iron Mike (written in 1990 for a cabaret and previously never performed) - a bold battle cry against Oil Spills, reminding audiences that not only was Larson an activist, but also an advocate change through music.

How do you measure, measure a cast announcement? 🤩

Natalie Kassanga is a wonderful performer to watch on stage, her Out Of My Dreams (written in 1991 as a standalone, semi-autobiographical pop song) showcasing a captivating facet, almost like watching a pop star deliver the number; while the roof-raising Love Heals (written in 1992 for an AIDS charity event) really solidifies the show's purpose.

Always a joy to see stepping into one memorable role after another, Max Harwood continues his ability to draw audiences in with a rendition of Falling Apart (written in 1987 for another musical titled Prostate Of The Union) that is, simply put, perfect. Harwood brings out the best in the score, giving audiences the closest glimpse at the music as Larson had intended.

The number White Male World in particular takes a drastic tonal shift, while Piano (written in 1983 as a standalone number), draws the show to an emotional close following a montage of Larson's life in photos and videos. My personal favourite is Find The Key, a cut song from Larson’s autobiographical musical that chronicles the challenges of being an artist in the theatre industry. The number depicts the composer's inner world at perhaps his most vulnerable; Collins' powerful vocals meet Harwood's intense emotional quality, tied together by Mather’s gentle voice.

The Jonathan Larson Project is by no means a perfect show - nor does it ever try to be. What opens up instead is a beautiful window into the past, and the future of Jonathan Larson's legacy, giving modern audiences the chance to fall in love with a new collection of work.

★ ★ ★ ★ ☆

The Jonathan Larson Project is at Southwark Playhouse Borough until 22 August. For more information and to book tickets, visit the venue website.

Tickets and Accessibility

🎟️ Access to the production was kindly arranged with expectation of an honest, unbiased review. Views expressed are of the writer’s and do not represent those of the promoters - read our editorial policy here.

Standard tickets are priced from £35, with concessions available for Students, Unwaged, Over 65s and Under 16s at off-peak performances. As per Southwark Playhouse policy, the first Pioneers’ Preview is priced at £10, with all other previews £16.

♾️ Sensory information was not recorded by the writer. General warnings include haze, flashing lights and loud noises.

The Jonathan Larson Project is presented by Thomas Hopkins, SAMS Entertainment and Julie Larson.

On a bare stage covered in thick haze and towering scaffolding, Jesus Christ is crucified as his followers look on down below. But not before 2 hours of charged spectacle following the final days of his life, as the latest incarnation of Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar arrives at the Palladium for a summer season.

Inspired by the 2016 Regent’s Park Open Air Theatre version, Tim Sheader’s highly stylised production spells gig in all caps: handheld microphones, audience blinders and a huge, translucent metal frame in the shape of a crucifix, which, when not raised midair during the climax, is horizontally laid as the dominating piece of inclined staging. The minimalistic set (by Tom Scutt) sets the scene for a sung-through rock opera that feels raw and uncompressed, from the moment the company sprints across the aisles in the opening bars of the overture.

Seeing the show without any context whatsoever might not be a great idea: as Jesus is now a rockstar-adjacent figure, it assumes a certain degree of knowledge of the Passion; a first-time viewer foreign to the source material might need a moment to bind the biblical story with the more modern sound. But once that buys in, the piece is somewhere between loud concert and psychological drama, delving into the psyche of both the protagonist, his followers, opposers and eventually traitors.

The narrative anchor here is Judas Iscariot, one of the Twelve Apostles, who struggles between morality and loyalty, eventually driving him to betray Jesus in the Garden of Gethsemane in exchange for thirty pieces of silver, a decision that causes deep remorse in retrospect leading up to his death. Returning to the role after the earlier iteration, Tyrone Huntley stunningly captures the character’s complexities with a bright, reassuring tenor range - roof-raising on all fronts.

One will at some point lose count of the further gripping vocal moments from the exceptional company, to name a few: Phil King’s edgy Peter; the baritenor and bass-baritone ranges (equally sinister) covered by David Thaxton (Pontius Pilate, as resonant as his Max von Mayerling) and Bob Harms (Caiaphas, Hades-like, shivers). A joyously camp comic interlude from Jesse Tyler Ferguson (icon) is warmly welcomed - first in an exciting lineup of King Herods who share the role in rotating weeks; this casting model will positively attract waves of fans, though you can’t help but hope there is more than one number to properly appreciate each Herod, and for the part to feel less like a gimmicky cameo.

Having already charmed London audiences as a similarly mythical Eurydice in Hadestown, Desmonda Cathabel marks another defining star turn with an endearing presence as Mary Magdalene, delivering mellow, soothing renditions of I Don’t Know How to Love Him and Could We Start Again, Please? (a real melodic treat) to an audience leaning in intently.

Beyond the Palladium

The headline buzz is singer-songwriter Sam Ryder (who shot to fame from Eurovision 2022 onwards) who makes his West End debut in the titular role, navigating the character’s quietly intense demands with crisp breath control and an unmistakably signature falsetto. Despite having muddled lines (perhaps due to the sound mix lacking clarity, or being overpowered by the orchestra) and therefore limited acting on display, his Jesus feels gentle and vocally nuanced, culminating in the climactic Gethsemane met with a mid-show standing ovation.

What Sheader’s minimalist staging creates is plenty of room for both design and choreographic brilliance: Lee Curran’s pulsating, concert-style lighting forms part of the set, a standing audience situated under three blocks of scaffolding, practically becoming observers of the cult-like action; Scutt plays with symbolism, too, flight cases doubling as silver chests with healthy amounts of glitter reflecting off Judas’ hands (Lady Macbeth style) as he is overcome with guilt (red mic cables – the same kind he is strangled with – drops from the ceiling as his death occurs).

But perhaps most eye-catching is Drew McOnie’s choreography, seeing the ensemble move as one attention-commanding congregation. They carry both physical and psychological pressure to exert on Jesus and company, in doing so filling the space with vivacious bursts of energy. Action isn’t just limited to the ensemble either – disciples hang off the scaffolding on either side of the proscenium arch, and a life-sized recreation of The Last Supper opens the second act to substantial laughter.

Introducing our brand new-sletter (check out June's edition…)

Even with the occasional Love Never Dies style jolt between classic musical theatre and rock, Lloyd Webber’s genre-transgressing score (originally starting life as a concept album) has many developed motifs woven in (choral harmonies, synth organ riffs and everything in between), played live by a 19-piece orchestra led by Tom Deering. Adam Fisher creates an electrifying wall of sound, though Tim Rice’s words are sometimes lost amidst the bass-heavy loudness.

Expecting a rock meets musical theatre gig out of the hot ticket of the summer? This production delivers on the hype - Palladium scale. But for those unfamiliar with the origin story or searching for deeper dramatic impact beyond gospel-worthy vocals and flashy visuals - to match the rainbow high Evita summer created, there might be a little more soul-searching to do.

★ ★ ★ ☆ ☆

Jesus Christ Superstar plays at The London Palladium until 5 September, then transfers to Theatre Royal Drury Lane from 16 October. Book with London Theatre Direct or find more information on the production website.

Book with London Theatre Direct

Tickets and Accessibility

🎟️ A ticket was kindly gifted with expectation of an honest, unbiased review. Views expressed are of the writer’s and do not represent those of the promoters - read our editorial policy here.

The London Palladium run now has limited availability across all performances - On Stage Standing tickets were previously released at £25. The Theatre Royal Drury Lane has good availability at all price points from £27.50. Rush and Lottery policies have not been announced.

♾️ The production features extensive use of flashing lights occasionally directed at the audience, haze, continuous loud music, thrown glitter, theatrical blood and the cast using both centre stalls aisles throughout.

A detailed trigger sheet with timestamped content and sensory points are available on request from the venue.

Jesus Christ Superstar is a Regent’s Park Open Air Theatre production presented by Michael Harrison for Lloyd Webber Harrison Musicals by arrangement with LW Entertainment.

At no additional cost to you, we may earn a small commission when you make a qualifying purchase with London Theatre Direct via our site. This supports our work as a fully voluntary team.

Producers Chris Harper Productions and Sonia Friedman Productions in association with Hope Mill Theatre have today announced principal casting for Olivier Award winner Luke Sheppard’s new production of Jonathan Larson’s Tony Award and Pulitzer Prize winning musical RENT, set to begin performances at the Duke of York’s Theatre in London’s West End on 26 September 2026.

Joining the previously announced Gaten Matarazzo as Mark are Travis Ross as Roger, Bella Brown as Mimi, Billy Nevers as Collins, Lazy Violet as Maureen, Danielle Fiamanya as Joanne, Jeevan Braich as Angel and Joaquin Pedro Valdes as Benny. Further casting is to be announced.

Booking has extended until 27 March 2027, with 10,000 tickets priced at £35 and under.

Inspired by Puccini’s La Bohème with book, music and lyrics by Jonathan Larson, the show first opened Off-Broadway in 1996 to huge acclaim. It follows a group of young artists, musicians and friends, navigating love, ambition and creativity while trying to build lives on their own terms amidst the AIDS crisis in New York.

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On the creative team alongside Sheppard are choreographer Tom Jackson Greaves, set designer David Woodhead, costume designer Gabriella Slade, lighting designer Howard Hudson, audio producer and sound designer Paul Gatehouse, video designers and cinematographers George Reeve and Nathan Amzi, make-up and hair designer Jackie Saundercock, UK casting directors Pearson Casting CSA, CDG, CDA and US casting directors Jim Carnahan CSA.

They are joined by musical supervisor Bill Sherman, musical director and associate musical supervisor Katy Richardson, intimacy director Asha Jennings-Grant with associate director Priya Patel Appleby and dialect coach Joe Trill.

Producers Chris Harper and Sonia Friedman share their excitement for the next generation of performers honouring Jonathan Larson’s legacy in this production,

“One of the greatest privileges of producing theatre is discovering and championing exceptional new talent, and that’s exactly what this extraordinary young company represents. This remarkable group of actors embodies everything that has made Jonathan Larson’s RENT so enduring: individuality, honesty, fearlessness and generosity of spirit.

Nearly thirty years after it first changed the landscape of musical theatre, RENT remains as vital, urgent and life-affirming as ever. Its story of love, friendship, community and resilience continues to speak powerfully to every new generation, which is why it felt so important that this production should be led by the voices, vitality and authenticity of the artists performing it today.”

Tickets are now on sale via the venue website.

On sale now!

RENT is presented in the West End by Chris Harper Productions, Sonia Friedman Productions, Winkler & Smalberg and Julie Larson in association with the Hope Mill Theatre. Originally produced on Broadway by Jeffrey Seller, Kevin McCollum, Allan S. Gordon, and the New York Theatre Workshop.

At no additional cost to you, we may earn a small commission when you book with ATG Tickets via our site. This supports our work as a fully voluntary team.

Producers Wessex Grove and Gavin Kalin Productions have today announced that James Norton (last seen on stage in A Little Life, directed by Ivo Van Hove) will star in William Shakespeare's Hamlet, in a new production conceived and directed by Thomas Ostermeier (known for his radical interpretations of classics from An Enemy of the People starring Matt Smith to most recently The Seagull starring Cate Blanchett and Tom Burke), coming to the West End in Autumn 2027.

Dates, venue and booking information are to be announced.

Norton said,

“It’s a privilege for anyone to take on the role of Hamlet. It’s also pretty terrifying! But with Thomas Ostermeier at the helm, I know I could not be in better hands.

Both this role and this director have intrigued me and challenged me over the years, and so I cannot wait to start this journey with Thomas and see where it takes us.”

This production will mark Ostermeier's first Shakepeare production directed in English. He added,

“I am excited to explore the original text in order to bring this new production to life. My first Hamlet has been touring the world for 18 years so I am honoured to have the opportunity to bring it here to London with James, who in my mind is a perfect Prince of Denmark.”

Audiences can sign up for further details on the production website.

Hamlet will be produced in the West End by Wessex Grove and Gavin Kalin Productions.

Expect rapid recaps of events we've covered this month, snapshots of news we've been excited for, and a sneak peek of what's coming next.

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Following an opening night haunting at Beetlejuice (say it twice more…), this month began with Sinatra The Musical, a biographical jukebox musical diving into Frank Sinatra's life in the public eye on the road to fame, underscored by his extensive hits catalogue played live on stage by a 17-piece orchestra. We were delighted to be in attendance at the invited dress rehearsal to support the company and everyone working behind the scenes, ahead of the show officially opening this week at the Aldwych Theatre.

Watch a clip from the curtain call - £30 Rush tickets available on TodayTix.

Kit Kat Casting Latest: Jamie Muscato and Joy Woods 🔥

We revisited Rebecca Frecknall's acclaimed, site-specific production of John Kander and Fred Ebb’s Cabaret at the Kit Kat Club, (maybe) this time to welcome its latest leads in a winning casting model - one that has a tendency to break social media with every new announcement.

No photos inside the building as cameras are covered with a ‘Keep it in the Kit Kat Club' sticker upon arrival (great branded memento), but the intimate surroundings of the transformed Playhouse Theatre never fails to amaze with its many design details evoking 1930s Berlin.

Jamie ‘Booked and Busy’ Muscato is possibly best known for his many charismatic leading roles, from chasing distant green lights in The Great Gatsby to charming his way into the elephant suite at the Moulin Rouge, all carried vocally with an unmistakable pop-rock edge. His Emcee’s personality starts out overtly playful, self-deprecating with a wink and almost uncomfortably inviting, then morphing into an utterly sinister figure, as the ‘no troubles’ promise fades further out of reach. Muscato’s take on many of the quieter moments, such as Tomorrow Belongs to Me (stripped of most initial Emcee makeup), on this viewing feels particularly poignant.

First look at Jamie and Joy as the Emcee and Sally Bowles 👁️

Cover image by Marc Brenner

Relentlessly breathing life into Sally Bowles (and an effortless soaring belt à la The Notebook), Joy Woods’ characterisation carefully reveals a slow but devastatingly complex arc. Her rendition of the titular number is thoroughly gripping, pushing Sally's epiphany to an emotional climax and met with uproarious ovation. The pair shares a kind of symbiotic energy (not to mention sounding undisputedly phenomenal) that seeps through the company, in a version that feels both memorable and acutely relevant.

Standard tickets range from £35 to £300 for stage-side table seats (some with included cocktails and/or package dining experiences), but you can enter the TodayTix weekly lottery for a chance to grab £30 seats.

The free stagey weekend of the year ☀️

The month continued with West End LIVE, where shows across London perform excerpts to more than 70,000 people. The weekend saw fans (both humans and cooling devices) queuing from ridiculously early hours to flood Trafalgar Square, lots of SPF 30/50 deployed, and overheating phone cameras (speaking from personal experience); good vibes nonetheless.

We caught numerous performances on both Saturday and Sunday, including from not one, not two, but three from Jamie ‘Booked and Busy’ Muscato: first with the cast of Cabaret, then a solo for Love Never Dies In Concert, and with co-star Sharon Rose for One Day.

Seeing My Neighbour Totoro title track performed twice was another highlight - first in open air (featuring some adorable, scene-stealing puppets) then at the matinee in the air conditioned Gillian Lynne Theatre later in the day. Tickets on sale through 10 Jan 2027, with RSC £10 tickets for 16-25s, £25 Day Seats and fixed priced Acorn Performances (£30-50) available.

For full coverage of the weekend, check out our Instagram.

Beyond theatre… 🩰

Did you know that the Regent’s Park Open Air Theatre also does dance? The sounds of Vivaldi took over the Park for a weekend as Tinuke Craig and Alexzandra Sarmiento reimagines one of the composer’s most famous pieces, set to an electro-infused score from DJ Walde (which is a surprisingly complementary bop in conjunction with the original).

Albeit with an at times ambiguous storyline speaking as someone new to contemporary dance, the company of A Life in Four Seasons weaves together fluid choreography in a way that feels charged, refreshing and vivacious.

Watch the press night curtain call here - more to come this season, from Shakespeare to a much-anticipated musical revival (all outdoors).

From our friends 🫱🏽‍🫲🏾

Last week, the lovely people at The Rendition, Second Brain HQ and Doing Black Things with My Black Friends launched an original framework (ft. some neat typography), which aims to deconstruct the fundamentals of Black theatre.

It explores what Black and Diverse-led work looks like now, what meaningful engagement with the community should look like and encourages discussion on how to define, own and amplify work going forward.

Read and share your thoughts on Black Feminism Spells for Self-Naming: What Makes Black Theatre? on The Rendition's website. There'll also be a free, in-person panel and Q&A on 21 July in partnership with the Royal Court Theatre - places are currently full, but check for returns.

Elsewhere, Munya Chawawa's Black Boys Theatre Club took more young Black boys to see an eclectic range of West End shows, including The Boy Who Harnessed the Wind and some naughty puppet humour in Avenue Q (which recently introduced hydration breaks for the cast in response to the heatwave). Go Live Theatre announced their largest ever Education Matinee with Sylvia for November, the Bush Theatre came through with their new season, and the next generation of Billys were revealed yesterday at the press launch of Billy Elliot the Musical.

Catch up on all of this month's news here.

What's coming up next? 🗓️

We'll shortly be returning to the Pride Lands for a Relaxed Performance, then journeying further afield for some European theatre, all to be revealed soon.

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Editorial Team ✨

Producer ATG Entertainment Germany has today announced initial casting for the German premiere of Cameron Mackintosh's new production of Andrew Lloyd Webber's Das Phantom der Oper (The Phantom of the Opera), set to begin performances at the Musical Dome in Cologne, Germany on 5 November 2026 with an opening night on 15 November.

Anton Zetterholm and Lisanne Clémence Veeneman will return to their roles as the Phantom and Christine Daaé, having starred in the recent Austrian production in Raimund Theater, Vienna. They are joined by Tobias Joch as Raoul, Katharine Allen as Carlotta Giudicelli, Claus Dam as Monsieur Firmin, Timo Verse as Monsieur André, Patricia Nessy as Madame Giry and Laya Höfling as Meg Giry. At selected performances, the role of Christine Daaé will be played by Lillian Maandag as Alternate Christine Daaé, and from 17 January 2027, the titular role will be played by Milan van Waardenburg.

The company also includes Fleur Aston, Friederike Bauer, Alex Belinkx, Eva Maria Bender, Dejan Brkic, Niklas Brunner, Antonia Busse, Christopher Carduck, Rita Correia, Emma Davis, Felix Deeg, Tiziano Edini, Marco Fahrland-Jadue, Florian Fetterle, Ema Beatriz Fróis do Amaral, Rebecca Gollwitzer, Fuyumi Hamashima, Francesco Iorio, Mathis Joubert, Tomaž Kovačič, Vasilios Manis, Michaela Marrable, Richard McCowen, Taïlys Poncione, Kiki Pulles, Steffi Regner, Thomas Schreier, Virginia Sirolli, Brooke Squire, Tabea Tatan, Ryan Upton, Lander van Nuffelen and Marlon Wehmeier. Further casting is to be announced.

The multi award-winning musical is inspired by Gaston Leroux’s 1910 novel Le Fantôme de l’Opéra, and has book (co-written with additional lyricist Richard Stilgoe), music and orchestrations (co-orchestrated with David Cullen) by Andrew Lloyd Webber with lyrics by Charles Hart, originally directed by Laurence Connor.

Cameron Mackintosh's new production (reimagined with Matthew Bourne) is helmed by revival director Seth Sklar-Heyn, with choreography by Scott Ambler, set design by Paul Brown, costume design by Maria Björnson, lighting design by Paule Constable, projection design by Zakk Hein and sound design by Mick Potter. The creative team is completed by adaptation and supplementary set designer David Harris and associate costume designer and revision of Maria Björnson's design by Jill Parker. The German book is translated by Michael Kunze.

First performed in 1986, the show has been seen by over 160 million people worldwide in 23 languages, and has some of the most iconic musical theatre numbers such as ‘The Music of the Night’, ‘Think of Me’, ‘All I Ask of You’, ‘Masquerade’ and the title track. The revised West End production continues to play at the His Majesty's Theatre, London.

Watch the German teaser trailer below…

Cameron Mackintosh said,

“I am absolutely thrilled to announce that Anton Zetterholm and Lisanne Clémence Veeneman, who have already enjoyed great success in my acclaimed new production of Phantom of the Opera in Vienna, will return to their roles as the Phantom and Christine for the opening of the Cologne season – together with Tobias Joch, the outstanding star of many of my musicals in Germany, as Raoul.

I am equally delighted that Milan van Waardenburg, who recently enjoyed great success as Jean Valjean in the Les Misérables The Arena Concert Spectacular, will be playing the Phantom from January, completing an exceptional international cast. I cannot wait for the audience at the Musical Dome to be enchanted by Andrews’ captivating music of the night.”

A spokesperson for producer ATG Entertainment Germany added,

“We are delighted to have casted such outstanding performers. Casting these three lead roles was of paramount importance to us. With Anton Zetterholm, Lisanne Clémence Veeneman, Tobias Joch, and Milan van Waardenburg, we have artists on stage who superbly meet the high artistic demands of this exceptional production.

The audience can look forward to powerful voices, moving moments, and an unforgettable musical experience.”

Tickets from €59,99 are now on sale via the production website.

The Phantom of the Opera is produced in Cologne by ATG Entertainment Germany by arrangement with Cameron Mackintosh and LW Entertainment.

Producers Universal Theatrical Group and Working Title Films have today announced at a launch event lead casting for Billy Elliot The Musical, which is set to return to the West End for the first time in over a decade, playing a limited London season at the Adelphi Theatre from 12 February to 31 July 2027.

Sharing the titular role will be four young performers: Noah Mannion from Stockport, Rafferty Smale from Leigh-on-Sea, Spencer Collins from Los Angeles and William Gurney from Berkshire. The global casting search was documented in a six-part series titled ‘The Search for Billy Elliot', available to view here.

Having jointly won the Olivier Award for Best Actor in a Musical alongside co-stars James Lomas and George Maguire for the original London production in 2005 and currently a dancer with Matthew Bourne's New Adventures, Liam Mower will return to the show in the role of Older Billy. Further casting by Pippa Ailion CDG and Natalie Gallacher CDG (Adult Company) and Nick Hockaday CDG for Jessica Ronane Casting (Young Company), are to be announced.

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Directed by Stephen Daldry (with tour director Simon Pollard) with book and lyrics by Lee Hall and a score by Elton John, the show follows titular character’s journey from boxing to discovering ballet, amidst the 1984-85 miners’ strike. The musical has been seen by almost 12 million people worldwide, and is based on the 2000 film of the same name.

This production reunites original creative team members: choreographer Peter Darling, scenic designer Ian MacNeil, costume designer Nicky Gillibrand, lighting designer Rick Fisher and sound designer Paul Arditti. They are joined by hair, wigs and make-up designer Campbell Young, musical supervisor orchestrator Martin Koch and associate choreographer Jeroen Luiten.

Tickets for both the West End run and initial tour dates are now on sale via the production website.

Billy Elliot The Musical is presented by Universal Theatrical Group and Working Title Films and is based on the Universal Pictures/Studio Canal film. Producers are Tim Bevan, Eric Fellner and Jon Finn, with executive producers David Furnish and Angela Morrison.

In the Holloway Theatre, the Bush Young Company's production of Before We Forget opens the season from 18 - 22 August, a dramatic response to what makes humans human in a digitised world, created and performed by the 18-25 group in collaboration its newly appointed director Amber Ruby.

Matthew Xia directs Titas Halder's Darkling from 5 September - 24 October, a play set during the Bhopal disaster in 1984 India through the lens of a girl coming of age. It is a co-production with Actors Touring Company, which will tour to the Birmingham Rep, The North Wall Arts Centre, Oxford and HOME Manchester following its run at the Bush. Casting is to be announced.

Actor and comedian laa Shehada returns to the venue following his acclaimed play The Horse of Jenin with The Bridge from 28 October - 11 November, an examination of the British colonialism in Palestine, a co-production with Palestine Comedy Club co-written with and directed by Sam Beale.

Chris Fung's Global Majority follows from 25 November 2026 to 16 January 2027, a play which zooms in on loyalty, elitism and sacrifices in exchange for power, directed by Rupert Hands in a co-production with Fun Guy Theatre and Gabriella Sills Productions. Casting is to be announced.

Laith Elzubaidi's Insane Asylum Seekers returns from 12 February to 20 March in an expanded staging for the main stage following an acclaimed run in the Studio space. Directed by Emily Ling Williams, the solo piece explores the British-Iraqi refugee experience through the perspective of a second-generation immigrant. It is presented with Samia Djilli and Sarah Allen, with casting to be announced.

In the 80-seater Studio space, Mei Leng Yew's debut play The Hungry Ghost opens the season from 1 - 31 October, a ‘horror rom-com’ told by a woman about to move in with her secret girlfriend caught between superstition and rationality, starring Olivier Award nominee Mei Mac. It is directed by co-producer New Earth Theatre's Artistic Director Ailin Conant, who reunites with Mac following their work on the original London production of My Neighbour Totoro at the Barbican.

Transferring from the Dublin Fringe Festival where it was nominated for 7 awards, Attention plays in the Studio from 19 November to 23 December with original cast members Bláithín Mac Gabhann and Norah Lopez Holden. Co-created by director Jules Head and writer Georgia Bruce, the collaborative theatre piece explores the process of building a relationship, presented in association with creative producer and performer Tilly Taylor.

Tafadzwa Muchenje writes and performs Ripples from 21 January to 27 February 2027, interrogating the treatment of migrants in British society with a story based on true events about a man whose life takes a sharp turn when he is about to be deported. It is co-written with director Rosie MacPherson and presented by the UK's first Theatre Company of Sanctuary Stand and Be Counted in support of the Lift the Ban coalition campaign.

Watch the season announcement trailer here…

Alongside show announcements, the venue has today appointed a new literary team working across programming, artist development programmes and new writing development work. Olivia Poglio-Nwabali has been appointed Literary Manager and Lead Dramaturge, having previously worked as Associate Dramaturge at the Young Vic. Joined by Frey Kwa Hawking as Associate Dramaturge, they will relaunch the unsolicited script submissions window this summer.

As part of the theatre's commitment to developing new talent, The Bush Young Company, who devises and stages work regularly in the spaces including a takeover of the Holloway space each summer, also welcomes two freelance directors - Bashiie Baptiste will lead the 14 – 17 age group, and Amber Ruby will lead the 18 – 25 age group.

Commenting on the season, Taio Lawson said that programming his first season was a 'heady’ experience, adding,

“This season is our first intentional step of blasting open the door to the future of our art form and our relationship with the world around us. Each production, whether it’s in our Studio or Holloway Theatre, is the manifestation of great creative minds merging to give the best theatrical experience possible. We hope to enliven both the hearts and minds of our audiences, with feelings that linger and memories that endure.

I’m excited to open our venue to creatives with a real-world view […] as we share a vision of theatre that sparks a fire in the imagination, in bold and entertaining ways. This is the start of us, in our own way, transforming, disrupting and exploring what theatre can be.”

Tickets for the new season, priced from £15, will go on sale at 12pm today, with season tickets, concessions, Under 30s and locals discounts available.

Find out more

Producer Michael Harrison for Lloyd Webber Harrison Musicals has today announced that nine performers will take on the role of King Herod in the transfer of Jesus Christ Superstar at Theatre Royal Drury Lane, which begins performances on 16 October 2026 following a summer season at The London Palladium.

Playing the role of King Herod are: Matt Bomer from 16 – 31 October; Rob Brydon from 2 – 7 November; Reece Shearsmith from 9 – 14 November; Bob The Drag Queen from 16 – 21 November; Michael Ball from 23 November – 5 December; Simon Russell Beale from 7 – 12 December; Omid Djalili from 14 – 19 December and Layton Williams from 21 December 2026 - 2 January 2027 (who will reprise the role after playing two weeks at the Palladium in August).

Casting for King Herod from 4-9 January 2027, as well as for the roles of Judas Iscariot and Simon/Alternate Judas from 16 October 2026 to 9 January 2027, are still to be announced.

They join the previously announced Sam Ryder in the titular role, alongside Desmonda Cathabel as Mary Magdalene, David Thaxton as Pontius Pilate, Bob Harms as Caiaphas, Matty J as Annas and Phil King as Peter.

The company also includes Koko Alexandra, Jasmine Jules Andrews, Courtney Arango, Amy Barker, Alistair Beattie, Daniel Bowskill, Jahlil M Burke, Martha Burton, Marcelo Cervone, Sarah Freer, Sebastian Goffin, Alexander Kranz, Owen Lloyd, Milo McCarthy, Dan Moore, Cherece Richards, Kyle Richardson, Olivia Saunders, Toyan Thomas-Browne, Charley Warburton and Lillie-Pearl Wildman. Casting is by Grindrod Burton Casting.

Watch the previously released announcement trailer below…

Video by Mann Bros. Media

New recordings of the numbers Gethsemane and What's the Buzz? from the show, produced by Fraser T. Smith and Andrew Lloyd Webber with Sam Ryder (who performs both numbers), and recorded live to tape at British Grove Studios, are now available to stream as singles on all major streaming platforms.

The production is directed by Tim Sheader with choreography by Drew McOnie and design by Tom Scutt. The creative team is completed by musical supervisor Tom Deering, lighting designer Lee Curran, sound designer Adam Fisher, wigs, hair and makeup designers Sam Cox and Maria Johal and fight director Kate Waters.

Tickets for The London Palladium and Theatre Royal Drury Lane are on sale now via the production website.

Jesus Christ Superstar is a Regent’s Park Open Air Theatre production, presented by Michael Harrison for Lloyd Webber Harrison Musicals by arrangement with LW Entertainment.

Producer Nica Burns has today announced lead casting for the 10th anniversary UK tour of Everybody’s Talking About Jamie, which will launch at Leeds Grand Theatre on 15 January 2027, ahead of touring to: Chester, Shrewsbury, Sunderland, Edinburgh, Wolverhampton, High Wycombe, Sheffield, Manchester, Wimbledon, Liverpool, Truro, Eastbourne, Glasgow, Southampton, Cheltenham, Birmingham, Aylesbury, Cardiff, Nottingham, Oxford, Woking, Bradford and Newcastle through July 2027.

Ashcon Rahmani, a Rotherham native and recent graduate from The Urdang Academy, will make his professional debut in the titular role of Jamie New. Olivier Award winner Rebecca Trehearn, whose recent theatre credits include Ballad Lines (Southwark Playhouse), Indigo (Curve Leicester) and Becoming Nancy (Birmingham Rep), will play Jamie’s mother Margaret New. Further casting by Will Burton is to be announced.

Returning to the stage following a three-year residency at the Apollo Theatre, two UK & Ireland Tours and a film adaptation by Amazon Studios, the show was originally produced at the Sheffield Crucible and is inspired by the real-life story of Jamie Campbell, whose story of overcoming bullying to attend school prom in drag as a 16-year-old was brought to the attention of theatre director Jonathan Butterell. The musical has book and lyrics by Tom MacRae, music by Dan Gillespie Sells and design by Anna Fleischle.

The creative team for the tour production, helmed by revival director Matt Ryan, includes choreographer Kate Prince, lighting designer Lucy Carter, sound designer Paul Groothuis and musical supervisor Theo Jamieson.

Watch the tour trailer here…

On his professional debut, Ashcon Rahmani said,

“I grew up with this show, it was the representation I needed as a young queer boy from the north of England to know this could all be possible for me one day, so to step into those stilettoes and become the representation I once had is truly a dream come true.

Jamie is iconic and I feel incredibly grateful and excited to start this journey and be sharing the stage with the wonderful Rebecca Trehearn playing my onstage mum.”

Rebecca Trehearn describes the relationship between Margaret and Jamie New to be ‘truly special’, adding,

“I’m so looking forward to performing alongside Ashcon and the rest of the company. The musical’s celebration of courage, acceptance and being unapologetically yourself feels as relevant now as it did 10 years ago and I can’t wait to be part of this beautiful and uplifting show.”

Producer Nica Burns (who also co-owns the Nimax Theatres group) commented,

“We are absolutely delighted to be celebrating the tenth anniversary of this joyous contemporary musical, Everybody’s Talking About Jamie which has been such a success all over the world. Ashcon Rahmani making his stage debut as Jamie is a three-strike talent – he can act, sing and dance – and is real find. Rebecca Trehearn as his mother Margaret is a much-loved staple of the West End. We are so lucky to have these talented players in the central roles of mother and son.”

Tickets are now on sale via the production website.

The Sheffield Theatres Production of Everybody’s Talking About Jamie is produced on tour by Nica Burns.

Stage Entertainment Nederland has today announced the full cast for the Netherlands premiere of & Juliet, a jukebox musical reimagining the ending of Shakespeare's Romeo and Juliet with a twist, asking what would happen if Juliet didn't die - featuring the catalogue of Swedish pop songwriter Max Martin inclduing Since U Been Gone, Roar, …Baby One More Time, Larger Than Life, That’s The Way It Is and Can’t Stop the Feeling!.

Joining the previously announced Teddy Vermeer as Juliet, Levi van Kempen as William Shakespeare and Linda Verstraten as Anne Hathaway are Tristan van der Lingen (best known for landing the role of Danny Zuko in the Dutch production of Grease after appearing on the television talent search Op zoek naar Danny en Sandy) as Romeo, Gitty Pregers as Angelique, Robin van den Akker as Lance, Bram Tahamata as May and Dave Rijnders as François.

The company is completed by ‘The Players’: Zoë Albers (Margaret, Swing and Dance Captain), Valentina Dekker (Judith and Cover Juliet), Gino Korsèl (Richard, cover Romeo & François), Tydo Korver (Lennox, Swing and Cover May), Lorenzo Kolf (Augustine), Rochelle Ramos (Imogen, Cover Juliet and Assistant Dance Captain), Massimo Savans (Lady Capulet/Nell, cover Anne & Angélique), Terra Luna Urbach (Susanna, Swing, cover Juliet) and Rick Verbraak (Henry, Cover Romeo).

First premiered at the Manchester Opera House in 2019, then transferring to the Shaftesbury Theatre (soon to be renamed the Judi Dench Theatre) followed by UK and North American tours, & Juliet is currently playing on Broadway at the Stephen Sondheim Theatre, and has since been developed into international productions. The German production titled & Julia, produced by Stage Entertainment Germany, is due to transfer to the Stage Palladium Theater in Stuttgart, having first played the Operettenhaus in Hamburg.

Directed by Luke Sheppard with choreography by Jennifer Weber and book by David West Read, the Dutch production has a book translated by Carlo Boszhard and Herald Adolfs (all musical numbers will be performed in English).

Tristan van der Lingen said,

“What I love about Romeo is that he is charming, but he simply makes mistakes and has to deal with them. That makes him human. You really see him grow throughout the story, and that is exactly what makes it cool for me to play to. And of course with songs by the Backstreet Boys and Bon Jovi, among others, it feels like you are in the middle of a pop concert.”

Dutch book writer Carlo Boszhard added,

“It's a joy to be able to work on a script like this. The strength of this production lies in its combination of humour, relatable situations, and iconic music. Together [with Adolfs], we hope the Dutch translation does justice to the energy, tone, and timing of the original, but at the same time sounds natural and feels close to a Dutch audience. ”

Performances begin at the Beatrix Theater in Utrecht on 10 September 2026, ahead of an opening night on 23 September. Tickets are on sale now via the production website.

Find out more

& Juliet is presented in the Netherlands by Stage Entertainment Nederland.

Quotes in this article were originally provided in Dutch and have been translated into English.

Producer Melting Pot, by arrangement with Universal Theatrical Group, has today announced that the musical adaptation of David Nicholl's acclaimed novel One Day will transfer to the Garrick Theatre in London's West End on 17 November 2026, following a world premiere at the Royal Lyceum Theatre, Edinburgh.

Jamie Muscato and Sharon Rose will reprise their leading roles of Dex and Em, with further casting to be announced.

One Day follows couple Emma and Dexter on the night of their graduation - 15 July 1988, confronted with love, ambition and the ups and downs of life as they prepare to part ways the next day, their lives revisited on the same day in every year that follows. David Nicholls’ 2009 novel has sold over five million copies worldwide, and subsequently received both film and television adaptations.

Hear from the lead cast below…

Directed by Olivier and Tony Award nominee Max Webster, the stage production has a book by the Lyceum's former Artistic Director David Greig, with music and lyrics by Abner and Amanda Ramirez (best known as American singer-songwriter duo Johnnyswim), with additional material by Jeremy Sams.

The creative team is completed by choreographer Carrie-Anne Ingrouille, musical supervisor, director and co-arranger Nigel Lilley, set and costume designer Rae Smith, lighting designer Bruno Poet, sound designer Simon Baker, orchestrator and co-arranger Simon Hale, and casting director Stuart Burt CDG.

Producers Simon Friend and Hanna Osmolska for Melting Pot said,

“From the moment we encountered One Day, we recognised its extraordinary emotional power. This is a story for anyone who has been in love, for anyone whose life hasn’t gone to plan, for anyone whose life has, for anyone who has had a parent, or a child, or a friend – so everyone really – which is why is has resonated with millions of people around the world.

With a remarkable creative team, a score that takes us on the emotional rollercoaster of Emma and Dexter’s journey, and the world-class talents of Jamie Muscato and Sharon Rose originating the lead roles, One Day The Musical promises to be a very special show indeed. We cannot wait to bring this story to life on the West End stage.”

Tickets from £30 are now on sale via the production website.

Find out more

One Day: The Musical is produced by Simon Friend & Hanna Osmolska for Melting Pot, in association with Joshua Andrews, Kevin McCollum, Stuart McAlpine, Tulchin/Bartner Productions, Ramin Sabi, Hilary, Andrew and Stuart Williams, Vibecke Dahle, Hiroko Murata, Jenny King, and the Royal Lyceum Theatre, Edinburgh, by arrangement with Universal Theatrical Group.

The Young Vic Theatre has today announced the full cast for the first show to open its 2026/27 season - the world premiere musical adaptation of Thelma & Louise, based on Oscar and Golden-Globe winning Metro-Goldwyn-Mayer motion picture by Callie Khouri, with music by Grammy nominee Trip Cullman.

Joining the previously announced Amy Lennox and Rachel Tucker in the titular roles are: Trevor Dion Nicholas as Hal, Jordan Luke Gage as JD; Samuel Edwards as Darryl, Alex Gibson-Giorgio as Jimmy, Letita Hector as Sarah, Tamlyn Henderson as Harlan/Max and Jack Butterworth as Trooper/Singer.

The company is completed by ensemble members Suzie McAdam, Eleanor Walsh, Alex Given, Kamilla Fernandes, Rushand Chambers and Joshua Dever. Casting is by Stuart Burt CDG with associate Peter Noden.

The musical follows best friends Thelma and Louise, whose friendship after a roadside encounter is forged into a dangerously unbreakable one as they become fugitives of the law. It has music by Grammy nominee Neko Case, scenography by Bobbi Jene Smith & Or Schraiber, orchestration and arrangements by John Clancy, musical supervision by Kimberly Grigsby and additional music by Carl Newman, Paul Rigby and Zoe Sarnak.

The creative team also includes costume designer Ryan Dawson Laight (with costume supervisor Zoë Thomas-Webb), lighting designer Natasha Chivers, musical director Ed Bussey, WHAM (Wigs, Hair and Make-Up) designer Carole Hancock, fight director Kev McCurdy, voice and dialect coach Danièle Lydon, props supervisor Mary Halliday, keyboard programmer Billy Jay Stein, music producer Jeff Galegher and orchestra manager Sylvia Addison.

They are joined by a team of associates: Chelsea Walker (Associate Director), Lily Ockwell (Associate Choreographer), Matthew Buttrey (Associate Designer), Stacey O’Shea (Associate Lighting Designer), Rob Jones (Associate Sound Designer) and Francesca Murray-Fuentes (Jerwood Assistant Director). US General Management is by RCI Theatricals.

Performances begin in the Main House from 3 September, playing until 24 October. Tickets are on sale now on the venue website.

Thelma and Louise is produced in the UK by Young Vic, Sonia Friedman Productions, Blue Spruce Productions, Ley Line Entertainment, and Callie Khouri, with Mandy Greenfield and in association with MGM ON STAGE.

The full cast for I’m Every Woman - The Chaka Khan Musical has today been announced, ahead of its engagement at the Troubadour Wembley Park Theatre for a limited season from 22 July to 27 September.

The biographic jukebox musical follows the life story of the multi-platinum selling recording artist, zooming in on her resilience against the toxic side of the industry, addiction and motherhood amidst her rise to stardom. It is musically set to Chaka Khan’s extensive catalogue, including I Feel For You, Tell Me Something Good, Ain’t Nobody, Sweet Thing, Higher Love and Through the Fire.

Joining the previously announced Alexandra Burke in the titular role will be Jordan Frazier as Alternate Chaka, Chrissie Bhima as Marie Stevens, Ashley Stroud as Taka Boom, Charlotte St Croix as Milini Khan, Miles Anthony Daley as Richard Holland, Jelani Munroe as Hassan Khan, Sophie Earl as Joni Mitchell, Samuel Sarpong-Broni as Stevie Wonder, Teddy Wills as Fred Hampton, Chris Breistein as Steve Winwood, Maryla Abraham as Sandra Stevens, Daniela Morain as Tammy Michelle and Grant Zavitkovsky as Bob Monaco.

The company is completed by Connor Wilkins, Gregory Armand, Zinzile Tshuma, Oskarina O’Sullivan, Ryan Hughes, Kazmin Borrer, Ryan Webb, Nimi Spiff, Amara Campbell, Lara Beth-Sas and Nay-Nay.

Frazier will perform the role of Chaka Khan on 22, 23, 25 (matinee), 30 (evening) July, 1, 6 (evening), 8 (matinee), 13 (evening), 15 (matinee), 20 (evening), 22 (matinee), 27 (evening), 29 (matinee) August, 3 (evening), 5 (matinee), 10 (evening), 12 (matinee), 17 (evening), 19 (matinee), 24 (evening) and 26 (matinee) September.

Developed by Adrian Grant Productions in association with Chaka Khan and ODX Studios, the production premiered at the Hackney Empire in March, in lieu of original plans to play at the Peacock Theatre, London due to building works. It then continued its planned tour to the Belgrade Theatre, Coventry and the Congress Theatre, Eastbourne this spring.

Directed by Racky Plews, the musical has a book by Nia T. Hill, choreography by Ebony Clarke and musical supervision by Mark Crossland. The creative team also includes set designer Sara Perks, sound designer Chris Whybrow, video designer Buckloop, lighting designer Zoe Spurr, costume designer Natalie Pryce, WHAM (wigs, hair and make-up) designer JJ Wigs and casting director Debbie O’Brien. They are supported by associate director Oliver Lidert and associate choreographer Malachi Welch, with production management by Toby P Darvill for Production Solutions Group and general management by Emily Obasohan.

Chaka Khan says the musical is ‘every woman’s story’, adding,

“It’s about finding your voice, owning your truth, and rising through everything life throws at you. I’m honored to see my journey brought to the stage with such heart, strength, and authenticity.”

Tickets are now on sale via the production website.

I’m Every Woman - The Chaka Khan Musical is produced by Adrian Grant Productions in association with Chaka Khan and ODX Studios. For Adrian Grant Productions: Emily Obasohan, Mahben Quddus and Dave Lumby. For ODX Studios: Nia T. Hill, Michael Derek Thomas, Rob O’Neill and Shane Snow. The Co-Producers are Tammy Michelle for Chaka Khan Enterprises, and Willette Murphy Klausner for WMK Productions.

Producers HoriPro and Trafalgar Theatre Productions have today announced the full cast for the forthcoming London production of Death Note: The Musical, which will open at the Barbican Theatre from 30 July for a limited six-week summer season.

Joining the previously announced Xander Pang as Light and Colin Ryan as L are Stephanie Zaharis as Misa Amane, Telly Leung as Ryuk, Grace Mouat as Rem, Paolo Montalban as Soichiro Yagami, Chloe Saracco as Jerasu and Elsie Buckley as Sayu.

The company is completed by CJ Benoiton, Louise Liluna Browning, Aoife Haakenson, Samantha Ho, Katie Ka Lay Ho, Olivia Hazel Jones, Matthew Koon, Abel Law, Luchia Moss, Patrick Munday, Richie Paisley, Regine Phua, Nicky Wong Rush and Ernest Stroud, alongside swings Nicole Carlisle, Renz Cardenas, David Ouch and Sian Yeo (also dance captain).

Related Articles

Meet the cast in rehearsals below…

Based on the bestselling Japanese manga series of the same name by Tsugumi Ohba, Takeshi Obata and Shueisha, which sold over 30 million copies worldwide and has inspired numerous adaptations across film, television, streaming and video games, the musical adaptation was first produced in Japan in 2015, last seen as a series of sold-out concerts at The London Palladium in 2023. It has a book by Ivan Menchell, lyrics by Jack Murphy and a score by Frank Wildhorn.

Director Stephen Whitson will collaborate with choreographer Fabian Aloise, set designer Jon Bausor, orchestrator and arranger Jason Howland and additional lyricist Morgan Reilly.

The creative team is completed by musical director Katy Richardson, music producers Billy Jay Stein and Strange Cranium, casting directors Natalie Gallacher for Pippa Ailion and Natalie Gallacher Casting, costume designer Sachiko Nakahara, lighting designer Jen Schriever, sound designer Peter Hylenski, video designer Akhila Krishnan, illusionist Paul Kieve and WHAM (wigs, hair and make-up) designers Campbell Young Associates.

Tickets from £29 are now on sale via the production website.

Find out more

Death Note is presented by HoriPro and Trafalgar Theatre Productions.

Three-time Olivier Award winning playwright and screenwriter James Graham (whose work includes Dear England and Punch) will premiere The Standard of Living, a new play about John Maynard Keynes - a radical twentieth-century economist whose influence and daring thinking reshaped the post-war Western world - in the West End this autumn.

Directed by Nicholas Hytner with a set design by Bob Crowley, the production will star Olivier Award winner Rory Kinnear as John Maynard Keynes, and Royal Ballet principal dancer Natalia Osipova in her West End debut as Lydia Lopokova, a celebrated soloist with Diaghilev’s Ballets Russes who fell in love with and eventually married Keynes. Further casting and creative team are to be announced.

On his return to the West End stage, Rory Kinnear said,

“It is a huge privilege to delve into the fascinating life and legacy of John Maynard Keynes: the pioneering thinker and passionate advocate for life, love and the arts whose hunger for a better life, changed the world.

Armed with James’s incredible script and reunited with the ever brilliant Nicholas Hytner, I can’t wait to work with this extraordinary company to bring Keynes’ story to life in the West End.”

And on making her West End debut, Natalia Osipova added,

“It’s a fantastic honour to be making my West End debut in The Standard of Living with such an incredible line-up of creatives and performers.

Lydia Lopokova was a pivotal figure in ballet history, bridging Diaghilev’s legendary Ballets Russes and the development of British ballet last century, and I can’t wait to explore her character.”

Following their collaboration on Giant (Royal Court Theatre, West End and Broadway), and whose other credits include numerous shows in the current Royal Court Theatre season, as well as their upcoming West End transfer of John Proctor is the Villain, producers Brian and Dayna Lee reunites with Hytner on this production, both serving as producers.

Performances begin at the Theatre Royal Haymarket on 21 September 2026, in a strictly limited 12-week season until 12 December.

For James Graham, the economist’s story is ‘playwrighting heaven’ as it depicts the worlds of politics, economics and the arts. He said,

“Keynes was a humble, radical world-builder, and I’m grateful to bring that world to theatrical life with Nicholas Hytner, a director I owe so much to, and to be supported into bringing a new play straight into the West End, when newness is so needed ”

Nicholas Hytner commented,

“I’ve followed James Graham’s brilliant career with admiration and excitement since I commissioned his break-out hit ’This House’ for the National Theatre in 2012.

This wonderful play presses all my buttons so I couldn’t be happier to resume our collaboration, and to work again with the great Rory Kinnear, and to bring the astonishing Natalia Osipova to the West End.”

Brian and Dayna Lee praises Graham for his ‘exceptional ability to distill pivotal political, social and historical events into riveting and life-altering theatre’, adding,

“We are delighted to be working with James and collaborating once again with the brilliant Nicholas Hytner to bring this extraordinary piece of bold original writing direct to the West End and share the little known story of the man who made it possible for theatre and art of all kinds to flourish in this country.”

Tickets are now on sale via the production website, with 25% of all tickets priced at £25, and £25 “Keynes Tickets” available throughout the run for under 30s released at a later date.

Find out more

The Standard of Living is produced in the West End by Brian & Dayna Lee and Nicholas Hytner with Len Blavatnik & Danny Cohen for Access Entertainment and Ramin Sabi. Mark Rubinstein is Executive Producer and General Management is by Short Street Productions Ltd.

Theatre charity Go Live Theatre has today announced its largest ever education performance in the UK to date, in partnership with the forthcoming production of the Olivier Award-nominated musical Sylvia, set to be staged on Friday 13 November at the Royal Albert Hall, where the show concludes an autumn tour (launching in Leicester on 24 September before visiting Birmingham, Edinburgh, Salford, Norwich and Canterbury) with a limited London engagement from 13 to 15 November.

With support from The Garek Trust, this performance will welcome nearly 5000 children and young people with each ticket priced at £10. Education Matinees are part of Go Live's year-round work to improve access to live theatre for young people, schools and families. Established in 1997 as Mousetrap Theatre Projects, their other initiatives have since included subsidised theatregoing programmes, schools workshops, relaxed performances and more.

Directed and choreographed by ZooNation Artistic Director Kate Prince, Sylvia follows activist Sylvia Pankhurst in driving the Suffragette movement, set to a soundtrack blending hip hop, funk and soul by Josh Cohen and DJ Walde. It stars Olivier Award winner and Go Live Theatre Patron Beverley Knight as Emmeline Pankhurst, alongside Sharon Rose in the titular role.

The creative team is completed by book writer Priya Parmar, set and costume designer Ben Stones, lighting designer Natasha Chivers, sound designer Tony Gayle, video and animation desginer Andrzej Goulding, wigs, hair and make-up designer Cynthia De La Rosa, dramaturg Lolita Chakrabarti and music supervisor Sean Green.

Related articles

Sita McIntosh, CEO of Go Live Theatre said today,

“We are thrilled to be staging our largest ever education matinee with the acclaimed production Sylvia at the Royal Albert Hall this November.

We know first-hand the lasting impact that live theatre can have on young people - with thanks to The Garek Trust nearly 5000 children and young people have the opportunity to experience this inspiring production.”

Beverley Knight said,

“It’s such a privilege to be a part of such a landmark event. To welcome nearly 5000 young people into the Royal Albert Hall to experience the power of live theatre through Sylvia feels incredibly special - and there could not be a more fitting venue for a story about courage, activism and freedom.”

Eleanor Lloyd, co-producer of Sylvia added,

“The story of Sylvia Pankhurst remains as powerful and relevant as ever, and this production offers young people an inspiring and accessible way into that history. We’re honoured to collaborate with Go Live Theatre, whose work continues to transform access to live performance for thousands of young people.”

Tickets for the education matinee on 13 November will be allocated directly to schools by Go Live Theatre. Public tickets are available across the tour and London run via the production website.

Find out more about Go Live Theatre's work on their website.

The Education Matinee of Sylvia is presented by Go Live Theatre, with producers Eleanor Lloyd Productions, Eilene Davidson Productions and PW Productions in association with Rupert Gavin/Mallory Factor, Curve Leicester, and Beverley Knight. An Old Vic and ZooNation: The Kate Prince Company production in association with Sadler’s Wells.

The West End production of Oh, Mary! has today announced that Jinkx Monsoon will return to the titular role of Mary Todd Lincoln in her West End debut at the Trafalgar Theatre for a six-week engagement from 17 August to 26 September 2026.

Having previously played the role to sold-out audiences in the Broadway production, the two-time winner of RuPaul’s Drag Race is currently starring as Judy Garland in Peter Quilter’s End of the Rainbow at Soho Theatre Walthamstow. She will take over from the show’s creator Cole Escola, who will play Mary in London from 20 July to 15 August.

The West End cast currently features Kate O’Donnell as Mary’s Chaperone, Oliver Stockley as Mary’s Husband’s Assistant, Dino Fetscher as Mary’s Teacher, Scott Karim as Mary’s Husband.

The understudies and covers are Johan Munir (Understudy Mary’s Husband/Mary’s Teacher), Georgie Lagden (Understudy Mary/Mary’s Chaperone), Mehran James McCullough (Understudy Mary’s Husband’s Assistant and 2nd Cover Mary’s Husband/Mary’s Teacher), Geri Allen (2nd Cover Mary/Mary’s Chaperone) and Alex James Ellison (2nd Cover Mary’s Husband’s Assistant, 3rd Cover Mary’s Husband/Mary’s Teacher). Casting is by Stuart Burt CDG.

Related stories - see Jinkx now and catch Cole next ahead of the Monsoon Administration!

Written by Tony Award winner Cole Escola and directed by Tony Award winner Sam Pinkleton, the show, which won the 2026 Olivier Award for Best New Entertainment or Comedy Play, follows Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination; bored, drunk and an aspiring cabaret star, the 80-minute one act play tells Mrs. Lincoln’s story (in Escola’s words) through the lens of an idiot.

The creative team also includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer) and David Dabbon (Arrangements).

Tickets are now on sale through 2 January 2027, with casting for the role of Mary Todd Lincoln from 28 September onwards to be announced.

Book direct with venue

Oh, Mary is produced in the West End by Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia with executive producers Wessex Grove.

At no additional cost to you, we may earn a small commission when you book with ATG Tickets via our site. This supports our work as a fully voluntary team.

A black hearse pulls up on Old Compton Street in Central London, as a dozen or so mourners, donned in black brollies, hand out flyers to passers-by. Flyers which wish the deceased ‘never, ever, rest in peace’.

Printed in medieval-like Blackletter, the heading reads: ‘In loving memory of...’

Who (and why)? I hear you ask. (The question is rhetorical.)

Beetlejuice...

Beetlejuice...

Beeeeeee...cause if this bio-exorcist’s name is said by a living human three times in a row, according to himself, he will be summoned to haunt the West End in an eponymous, highly metatheatrical musical.

Birth Certificate: Beetlejuice The Musical (The Musical. The Musical)

• Date and place of birth: 28th May 2026, Prince Edward Theatre, London

• Name and occupation of father: Unknown(?)

• Name and occupation of mother: Juno, Afterlife Caseworker

For those unfamiliar with the 1988 Tim Burton gothic horror comedy film, the musical adaptation’s premise could not be more of a maze: The Maitlands, a recently deceased American couple, attempt to haunt The Deetzes, new tenants of their former home, with the help of the titular character, with ghosts, ghouls and everything in between along the way. After first taking Broadway by storm in 2019, the show crosses the pond to a cult fan base, who have eagerly anticipated the show’s arrival in London for some years (but ghosts age at a slightly faster rate, we’re told).

Alex Timbers’ signature high-octane style slides naturally into David Korins’ deliberately asymmetrical, portal-like set evoking an amusement park and cartoon crossover; vibrant costumes by William Ivey Long pop out against the monochromatic motifs of the Afterlife, complemented by flashy visuals from lighting designer Kenneth Posner and video designer Peter Nigrini.

Leading the company as the self-proclaimed ‘man on the marquee’, David Fynn’s Beetlejuice is the definition of a diva; unapologetically flamboyant and an impeccable sense of comedic timing, even if the material he works with gets increasingly random, Fynn makes the role his own with subtle quirks that shows the potential interpretations the character can offer (personally equally excited to see Tom Xander’s version as alternate for the role). Sharing this diva energy is Aimie Atkinson’s Delia, second wife to Charles Deetz (Alasdair Harvey) and consequently stepmother to his daughter Lydia; presented vocally as somewhere between a salesperson and cabaret star, Atkinson hilariously delivers one-liners with a generous dose of vocal fry.

Albeit written as a stereotypical couple as portrayed on American sitcoms, David Hunter and Chelsea Halfpenny make the most out of their time (in both their present and afterlives) as the charming and naïve ingenues Adam and Barbara Maitland. Following the initial struggle to (quoting Delia) haunt this b*tch, they find themselves on a wonky arch to become the braver “Barbara and Adam 2.0”.

The duo shares warm chemistry with Hannah Nordberg, a rising star in musical theatre with an endearing interpretation of Lydia. Jumping from deadpan dialogue (familiar of Wednesday Addams) into a clean, soaring belt, her showstopping “Dead Mom” and “Home” are delivered with a genuine, beating heart, twice met by rapturous ovation.

There’s lots to love about this company, who dials up Timbers’ fun-centric direction with pure, choreographed craze. From the boisterous act one finale - kicked off by a cameo appearance from rich investor couple Maxie and Maxine Dean (Chasity Crisp and Irvine Iqbal); to cleverly executed illusions designed by Michael Weber and Jeremy Chernick (the orchestra pit being frequent victims of thrown objects); through Connor Gallagher’s exponentially camp choreography, featuring an oversized skeleton ensemble, multiple Beetlejuice(s) and fake cartwheels. Eddie Perfect’s catchy music and lyrics (orchestrations by Kris Kukul and lots of dance arrangements by David Dabbon), too, marry eclectic genres with contemporary musical theatre; a marriage that feels like a house party and a fever dream all at once.

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It’s all well and good for Scott Brown and Anthony King’s laugh-a-minute book to be filled with recurring audience participation gags, wild cameos from giant sandworms and a roasted baritone pig (designed by Michael Curry), and random in-jokes added with a 2026 London crowd in mind (Paddington and 67 both made the cut). Into the second act, numerous characters reach their epiphany: couples become bolder, Lydia finds her purpose, and we as an audience start to connect with the narrative - until the titular character abruptly jumps in with another meta-joke à la stand-up. This unfortunately happens one too many times throughout, in a build-up towards Beetlejuice’s messy marmalade departure - it makes little sense, but tickles a London audience nonetheless.

Does the show check all the boxes for ridiculously funny, visually eye-popping spectacle? Absolutely. But it takes certain familiarity with the franchise to follow the theatrical chaos and panto-esque humour that leaves newcomers to the Netherworld bewildered, a little dizzy but still laughing for the right reasons.

★ ★ ★ ☆ ☆

Beetlejuice The Musical is booking at Prince Edward Theatre until 17 April 2027. Book with LOVEtheatre, or visit the production website for more information.

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Tickets and Accessibility

🎟️ Tickets were kindly gifted with expectation of an honest, unbiased review. Views expressed are of the writer’s and do not represent those of the promoters - read our editorial policy here.

Standard tickets are priced from £27.50, with £30 Weird Wednesday tickets released weekly on Wednesdays at noon - sign up to receive a booking link.

♾️ The production features flashing lights and strobe, smoke and haze and sudden loud noises. Specific sensory points are below (all timings subject to change):

Both acts start suddenly with a loud overture/entr’acte in a flashy strobe sequence lasting around 10 seconds. A visual cue can be taken from the Musical Director in the pit.

40 mins into Act 1: Camera flash from downstage left.

54 mins: Loud thunder sound effect after the line ‘she just needs more time’.

1 hr 9 mins to end of Act 1: Very flashy and loud sequence as Beetlejuice takes over the house.

43 mins into Act 2: Strobe towards the audience going back to the human world.

Curtain Call: Loud roar sound effect and brief flashing lights as sandworm appears downstage right, followed by streamer cannons fired from either side of the proscenium arch towards the audience on the last beat of the music.

Beetlejuice The Musical is presented by Crossroads Live and Warner Bros. Theatre Ventures.

At no additional cost to you, we may earn a small commission when you book with LOVEtheatre via our site. This supports our work as a fully voluntary team.

Initial casting has today been announced for the West End transfer of the Bridge Theatre’s Olivier Award-winning production of Into The Woods, set to begin performances at the Noël Coward Theatre, a Delfont Mackintosh Theatre, from 22 September 2026.

Returning from the Bridge Theatre run are Valda Aviks as Grandmother/Giant, Geoffrey Aymer as Cinderella’s Father, Jo Foster as Jack, Jennifer Hepburn as Cinderella’s Stepmother and Alternate Witch, Hana Ichijo as Lucinda, Julie Jupp as Jack’s Mother, Gabrielle Lewis-Dodson as Florinda and Gracie McGonigal as Little Red Ridinghood, with standbys Jacob Fowler and Sophie Linder-Lee. They join the previously announced Kate Fleetwood as The Witch with full casting by Stuart Burt CDG CSA to be announced.

Directed by Jordan Fein with design by Tom Scutt, the production won Best Musical Revival and Best Lighting Design at the Olivier Awards 2026, as well as Best Ensemble or Cast and Best Designer at the Critics’ Circle Awards. It has music and Lyrics by Stephen Sondheim and a book by James Lapine, following the stories of the Baker, the Baker’s Wife, the Witch, Jack, Little Red Ridinghood, Cinderella and Rapunzel as they navigate the consequences of their actions beyond their happily ever after. This production will mark the first time the show has been seen in the West End since 1991.

The creative team includes musical supervisor Mark Aspinall, orchestrator Jonathan Tunick, sound designer Adam Fisher, lighting designer Aideen Malone, video designer Roland Horvath, movement director Jenny Ogilvie; WHAM (wigs, hair and make-up) designer Sam Cox, WHAM supervisor Charlie Watson, musical director Alex Beetschen, production manager Chris Hay, costume supervisor Lydia McDonald and props supervisors Jonathan Hall & Chris Marcus for Marcus Hall Props. The puppets are designed by Cheryl ‘Chuck’ Brown, Max Humphries & Tom Scutt, and orchestral management is by Andy Barnwell & Rich Weeden for BW Musicians.

They are joined by a team of associates: associate director Georgia Green, scenic associate David Allen, associate musical director Cat Beveridge, associate sound designer Ollie Durrant, associate lighting designer Lucy Adams, associate costume designer Lucy Martin and associate video designer Hayley Egan.

Tickets are now on sale for the West End engagement, booking from 22 September 2026 to 9 January 2027. Book with LOVEtheatre, or visit the production website for more information.

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Into The Woods is a Bridge Theatre production, presented in the West End by Jamie Wilson Productions, Kevin McCollum and New Ventures Entertainment.