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Preview: Footloose at Darlington Hippodrome


Footloose the Musical brings a stellar cast to the stage


Darlington Hippodrome

Wednesday 25 October - Saturday 4 November 2023

Award-winning north east theatre company, DarlingtonOS, is thrilled to announce the highly-anticipated casting of the beloved musical Footloose. This electrifying stage adaptation of the 1984 hit film will feature a stellar ensemble of talented performers who will bring the energetic and iconic story to life.

Set in the small town of Bomont, Footloose the Musical follows the rebellious teenager Ren McCormack as he challenges the town's strict ban on dancing. This high-energy production promises to captivate audiences with its unforgettable music and heart-warming message of self-expression and the power of youth.

Ben Connor

Leading the cast as Ren McCormack, the charismatic young protagonist, is Ben Connor. Known for his remarkable talent and captivating stage presence, Ben is the perfect fit to embody the rebellious spirit and infectious energy that Ren embodies.

Playing the role of Ariel Moore, the pastor's daughter who becomes Ren's love interest and partner in rebellion, is the immensely talented Rachel Geddes. With her remarkable vocal range and acting prowess, Rachel is set to deliver a powerful and emotionally charged performance, capturing Ariel's fiery spirit and determination.

Rachel Geddes

Joining the cast is the versatile Julian Cound who will portray the role of Reverend Shaw Moore, Ariel's strict father and the enforcer of the dancing ban. Julian's commanding stage presence and ability to convey complex emotions will add depth and complexity to this pivotal character.

Playing the spirited Rusty, Ariel's best friend, is the talented Abbie Hand. Known for her exceptional singing voice, Abbie will bring a light-hearted and endearing quality to the character, making her an audience favourite.

Supporting this exceptional ensemble are a group of talented performers who will bring the vibrant townspeople of Bomont to life. The ensemble will showcase their diverse skills and dynamic chemistry in a range of memorable roles. The full cast list is as follows: Ben Connor, Rachel Geddes, Julian Cound, Sam Morrison, Joe Connor, Abbie Hand, Andrew Hamilton, Eddie Taylor-Jones, Nathan Walker, Lucy Adams, Lucy Ivison, Nathan Thompson, Grace Mansfield, Luke Oldfield, Scott Edwards, Zoe Kent, Neil Harland, Sarah Harland, Barry I'Anson, Ellen Dunbavin, Matthew Pegden, Jess Williams, Fran Hague, Carly Harris, Zoe Bellamy, Phil Bargewell, Ellis Crosby, Selena Blain, Jenny Davis, Joe Hodgson, Kyle Macdonald, Bethany Hill, Sam Morton, Sally Ivison, Adele McNally, Bertha Moyo, Darrien Wright, Madison Parkinson, Becky Porter, Annika Tang

Under the expert direction of Joanne Hand, the creative team is working tirelessly to create a visually stunning and emotionally charged production. With musical direction by Steven Hood, Footloose the Musical promises to be an exhilarating theatrical experience that will have audiences coming back for more.

DarlingtonOS Chairman Julian Cound said: "We are incredibly excited about the phenomenal cast we have assembled for Footloose. Each member brings a unique talent and passion to their roles, and we can't wait to share their exceptional performances with our audiences."

Photos: Scott Akoz Photography


Footloose will open at Darlington Hippodrome on Wednesday 25 October and run to Saturday 4 November. Tickets are on sale now and can be purchased online at  or by calling the Ticket Hotline 01325 244659.

Jowheretogo Podcast- The Northeast Culture Show :

Previews and reviews of live music, comedy, theatre & more in Northeast England. New music, old music and a bit of what we fancy! Find out what's on in Northeast England: With Jo ; Northeast Music Guide , and Steve : Northeast Theatre Guide

Available now on Spotify


REVIEW: The Commitments at Theatre Royal Newcastle

The Commitments

Theatre Royal Newcastle

Until Saturday 1 July 2023

Roddy Doyle has adapted his iconic movie about a tempestuous soul band in 1980s Dublin into an entertaining stage show, packed with timeless songs, all brilliantly performed by a talented and energetic cast.

Alan Parker’s 1991 visualisation of Roddy Doyle’s novel was not just a film; it was an event. Its funny and inventive script and well-drawn characters merged effectively with classic soul tracks, memorably sung by Andrew Strong. It launched 2 best-selling albums that marked a rebirth of interest in the musical genre.

The story, here as in the film, tells of a working-class lad who sets out to create a band that can deliver timeless 60s soul to the people of Dublin. He puts together a great band but jealousy and the personalities in the band, particularly the hugely talented and equally obnoxious lead singer, constantly threaten to tear it apart.

This adaptation was created by Doyle in 2013. Bringing it to the stage has meant a longer running-time to make room for more musical numbers and this formidably talented cast make the most of them. Taking on the central role of Deco Cuffe, the brutish singer is an important and unenviable task, since most people will have a graphic memory of Strong’s original. James Deegan, however, is more than up to the challenge. He belts, growls and croons his way through the songs with gusto and delivers a highly effective characterisation. Unsurprisingly, the role is alternated with Ben Morris, since nobody could deliver 8 performances a week at such a high energy level and retain their voice.

The vocals aren’t restricted to Deco though and Ciara Mackey as Imelda, Sarah Gardiner as Bernie and Eve Kitchingman as Natalie all exhibit considerable expertise and powerful voices, whilst establishing themselves as distinct characters. Michael Mahoney’s Outspan and Guy Freeman’s Derek, are excellent musicians and give strong comic portrayals. Ryan Kelly and Connor Litten also offer effective support, musically and dramatically.

Completing the band is Stuart Reid, convincing as the enigmatic Joey the Lips. He’s an old-timer, characterised by his questionable stories of playing with everyone from James Brown to the Beatles and a born-again Christianity that somehow doesn’t impede him from seducing all the girls in the band.

In the non-singing but pivotal role of Jimmy Rabbitte, James Killeen is engaging and believable, holding the plot – and the band - together.

Nigel Pivaro fulfils the obligatory function in every touring musical of being ‘somebody from a soap’. Fortunately, he is also a stage actor of considerable experience and skill and delivers an entertaining performance, doubling as Jimmy’s father and as a grumpy caretaker. Ronnie Yorke is also very funny as the psychopathic Mickah.

At times, one feels the show lacks some of the immediacy and drive of the film but the trade-off is considerable, given the amount of musical numbers this terrific cast deliver. Jimmy calls The Commitments, ‘the hardest-working band in the world’. Well, this could possibly be the hardest-working cast.

After the show proper there is a lengthy curtain call packed with great numbers like ‘Mustang Sally’ and the wildly misogynistic and dated, but somehow still seductive, ‘Try A Little Tenderness.’

The band gets everyone on their feet and the Monday-night audience was very much ready to party with them. Everybody seemed to have a terrific time. Great singers, great musicians, great fun!

Review: Jonathan Cash

Photos: Ellie Kurttz 



REVIEW: Sucker Punch at Sunderland Fire Station

Sucker Punch

Sunderland Fire Station

Until Friday 23 June 2023

A boxing drama set in the 80s arrives in the very pleasant surroundings of the Fire Station this week for three evenings.

As the official publicity explains:

"Set against the backdrop of Thatcherite politics, police brutality, and the Brixton riots, Sucker Punch is a gripping and thought-provoking coming-of-age story that transports you to the gritty landscape of the 80s boxing scene. The play follows the journey of two best friends, Leon and Troy, as they navigate their way through the challenges of youth, self-discovery, and the pursuit of approval from their inspirational yet foul-mouthed trainer, Charlie Maggs. 

Written by renowned British dramatist Roy Williams, Sucker Punch has garnered critical acclaim, receiving the Alfred Fagon Award and The Writers Guild Award for Best Play. It was also nominated for an Olivier Award for Best New Play. The play initially captivated audiences in a sell-out production at London's prestigious Royal Court, featuring the talented Daniel Kaluuya."

As you arrive in the venue it is apparent that the set in based around a boxing ring. Above the gym is a lighting rig that spells the name of the play. So far so good.

(Regular readers will now be worried - we're discussing the lighting already! Trust me, this isn't going to be easy to write.)

Tommy (John Rogers) is practising his moves with trainer and gym owner Charlie (Liam Smith). In walks two lads who have been tasked with mopping the floor and cleaning the toilets. Troy (Christain Alifoe) and Leon (Shem Hamilton) clearly has ambitions to be successful in the ring and to date Charlie's daughter Becky (Poppy Winter). 

This is the 1980s and the dialogue is of its times. We are hit with racism and sexism from the off. It is not for comfortable hearing. Alifoe, Hamilton and Winter try to make the most of the script but in being unpleasant to people it is difficult to feel an emotional attachment or empathy with the various characters. When the father refers to his daughter in derogatory terms as a result of her choice of date it does not help matters. Nor does it help when one of the young lad's father appears and points out how unpopular the lad is with "his own".

It may be "gritty". It may explore the truth for a group of people. But if the situation is not one that one has experienced, there has to be another emotional way into the story. If there is a lack of caring about the characters then the story does not hit well.

I may be out on a limb here. The actors were working hard, really hard. But they are bound by a source material that simply didn't do it for me. A few things happen in the relationships of those on stage - who then walk off and their departure is then explained by exposition delivered later as it isn't always clear at the time. Some characters, in particular Becky are under developed in the story when they could have been used to bring about balance. Perhaps. Or perhaps I haven't actually got a clue what I'm talking about.

I'd like to point out that there were a number of people on their feet at the end - they clearly got it when I didn't.

It would be a boring world if we all enjoyed the same things.

Review: Stephen Oliver

Photos: Mark Savage



Interview: The Ocean at the End of the Lane at Newcastle Theatre Royal


Memory Lane

The Ocean at the End of the Lane

Newcastle Theatre Royal

Tuesday 11 – Saturday 22 July 2023

One of the most eagerly anticipated dramas of the year - The Ocean at the End of the Lane – is coming to Newcastle Theatre Royal for a scintillating two week run.  No.1 Sunday Times and New York Times bestselling author, Neil Gaiman tells Vicky Edwards about the National Theatre’s acclaimed stage adaptation based on his novel.

The old adage cautions against meeting your heroes lest they fail to live up to expectation. Nothing is said about meeting your children’s heroes, but nevertheless my teenage daughter issues a firm instruction: I am to say NOTHING about meeting Neil Gaiman ‘unless he is as brilliant and fab as I want him to be.’

So it is with some trepidation that I ask the author to tell me about the forthcoming tour of the National Theatre’s adaptation of his award-winning book, The Ocean at the End of the Lane – a story that has its roots in his own childhood.

“It began with me wanting to try and explain to my wife where I grew up and what that world was like. I couldn’t take her to where I grew up [in East Grinstead] because the place had long since been demolished; it’s now covered by lots of lovely, neat little housing estates. So it was kind of an effort to try and evoke a past and a sense of place,” he says, confessing that the novel (Book of the Year in 2013 and with more than 1.2 million copies sold to date), had been rattling around his head for a while.

“I literally took the oldest idea that I had ever had. I think it’s strange that at the age of 61 I still haven’t used up all the ideas that I had for stories before I was 40,” he muses.

And he’s certainly no slouch at writing stories. Including chart-topping graphic novels like Stardust, The Sandman, Coraline and also Good Omens (co-authored with the late Sir Terry Pratchett), Gaiman has more than 45 books and short stories to his name, as well as numerous screen writing projects. Many of his books have been adapted for film and television, with The Ocean at the End of the Lane, the first major stage adaptation of his work, being transferred to the West End in 2021.

And the play version is fully realised on stage. Katy Rudd (director) and Joel Horwood (script adaptor) are joined by a team whose collective efforts secured both critical and audience acclaim on the play’s premiere at the National Theatre. But how does Gaiman feel about adaptations of his stories?

“Firstly, we struck gold with Katy. She is emerging as one of our great directors and I feel very fortunate at having begun work with her on Ocean at the early stages of her career. But I am astonishingly Darwinian in my take on adaptation. The adaptation of my very first graphic novel was so faithful; every word was up there on that stage. And it didn’t work. And it didn’t work because moments that were important in the graphic novel became throwaway on the stage. Moments that were minor brief allusions became huge and overpowering. I realised then that you have to translate. The actual translation is now the thing that I get excited about: what can you do on the stage that you can’t do in a book?”

A thrilling adventure that blends magic with memory in a tour-de-force of storytelling and takes audiences on an epic journey, he admits that he didn’t know, initially, if it could work.

 “I liked Katy and Joel and their collaborators and I thought their heads were in the right place, but I didn’t really know if it would work. Then I went to the first complete run-through. About ten minutes before the end I realised that I had tears running down my face. I went home and said to my wife ‘this is amazing.’”

And now audiences across the UK can immerse themselves in the book’s magical world.

From places to people, I ask about the story’s focus on family, especially the relationship between parent and child.

“I created a semi-fictional family for myself, but the boy was definitely me. I love that Joel and Katy, just by the genius of having the same actor play the father and the adult boy, give you that sense of continuity; of personhood. Like it or not, there will come a point when you will look into the mirror and see one of your parents. And then later, you encounter one of your grandparents.”

And even though he has now seen it multiple times, the play still takes him by surprise.

“There are moments of utter theatrical magic, but the things that demolish me emotionally are the moments of forgiveness, or a hug between two characters. The internet phrase for it is ‘all the feels’ and really it is the emotion that I hope people will take away. I’d love it if you took away what it was like to be a kid and to have less power. And of course there is the astonishing puppetry and magic. I had always dreamed of stage magic being used for seamless illusion. This is always in service of the story, but you’re going to see miracles,” he promises.

Time is up, but before we say goodbye I tell him that my daughter is a huge fan. His pleasure is genuine. 

“There is no job satisfaction in someone telling you that you sold a million books. But when someone tells you that they read Coraline at the age of 9 and that it was their best book; that it scared them but that they still kept it wherever they went? Then my job is done.”

Later, I reassure my child. Neil Gaiman is every bit ‘as brilliant and fab’ as she could possibly hope.


Photos: Brinkhoff-Moegenburg



The Ocean at the End of the Lane plays Newcastle Theatre Royal Tuesday 11 – Saturday 22 July 2023. Tickets can be purchased at or from the Theatre Royal Box Office on 0191 232 7010.

REVIEW: Sister Act at Newcastle Theatre Royal

Sister Act

Newcastle Theatre Royal

Monday 19 – Saturday 24 June 2023 

The musical, which has a storyline based upon the 1992 film, is back in the region and it is all set to take the audience to heaven. It is a joyous and funny show that left us smiling. Lesley Joseph and Sandra Marvin appear as Mother Superior and lounge singer Deloris Van Cartier in the production which is at Newcastle's Theatre Royal this week. 

The show is not a jukebox musical as it full of original music written by Alan Menken and lyrics by Glenn Slater. Whilst I know I say this every time I review this show but the music / songs are different to the film. I say that to ensure that you're not disappointed. But here is the thing - this is a musical and the songs fit a musical format.  


Onto the story, which has not deviated much from the film. Deloris (Sandra Marvin) is a wannabe club/lounge singer. Though her gangster boyfriend Curtis (Mark Goldthorp) is less keen on the idea and he tries to pacify her with a new coat. The trouble is that the coat still has the name in it of Curtis's wife. Annoyed she charges outside to have a word - only to witness an execution. Realising her life is in danger she tries to grab a cab to the police station to report the crime.

This is a comedy and the use of a pedalo taxi to have some Keystone Cop type humour was well worked after such a serious scene.

At the police station, Steady Eddie Souther (Alfie Parker) takes the situation seriously and offers Deloris witness protection - this leads her to hide with a group of nuns until the trial at a convent called The Holy Order of the Sisters of Our Perpetual Sorrow.

The Church is struggling - the 1977 Christmas Eve mass pulling in fewer punters than Jesus had at the last supper. The roof is leaking and antique dealers are trying to cut a deal with the diocese to buy the building. Monsignor O'Hara (Graham MacDuff) has cut a deal with the police that brings in some money but the Mother Superior (Lesley Joseph) is much less keen on the latest addition to their ranks.

Deloris starts problems almost immediately by going to a local bar and she is followed by two nuns, Sister Mary Patrick (Catherine Millsome) and Sister Mary Robert (Lizzie Bea).

Upon hearing about the excursion, the Mother Superior decides to put the musical talents of Deloris to good use and adds her to the choir. She admits that their are no words to describe the choir.

The choir is responsible for both many of the memorable and the feel good scenes in the show. It is literally an ensemble situation and the ensemble work well together.

There are some stunning vocal performances during the show. Sandra Marvin adds a real touch of class to every song she performs in. Lizzie Bea has a fabulous moment in the spotlight on The Life I Never Led. 

The big comedy musical number is arguably Alfie Parker on I Could Be That Guy - his performance drawing a large positive reaction from the audience.

Sister Act is a divine night at the theatre. Sure there are plot holes, that you can drive a bus through, and it doesn't take itself that seriously. At times it is positively camp but it works as a night's entertainment. Lesley Joseph is class and Sandra Marvin shines like a star. 

Review: Stephen Oliver

Photos: Manuel Harlan



Sister Act plays at Newcastle Theatre Royal from Monday 19 – Saturday 24 June 2023. Tickets can be purchased at or from the Theatre Royal Box Office on 0191 232 7010.


REVIEW: Rock of Ages at Newcastle Theatre Royal

Rock of Ages 

Newcastle Theatre Royal 

Until Saturday 17 June 2023.

The musical about 1980s hair metal, starring Coronation Street’s Kevin Kennedy, pays a visit to Newcastle this week on its farewell tour. Based upon the 2012 film, it will be popular with the legion of fans of the old Newcastle Mayfair. So whether you preferred playing air guitar or Guitar Hero, this jukebox musical show has a selection that will be your cup of tea.

Centered around the Bourbon Rooms, a bar on Los Angeles' Sunset Strip owned by Denis Dupree (Kevin Kennedy) with his right hand man Lonny (Tim  Oxbrow), this is a classic love story. Given that much of the 80s hair metal hits were often about love - this is a good fit. Expect Every Rose has Its Thorn and To Be With You to be sharing the stage with Dead Or Alive and Don't Stop Believing.

Sherrie (Gabriella Williams) wants to be an actress. She moves to LA to pursue her dream and she gets robbed as she steps off the bus.  Fortunately the bar back at the Bourbon Rooms Drew, performed so well tonight by understudy Scott Hayward, was on hand to help her out. She ends up with a job at the Rooms whilst she auditions for that film role that she dreams of..

Meanwhile German property developers Hertz (Vas Constanti) and Franz (David Breeds splash the cash and want to see the Rooms replaced with a Footlocker store. In order to raise capital, the club owners decide to host the final show of Arsenal before they spilt with the egotistical singer Stacee Jaxx (Cameron Sharp). Stacee gets involved with Sherrie and  then demands that the waitress is sacked.
Thus the story is set up. Will the Rooms be saved from demolition by the developers? Will any of the romantic situations get set up and be more than ships sailing in the night? Will Sherrie find new work? 

There is a lot of humour and smashing that fourth wall down. This is mostly around Lonny, who acts as narrator in this Chris D'Arienzo book. The audience are encouraged from time to time to go from a rock concert to almost a pantomime type scenario. In terms of the rock concert - the band, under MD Lian Holmes, is often on stage - apart from the keyboards and bass. The lighting design from the ever dependable Ben Cracknell and sound from Ben Harrison certainly elevates the show above most jukebox "live scenes".

The humour - in particular between Kevin Kennedy and Tim Oxbrow - really help keep the audience engaged.

There is an issue with the show though. Some of the audience will have a bigger problem with it than others. It is the elephant in the room. That is - the show is set in, and has the attitudes of the 1980s. We are not just talking the economic policies of Regan here. The attitudes towards women is not exactly palatable by current standards. The slapstick humour does go for more of the Carry On theme and this will be some of the audience off. Like a few other musical comedies, this show may struggle to be revived in the future without some changes.

Having said someone who worked in a music event in this era, I recognised what I was seeing and the musical captures a time from the past.

I love much of the humour in the show. I love the music. (I want the Mayfair to return!) I love how the cast worked with the audience. 
There are some cracking individual performances here. It is great to hear some "rock" rather than "pop" vocals. Great performances from Gabriella Williams and Scott Hayward worked really well together. Having said that, the highlight of the show vocally was in Jenny Fitzpatrick's performance as Justice. I loved her vocals and could happily stick her CD on in the car.

This is not a show for everyone, but it has fans for a very good reason. We love the music and we love the live performance. I'd happily see it again.

Review: Stephen Oliver
Photos: The Other Richard


Rock of Ages plays Newcastle Theatre Royal Tuesday 13 – Saturday 17 June 2023. Tickets can be purchased at or from the Theatre Royal Box Office on 0191 232 7010.

Show information:

Evenings: 7.30pm

Matinees: Thu 2pm, Sat 2.30pm

Running time: 2hrs 30mins (including interval)

Recommended: 12+, strong language and sexual references

This performance features strobes, flashing lights, haze and loud noise


Preview: Rock of Ages at Newcastle Theatre Royal


TV Favourite Set To Rock Newcastle Theatre Royal

Rock of Ages 

Newcastle Theatre Royal 

Tuesday 13 – Saturday 17 June 2023.

No stranger to the small screen, television’s Kevin Kennedy has left the cobbles of Coronation Street far behind him as he takes to the stage and embraces his inner rock’n’roll star in the UK Tour of Rock of Ages which comes to Newcastle Theatre Royal on Tuesday 13 – Saturday 17 June 2023. 

Not just an actor, you’ve also been part of many bands over the years. Have you been enjoying indulging your musical side in Rock of Ages?

Oh yes, it’s incredible to be able to put your two passions together – one being of course acting and the spoken word and the other being music, which is something I’ve loved throughout my life. To put those together is a perfect marriage, and in a vehicle such as Rock of Ages it is a whole lot of fun as well!

For those who don’t know, could you tell us a bit about the story of Rock of Ages?

Rock of Ages is set in Los Angeles, California in the mid 1980s. It’s about a rock club called The Bourbon Room, which is absolutely legendary, every single band you could think of has played there. It’s an icon of rock’n’roll and absolutely the place to be, but the local council are attempting to close it down so we are fighting them. Alongside all of that there’s a beautiful love story, lots and lots of jokes and of course some of the most incredible music from the 80s like ‘Here I Go Again’, ‘The Final Countdown’ and ‘I Want To Know What Love Is’.

And how does your character, ‘Dennis’ fit into this?

So, Dennis is the owner of The Bourbon Room and he’s an absolute rock guru. He’s given all these now legendary bands their stars and he’s been in bands himself. He’s also embraced the drug culture and intense sexuality of the 1980s with much enthusiasm and regularity! He’s a very interesting man to play – he’s got a good heart at his core but he’s a child of his culture and loves his sex, drugs and rock’n’roll! He’s a lot of fun to play!

Audiences may know you best from your time on television, particularly as ‘Curly Watts’ in Coronation Street. What are the biggest differences between working TV and theatre?

TV is a totally different skill and technique to theatre. Not least because you may put something in the can after filming and not get the payback of that for months or event years. You can almost film it, and then forget about it. With theatre however, it’s obviously live and live theatre is one of the last true shared experiences you can have – along with football! In the theatre you are all together and sharing one experience which is happening live, right in front of you and there’s not a lot of that left. That in itself generates its own energy and excitement as no two shows are the same. The show that you come and see will never been exactly the same as that ever again which is quite an exciting thought.

Rock of Ages boasts some of the biggest hits of the 1980s as its soundtrack. Were you a fan of 80s rock music?

I was a young-ish man in the 1980s and not a huge fan of some dance music, so the last refuge of guitar music to a certain extent was that brilliant American glam-rock that we showcase in Rock of Ages. They play their own instruments and perform live on stage so I had a huge respect for that.

Are there any challenges to performing this style of music on stage? Have you drawn from your experience as a musician?

It requires a lot of energy! However, once the show gets going it’s so much fun and no longer feels like work. Once you’ve done the hard work of learning the lines and where to stand we’ve been allowed to just have so much fun with it. Audiences are absolutely loving it because it’s just bonkers.

Do you have a favourite moment or number in the show?

Numerous moments! Although what I really enjoy is watching the other members of the cast doing their big solo numbers because they’re all so incredibly talented and it’s great to watch and learn from them. It’s been so lovely to see them grow into their characters from the first rehearsal through to our performances on tour now, where it all comes to fruition.

What about a favourite song?

Oh the entire finale is my favourite as it is just one big fat rock’n’roll number.

Do you have any ‘must-have’ items whilst on tour?

A cafetière, some coffee (obviously), my Manchester City mug, and of course the most important thing – a PlayStation! 

Finally, what can audiences expect when they come and see Rock of Ages?

They can just expect to have a great time. If you’re a seasoned theatre-goer or you’ve never been to a show before you will have a lot of fun. If you want to come dressed in your leather trousers and embrace your inner 80s rock star then do that! Even bring along an inflatable guitar if you want – everything is just a whole lot of fun.


Rock of Ages plays Newcastle Theatre Royal Tuesday 13 – Saturday 17 June 2023. Tickets can be purchased at or from the Theatre Royal Box Office on 0191 232 7010.


Show information:

Evenings: 7.30pm

Matinees: Thu 2pm, Sat 2.30pm

Running time: 2hrs 30mins (including interval)

Recommended: 12+, strong language and sexual references

This performance features strobes, flashing lights, haze and loud noise