REVIEW:Annie at Newcastle Theatre Royal

Annie 

Newcastle Theatre Royal

Until Saturday 8 August 2026

The vibrant energy of Broadway has officially arrived in Tyneside with the latest UK tour of Annie, currently gracing the historic stage of Newcastle Theatre Royal. Audiences are welcomed into a meticulously staged production that balances nostalgic charm with fresh theatrical vigour. The show offers local theatre lovers a polished, heart-warming evening of entertainment that captures the spirit of classic musical theatre while remaining thoroughly accessible and engaging for contemporary viewers of all ages.

The roots of Annie stretch back to Harold Gray’s famous 1924 comic strip Little Orphan Annie, which captured the imaginations of millions during the Great Depression. Decades later, composer Charles Strouse, lyricist Martin Charnin, and book writer Thomas Meehan transformed the beloved strip into a musical masterpiece. Premiering on Broadway in 1977, the show earned seven Tony Awards, including Best Musical, and established itself as an enduring classic. The original West End production debuted in 1978, paving the way for numerous revivals and touring companies across the globe. 

This current tour marks a compelling continuation of that legacy, delivering the iconic UK adaptation to venues nationwide and giving a new generation of theatregoers the chance to experience its timeless magic.

Set in 1930s New York City amidst the hardship of the Great Depression, the story opens inside the grim walls of a Municipal Young Ladies Orphanage. The audience are introduced to eleven-year-old Annie, a resilient and relentlessly optimistic young girl who refuses to give up hope that her parents will one day return for her. Her boundless optimism stands in sharp contrast to the harsh, vodka-fuelled regime of Miss Hannigan, the bitter matron who oversees the orphanage with an iron fist. As the opening scenes unfold, Annie attempts a daring escape to find her family, setting off a chain of events that leads her to cross paths with a friendly stray dog named Sandy and eventually catches the attention of Grace Farrell, private secretary to the billionaire Oliver Warbucks.

The adult cast delivers remarkable performances grounded in sharp comedic timing and unwavering conviction. Claire Sweeney brings a delightfully menacing and yet comedic energy to the role of Miss Hannigan, blending theatrical villainy with precise physical comedy, though it occasionally got hammy but I guess that goes with the role. Alex Bourne commands the stage as the formidable yet warm-hearted Oliver Warbucks, portraying his character's gradual emotional transformation with genuine authenticity. Christian Cooper and Amber Kennedy inject fantastic comedic flair as the scheming duo Rooster Hannigan and Lily St. Regis, whose lively antics and villainous charisma provide some of the evening's most hilarious highlights.

Meanwhile, Tanisha-Mae Brown shines as Grace Farrell, delivering a warm, poised, and polished performance that ties the narrative together. Carl Sanderson brings warmth and dignity to his dual roles as LT Ward and President Franklin Roosevelt, while the hard-working ensemble and swings seamlessly bring the bustling streets and grand mansions of 1930s New York to life.

Now is time for a confession. This is the first time that I've seen Annie. I've not seen the film either. Don't get me wrong - I knew a handful of songs from the show, and roughly what it is about, but I had never seen it before. I'll be honest that I struggled at the start. Perhaps I'm getting old but the loud belting of the songs whilst trying to maintain a New York accent meant that I was struggling to make out some lyrics or dialogue.  I could work out what was going on but I did miss out some sections of conversation. Having said that it did seem to improve later on. Don't get me wrong - the kids are genuinely highly talented and confidently act, sing and bounce around the set but clearly that have been directed to blast it out with gusto.

Having said that, the younger performers display an impressive degree of discipline, enthusiasm, and comedic precision that matches their adult counterparts. June Young takes on the title role of Annie with remarkable confidence and stage presence, carrying the core emotional weight of the show with remarkable ease. Supported, on the night we saw it, by the exceptionally talented "Rockefeller Team", including Myla Park as Kate, Blossom Rolston-Williams as July, Mollie Moran as Molly, Rachelle Bonfield-Bell as Duffy, Anna Deikalo as Pepper, and Khit Thakhin as Tessie, the young ensemble delivers energetic group numbers with remarkable synchronization. 

While grounded in the real-world historical backdrop of the Great Depression, the story remains thoroughly entertaining throughout its run. The narrative maintains a swift, brisk pace that keeps the audience fully engaged from start to finish. Central to this momentum is the score, featuring timeless classics like Tomorrow, It's the Hard-Knock Life, and Easy Street. Far from being simple musical interludes, these songs actively propel the exposition forward, deepening character motivations and driving the plot toward its triumphant resolution without ever losing theatrical steam. No wonder I knew the songs even though it was my first time watch the show.

The movement, and dancing, on stage looks effortless but that is only because it is so tightly timed. They cast fill the stage and convey that sense of energy. If you look closely at the action you'll spot one of the children move a cast to the spot that, in the next movement, it is picked up by an adult and removed from the stage. Now this might not sound like much but it was typical to see props flow off and off stage, without a break in the action, using a number of people. On that note, it was nice to see those backstage given a change to take a bow - they deserve it.

The obvious other element of the show is sandy the dog. Dizzy and Amber share the roles - I don't know which incredibly trained "stray" we hand but the dog was as perfectly timed as the rest of the cast. They won the hearts of the audience, evidenced by the reaction each time it ran across the stage.

A significant portion of the production's success belongs to the live orchestra performing beneath the stage. Led by Musical Director Nick Tudor, the tight, impeccably rehearsed band delivers a rich, vibrant sound that elevates every musical number. From the punchy brass figures in the upbeat ensemble routines to the subtle, delicate accompaniment during quieter solos, the musicians provide a flawless dynamic backbone that perfectly complements the action on stage.

This visiting production of Annie at Newcastle Theatre Royal is a triumph of traditional musical storytelling. The combination of enthusiastic performances, sharp musical direction, and timeless staging creates a pleasant night out for the local community. 

Review: Stephen Oliver

Tickets: www.theatreroyal.co.uk/whats-on/annie-2

Box Office: 0191 232 7010

Evenings: 7.30pm

Matinees: Wednesday & Thursday 2pm, Saturday 2.30pm

Running time: 2 hours 20 minutes, including interval

Please note the production contains strobes, smoke and haze, and confetti bursts on stage

An Audio Described and Captioned performance, with pre-show Touch Tour, takes place on Saturday 8th August at 2.30pm

Tickets start from £23, with prices varying by performance.

News: Further Casting Confirmed for Jack and the Beanstalk at Newcastle Theatre Royal

 Further Casting Confirmed for Jack and the Beanstalk at Newcastle Theatre Royal

Newcastle Theatre Royal has confirmed further casting for its 2026 Christmas pantomime, Jack and the Beanstalk, and the announcement brings a neat twist for regular panto-goers: several familiar faces are swapping the roles they are best known for.

Mick Potts, Wayne Smith, Rachel Stanley and Oonagh Cox will join the previously confirmed Danny Adams and Clive Webb, who take on Jack and Farmer Trot, alongside Chris Hayward as Dame Trott and Joe McElderry, who returns as the Spirit of the Beans. The show is written and directed once again by Michael Harrison, and runs at the Grey Street venue from Tuesday 24 November 2026 to Sunday 17 January 2027.

A cast that's swapping sides

What makes this year's announcement worth a second look is not just who is coming back, but where they are being placed. Last year's Aladdin leaned heavily into variety and self-aware silliness, built around Danny Adams and Clive Webb's father-son double act and largely stepping away from a straight narrative. Our review of that production noted a show that prioritised laughs, warmth and spectacle over traditional storytelling, and one that clearly worked for its audience.

Wayne Smith

Jack and the Beanstalk looks set to lean back towards a more traditional shape, and the new casting reflects that. Wayne Smith, previously seen playing benign figures such as Old King Cole in Aladdin and King Triton in The Little Mermaid, switches sides completely this year to play Fleshcreep, the story's villain. Rachel Stanley moves in the opposite direction. Having played the Wicked Witch of Wallsend in last year's show, she takes on The Queen for 2026, a considerably softer role than the one Newcastle audiences last saw her in.

Mick Potts

Mick Potts, a fixture of the Theatre Royal panto for well over a decade, steps into the panto cow role of Pat the Cow. It is a part built around physical comedy rather than dialogue, which suits a performer audiences will remember for his non-speaking turn as the Genie in Aladdin. This will be his fifteenth pantomime at the venue, a run that says a good deal about how well he has bedded in with Newcastle audiences over the years.

Oonagh Cox

Completing the newly announced cast is Oonagh Cox as Princess Jill. Cox previously played the title role in the Theatre Royal's 2022 Cinderella, and has since built a West End and touring CV that includes Matilda the Musical, Bonnie & Clyde and The Curious Case of Benjamin Button. Her return puts a proven musical theatre performer in the show's romantic lead alongside Danny Adams' Jack.

What stays the same

The engine room of the production is unchanged. Danny Adams and Clive Webb continue as the pantomime's central double act, Chris Hayward returns as Dame, and Joe McElderry is back as the show's on-stage narrator figure, the Spirit of the Beans. These four have been central to the reasons the Theatre Royal panto has built such a loyal following, and their return gives the show a consistent core while the surrounding cast rotates through new roles.

Michael Harrison remains as writer and director, continuing the run of new productions he has built for the venue in recent years. Where Aladdin was constructed as a loose, reference-heavy celebration built around a big anniversary, Jack and the Beanstalk gives the same production team and cast a story with a clearer shape: Jack must sell the family cow, climbs the beanstalk to Cloudland, and takes on the giant to win back his family's fortune.

Performance details & Tickets

Jack and the Beanstalk runs at Newcastle Theatre Royal from Tuesday 24 November 2026 to Sunday 17 January 2027. Access performances have already been scheduled, including relaxed performances on Sunday 6 December at 12pm and Wednesday 6 January at 12pm, an audio described performance with touch tour on Tuesday 8 December at 7pm, BSL interpreted and captioned performances on Thursday 10 December at 2pm and 7pm, and a further BSL interpreted performance on Sunday 13 December at 1pm.

Rachel Stanley

Tickets are available from www.theatreroyal.co.uk or by calling the Theatre Royal Box Office on 0191 232 7010. Given how quickly the Theatre Royal panto tends to sell, particularly in the run-up to the Christmas holidays, early booking is worth considering for anyone planning a visit.

REVIEW: Behind Closed Doors at South Shields Customs House

Behind Closed Doors

South Shields Customs House

Saturday 1 August 2026

A two-handed play about the other side of romance appeared in South Shields this weekend. Before heading out to the Fringe Festivals, the South Shields audience were given a chance to see some powerful new writing. 

Of course within a show that is only one hour long there is a need to set up the story quickly and this is done through a pair of effective monologues. The writer of the show, Corey Muizelaar, appears as Jude - a young man who thinks he is in search of love and a deeper relationship. Ben Robert Cunningham is the more confident Charlie who meets up with Jode and initially wants nothing more than a quick no-strings-attached shag in the car. 

What is clever is that, rather than drowning the audience in tons of dialogue showing the progression of the relationship after the quick exchange of texts, we are exposed to the sort of relationship montage that one associates with rom-com type movies. The domesticity of life is performed to music and quickly the couple are settled in.

Thus we have the microcosm of a young relationship. The lack of self awareness of young men. Insecurity and need for love and acceptance.  It's painful. Feeling trapped in a relationship where you don't know if you are loved passionately or hated so intensely, they feel the need to hurt you. 

Two young men caught in a claustrophobic tangle with all the nonsensical melodramatic gaslighting that happens when two people fail to step back and look at the situation, allowing it to become toxic. 

This was a tough watch. Emotionally one feels for both the men while seeing their flaws. Be warned, there are sexual scenes, domestic violence, drug taking and suicide themes. As a member of the audience you are pulled through the wringer as the relationship falters. You hope that a third party would appear and give support to both of them - though it is suggested that Jude is going through counselling, you wonder if there is enough support about the complexities of the situation. One imagines the sessions are brief and unlikely to dig deeper into the issues.   

The piece was written as part of the writer's therapy. We too, as members of the audience,  became part of the therapy. 

Emotional. Raw and unflinching look at the consequences of young, unready,  love. There has been no attempt to soften the blows and the result lingers in your memory. Even though we only see a handful of episodes in the life of this couple the emotional journey has a lasting effect. Whilst this show is centred around a gay relationship, the themes are broader and apply to other types of relationships - having said that, perhaps there is not enough exposure of abuse within this very type of relationship. Powerful theatre like this deserves an audience.

Review: Stephen & Joanne Oliver

Future performance dates

8th - 9th August 2026, 8.00pm

The Old Red Lion, Camden

12–30 August 2026, 3.15pm

Edinburgh Festival Fringe, Venue 41

15th September 2026, 7:30pm

Guildford Fringe Festival, The Back Room of the Star Inn

Content guidance

The production contains themes of domestic violence, drug use, scenes of a

sexual nature, addiction, emotional abuse, coercive control, self-harm and

suicide.

News: Live Theatre's Live Tales Turns Ten — Celebrations Kick Off With Free Family Festival

 Live Theatre's Live Tales Turns Ten — Celebrations Kick Off With Free Family Festival

Live Theatre's much-loved children's story and playwriting programme, Live Tales, has reached a major milestone this year — its 10th birthday. To mark the occasion, the Quayside theatre is throwing open the doors to its Live Garden for a brand-new event, Summery Tales, on Saturday 1 August from 11am to 3pm, and the whole family is invited.

It's a free event, and there's genuinely something for everyone. Expect live music, face painting and illustration, story writing workshops, pop-up stalls, craft stations, and a food stall and bar to keep grown-ups fuelled while the kids get creative.

The workshop programme, supported by Space Architects, is where the real magic happens, though places do need to be booked in advance. Things kick off at 11am with Art-K Watercolour Creatures, a watercolour workshop delivered by art-K Jesmond and inspired by the magic of storytelling, which repeats across the day at 11.50am, 12.40pm and 1.30pm.

At 11.45am and again at 1.30pm, Story Time With Arti sees author Danielle Slade lead an interactive storytelling adventure inspired by her book TWINKLE TWINKLE Arti. Using what's billed as a magical storytelling suitcase, Danielle brings the story to life before children move into a star-themed craft activity of their own.

Story Inventors follows at 12.15pm, a playful session using costumes, props and puppets to collaboratively dream up a brand-new story from scratch. And the day rounds off at 2pm with Live Illustrating, an interactive drawing workshop led by a team of Live Tales illustrators, where new characters and whole worlds get invented on the page.

It all speaks to what Live Tales has quietly built over the past decade. Over ten years, the programme's facilitators have worked with thousands of schoolchildren, giving them space to explore original thinking, discover their own voice and build confidence through storytelling.

Becky Morris, Senior Creative Associate at Live Theatre, said the Family Festival marks a new chapter for the programme: "We're thrilled to be hosting our very first Family Festival! This special event celebrates 10 years of our free creative writing programme, Live Tales. As we mark this exciting milestone, we're not only continuing our much-loved schools programme but also expanding our focus to welcome more families into the world of Live Tales. Our Family Festival is the first step in bringing Live Tales to an even wider audience, kicking off what we hope will be another incredible decade of creativity and storytelling. If the first 10 years are anything to go by, who knows what we'll be celebrating when we reach 20!"

Summery Tales is only the beginning of Live Theatre's year-long celebration of Live Tales turning ten. Families can look forward to Spooky Tales this autumn, running Wednesday 28 to Friday 30 October — a spine-tingling story making adventure promising laughs, gasps and a sprinkling of magic. The celebrations then culminate at Christmas with Where Do All The Kittiwakes Go At Christmas?, running from Saturday 19 to Thursday 31 December. Supported by the Gillian Dickinson Trust, this alternative festive show combines music, interaction and bold storytelling for what sounds like a properly joyful family outing.

To find out more about Summery Tales and to book a place on the workshops, head to www.live.org.uk.

REVIEW: The Bodyguard at Newcastle Theatre Royal

The Bodyguard

Newcastle Theatre Royal

Until Saturday 1 August 2026

Theatre Royal pubicity
Photo: Stephen Oliver

The Bodyguard has arrived in Newcastle this week, and it brings with it exactly what you'd hope for from a night built around the Whitney Houston songbook: big vocals, big lighting and a crowd who came ready to be won over.

Mireia Mambo as Rachel Marron 
Photo: Paul Coltas

Written by Alexander Dinelaris and based on the 1992 film of the same name, the show is built around Whitney Houston's recorded hits, with Greatest Love of All, I Wanna Dance With Somebody and, of course, I Will Always Love You all present and correct. This touring production stars Adam Garcia as bodyguard Frank Farmer, Matt Milburn as publicist Sy Spector, and, at our performance, Mireia Mambo stepping up from the ensemble to play superstar Rachel Marron.

Adam Garcia as Frank Farmer
Photo: Paul Coltas

The story is familiar territory for anyone who lived through the original film: former secret service agent Frank Farmer is hired to protect Rachel Marron from an unknown stalker, and neither of them is used to not getting their own way. That friction, between Frank's need to control every exit and entrance and Rachel's need to actually have a life and a career in front of the public, is where the show gets its early tension from. How do you protect someone whose job is to be seen?

Sasha Monique as Nicky Marron. 
Photo: Paul Coltas

Where the 1992 film belongs firmly to the pre-internet age, this stage version has been quietly updated to acknowledge social media and the way fame works now, which stops it feeling like a museum piece even as it leans hard into 90s nostalgia. And it is worth pausing on that: it's genuinely startling to realise it's 34 years since the film came out. The plot itself is not going to surprise anyone who got through a reasonable number of 90s thrillers - it's fairly predictable stuff - but the quality of the singing and dancing does a lot of heavy lifting, and lifts the show well above the material on the page.

Mireia Mambo as Rachel Marron 
Photo: Paul Coltas

As a jukebox musical built around a fictional pop star, the show has licence to include Whitney Houston numbers that don't strictly serve the plot but are performed simply as Rachel Marron's own concert numbers, and it uses that licence freely. It works, mostly because the concert sequences are staged as proper arena-style spectacle: flames, lighting rigs and sharp, confident choreography from the off. The dance company is smaller than you might expect, but that turns out to be a strength rather than a limitation - less is more when it comes to filling a stage, and it's a lesson some amateur productions could usefully take on board. A neat trick with a front curtain doubling as a screen keeps the energy going during set changes too, adding to the X-Factor-style showbiz gloss the production is clearly going for.

Photo: Paul Coltas

On the performances, Mireia Mambo more than justified her step up from the ensemble to play Rachel Marron on the night we attended. She has a genuinely impressive voice and real star quality, and made a strong case for herself with the show-stopping cover of Dolly Parton's I Will Always Love You - another reminder that understudies and alternates on this circuit are often performing at the very top of their game. Sasha Monique gave excellent support as sister Nicki, singing with real soul and passion. Phoenix Beharry, appearing as Fletcher at our performance, looks very much like a star in the making. And James-Lee Harris, playing the Stalker without a single line, brought a real sense of menace and gravity to every appearance - the production's jump scare moment landed exactly as intended, judging by the audience's reaction.

Matt Milburn as Sy Spector.
Photo: Paul Coltas

The pace throughout is well judged, with the direction knowing when to push forward and when to ease off. At just over two hours including the interval, the running time feels about right for the material.

Photo: Paul Coltas

Special mention too for the live orchestra, under Musical Director Charlie Ingles, who gave the whole evening real energy and drive. And full marks to Monday night's Newcastle crowd, who resisted the temptation to sing along - a small mercy, given that the show itself pokes gentle fun at exactly that impulse in its karaoke bar scene. There's a reason people pay to hear the professionals rather than their neighbour giving it their all after a few drinks.

Photo: Paul Coltas

The whole company reunited for a final encore of I Wanna Dance With Somebody, sending the audience out on a high and offering a timely reminder of just how strong Whitney Houston's back catalogue really is.

Review: Stephen Oliver

Photos: Paul Coltas

Tickets:

https://www.theatreroyal.co.uk/whats-on/the-bodyguard-2/

 

Preview: Rapunzel – A Tangled Tale at Playhouse Whitley Bay

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West End talent joins local youngsters as Rapunzel arrives at Whitley Bay Playhouse

A summer family production combining professional stage and screen performers with dozens of young local talent is set to bring "Rapunzel – A Tangled Tale" to Whitley Bay Playhouse this July.

The show will run for four performances over two days, Wednesday 29th and Thursday 30th July, with matinee and evening shows at 2pm and 6pm each day. Billed as an action-packed family adventure, the production combines comedy, musical numbers, costumes and audience participation aimed at children and families during the school summer holidays.

Alongside the professional company, the production features 28 local young performers, split across two teams, who will share the Playhouse stage with the cast throughout the run.

Taking the title role is Rebecca Lightburn, a Performers College graduate whose career spans West End and UK stage work, arena productions, television and commercials. Her theatre credits include title roles in Alice in Wonderland, Cinderella, Snow White and The Little Mermaid, alongside arena work in productions of Grease, Mamma Mia and Dirty Dancing. Her screen credits include work for ITV and Sky Sports, as well as animated series Bing and Flop.

The production is produced, written and directed by Reece Sibbald, who returns to Whitley Bay and also takes on the role of Pascal the chameleon. Sibbald has appeared in 36 professional pantomimes across the UK, including productions at Newcastle Theatre Royal, and has performed as the Scarecrow in The Wizard of Oz more than 750 times. Through his company, Reece Sibbald Productions Ltd, he has staged family productions seen by large audiences nationally and created performance opportunities for local young people.

Playhouse regular Ryan Hill takes on the role of Flynn. Hill has previously appeared in Whitley Bay productions as The Beast, Prince Jasper and King Triton, and his wider career includes touring with Scooby Doo Live, appearances alongside television presenters Stephen Mulhern and Mister Maker, and roles in touring and tribute productions.

Charlie Hill plays Mother Gothel. Her credits include UK tours, performances with CBeebies and CBBC, and warm-up work for pop group Steps; she recently played the Wicked Queen in Snow White at The Roxy Theatre, Consett.

Comic relief comes from Phil Dixon as King Combover, alongside a number of other roles in the production. A performer for four decades, Dixon is also Assistant Head of Curriculum for Performing Arts at Newcastle College Performance Academy.

The production follows a run at The Roxy Theatre in Leadgate over Easter, which producers say became that venue's highest-selling Easter family show to date.

Commenting on the production, producer and writer Reece Sibbald said the show is "fast-paced, funny, packed with music and full of surprises from start to finish," and pointed to the cast's combined experience across the West End, national tours, television and arenas alongside North East performers. He added that creating performance opportunities for young people is something the company is particularly passionate about, describing the involvement of the 28 local children as something that makes the production "even more special."

Tickets

Rapunzel – A Tangled Tale plays at Playhouse Whitley Bay on Wednesday 29th and Thursday 30th July, with performances at 2pm and 6pm. Tickets are available from the Playhouse Box Office or online at https://axs-uk.sjv.io/bkyqob

Ticket Link

PREVIEW: The Brown Suite at Darlington Hippodrome

STEP INTO THE SUITE AT DARLINGTON HIPPODROME

The Brown Suite, 

Darlington Hippodrome

Tuesday 10 November 2026

Darlington Hippodrome is set to get the whole house moving this November, as The Brown Suite rolls into town on the first leg of its UK tour.

BlacBrik founders and choreographers of The Brown Suite Nahum McLean and Darius Drooh said: “With The Brown Suite, we want to explore the spaces where music, movement and community came together in 1970s New York—where soul and funk brought people together, and where every gathering held stories of joy, connection and change.

“As the story unfolds, we explore the relationships that shape a community, the moments that bring people closer, and the tensions that can shift those connections. We’re so excited to tour this work across the UK and share its warmth, energy and drama with audiences. More than anything, we want people to feel the music in their bodies and maybe even dance their way home.”

Created by dance duo BlacBrik, Nahum McLean and Darius Drooh, who met training at the Alvin Ailey School in New York back in 2013 before forming the company a decade later, the show is a high-energy tribute to the music of James Brown, Etta James and Sam Cooke. It's produced by Fundamentally Dance, the team behind the acclaimed Ballet Nights, with Jamiel Devernay-Laurence as creative producer.

Seven dancers carry the piece, which blends the precision of ballet and modern dance with the swagger and groove of funk and jazz. Full-company numbers give way to intimate duets as the story tracks a community through flirtation, romance, heartbreak and reconciliation, all set against the backdrop of 1970s New York nightlife.

Alongside the tour, the team has worked with Wolverhampton Grand Theatre's Creative Engagement Manager Tristan Jones-Smith on an education pack for schools, linking the show to Drama, Dance and English curricula through devising, performance and creative writing exercises.

The Brown Suite kicks off its 12-venue UK tour with a London premiere at Richmond Theatre before arriving in Darlington.

Tickets: www.darlingtonhippodrome.co.uk Box Office: 01325 405405