Radio Times
type: channel
link: https://www.radiotimes.com
date: 2026-04-16T15:50:33.000Z
update period: hourly
update frequency: 1
update base: 2000-01-01T12:00+00:00
items: Avenue Q review: These hilariously filthy puppets have a lot of heart
items: Les Liaisons Dangereuses review: Lesley Manville and Aidan Turner's chemistry is off the charts in this timeless tale of seduction
items: Waitress review: Carrie Hope Fletcher new staging is served to perfection
items: Romeo & Juliet review: Shakespeare meets Black Mirror in Sadie Sink's West End debut
items: Teeth 'N' Smiles review: Self Esteem is the British female rock star we never had
items: Marie & Rosetta review: Beverley Knight's powerhouse performance brings a forgotten musical hero into the spotlight
items: Our Town review: Michael Sheen's all-Welsh production brings life, loss and some much-needed perspective to London
items: What is Ramses and the Pharaoh’s Gold? Our honest review of London's newest Egyptology exhibition
items: What is Come Alive! The Greatest Showman Circus Spectacular? Price, location and our honest thoughts
items: Dracula review: Cynthia Erivo bites back at doubters but is let down by overproduction
items: Shadowlands review: Hugh Bonneville shimmers in tender exploration of love, faith and loss
items: What is the Mundo Pixar Experience? Our honest review of the immersive Pixar experience in Wembley
items: The Unlikely Pilgrimage of Harold Fry review: Gut-wrenchingly gorgeous
items: Man and Boy review: Terence Rattigan's forgotten play is buoyed by a stellar cast
items: Paranormal Activity review: Theatre horror that startles rather than haunts
items: Into the Woods review: Bridge Theatre revival is a sheer force of nature
items: We've reviewed over 30 London theatre shows, musicals and plays this year – here's how they rank
items: The Hitchhiker's Guide to the Galaxy review: Grab your towel – things get delightfully cosmic
items: Paddington The Musical review: London needs this musical now more than ever
items: Midsomer Murders on stage review: A killer debut for the classic crime drama
items: Is The Traitors Live Experience worth it? How to get tickets to this faithful recreation of the BBC series
items: Punch review: James Graham's play is a marvel on London's West End
items: Clarkston review: Joe Locke's journey to the West End has been long-deserved
items: 50 First Dates: The Musical review – Could this be the most charming musical yet?
items: The Producers review: Mel Brooks's musical is the most fun I've had at the West End
items: Born With Teeth review: Ncuti Gatwa takes a lightning bolt to Tudor history
items: Every Brilliant Thing review: Lenny Henry brings laughs and lows
items: Grease: The Immersive Movie Musical review – Rydell High is open for business
items: Good Night, Oscar review: Will & Grace's Sean Hayes is master and maestro in this heartbreaking comedy
items: Noughts & Crosses review: Heartstopper's Corinna Brown stars in Malorie Blackman stage adaptation

Avenue Q review: These hilariously filthy puppets have a lot of heart
type: item
date: 2026-04-17T05:00:04.000Z
creator: Joanna Magill
subject: Going Out
subject: Reviews
subject: Review
description: The infamous 2004 Tony award-winning Best Musical is celebrating its West End revival at Shaftesbury Theatre.
encoded: From the 2026 revival of The Muppets Show on Disney Plus to Elmo's follower count climbing north of 700K on X, the last few years have seen something of a puppet renaissance. Therefore, it makes sense that now is the time for the West End revival of Avenue Q, Robert Lopez and Jeff Marx's musical comedy following the ups and downs of randy, foul-mouthed puppets. The key point of the show is that although these characters are made from felt, they're just like us; Princeton struggles to find his purpose, Kate Monster bemoans her lack of a boyfriend, Rod is coming to terms with his sexuality, Trekkie Monster is a porn enthusiast and avid OnlyFans user. If you're thinking that the last example doesn't sound terribly appropriate for a puppet show, you'd be correct. Avenue Q, with its foul language, suicide jokes and graphic puppet sex scenes (yes, really) flies in the face of stereotypes, with the biggest laughs coming from the weird juxtaposition between cute puppets and crass jokes about life's harsh realities. Speaking of big laughs, this script is packed full of them. The hilarious musical numbers, with titles like The Internet is For Porn and Everyone's a Little Bit Racist, draw a wicked contrast between the taboo topics and their Sesame-Street-meets-musical-theatre scores. Jeff Whitty's excellent book is peppered with with the perfect amount of profanity and explicit sexual references, used sparingly so the joke doesn't become tired and the shock value lands perfectly each time. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/04/AVENUE-Q.-Emily-Benjamin-Kate-Monster-Charlie-McCullagh-and-Meg-Hateley-Trekkie-Monster.-Photo-by-Matt-Crockett-39cfa88.jpg" width="6048" height="4024" alt="Kate Monster and Trekkie Monster beside each other on stage" title="AVENUE Q. Emily Benjamin (Kate Monster), Charlie McCullagh and Meg Hateley (Trekkie Monster). Photo by Matt Crockett" /> This show, which first premiered in 2003, has garnered a cult following f…

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Les Liaisons Dangereuses review: Lesley Manville and Aidan Turner's chemistry is off the charts in this timeless tale of seduction
type: item
date: 2026-04-02T12:39:08.000Z
creator: Joanna Magill
subject: Going Out
subject: Reviews
subject: Review
description: Tense, sexy and playful, this revival of Christopher Hampton's Les Liaisons Dangereuses brings the best of the old and new.
encoded: Dangerous Liaisons is a tale that has been adapted time and time again, from TV mini-series to Korean historical romance film to the '90s cult classic film Cruel Intentions. Now it's time to enjoy another adaptation; the National Theatre revival of Christopher Hampton's 1984 Les Liaisons Dangereuses. A revival of a classic tale often reveals plenty about the age we're currently living in – so what does this production mean in the year 2026? Is it a cautionary tale against indulging in lies in the age of post-truth? A commentary on the shallow whims of the ultra-rich? Or is it simply an opportunity to witness the delight of Lesley Manville and Aidan Turner perform a dangerous, sexy tango of words and deceit? Whatever your interpretation, this much is sure: you are in for a wickedly sumptuous show. The 2026 National Theatre production, directed by Marianne Elliott, is a show of contrasts, with lavish costumes set against a sparse stage flanked by mirrors. This eerie juxtaposition makes the audience ill at ease, as well as highlighting both vanity and the sense of being unable to escape from yourself. Hampton's script stays relatively faithful to the original 1782 book Les Liaisons Dangereuses by Pierre Choderlos de Laclos. We focus on the Marquise de Merteuil (Manville) and the Vicomte de Valmont (Turner), two aristocrats and former lovers who place bets and play games based on manipulation and sexual exploits. What follows are dangerous games of seduction, of both Cécile de Volanges (Hannah van der Westhuysen) and Madame de Tourvel (Monica Barbaro). Tension is rife throughout, with each word of Hampton's script dripping with sensuality and double meaning. A lot of this tension is beautifully portrayed through movement, with choreographer Tom Jackson Greaves's luscious interpretive sequences, using fluid movement to express anguish and raw sexuality where words fail. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/04/Aidan-Turner-Vicomte-de-V…

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Waitress review: Carrie Hope Fletcher new staging is served to perfection
type: item
date: 2026-04-01T14:49:16.000Z
creator: Laura Rutkowski
subject: Going Out
subject: Reviews
subject: Review
description: This is a firm favourite on my musical menu that I would order over and over again.
encoded: I last saw Waitress in London in 2020, with the supremely talented Sara Bareilles (responsible for the stunning music and lyrics) and Gavin Creel, who sadly passed away in 2024, as the leads. I have been eagerly anticipating the show’s return, but thought it would be difficult to top such a brilliant casting. But I’m happy to say that the UK tour that premiered in Wimbledon for a 10th anniversary production is just as magical in Abbey O’Brien’s restaging of Diane Paulus’s original work. Carrie Hope Fletcher effortlessly plays expert pie-maker Jenna, a waitress at Joe’s Pie Diner in small-town America, and Dan Partridge is very funny as the neurotic, but well-meaning Dr Pomatter. It’s based on the 2007 film written and directed by Adrienne Shelly. Jenna is married to the abusive Earl (played in the musical by a convincingly piggish Mark Willshire) and dreams of leaving him, but then she finds out she’s pregnant. A way out seems like a pie in the sky, until she hears about a pie-making contest that offers a prize of $20,000 to the winner. Where Earl thinks Jenna’s “no Sara Lee”, Dr Pomatter believes her pies are so good that they could win awards. In what could be seen as quite a sad story, it also has tons of humour that I think lands even better this time around, and I’m sure some gags have been added, and they really work. All the characters in Jessie Nelson’s script are well fleshed out, and realistically flawed – they never pretend to be anything but. Mark Anderson as Dawn’s besotted, eccentric love interest Ogie is a real scene-stealer and Les Dennis is great as the grouchy yet likable Joe, who owns the diner, and believes in Jenna’s abilities. Dan O’Brien does a good job teetering between appearing tough as diner manager Cal one minute, and as a big softie underneath it all the next. But it’s the female friendships that really shine here. The relationship between Jenna and fellow waitresses, Dawn (played with quirky charm by Evelyn Hoskins) and Becky (a hilario…

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Romeo & Juliet review: Shakespeare meets Black Mirror in Sadie Sink's West End debut
type: item
date: 2026-04-01T07:56:10.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Review
description: Sadie Sink and Noah Jupe are sensational star-crossed lovers.
encoded: Sadie Sink's West End debut is a triumph of tragedy and heartache as she brings Robert Icke's adaptation of Romeo & Juliet back to the London stage. The timeless story of love and death is given a timeless out-of-body atmosphere as scenery, costume and framing devices are used to strand the production in a minimalist world where the 1590s and 2020s blend together. The show has the overall feel of the Black Mirror episode Hang the DJ as a giant digital clock flashes onto screen throughout – reminding that the lovers' lives are literally ticking away. This is joined by a clever time-warping element in which certain scenes are played out twice to suggest how their story could otherwise have gone: Tybalt interrupts Romeo at the party, the Nurse refuses to give Juliet the message, the Friar's letters arrive on time and so on – showing us how cosmically aligned these star-crossed lovers truly are. These elements create an effectively eerie atmosphere for the show and are a nice palette cleanser for the endless gun-toting modern adaptations we often see today, although this was occasionally ruptured by an out-of-pocket cover song only producers of The Traitors would enjoy. It also breaks a centuries-long trend of seeing the lovers' fates as a hopeless, foregone conclusion, we all enter the theatre knowing where their story will end up, but never before have I experienced a bitter tug of hope that it could go another way. But as the production overall seems to live somewhere in the uncanny valley, the cast's performances are utterly grounded. Sadie Sink is an infectiously likeable Juliet, who brings all the painfully real awkwardness of a teenage girl to the stage. She grunts, growls, giggles and leaps around in the first act, only to turn that energy into concerning obsession in the second – bravo to Robert Icke for remembering they are teenagers who, at the end of the day, are completely naive of the real world. Noah Jupe is equally impressive. His devoted Romeo comes wit…

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Teeth 'N' Smiles review: Self Esteem is the British female rock star we never had
type: item
date: 2026-03-26T12:00:34.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Review
description: Rebecca Lucy Taylor (AKA Self Esteem) fills a British Janis Joplin-sized hole in revived play.
encoded: It's very common when imagining the world of '60s rock and roll, to conjure up an image tainted with Hollywood glamour. To see the life of drink, drugs and sex while travelling on the road through the rose-tinted lens of an Annie Leibovitz photoshoot. So it's unbelievably refreshing when you get a rather more British take on it, that is a seedy, unkempt, patchwork version, that literally reeks of cigar smoke and every single thing on stage is brown. This is the world of David Hare's Teeth 'N' Smiles, a play originally written in 1975 when the idealistic world of classic rock was fading into raw defiance of punk, when, as Hare puts it, conversations about "civil rights and the radical overhaul of society" had become "drinkers talking about themselves and their relationships". The premise is simple and based on a real-world instance, when The Rolling Stones, at the peak of fame, were booked to perform at an Oxford University ball, leading him to the question: what happens when you put the dry, cynical world of rock and roll in the stately setting of a posh university? It is here we meet the cult band Maggie Frisby and the Skins, playing three sets at the Jesus College May Ball at Cambridge University on a night when everything, particularly Maggie, seems to be disintegrating. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/31.-TEETH-N-SMILES.-Noah-Weatherby-Inch-Rebecca-Lucy-Taylor-Maggie-Samuel-Jordan-Smegs-and-Jojo-Macari-Peyote.-Photo-by-Helen-Murray-a0da0b6.jpg" width="5919" height="3946" alt="Teeth 'n' Smiles by David Hare ; Production ; Cast: Rebecca Lucy Taylor, Michael Fox, Phil Daniels, Michael Abubakar, Roman Asde, Bill Caple, Joseph Evans, Damien James, Samuel Jordan, Aysha Kala, Jojo Macari, Gregor Milne, Christopher Patrick Nolan, Noah Weatherby, Guy Amos, Daniel Crespin, Levi Heaton ; Director: Daniel Raggett ; Assistant Director: George Jibson ; Casting Director: Bryony Jarvis Taylor CDG ; Writer: David Hare ; Music: Nick Bi…

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Marie & Rosetta review: Beverley Knight's powerhouse performance brings a forgotten musical hero into the spotlight
type: item
date: 2026-03-09T17:21:25.000Z
creator: Joanna Magill
subject: Going Out
subject: Reviews
subject: Review
description: This compelling production shines some much-needed light on a forgotten hero of musical history.
encoded: Before there was Elvis, before there was Little Richard, before there was Chuck Berry, before there was Jimi Hendrix – there was Sister Rosetta Tharpe. Known as the Godmother of the Rock and Roll, Rosetta fused gospel music with secular music and played a key role in developing rock and roll, thanks to her pioneering electric guitar playing and sensational stage presence. However, Sister Rosetta Tharpe has often been all-but erased from her rightful place in musical history. That's where George Brant's play Marie and Rosetta comes in, telling the story of Sister Rosetta and her singing partner Marie Knight. This two-hander shines light on the highs and lows of Sister Rosetta Tharpe's career as she engages in a spirited conversation with her newly employed singer Marie Knight. The play takes place in just one setting, but doesn't lose momentum, thanks to the combination of vibrant musical numbers and the sheer talent at work on stage. Sister Rosetta Tharpe is certainly a demanding role, but who better to take on the challenge of portraying this legend than fellow legendary performer Beverley Knight? Knight more than earns her stripes in this production; her physicality is completely transformed, seamlessly adopting a new gait and new laugh, as well as powerfully interpreting Sister Rosetta's smoky and playful vocals. Kudos must also be given to Ntombizodwa Ndlovu for her subtle and masterful development of Marie Knight's character on stage, from shy ingenue to self-assured performer. Watching this production, it's hard to believe that this is the young actress's West End debut— we're expecting big things in her future. Marie & Rosetta is a jukebox musical, straddling gospel, jazz and blues music as the titular characters run through Sister Rosetta's set list. Marie begins by taking the more serious, spiritual numbers, while Sister Rosetta adds more secular elements, and encourages Marie to do the same. From the very first note, it's clear that we're dealing with two …

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Our Town review: Michael Sheen's all-Welsh production brings life, loss and some much-needed perspective to London
type: item
date: 2026-03-05T11:52:39.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: Michael Sheen's revival is a gorgeous life-affirming look into the worlds of ordinary people.
encoded: Thornton Wilder's 1938 play Our Town has sometimes been hailed as "the greatest American play ever written". Set in the fictional New Hampshire town of Grover's Corners, the show follows two of the town's families, taking snapshots from across their lives from childhood to marriage to death, all the while centring around the mild mentality and dreams so often associated with small-town America. Yet, such is the magic of Michael Sheen's newest production that this US-focussed play can sit in the Rose Theatre Kingston with an all-Welsh cast, feeling as snugly at home as a journalist in a stationary shop. Brought to life by the new Welsh National Theatre, which has been founded by the Good Omens star, this revival of Our Town is a warming, soulful experience that makes you feel as if you were stepping into a foaming hot bath. Comfortably, it wends its way through the lives of the Gibbs and Webb families, taking meandering detours into the culture and atmosphere of the town, all the while guiding you to a conclusion that is deep and dark, and yet so gratifying. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/Michael-Sheen-cast-of-Our-Town-at-Rose-TheatreRose-Theatre-Welsh-National-Theatre-co-prodHelen-Murray69-569c157.jpg" width="5717" height="3811" alt="OUR TOWN by Thornton Wilder ; Theatre Production (Rose Theatre & Welsh National Theatre) ; Cast: Rithvik Andugula, Peter Devlin, Aisha May Hunte, Rebecca Killick, Alfie Llewellyn, Rhodri Meilir, Christina Modestou, Kimberley Noble, Yasemin Özdemir, Sian Reese Williams, Nia Roberts, Michael Sheen, Kingdom Sibanda, Gareth Snook, Gareth Tempest, Jâms Thomas, Matthew Trevannion, Rhys Warrington ; Director: Francesca Goodridge ; Creative Associate: Russell T Davies ; Designer: Hayley Grindle ; Movement Director: Jess Williams ; Lighting Designer: Ryan Joseph Stafford ; Composer, Sound Designer, Musical Director: Dyfan Jones ; Casting Director: Sam Jones CDG ; Assistant Director: Dena Davies ; Ros…

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What is Ramses and the Pharaoh’s Gold? Our honest review of London's newest Egyptology exhibition
type: item
date: 2026-03-04T14:16:01.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: The epic story of Pharoah Ramses II comes to life in London this spring.
encoded: London is playing host to royalty this spring, and I don't mean Charles III. Egyptian Pharaoh Ramses II has come to the capital in a new exhibit all about his rule over the ancient world. Held at NEON in Battersea Power Station, this popular exhibit has come over after stints in Paris, San Francisco, Sydney, and Tokyo, where it achieved heaps of acclaim for its collection of 180 ancient artefacts. However, past praise is all well and good, but you want to be sure you're getting your money's worth with this exhibit, especially as it costs from £24. So below, we've dived into what you can actually find at Ramses and the Pharaoh’s Gold, and our honest view on whether it's worth a visit. Here's what you need to know. Buy Ramses and the Pharaoh’s Gold tickets at Fever Jump to: What is Ramses and the Pharaoh’s Gold Exhibition? Where is Ramses Exhibition in London? How long is the Ramses Exhibition in London for? How much do Ramses and the Pharaoh’s Gold Exhibition tickets cost? Is the Ramses and the Pharaoh’s Gold Exhibition worth it? How to get tickets to the Ramses and the Pharaoh’s Gold Exhibition What is Ramses and the Pharaoh’s Gold Exhibition? Ramses and the Pharaoh’s Gold is a new exhibition devoted to the life and conquests of Egyptian Pharoah Ramses II, who ruled for 70 years from ca1303–ca 1213 BC. Set across a series of rooms, the exhibit features 180 extraordinary artefacts from his empire including jewellery, pottery, statues and real coffins. You'll also find a number of accompanying videos and interactive experiences to bring Ramses's biggest moments to life. Buy Ramses and the Pharaoh’s Gold tickets at Fever Where is Ramses Exhibition in London? Ramses and the Pharaoh’s Gold is being held at NEON, a purpose built exhibition venue at London's Battersea Power Station. The venue is just a short walk from Battersea Power Station underground, which is on the Northern Line. How long is the Ramses Exhibition in London for? The exhibit is running until 31 May 2026…

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What is Come Alive! The Greatest Showman Circus Spectacular? Price, location and our honest thoughts
type: item
date: 2026-03-02T11:15:41.000Z
creator: Joanna Magill
subject: Going Out
subject: Reviews
description: We visited Come Alive! The Greatest Showman Circus Spectacular in West London. Here's what you need to know.
encoded: Ladies and gents, this is the moment you've waited for. it's time for the Radio Times Going Out team's thoughts on Come Alive! The Greatest Showman Circus Spectacular. This live performance first took up residence at West London's Empress Museum first opened in September 2024 and has recently been extended, now running through until September 2026. But the real question is what exactly is Come Alive? Is it a stage show? A circus? An immersive experience? Well, that's what we're here to answer. We took a trip to the Empress Museum in West London to experience Come Alive for ourselves. Here are our honest thoughts. Buy Come Alive! The Greatest Showman Circus Spectacular tickets at TodayTix Buy Come Alive! The Greatest Showman Circus Spectacular tickets at Seat Plan If you fancy another immersive experience, check out our Mundo Pixar Experience review. Plus, last-minute Carabao Cup final tickets. Jump to: What is Come Alive! The Greatest Showman Circus Spectacular? Is Come Alive worth it? Where is Come Alive! The Greatest Showman Circus Spectacular? How much are Come Alive tickets? How to get Come Alive tickets What is Come Alive! The Greatest Showman Circus Spectacular? The most important thing to note is that Come Alive is not a stage adaptation of The Greatest Showman musical. Instead, this is a full immersive experience with a circus-themed show inspired by and featuring music from The Greatest Showman. Guests are encouraged to arrive early to the Empress Museum, where there's a wealth of things to explore before the show itself starts, including a museum dedicated to the history of the circus, live actors interacting with spectators, one-man circus performances and food and drink. When it comes to the show yourself, you'll be seated in The Five Tops looking directly at the circus ring. What follows is an impressive variety show, featuring classic circus acts like aerial hoop, tightrope walking and fire juggling, as well as lots of singing, dancing and audience int…

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Dracula review: Cynthia Erivo bites back at doubters but is let down by overproduction
type: item
date: 2026-02-18T06:00:12.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: Cynthia Erivo's one-woman show has landed at London's Noël Coward Theatre.
encoded: Now officially a legend of villainy, Cynthia Erivo proves her might and mettle in her one-woman production of Dracula, showing at London’s Noël Coward theatre from now until May. Bram Stoker's seminal gothic is brought to life in wicked – sometimes wonderful and sometimes woeful – fashion in this ultimately watchable but confused production. Made by the same creators as Sarah Snook's The Picture of Dorian Gray, Erivo plays all 23 characters in the show, including the infamous Count and the narrators best known by those of us who did A-Level English lit: Jonathan Harker, Mina Murray and John Seward. Focusing first on her performance, Erivo is five-star. Her ability to shift skins from Harker's clipped English lawyer, to the bright eyed Mina, to the doomed but delightful Lucy, was like watching the lead ballet dancer subtly change parts in Swan Lake. The first 20 minutes in particular, where Harker enters Castle Dracula, were an exemplar for how it should be done. Her seamless transitioning between tone, tenor and gender, was also beautifully aided by the costume department led by Claire Murphy and Rachel Morris. However I must now turn to production. From the outset, press releases have described this play as a piece of "cinetheatre", which I now see translates to a massive homogenous screen taking up half the stage the entire time. On this screen, several of Erivo's characters appear such as Van Helsing and Quincey Morris, delivering pre-recorded lines to each other, sometimes for minutes at a time. When this occurs, the on-stage actress suddenly shrinks to a supporting role and is diminished to the point I barely saw her moving about the stage. To complicate matters further, major moments such as the graveyard scene are hit by blaring music, split screens and choppy editing to the point it came across more as an emo music video à la Panic! At The Disco than a hefty Victorian text. Later on, this became even more pronounced as heavy synth pop and glittering set piec…

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Shadowlands review: Hugh Bonneville shimmers in tender exploration of love, faith and loss
type: item
date: 2026-02-16T13:17:15.000Z
creator: Michael Sidhu
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: Paddington star Hugh Bonneville is on stage from now until May.
encoded: Shadowlands at the Aldwych Theatre, written by William Nicholson and directed by Rachel Kavanaugh, tells the story of great English author CS Lewis and his relationship with American writer Joy Davidman. The story asks whether suffering is the price of love. Whether intellectual faith can survive lived grief. Largely, it succeeds in taking audiences on the emotional journey. Hugh Bonneville and Maggie Siff, unsurprisingly, deliver laudable performances, grounding the production in warmth and humour. Their connection feels sincere, and so the story’s message feels personal rather than an abstract concept. Where the relationship, and show at large, might have benefitted is from a sharper portrait of Lewis before Joy enters his life. A greater emphasis on his romantic isolation would have created a clearer contrast between the man who theorises about pain and the man who must endure it. As it stands, Lewis feels broadly consistent before and after meeting Joy, softening the emotional transformation he undergoes. For all its looming tragedy and theological debate though, Shadowlands is frequently and genuinely funny. The comedy never feels forced or tonally jarring; instead, it serves to deepen the emotional core of the play. The supporting cast, including Jeff Rawle, Timothy Watson and Tony Jayawardena, serve to orbit the central relationship. They often function as intellectual foils but do bring a texture to Lewis’s world outside of his relationship with Joy. Most frustrating is the handling of Joy’s son, whose storyline initially suggests a poignant thematic parallel; both to Lewis himself and to Digory in The Magician’s Nephew (the first of the Narnia books). Despite a confident presence from Ayrton English, the script doesn’t allow the character’s arc to fully develop. What begins with emotional promise ultimately feels underexplored and a potentially resonant thread is left flat. Shadowlands doesn’t shy away from grief, but neither does it wallow in it. Instead, …

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What is the Mundo Pixar Experience? Our honest review of the immersive Pixar experience in Wembley
type: item
date: 2026-02-13T13:44:50.000Z
creator: Joanna Magill
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: The Mundo Pixar Experience allows you to step into the worlds of 11 of Pixar’s most popular films.
encoded: After enjoying highly successful stints in major cities such as Rio de Janeiro, Barcelona and Brussels, the Mundo Pixar Experience has finally landed in the UK capital. Located right by Wembley Stadium in a purpose-built venue, this is the world’s largest immersive Pixar exhibition, featuring 14 separate rooms dedicated to some of Pixar’s most beloved films and characters. With plenty of anticipation about the release of this immersive experience in the UK, we headed over to Wembley to check out what the Mundo Pixar Experience had to offer. From the cinematic universes explored to the cost of tickets, here’s everything you need to know about Mundo Pixar Experience. Buy Mundo Pixar Experience tickets For more of our thoughts, check out our Man and Boy review, as well as our Into the Woods review. Jump to: What is the Mundo Pixar Experience? What films are included in the Mundo Pixar Experience? What age is the Mundo Pixar Experience suitable for? How much is the Mundo Pixar Experience? Is the Mundo Pixar Experience worth it? How to get the Mundo Pixar Experience tickets What is the Mundo Pixar Experience? The Mundo Pixar Experience is the world’s largest immersive exhibition focused entirely on Pixar animations. The 14 rooms in the exhibition focus on popular Pixar films and contain life-size sculptures of characters including Carl from Up, Mike and Sulley from Monsters Inc, and the emotions from Inside Out. You’ll also find plenty of fun props and recognisable elements from the films, including Boo’s door from Monster's Inc and cooking ingredients from Ratatouille. Each room is also full of special hidden details, so make sure you interact with the objects in the room to uncover some surprises – don’t forget to push buttons, try doorknobs and lift up some interesting looking objects. There’s also an additional challenge within the Mundo Pixar Experience, as guests are tasked with finding the hidden Pixar ball (the iconic yellow ball with the red star) in each room. …

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The Unlikely Pilgrimage of Harold Fry review: Gut-wrenchingly gorgeous
type: item
date: 2026-02-12T10:11:43.000Z
creator: Perry O'Bree
subject: Going Out
subject: Reviews
subject: Review
description: A heart-shattering and hopeful journey of love, loss, and letting go, The Unlikely Pilgrimage of Harold Fry goes straight to the heart.
encoded: The Unlikely Pilgrimage of Harold Fry is a gut-wrenchingly gorgeous story of guilt, grief and redemption. The story follows Harold who is leaving his wife, not out of malice, but because he’s drowning in guilt for not being able to save his son, and for the kindness he never repaid to Queenie Hennessy, who once took the blame for him at work. When he learns Queenie is dying in a hospice, Harold sets off on a walk across England not to save her, but to prove something to himself, to find peace, and to finally say thank you and goodbye. We learn that Harold and his wife Maureen’s son faced serious struggles after returning from university which included problems with drugs. Harold, in his fear and frustration, shamed his son instead of helping him. What came from love and desperation ended in a devastating fallout. Harold only wanted to push his son toward stability, a job, and routine, not watch him spiral, and this guilt drives every step of his journey. The show’s in-the-round staging feels intimate with atmospheric dreamcatchers hanging above the circular set, while projections transform the space into ever-changing skies and landscapes. Live instruments add warmth and immediacy, while the gentle folk-pop score ties everything together beautifully. Act One runs for around 1 hour 10 minutes, followed by a 20-minute interval, then a 1-hour second act approximately 2 hours 30 minutes in total. Overall, the show is paced beautifully, balancing humour and heartbreak throughout. The “On the Road” sequence captures the spirit of YOLO (“you only live once”) perfectly, and “Believe” is as uplifting as it sounds. A highlight is the hilariously honest “You’re F***ed,” performed as Harold battles blisters and bruises a much-needed moment of levity. The puppet dog companion is a lovely touch too. Jenna Russell is outstanding as Maureen Fry, especially in her heart-breaking performance of Tin of Soup for One. Mark Addy’s Harold is deeply vulnerable and full of quiet humanity — …

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Man and Boy review: Terence Rattigan's forgotten play is buoyed by a stellar cast
type: item
date: 2026-02-11T17:18:36.000Z
creator: Joanna Magill
subject: Going Out
subject: Reviews
subject: Review
description: This is the first London revival of Man and Boy since 2005 and marks director Anthony Lau's debut at the National Theatre.
encoded: Although not overly well-received at the time, Terence Rattigan's Man and Boy is packed full of themes that eerily resonate today. The play follows the Antonescu family, a powerful and crooked financier father and his estranged son living in Greenwich Village in 1934. Gregor Antonescu reappears unexpectedly in his son Basil's life five years after their estrangement, with a "small" favour to ask. What Basil doesn't realise is that his father is planning to offer him up as a sexual reward as part of a crooked business deal. The play explores the power dynamics in the central father-son relationship, as well as pondering the larger concepts of conscience and morality. Perhaps even more relevant today is the theme of casual and brazen exploitation with no fear of consequences, making Man and Boy a timely choice for Indhu Rubasingham’s first piece of programming for the National Theatre. Rattigan is a master of subtext, which truly shines in this claustrophobic work. However, at times Man and Boy feels slightly laborious, due to intense sections poring over the intricacies of financial crimes and its slightly predictable and drawn-out ending. This production, however, manages to effectively gloss over these issues thanks to the sheer strength of the cast. Laurie Kynaston shines as the troubled and conflicted Basil, especially in moments of emotional breaking point which allow him to show his range. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/02/Ben-Daniels-Gregor-Antonescu-and-Malcolm-Sinclair-Mark-Herries-in-Man-and-Boy-at-the-National-Theatre-c-Manuel-Harlan-0142-3eb419b.jpg" width="7407" height="4938" alt="Ben Daniels (Gregor Antonescu) and Malcolm Sinclair (Mark Herries) in Man and Boy at the National Theatre drinking whiskey on stage" title="Ben Daniels (Gregor Antonescu) and Malcolm Sinclair (Mark Herries) in Man and Boy at the National Theatre (c) Manuel Harlan 0142" /> Excellent comic relief is provided by Nick Fletcher, Leo Wao and…

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Paranormal Activity review: Theatre horror that startles rather than haunts
type: item
date: 2025-12-16T10:46:15.000Z
creator: Michael Sidhu
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: Spooky things are afoot at the West End.
encoded: Directed by Felix Barrett and written by Levi Holloway, Paranormal Activity makes the jump from screen to stage with a new adaptation that leans into atmosphere and theatrical surprise rather than outright terror. Horror, at its best, is rarely just about scaring audiences. It often explores deeper emotional and psychological ideas, and Holloway is clearly interested in that territory. In an interview with Radio Times, he spoke about how "people are haunted. When two people bring their ghosts into a marriage, sometimes something goes wrong". That idea sits at the centre of this story, which follows American couple Lou and James after their move from Chicago to the UK. Played by Melissa James and Patrick Heusinger, the pair give committed performances, grounding the production in a recognisable, and often uncomfortable, domestic realism. From the outset, cracks in the relationship are apparent. Moments of tension and miscommunication underpin the supernatural elements that begin to creep in. Where the production truly leans into its strengths is in its theatricality. This is a production that understands what live theatre can offer horror: not just performance, but space and sound too. Flickering lights, darkness and sudden bursts of noise all contribute to the uneasy atmosphere, but the design is doing much of the heavy lifting. Designed by Fly Davis, the two-storey house that forms the set becomes almost an actor in itself. The action unfolds across multiple rooms and levels, allowing the staging to play with audience expectations and perspectives. There are moments that shock in the instant and others that linger longer, leaving you replaying them once you’ve left the theatre. As a piece of stage horror, Paranormal Activity favours tension and surprise over lasting dread. It may not leave you afraid to turn off the lights at home, but in the moment, it delivers some genuinely effective shocks. On its own terms, that’s largely where it succeeds. When and where can …

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Into the Woods review: Bridge Theatre revival is a sheer force of nature
type: item
date: 2025-12-12T09:54:43.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: Into the Woods we go.
encoded: Much like a forest relies on its ecosystem of trees, Stephen Sondheim's classic musical Into the Woods relies entirely on the collective talent of its ensemble. Thankfully, the Bridge Theatre's brand-new adaptation has been blessed with a cast whose performances intertwine and overlap to become a sheer force of nature on stage. Having not been performed at the West End in over a decade, there was some pressure on director Jordan Fein in bringing this '80s favourite back to life. The story is a mash-up of well-known fables Cinderella, Jack and the Beanstalk, Little Red Riding Hood and Rapunzel. In the first act, these stories fold around the quest of a cursed baker in search of the ingredients to bring him a child from the evil witch. In the second, a reckoning comes in the form of a giant, and all our fairy-tale heroes are forced to answer the question of what can happen after happily every after comes? Now, as any theatre fan will know, this show is the absolute pinnacle of Sondheim's trademark harmonies and layered lyrics – which can so easily slip from magical to grating when done wrong. The story likewise is in danger of becoming dense and meaningless when you let so many characters and plots flop on top of each other. But fret not, because this production throws off all weight and worry by delivering outward. What I mean by this, is every song, every line delivery, every lighting queue is thrown back at the audience, almost as if punching through the pages of the storybook towards us. Of course the show comes equipped with a narrator whose job it is to break the fourth wall, but even without him the cast seem to spend every second flinging their emotions across the auditorium, reminding us that this complex human story is within all of us – and we must face it. The charged atmosphere this creates would not have been accomplished without the beautiful set design by Tom Scutt. As intended, the woods on stage feel like a living breathing thing, with beautifully te…

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We've reviewed over 30 London theatre shows, musicals and plays this year – here's how they rank
type: item
date: 2025-12-12T07:00:23.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Tickets
description: What a year it's been for the stage!
encoded: It may seem like something that gets said every December, but 2025 really has been an astounding year for the West End. Iconic shows hit massive milestones, beloved stories got larger-than-life adaptations, and some of Hollywood's biggest stars descended on the streets of London – and in some cases brought them to a halt. This was the year in which both Paddington and Katniss Everdeen made their theatre debuts, while Les Misérables celebrated its 40th anniversary. It was the year Inside No. 9 terrified a whole new audience, and the year Doctor Who himself (Ncuti Gatwa) had an affair with Shakespeare. Quaint British classics like Midsomer Murders also came to the stage, sat alongside big-name American stories like Clueless and The Great Gatsby. Plus, plenty of new stories emerged like Joe Locke's Clarkston and Rosamund Pike's Inter Alia. Lastly, this year has also seen the West End make a very important return to accessibility with individuals like Jamie Lloyd championing low prices and ease of access – made all the easier by the immeasurable talents of Rachel Zegler. So, what to do with all that? Well, we've ranked them, every show the Radio Times' Going Out team has reviewed this year and everything we loved (or lamented) about each. Let's take a look. Best London theatre shows of 2025 ranked 32. The Tempest Run dates: 19th December 2024 – 1st February 2025 Despite the collection of trophies already gathering dust in his cabinet, Jamie Lloyd's West End work has shot to new heights this year. The director's talent for uniting Hollywood's hottest actors with some of theatre's fustiest works to produce pure Olivier-coloured gold, is second to none, but that doesn't mean he always gets it right. His first production the year saw sci-fi superstar Sigourney Weaver take on the role of Prospero in Shakespeare's The Tempest. While the epic dystopian staging was certainly effective, and side characters like Mason Alexander Park shone, overall Weaver's performance fell a litt…

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The Hitchhiker's Guide to the Galaxy review: Grab your towel – things get delightfully cosmic
type: item
date: 2025-12-09T09:39:41.000Z
creator: Michael Sidhu
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: The Hitchiker's Guide to the Galaxy Live is at Riverside Studios until February.
encoded: Down in Riverside Studios, you’re invited to step into The Horse and Groom for Arthur Dent’s surprise farewell party, and you won’t just be a passive, silent figure either. No. You’re very much an active participant in this production of The Hitchhiker's Guide to the Galaxy. Directed by Georgia Clark, Simon Evans and Lorin Latarro, The Hitchhiker's Guide is an enjoyable 90 minutes of space faring adventure. From the onset, you feel part of the action. Cast members do the rounds, chatting to you and welcoming you to the party, and when the man of the hour arrives, we’re still encouraged to join in – sharing ideas and singing along. It’s these cast interactions throughout that make the entire production shine. The immersion is elevated further by the design and sets. Fans of the source material will likely appreciate the references most, but even newcomers will feel transported from location to location. The use of video and special effects adds a layer of spectacle that genuinely enhances the journey. However, moving between sets (and sometimes being left to fend for yourself) is where the experience can feel slightly muddled. Things occasionally become a bit crowded, and it’s easy not to know where you’re meant to stand or what you’re supposed to be watching. More than once, it felt like you were in someone’s way or facing the wrong direction, though that may simply be part and parcel of immersive theatre. You’ll have a much richer experience if you’re brave enough to talk to the cast members. Those interactions are what turn this from a fun show into an actual adventure. The highlights for me were my conversations with Alex Anthony Fevrier and Andrew Evans, both of whom made you feel part of the story. Across the board, the cast deliver strong, committed performances. They are sometimes let down by the writing and direction, which doesn’t always give audiences enough time to understand who certain characters are or why we should feel for them, but the energy and de…

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Paddington The Musical review: London needs this musical now more than ever
type: item
date: 2025-12-01T05:00:25.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Tickets
subject: Comment
description: Michael Bond's beloved bear is being very well looked after at Savoy Theatre.
encoded: On his journey to becoming a national symbol it has become abundantly clear, a hundred times over, that everything Paddington Bear touches turns sticky, orange, marmalade-scented gold. From record-breaking films, to being a part of the late Queen's Platinum Jubilee, to appearing on every postcard in London, it's almost unfair on other famous characters that Michael Bond's Peruvian Bear should add 'West End star' to his CV – while poor Winnie the Pooh became a horror movie. When seeing Paddington the Musical this weekend I was almost expecting to see a chink in the blue duffle coat armour at last – thinking the pressure of bringing this British icon to life would be too much. How glad I am to be wrong, because this show is simply wonderful. From the minute Paddington enters the stage, the ensemble belting out his name in a pleasingly Hamilton-esque introduction, I sat with an ever-present pool of tears lining my eyes because he is so. Damn. Cute. For those wondering, the role is a combination of on-stage performer Arti Shah and the off-stage voice of James Hameed, who also pilots the puppetry of Paddington's face. Their partnership, with Shah's excitable movements and Hameed's light, innocent voice, give off a palpable magic for kids and adults alike. Not since Les Misérables have I heard so many gasps and sniffles coming from a theatre crowd. The story follows the same plot as the 2014 movie; A young bear migrates from the Peruvian jungle in search of a home in London, only to be found and taken in by the kind Brown family. While Paddington causes havoc at their home in Windsor Gardens, a troubled taxidermist is desperate to get her hands on him and finish her collection. With music and lyrics by Tom Fletcher, the songs definitely carry McFly's brand of universal appeal, blending orchestral layers with fluffy pop and few healthy belters for good measure. The ubiquity of the score means it could happily slot into many a musical, however, the songs are then elevated t…

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Midsomer Murders on stage review: A killer debut for the classic crime drama
type: item
date: 2025-10-30T23:00:05.000Z
creator: Michael Sidhu
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: DCI Barnaby is back on the case in this thrilling stage production.
encoded: 28 years after it first launched on our TV screens, Midsomer Murders makes a thrilling stage debut. Retaining all the heart of the beloved TV show, writer and director Guy Unsworth welcomes you to the county of Midsomer with a brand-new look at the episode and book that started it all: The Killings at Badger’s Drift. The play takes place when well-loved spinster Emily Simpson is found dead and her friend Lucy Bellringer refuses to accept it was an accident. DCI Tom Barnaby and Sergeant Gavin Troy are called in to investigate, uncovering a world of hidden passions, long-buried secrets and deadly rivalries. Leading the cast is Daniel Casey, the original DS Gavin Troy, who has been promoted to DCI Tom Barnaby. In an interview with Radiotimes.com, Casey admitted feeling a little “daunted” and “a little bit trepidatious” about the role, but he takes on the mantel left by John Nettles with ease. Casey brings a quiet authority and warmth in the part that helps to ground the play. He’s the calming presence in the manicured wilderness of Midsomer, giving the audience a steady guide throughout. Surrounding him is an assortment of eclectic characters, all expertly played by a handful of supporting cast; most of whom are playing two or three roles. It was quite a surprise to realise how few actors there were when the show ended. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2025/10/Daniel-Casey-Barnaby-James-Bradwell-Troy-Rupert-Sadler-Dennis-Rainbird-in-The-Killings-at-Badgers-Drift-Manuel-Harlan-062a01f.jpg" width="5000" height="3333" alt="Daniel Casey (Barnaby), James Bradwell (Troy) & Rupert Sadler (Dennis Rainbird) in The Killings at Badger's Drift, ©Manuel Harlan" title="Daniel Casey (Barnaby), James Bradwell (Troy) & Rupert Sadler (Dennis Rainbird) in The Killings at Badger's Drift, ©Manuel Harlan" /> Barnaby’s protégé, DS Troy, is now played by James Bradwell; delivering the same bad-driving and conclusion jumping fans of the show would be expecti…

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Is The Traitors Live Experience worth it? How to get tickets to this faithful recreation of the BBC series
type: item
date: 2025-10-09T09:00:12.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: You are not ready for the round table.
encoded: Despite being the best reality TV show for decades, can anyone really explain what makes The Traitors so good? From the Agatha Christie-style sneaking around, to the unhinged reactions that would sit comfortably in any Carry On film, to the ruthless moments of genuine psychological warfare, the show just has it. Well, whatever it is, they've bottled it, and transported it to London for the Traitors Live Experience, a 100% faithful recreation of the BBC series now open in Covent Garden. Whether you're a die-hard Diane fan or more of a casual viewer for when the January blues hit, the experience is a perfect match, down to the dramatic pop covers and dead-pan attitude of its tweed-clad host. Two members of the RadioTimes.com team were invited to try the experience and I, dear reader, was selected as a Traitor – so you can trust me when I say the tension on the show is real. The experience takes place in groups of 10 to 14 and allows players to compete in a range of mini-games in order to earn "money" and gain a higher spot on the overall league table. The challenges range from memory tasks to treasure hunts and present the players with a special chance to earn shields that grant immunity from murder. Although simple and mainly isolated to the one room, these tasks were fun and accessible for everyone and still managed to pose a challenge, especially when it came to working with people you'd only just met. As in the show however, all this paled in comparison to the dreaded round table, where as a team you must accuse and ultimately banish a fellow player. As a Traitor, I can say it was genuinely uncomfortable trying to come up with reasons to banish people I knew, for a fact, were Faithful, all the while attempting to stay under the radar as the group diminished. Although there is definitely nowhere near as much drama and animosity as on TV, the stress of discussion and voting is palpable, very much helped by the suspenseful tones of our host. After banishment, it is o…

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Punch review: James Graham's play is a marvel on London's West End
type: item
date: 2025-09-29T15:55:28.000Z
creator: Laura Wybrow
subject: Going Out
subject: Reviews
subject: Review
description: This remarkable true story is a testament to the power of restorative justice, and it features one of our favourite young actors at the moment, Alec Boaden.
encoded: 4 stars Growing up in Nottingham, the story of Jacob Dunne – the man who fatally punched another man unprovoked – is one I already knew. Friends at a nearby school learnt about it in assembly, but the rest of us knew about it like some kind of urban legend, except it was true. Punch, which premiered at the Nottingham Playhouse before transferring to the Young Vic, then to the Apollo Theatre in the West End, recounts the events which led to Dunne fatally punching paramedic James Hodgkinson and the redemption which followed. The play is based on Dunne's book, Right from Wrong, and it's been brought to life for the stay by Nottingham's own James Graham (Dear England, Boys from the Blackstuff, Best of Enemies), who proves time and time again why he deserves his flowers as one of Britain's great modern playwrights. A lot happens in Graham's Punch, but the play is immaculately paced, and no moment feels rushed. David Shields takes on the role of protagonist Dunne, and the audience meets him as he cuts about from Yates's to Thirland to Bluebell to Slab Square, talks of rivalries with neighbouring districts St Ann's and Radford, and visits mates in Meadows and Holgate. We quickly learn that Dunne is a character who lives for the weekend, partying and petty fights, like many young lads, but it takes just one blow for Dunne's life as he knows it to come crashing down. Winner of the Best Performance in a Play award at the 2025 UK Theatre Awards, Shields is remarkable as Dunne; the actor explores Dunne's self-protection which manifests itself as anger and cockiness – a much-needed coping mechanism if you're growing up in the Meadows. When Dunne meets Hodgkinson's parents, Shields expertly navigates his character's feelings of guilt and grief, all while coming to terms with the accidental nature of the punch. The relationship that forms between Dunne and Hodgkinson's parents is the most pivotal part of the play, and you can hardly believe it's based on a real-life relationship. …

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Clarkston review: Joe Locke's journey to the West End has been long-deserved
type: item
date: 2025-09-26T08:38:01.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
description: Joe Locke and Ruaridh Mollica are enchanting in this soulful exploration of young adulthood.
encoded: Joe Locke’s West End debut is a soulful look into the lives of two starry-eyed young men which wends its way between utterly charming and horribly sobering like the real-life river it’s set on. Taking place in the small-town streets of the American West – which all good TV tells us is a claustrophobic place – this play ups the ante by restricting its scenes to just a Costco warehouse and its parking lot (ahem, car park). Just a stones throw away is the Snake River, which famed US travellers Lewis and Clark perilously journeyed in the early 19th century, Clarkston focuses on ebbs and flows of a young relationship between Jake (Locke) and Chris (Ruaridh Mollica). While Jake is grappling with the existential fallout of a life-altering diagnosis, Chris struggles with the pressures of being closeted and living low-contact from his meth-addicted mother (Sophie Melville). Together, the pair wade through deep emotional waters, rapidly covering themes of addiction, disability, class, and of course, how on earth you find any sort of meaning in your 20s. Samuel D Hunter’s script does the fine job of packing in wave after wave of poignancy while also managing to feel like a slow burn. It’s also worth noting how many genuine laughs you’ll have in between the heavier moments. All three leads are simply excellent. After Heartstopper and Agatha All Along we know Joe Locke can embody the complex teen searching for solace, but this character comes with an extra layer of discomfort as we see ease and entitlement meet the harsh realities of terminal illness. Meanwhile, Sophie Melville does a magnificent job of juggling with your feelings, appearing callously manipulative and yet completely sympathetic at the same time – in short, a balanced, very human portrayal of what addiction can do. For me however, Mollica's Chris was the absolute standout. Both hardened by his past and yet still extremely vulnerable to it, his traumas and quiet determination viscerally poured off the stage leavin…

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50 First Dates: The Musical review – Could this be the most charming musical yet?
type: item
date: 2025-09-25T23:01:11.000Z
creator: Katelyn Mensah
subject: Going Out
subject: Reviews
subject: Review
description: Lucy and Henry's love story is now centre stage, literally!
encoded: Adam Sandler and Drew Barrymore's 50 First Dates, to some, is one the greatest romantic comedies in recent years – and I'm inclined to agree. So it was a no-brainer to hurry to The Other Palace to watch it come to life in a musical, with Georgina Castle (Mean Girls) and Josh St Clair (Ghost) at the helm as Lucy Whitmore and Henry Roth. Fans of the original movie will be pleasantly surprised that the essence of the story between Lucy, an artist with short-term memory loss and Henry, the commitment phobe who falls in love with her, remains the same, albeit with some slight tweaks to Henry's job. I'll admit, I was hesitant at first when Henry wasn't introduced as a marine veterinarian and, rather, a travel vlogger who found himself in Key Largo in Florida before he jets off on a European adventure of a lifetime, which soon comes to a halt when he meets Lucy. But it works. The songs, penned by David Rossmer and Steve Rosen, are just as wholesome and charming as the love story presented to us, with even the most sceptical of audience members (like myself) are soon won over. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2025/09/The-Cast-of-50-First-Dates-The-Musical-Production-Images-Photo-credit-by-Pamela-Raith-091-d2bc243.jpg" width="3500" height="2384" alt="The Cast of 50 First Dates The Musical all stood and sat around the stage in summer clothing." title="The Cast of 50 First Dates The Musical (Production Images) - Photo credit by Pamela Raith - 091" /> The chemistry between Castle and St Clair is palpable, with the pair's characters falling in love after just one day checking off Lucy's list and having seemingly the perfect day. Their reputations precede them, having starred in the likes of Mamma Mia! and and Kinky Boots, respectively. With their romance told through songs such as They're Not You and Good Morning, Lucy, you find yourself rooting for a pair you've only been introduced to just 30 minutes prior. Like every musicals on and off the…

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The Producers review: Mel Brooks's musical is the most fun I've had at the West End
type: item
date: 2025-09-16T10:44:36.000Z
creator: Laura Wybrow
subject: Going Out
subject: Reviews
subject: Comment
subject: Review
description: Mel Brooks's musical The Producers has travelled from Broadway to the West End to make your cheeks and stomachs ache with laughter.
encoded: I'll be the first to admit, I didn't know too much about The Producers before going into the theatre show. Like The Wizard of Oz and The Lion King, it was a movie that just passed me by. I was aware it involved a play about Nazis (The Producers that is, not The Lion King) and it was, of course, directed by American filmmaker Mel Brooks. But that was about it. So, how did I find myself awarding five stars to a gay romp dedicated to Hitler? Brooks directed The Producers in 1967 using a script he wrote himself. This movie was a cult hit for 24 years until Brooks reshaped it as a musical theatre number. Now, the filmmaker and actor is no stranger to leaving a legacy, namely, single-handedly inventing the movie spoof genre with 1974's Blazing Saddles and pioneering TV sketch writing with Your Show of Shows starring Sid Caesar, and that's exactly what has happened with The Producers. The musical was reimagined for the New York stage in 2001, and it took home 12 awards at that year's Tony Awards. Now, 58 years on, The Producers is performing at Garrick Theatre in London's West End, having been at the Menier Chocolate Factory in 2024. Director Patrick Marber's The Producers is a camp, outrageous and, above all, fun; as with a lot of political satires, the play's stereotypes and cultural indicators are wildly exaggerated. The Producers follows a "delicious" scheme set up by two – you guessed it — theatre producers, the devious Max Bialystock (played by Andy Nyman) and the wide-eyed ex-accountant Leopold Bloom (played by Marc Antolin), who would love nothing more than to be a real-life Broadway producer. The scheme is devised after Bloom lets it slip that it's more profitable to create a Broadway flop than a Broadway success, and the two producers set out to create the biggest flop of them all... And what could be a bigger failure than the musical Springtime for Hitler, written by Nazi sympathiser Franz Liebkind (played by Harry Morrison)? Springtime for Hitler: A Gay Romp Wi…

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Born With Teeth review: Ncuti Gatwa takes a lightning bolt to Tudor history
type: item
date: 2025-09-03T10:24:24.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: Ncuti Gatwa is back on stage with the Shakespearean-esque drama Born With Teeth.
encoded: Shakespearean tradition gets an electrifying awakening in the West End's Born With Teeth, now showing for a limited run at Wyndham's Theatre. Starring Doctor Who's own Ncuti Gatwa and Edward Bluemel – best known for the Amazon Prime series My Lady Jane – this pseudo-Renaissance drama flips the lid on a much mythologised period of history to reveal something far darker lurking beneath. Liz Duffy's two-man show banishes the sanitised and idolised versions of Tudor history, opting instead for a world of sex, scandal and spying; a world where art and politics are just as dangerously wrapped around each other as they are today. Gatwa plays Christopher "Kit" Marlowe, the playwright behind texts you may remember from GSCE like Dr Faustus and Tamburlaine, while Bluemel plays Will Shakespeare. The pair are called up to work together on Henry VI and become distracted by their own intense battle of rivalry and flirtation. As you can expect, Gatwa is excellent as Marlowe. The former Time Lord prowls the stage like a caged tiger, teasing, toying and threatening Will with his real-life connections to Queen Elizabeth's spy network. His dangerous magnetism is like a tangible force on stage, and yet comes with a noticeable undercurrent of frustration, as we all know it is Shakespeare, and not Marlowe, who stood the test of time. Meanwhile, Bluemel is just as strong, appearing the timid tabby cat at times who simply wants to write and protect his little world. His light and shade comes out in more subtle hues than Marlowe's bold strokes, but both compliment each other perfectly. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2025/08/Edward-Bleumel-and-Ncuti-Gatwa-Born-With-Teeth-photo-by-Johan-Persson-04944c1.jpg" width="5420" height="3613" alt="Born With Teeth at Wyndham’s Theatre in 2025: writer – Liz Duffy Adams, director – Daniel Evans, set & costume design – Joanna Scotcher, lighting design – Neil Austin, casting director – Charlotte Sutton,, Credit Johan P…

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Every Brilliant Thing review: Lenny Henry brings laughs and lows
type: item
date: 2025-08-15T08:51:01.000Z
creator: Perry O'Bree
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: Every Brilliant Thing is now showing at @sohoplace with a rotating cast of stars.
encoded: This article includes discussion of suicide and suicidal ideation that some readers may find upsetting. Lenny Henry’s turn in Every Brilliant Thing offers an intriguing juxtaposition: a professional comedian taking on a story deeply rooted in sadness, depression and suicide. It demonstrates how, although we might smile outwardly, we can feel very differently within. The play follows Henry’s character from the age of seven, as he begins a list of "every brilliant thing" to help himself and his mother, who struggles with severe depression. The list starts playfully – with “ice cream” at age seven – and eventually numbers a million as the years go by. What initially works in this production’s favour is the sense of accessibility Henry brings as a performer. His warmth and comic instincts highlight the play’s core message: that happiness is often only surface-deep, and those who appear the lightest may be concealing profound pain. It’s a necessary reminder, especially given the subject matter. However, Every Brilliant Thing stands or falls on the nature of its audience participation. At several points, randomly selected theatregoers read items from the list aloud, or are drawn into small cameo roles (teachers, loved ones, vets). This gives each performance a unique quality: some audiences gel, while others are left scrambling for cues. Not everyone is given a card, so the experience can feel arbitrary – exhilarating for some, for others, disruptive. While the play addresses the taboo of mental health and suicide, it does so in rather a superficial way. The core concept of listing life’s small joys raises the question: is this list a celebration or merely a coping mechanism? The answer, frustratingly, remains unclear. Moments that could carry emotional weight are sometimes rushed; for example, the list suddenly leaps into six digits, skipping years of character development. The passage from childhood to adulthood – from losing a pet to losing a parent – feels abrupt and …

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Grease: The Immersive Movie Musical review – Rydell High is open for business
type: item
date: 2025-08-08T13:38:21.000Z
creator: Michael Sidhu
subject: Going Out
subject: Reviews
subject: Review
description: We're hopelessly devoted to this new immersive experience.
encoded: School may be out for summer, but Rydell High has opened its doors for six weeks. Get on your dancing shoes, put on your leather jackets, spray obscene amounts of hair spray; you’re all set for Grease: The Immersive Movie Musical. To start, I'll be honest, I’m actually not the biggest fan of Grease. While a fun and momentous musical, the last I watched it was years ago, and the songs don’t make any of my current playlists. But that didn't stop me from having a brilliant time. Directed by Matthew Costain with set design by Tom Rogers, the entire production is movie magic come to life. As soon as you show your tickets, you’re welcomed to your first day of school, with cast members ready and waiting to mingle. It’s not hard to forget you’re in Battersea Park. Surrounded by cast (and other attendees) all dressed in costume, a '50s playlist in the background setting the scene – there is an undeniable buzz about the whole experience. Before the show officially starts, you can hang out in the fairground and can buy tokens to go on the rides. Perhaps tactically, I chose the Ferris wheel to get a nice bird's-eye view of the grounds. The production value of the event then becomes abundantly clear when you enter the school. With key sets from the entire musical ready, attendees are encouraged to explore while the musical plays out with the cast expertly performing them live. The Frosty Palace where you can grab a shake, the auto-shop with all the grease you’re expecting, and the school bleachers to hang out. At the heart of it all is the school gym, a central place where more than just the cast can interact throughout the show. The joy of this is that you, as the guest, can go where you want to, although some seating areas are reserved according to ticket tiers, and occasionally you’ll need to make room for cast members preparing for the next performance. But if you can’t jive when you arrive, trust me – you’ll be dancing just a few hours later. Grease: The Immersive Movie Mus…

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Good Night, Oscar review: Will & Grace's Sean Hayes is master and maestro in this heartbreaking comedy
type: item
date: 2025-08-07T08:59:52.000Z
creator: Olivia Garrett
subject: Going Out
subject: Reviews
subject: Tickets
subject: Review
description: Sean Hayes stars in a strictly-limited run at The Barbican this summer.
encoded: Nothing can prepare you for a viewing of Good Night, Oscar. No knowledge of Will & Grace, late-night talk shows, jazz – or in my case, none of the above – will ready you for this hurtling journey through the life and mind of American musician Oscar Levant. Sean Hayes and Doug Wright's play ended its Broadway run with near saintly status, scooping up three Tony Awards in the process, but there was certainly a question mark over how its US-centric themes would translate for British audiences. The answer is simple: go see it. I find it hard to believe anyone could leave their seat having not identified with something from this startling whirlwind of a story. The show transports you back to 1958 on the night pianist and comedian Oscar Levant escapes a mental health facility to appear on the famous sofa of talk show host Jack Paar. While Paar wants Levant for his musical talents and ability for shocking one-liners, Levant will do nearly anything to avoid playing the piano – in particular, the pieces of his musical idol Gershwin. Across the show, we see Levant struggle under the weight of mental illness and addiction, all the while grappling with a near life-long feeling of being second best to the music that inspired him. But, trust me on this, it's also real funny. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2025/08/Ben-Rappaport-Jack-Parr-Sean-Hayes-Oscar-Levant.-Credit-Johan-Persson-cedae6f.jpg" width="5795" height="3863" alt="Good Night, Oscar at the Barbican: Writer – Doug Wright, Director – Lisa Peterson, Set Designer – Rachel Hauck, Costume Designer – Emilio Sosa, Co‑Lighting Designers – Ben Stanton & Carolina Ortiz, Sound Designer – André Pluess, Original WHAM Designer – J. Jared Janas, US Music Supervisor & Arranger – Chris Fenwick, UK Associate Director – Denzel Westley‑Sanderson, US Associate Set Designer – Mike Kaukl, UK Associate Costume Designer / Supervisor – Sabrina Cuniberto, UK Associate Lighting Designer – Rob Casey, UK Associa…

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Noughts & Crosses review: Heartstopper's Corinna Brown stars in Malorie Blackman stage adaptation
type: item
date: 2025-07-11T11:59:06.000Z
creator: Laura Wybrow
subject: Going Out
subject: Reviews
description: Dominic Cooke has adapted Malorie Blackman's best-selling YA novel for the Regent's Park Open Air Theatre stage.
encoded: 3 stars Like a lot teenagers in the UK, I read Malorie Blackman's 2001 YA novel, Noughts & Crosses, in school. Blackman's book imagines an alternative world where Black people (Crosses) are privileged in terms of wealth and power, and discriminate against White people (Noughts). Noughts & Crosses highlights the prejudice Black people have been subjected to for generations, and Blackman has said Callum (our male lead and a Nought) had to cope with certain events which were lifted directly from her own childhood and teenage years, such as "enduring his history lesson, or being challenged for being in a first-class carriage on a train". In the Noughts & Crosses world, segregation, state-sanctioned intimidation, unfair trials — with the juries made up of all Crosses — and censorship on the news is the norm. 24 years on, Blackman's story of injustice feels poignant in the current climate. As Callum says in the play: "one person's terrorist is another person's freedom fighter", it begs the question of what lengths should a person go to to demand equality? With this said, bringing Noughts & Crosses to the stage is no small feat. Dominic Cooke's adaptation of the book was originally performed at the RSC in 2007, and now he's brought the production to Regent's Park Open Air Theatre in London. It was my first time at the open air theatre in Regent's Park, and the setting was magnificent. Albeit small, I loved that the audience experienced the sun setting and birds tweeting as the play runs. The backdrop of the park emphasises Colin Richmond’s brutalist set, which is made up of rusty towers, intimidating walkways and grey tiles, all of which aren't too dissimilar to a prison (or the bathroom in Saw I...). The staging has the affect of imposing danger. As we know, danger is exactly what's in store for our modern day Romeo and Juliet, Callum (played by Noah Valentine) and Sephy (played by Corinna Brown). Sephy is a Cross and her friendship with Callum (a Nought) is barely tolera…

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