✨ Further Casting Announced for Theatre Royal’s Magical Panto Aladdin

Theatre Royal Newcastle is set to dazzle once again this festive season as even more stars join the cast of its 2025 pantomime spectacular, Aladdin. Running from Tuesday 25 November 2025 to Sunday 18 January 2026, the show already promises magic, mayhem and mountains of laughs – and the latest casting news only adds to the excitement.

Joining panto favourites Danny Adams and Clive Webb, who are celebrating an incredible 20 years of Newcastle panto hilarity, are returning stars and fresh faces alike. Much-loved local performer Wayne Smith takes up the role of the irrepressible Old King Cole, bringing his trademark charm from a string of Theatre Royal panto hits, including Snow White and Pinocchio.

Acclaimed West End talent Rachel Stanley will play the deliciously evil Wicked Witch, having wowed audiences in 42nd Street, Chicago, and Grease, as well as her unforgettable turns in Peter Pan and Snow White. Rising star Billie-Kay makes her Newcastle debut as Princess Jasmine, fresh from winning Best Supporting Female Actor at the Black British Theatre Awards and appearing in the world premiere of Burlesque the Musical.

Also returning to the stage are Chris Hayward as the ever-fabulous Mother Goose, Joe McElderry as the enchanting Spirit of the Ring, and Mick Potts as the larger-than-life Genie of the Lamp. As always, the show is written and directed by Newcastle panto legend Michael Harrison, promising a riotous reimagining of Aladdin—complete with a distinctive Tyneside twist.

With brand-new sets and costumes created specially for Newcastle Theatre Royal, this promises to be Aladdin as you've never seen it before. Expect comedy, spectacle, and a flying carpet ride you won’t forget!

Get ready for an unmissable trip to Pantomania—mirror, lamp and carpet at the ready—for the most genie-us panto of them all!

Accessibility & Performance Dates

• Relaxed performances: Sun 7 Dec 2025 (12pm) & Wed 7 Jan 2026 (12pm)

• Audio described: Tue 9 Dec 2025 (7pm)

• BSL & Captioned: Thu 11 Dec 2025 (2pm & 7pm)

Tickets:

🎟 Tickets are on sale now, with group, school and family discounts available. Book online at www.theatreroyal.co.uk or call the Box Office on 0191 232 7010.

Preview: Midsomer Murders: The Killings at Badger’s Drift at Darlington Hippodrome

 

World Premiere Stage Adaptation of Midsomer Murders Heads to Darlington with Daniel Casey Leading the Cast

Midsomer Murders: The Killings at Badger’s Drift 

Darlington Hippodrome 

Tuesday 19 - Saturday 23 May 2026

Fans of classic British whodunits are in for a theatrical treat as the beloved crime drama Midsomer Murders makes its world stage premiere with The Killings at Badger’s Drift. The UK tour, which launches this October, will stop off at Darlington Hippodrome in May 2026, with a familiar face from the original TV series taking centre stage.

Daniel Casey, who starred as Sergeant Troy in the long-running ITV series from 1997 to 2008, returns to Midsomer — this time as Detective Chief Inspector Tom Barnaby. This stage adaptation is written and directed by Guy Unsworth and based on Caroline Graham’s novel The Killings at Badger’s Drift, which also inspired the pilot episode of the TV series.

Produced by Nicholson Green Productions and Colin Ingram Ltd, the production begins its UK tour at Richmond Theatre on 24 October 2025, with a national press night scheduled for 30 October. The show promises to deliver all the quirky charm, sharp wit, and sinister secrets that made the original series a favourite with millions.

Speaking about stepping into the iconic role originally portrayed by John Nettles, Daniel Casey said: “I never expected to revisit the world of Midsomer, with its weird and wonderful characters and all their dark, twisted secrets. So to be asked to play the iconic role of Detective Chief Inspector Barnaby in this new stage adaptation was a real surprise.”

He continued: “Workshopping the play, you realise the characters have an inherent theatricality, which is perfect to bring to the stage. It has brought back some wonderful memories of such a happy time in my career playing Sgt Troy… to be stepping into [John Nettles’] shoes as Barnaby is both a little daunting and incredibly exciting.”

In response, John Nettles warmly endorsed the casting: “How wonderful that the original tale of murder and intrigue in Midsomer will be solved by Daniel in this new stage version of Badger’s Drift. He brought the young Troy to life so brilliantly in the original TV pilot of the book, and I’m delighted that he gets to lead the investigation in this theatre adaptation.”

Daniel Casey’s stage credits include Cluedo, Sleepless: A Musical Romance, Yes, Prime Minister, Abigail’s Party, and The Curious Incident of the Dog in the Night-Time. He’s also known for roles in Emmerdale, EastEnders, and Coronation Street.

Set in the seemingly idyllic village of Badger’s Drift, the story begins with the suspicious death of beloved spinster Emily Simpson. Her determined friend Lucy Bellringer suspects foul play, prompting DCI Barnaby and Sergeant Gavin Troy to investigate. As hidden passions and long-buried secrets emerge, audiences will be drawn into a compelling mystery filled with eccentric characters, unexpected twists, and a gripping finale.

Whether you're a long-time fan of Midsomer Murders or a newcomer to its murderous mysteries, this stage adaptation promises a nostalgic yet thrilling night out at the theatre.

Tickets:

Midsomer Murders: The Killings at Badger’s Drift runs at Darlington Hippodrome from Tuesday 19 to Saturday 23 May, 2026. For full details or to book visit www.darlingtonhippodrome.co.uk or call the Box Office on 01325 405405

REVIEW: The Last Laugh at Newcastle Theatre Royal

Eric Morecambe, Tommy Cooper and Bob Monkhouse – The Last Laugh

Newcastle Theatre Royal

Until Saturday 28 June 2025

Written and directed by Paul Hendy

Bob, Eric and Tommy were regulars on television through the 70s and into the 80s. They were part of the furniture - people thought that they knew them as they were a part of our lives. The new play brings their comedy back to the Newcastle stage for this week only. It is a laugh. Of course it is. These were three men at the very pinnacle of old school comedy. Their humour is timeless.

The set looks like a dressing room. A scruffy dressing room. As Monkhouse states upon his arrival "If this is dressing room one, I'd hate to see dressing room 2". First on is  Damian Williams as Tommy Cooper, dressed in his underwear and wearing a huge pair of chicken feet. The Theatre Royal audience immediately laugh. The situation is absurdly just like the Tommy Cooper that we all know and love. He was a man with genuine funny bones. Williams has got that presence to pull of just standing there and being funny. We are off to a good start.

Next to arrive in the room is Simon Cartwright as Bob Monkhouse. Now, we don't normally stay for the Q&A but I strongly recommend it for this show. In the post show talk we discovered that Cartwright had appeared as a young man in 'Bob Says Opportunity Knocks' and ended up being coached in an 18 year friendship by the man himself. Bob would analyse how to deliver jokes as Bob. Clearly, a lot was picked up. In the script we get analytical Bob who knows who wrote what joke. 

Finally Bob Golding lands as Eric Morecambe, complete with ukulele which will be coming in handy later in the show. The addition of a third naturally funny man leads to a fun 80 minutes as the three men reminisce and tell jokes to one another as they get ready.  

The three actors are less doing an impression, more they are reflecting the very spirit of what made the the comics much loved household names. That spirit drives the show to its ultimate conclusion. Here's the thing - I spoke to a couple of younger people who missed the significance of some of the first moments as Tommy is making himself at home. He looks at a robe - that robe. If you saw that show then you know, but the show still works if you don't.

Now we were lucky in that we got to see Bob Monkhouse in the flesh in a club in the late 80s. He was fabulously funny. He was very spontaneous and far from the formulaic Bob that the game shows suggested he was like. This show helps unwrap something of the other Bob - the one that wasn't on television.

This is a funny show. One that harks back to a golden age of television in which the shows these guys were in would be seen by tens of millions of people. They were popular, not because they were they only option, but because they were at the top of there game. Each one was taken from us as they were still creating fabulous moments for us to all watch and the Paul Hendy script takes full advantage of these recognisable characters. Sure, it is fiction. But you feel it could be a conversation between the three of them.

The other important aspect are the three leads. They need to full the huge shoes of these recognisable characters. This they do so well. The audience finds themselves laughing at the same aspects of performance that made the originals famous in the first place. 

The format of the show probably reflects the Ed Fringe origins of the show. It starts with the full play - 80 minutes straight through. This is followed by an interval and then the actors come on the discuss the show whilst being interviewed by the cover (understudy). This final section revealed as much about the audience on opening night as we had another Opportunity Knocks contestant and the PR from Monkhouse's Newcastle nightclub present. I'm glad I stayed for this second part.

The Last Laugh is fun. A lot of jokes are balanced with a fair amount of pathos too as these guys await their moment on stage. You find yourself laughing for the very same reason why they were popular in the first place. The cast pull off an amazing feat in bringing some of the best of the era back for one night.

Review: Stephen Oliver

Photos: Pamela Raith 

On The Web:

https://thelastlaughplay.co.uk/

Tickets: 

https://www.theatreroyal.co.uk/whats-on/the-last-laugh/

Interview: The Last Laugh at Newcastle Theatre Royal

Cast Interview: The Last Laugh actors recall memories of comedians Eric Morecambe, Tommy Cooper and Bob Monkhouse ahead of comedy at Newcastle Theatre Royal

Eric Morecambe, Tommy Cooper and Bob Monkhouse – The Last Laugh

Newcastle Theatre Royal

Tuesday 26 – Saturday 28 June 2025

Reimagining the lives of three of Britain’s greatest comedy heroes - Eric Morecambe, Tommy Cooper and Bob Monkhouse – The Last Laugh is a new laugh-a-minute play from writer and director Paul Hendy. Ahead of its run at Newcastle Theatre Royal, we caught up with the cast – Bob Golding, Damian Williams and Simon Cartwright – to chat about the nostalgia, the tour, and most importantly, the laughs!

Q. The names of these three comedians (Eric Morecambe, Tommy Cooper and Bob Monkhouse) will conjure up a sense of nostalgia for many - do you have your own fond memories of them?

A: Bob Golding (Eric Morecambe): I have strong and fond memories of all the comics featured in The Last laugh. I especially remember a Christmas special where Eric & Ernie were dressed as turkeys. I was mesmerised at their ability to make not just me laugh but my parents, my younger brother, and my elderly grandmother who would chuckle and mutter “silly buggers” under her breath.

A: Damian Williams (Tommy Cooper): I have so many fond memories of these iconic men from watching them at Christmas with the family, particularly sitting with my dad watching Tommy Cooper and seeing him crying with laughter. I grew up with them and was certainly influenced by them. Tommy is the reason I got into the business.

A: Simon Cartwright (Bob Monkhouse): All three were iconic legends of British light entertainment and featured in positive childhood memories for me. I enjoyed watching Bob Monkhouse presenting in the very early 70s – I would have been 6-years old – programmes like ‘The Golden Shot’ and then into the 80s with ‘Bob’s Full House’. They are fond memories of a time that I can recall, happier family environments when we’d all watch stuff together.

Q. Without giving too much away, what is The Last Laugh about—and why do you think it resonates with audiences today?

A: Bob: Well, put simply, The Last Laugh is what happens when you put three comedy legends in a dressing room and lock the door. You've got Tommy Cooper, Bob Monkhouse, and yours truly—Eric Morecambe—putting the world to rights, one laugh at a time. It’s a love letter to comedy, to friendship, and to those glorious gags that never get old (unlike us!). But it’s not just about jokes—it’s about legacy, about life, and about how laughter carries us through the darkest moments. Audiences are coming in expecting a chuckle and leaving with a lump in their throat (and possibly a stitch in their side). It reminds people why comedy matters, especially in today’s world where we could all do with a bit more joy and a lot more heart.

A: Damian: Watching The Last Laugh is the closest you’ll get to spending 80-minutes in the company of these great men. It’s about the art of comedy, the relationship between these three men and what’s it’s really like to be funny for a living. It’s full of laughs, nostalgia, warmth and love.

A: Simon: I think it reflects on a time when families would sit down and watch television together, nowadays that’s very rare because of streaming, people being dissipated around family lives and watching things on their smartphones. I think people do remember times when they sat down together, the halcyon days - looking back into the 60s and 70s, people seem to think they were happier times.

Q: The show has played the Edinburgh Fringe Festival, London’s West End and New York, ahead of its UK tour – what has the response been like so far?

A: Bob: Oh, it’s been an absolute riot—in the best possible way! Edinburgh? Huge laughs and standing ovations. The West End? Packed houses, five-star reviews, and audiences who didn’t want to leave the theatre. And New York? Well, they absolutely loved it (even if they didn’t know who Eric was!)

A: We’ve had people in tears—happy ones! They have told us how much it meant to see their comedy heroes brought back to life. And the joy is infectious. Every single night has felt like a celebration, not just of these three men, but of what it means to really laugh. It’s been the experience of a lifetime.

A: Damian: The response to the show so far has been amazing. It really has struck a chord with people. The comments and the reviews have been fantastic. We really didn’t know how it would be received when we started and it’s totally blown our minds.

A: Simon: We’ve had a remarkable reaction from the public, getting standing ovations and moving people – particularly men of a certain age becoming quite emotional. I think they can apply positives memories from their youth, and somehow connect with these comedians, triggering those thoughts and memories. It was also a time when comedy was a lot more innocent, and I think people appreciate that the comedians we’re representing were not particularly political or had an agenda other than being funny and making us feel good.

Q. How do you find the balance between playing a caricature and making it your own? Has your relationship with these characters changed over time?

A. Bob: I try to avoid the word ‘Caricature’ as it conjures a larger-than-life interpretation of the person I’m portraying. When it comes to playing a well-known person, I think it’s all about capturing the spirit of them and avoiding cliché impressions or over used gestures etc. I also feel that with every character I play there will always be an element of myself in it. It’s almost unavoidable.

I’ve played Eric for over 16 years now, so I think my connection and respect for him has almost certainly become stronger and I have never lost sight of the fact that I’m merely on the coat tail of his greatness and talent. It’s been a huge honour.

A: Damian: As an actor I wanted to play Tommy as the man he was and try to avoid just doing an impression. It’s been interesting to really study him and to learn more about who he was. The three of us have worked incredibly hard to capture them without doing a caricature.

A: Simon: First and foremost, I knew Bob Monkhouse personally, so from a method-acting point of view, I can really draw on and recall what he was like off-stage, so I have that distinct advantage. These are three very vulnerable men who share the love of making people laugh, and they get there in different ways. It’s all about finding authenticity and truth rather than trying to create a caricature or an impression, we’re not doing that, we’re going for truth and sentiment. I think the more we perform this, the more truth we’re finding in the words and it’s resonating with our own personalities as well.

Q. Touring brings its own energy. Are there any cities or venues on the tour you’re especially excited to perform in?

A: Bob: I love touring! Of course, I miss my family, but I love seeing all the different theatres and feeling the energy of the different audiences.

I think we are lucky here in the UK as it does provide many of those lovely pockets, I love the History and charm of a place like York for example, but then also the buzz of the Glasgow nights is exciting and appealing too. Milton Keynes is very close to my actual home, so I will certainly look forward to being able to sleep in my own bed during that week, but overall, I am comforted by the ‘safe space’ of every theatre we visit. For an actor, the theatre is the home away from home.

A: Damian: I can’t wait to start the tour and bring it to some amazing cities. Personally, I’m looking forward to the Sheffield audiences as it’s where I do panto every Christmas and Southend as it’s my hometown. I’ve had so many messages from people telling where they’re seeing it and at what venue. It’s going to be a great tour.

A: Simon: I’m looking forward to Sheffield – I have an affinity to Sheffield. There’s always this feeling that the audiences get warmer as you go further north, even though the temperature might get cooler outside. It will be interesting to try Glasgow as well – we mention the Glasgow Empire (in the play) the infamous venue where every comic failed. Will we be able to get the Glaswegian crowds to reflect warmly on our efforts? I do hope so.

Q: What do you hope audiences take away from the play—not just in terms of laughter, but perhaps something deeper too?

A: Bob: What we’ve certainly found with The Last Laugh is that people of a certain age have left in a bit of an emotional state after enjoying the play. They’ve laughed and they’ve cried as I think it awakens a more innocent time in our youth when elder family members were still with us, and possibly reminds us of what those times mean to us. The laughter hopefully evens out the more poignant and sadder feelings though. It’s very much a ‘feel good’ piece of theatre and a reassuringly British experience.

A: Damian: What we’ve learnt so far is that the audiences are totally transported back to a time when they sat as a family and watched these great comedians on the TV. We can totally feel the love from the audience as soon as the play starts. You’ll be laughing one minute and crying the next. You’ll learn more about these men and what it was really like to be them. I can’t wait for you all to see it.

A: Simon: I hope that audiences take away a new and fresh insight into the three comedians. I hope that a younger generation, who might not have seen the comedians before, discover them and walk away with an interest, and we ultimately keep their memories alive. I hope for the older generations we’re a warm reminder of a bygone age, the golden age of British comedy!

Photos: Pamela Raith 

On The Web:

https://thelastlaughplay.co.uk/

Tickets: 

https://www.theatreroyal.co.uk/whats-on/the-last-laugh/

Cast: Miss Saigon at Newcastle Theatre Royal

Miss Saigon Cast Announced for Newcastle Theatre Royal Launch of UK & Ireland Tour

Miss Saigon

Newcastle Theatre Royal

Saturday 4 - Saturday 25 October 2025

The highly anticipated new UK and Ireland tour of Miss Saigon will open at Newcastle Theatre Royal this October, and the stellar principal cast has been officially announced.

Michael Harrison, in association with Cameron Mackintosh, has confirmed that Miss Saigon will launch its spectacular new production in Newcastle from Saturday 4 to Saturday 25 October 2025, before embarking on an extensive tour across the country.

Set in the final days of the Vietnam War, Miss Saigon tells the epic story of Kim, a young Vietnamese woman, and her passionate, heartbreaking love affair with American GI Chris. Torn apart by the fall of Saigon, Kim embarks on a three-year journey to reunite with Chris, unaware of the life-changing secret she carries.

This new production is directed by Jean-Pierre van der Spuy with choreography by Chrissie Cartwright and Carrie-Anne Ingrouille. It features Boublil and Schönberg’s soaring score, including classic songs The Heat is On in Saigon, The Movie in My Mind, Last Night of the World, and The American Dream.

Since its 1989 premiere, Miss Saigon has been performed in over 30 countries, winning 75 major awards and captivating more than 38 million people worldwide.

Seann Miley Moore 

Leading the cast is Seann Miley Moore as The Engineer, reprising the role following acclaimed international performances across Australia, the Philippines, Taiwan and Singapore. Seann, known for X Factor UK and Hedwig and the Angry Inch (Australian Tour), received the Critics’ Choice Award for Best Performance in a Musical at the Time Out Sydney Arts & Culture Awards.

Julianne Pundan

Making her professional debut, rising star and recent Brit School graduate Julianne Pundan takes on the role of Kim. She will be joined by Jack Kane (Dragonheart Vengeance, Years and Years) as Chris, Dom Hartley-Harris (Hamilton, Dreamgirls) as John, and Emily Langham (Singin’ in the Rain, Hello, Dolly!) as Ellen.

The full company also features Mikko Juan (Better Things, Urinetown: The Musical) as Thuy and Ace, semi-finalist from The Voice UK 2024, as Gigi. Bea Ward will perform as Alternate Kim, with Aaron Teoh as Alternate The Engineer.

Further ensemble cast members include:

Jamil Abbasi, Aaron Aisoni, Daniel J Brian, Ann-Marie Craine, Ben Fenwick, Aaron Gonzales, Owen Johnston, Evita Khrime, Caleb Lagayan, Rayhan Lee, James Mateo-Salt, Shania Montevalde, Ryan Ocampo, Julius Sahr, Tonny Shim, Anh Koha Trần, Yiling Yang, Aimee Yue, and Carmen Zhu.

Cameron Mackintosh commented: "I have been genuinely delighted at the enthusiasm of the public determined not to miss Saigon, with tickets flying out of the Box Office. We have now completed our search for a fantastic cast, full of exciting discoveries, that will bring Boublil and Schönberg’s extraordinary musical back to thrilling life. I can’t wait to see Miss Saigon reborn again."

Tickets:

🎟️ Miss Saigon at Newcastle Theatre Royal

📅 Dates: Saturday 4 – Saturday 25 October 2025
🔗 Tickets & Info: Newcastle Theatre Royal Website

REVIEW: Hamilton at Sunderland Empire

Hamilton 

Sunderland Empire

Until Saturday 26 July 2025

There are moments in theatre when you can feel history being made as a show is in town that people are going to be talking about for a long time. As Hamilton opens at the Sunderland Empire for its long-awaited North East debut, the energy is electric, helped in a lot of ways by the the way the theatre has been totally decked out for the show. This is more than just a touring musical; it's a cultural phenomenon arriving on our doorstep, and the excitement in the auditorium confirms that local audiences have been waiting for this moment. 

Casey Al-Shaqsy as Eliza Hamilton and Marley Fenton as Alexander Hamilton.
Photo Danny Kaan

I'll be honest, I wasn't expecting the arrival of the King to be matched with the cheers that he got. The Friday night audience were, very much, up for it and they went from listening intently to the marvellous performances to spontaneous applause when it was merited. 

Casey Al-Shaqsy as Eliza Hamilton.
Photo Danny Kaan

First staged off-Broadway in 2015 before transferring swiftly to Broadway, Hamilton was created by Lin-Manuel Miranda, who also starred in the original production. Inspired by Ron Chernow’s biography of Alexander Hamilton, one of America's Founding Fathers, the musical blends hip-hop, R&B, jazz, and traditional show tunes in a groundbreaking fusion that redefined modern theatre.  Whilst the score is modern, as my companion noted, the show's structure would not be amiss in a classic opera. Miranda’s bold approach, casting actors of colour in the roles of the white historical figures, challenged conventions and opened new conversations about representation on stage.

Akmed Junior Khemalai (George Washington) and Company.
Photo Danny Kaan

This show arrives on Wearside with a reputation. After all, the accolades came quickly and in abundance. Hamilton garnered a record-setting 16 Tony Award nominations and walked away with 11 wins, including Best Musical. It also secured the Pulitzer Prize for Drama in 2016 and received both Grammy and Olivier Awards. This unprecedented level of recognition is matched only by its enduring popularity—fans worldwide have embraced the soundtrack, with songs like My Shot, The Room Where It Happens, and Satisfied becoming cultural touchstones. The cast recording has achieved multi-platinum status, and the filmed stage production on Disney+ brought Hamilton to an even broader global audience. Having said that... I have to confess I had not seen or heard the show before in any format so I was arriving with a fresh insight.

Billy Nevers (Aaron Burr) and Company.
Photo by Danny Kaan

At its core, Hamilton is the story of clear naked ambition, legacy, and revolution. It follows Alexander Hamilton’s rise from an orphaned immigrant to George Washington’s right-hand man and the first U.S. Secretary of the Treasury. Set against the backdrop of the American Revolution, the musical explores timeless themes: the price of greatness, the power of storytelling, and the struggle to shape one’s destiny. The show’s modern score and diverse casting breathe fresh life into these historical events, making them immediate and relevant, particularly for audiences reflecting on the narratives that have long dominated traditional history books. Of course it is easy to draw modern parallel's with the current affairs in the United States but I'll leave that for you, dear reader.

Billy Nevers (Aaron Burr) Roshani Abbey, Chasity Crisp
and Naomi Katiyo (Schuyler Sisters).
Photo by Danny Kaan

This touring cast of Hamilton delivers a sublime performance that breathes fresh energy into this already iconic musical. Marley Fenton brings a magnetic presence to the role of Alexander Hamilton, masterfully balancing the character’s ambition, vulnerability, and relentless drive. His performance is particularly striking in My Shot, where his vocal power and physical commitment electrify the stage and set the tone for the evening. Opposite him, Billy Nevers is a revelation as Aaron Burr. His nuanced delivery of Wait For It is a standout moment, capturing the simmering tension and internal conflict that makes Burr such a complex figure. Nevers’ control and emotional depth draw the audience into Burr’s world with effortless charisma. 

Louis Maskell (King George).
Photo by Danny Kaan

The Schuyler sisters are another highlight, with Casey Al-Shaqsy making a poised and emotionally resonant Eliza Hamilton. Her rendition of Burn is quietly devastating, delivering heartbreak with sincerity and grace. Chasity Crisp commands the stage as Angelica Schuyler, bringing sharp wit and fierce intelligence to Satisfied, a number that is impeccably choreographed to showcase the storytelling’s clever rewind structure. Naomi Katiyo provides both sweet innocence and seductive flair in her dual roles as Peggy Schuyler and Maria Reynolds, contributing beautifully to the layered narrative. Together, their harmonies and chemistry provide some of the show's most stirring moments.

Marley Fenton (Alexander Hamilton) and Billy Nevers (Aaron Burr).
Photo by Danny Kaan

Director Thomas Kail’s original vision remains thrillingly intact in this production, with Andy Blankenbuehler’s choreography executed to a razor-sharp precision by the ensemble. The company’s seamless movement across the revolving stage elevates numbers like Yorktown (The World Turned Upside Down) to breathtaking heights, while the battle scenes pulse with urgency and cohesion. Ashley J. Daniels brings infectious swagger and charisma to Lafayette and Jefferson, delivering What’d I Miss with playful flair and boundless energy. 

Marley Fenton (Alexander Hamilton) and Company.
Photo by Danny Kaan

I have already mentioned the audiences reactions to the arrival of the King which, as a newcomer to the show, I wasn't expecting. Anyhow, Louis Maskell’s hilarious turn as King George is memorable, offering a perfectly timed dose of comic relief. From Shak Mancel James’ spirited performances as John Laurens and Philip Hamilton to KM Drew Boateng’s commanding Hercules Mulligan and Akmed Junior Khemalai’s stately George Washington, every performer contributes to a dynamic, tightly woven production that continues to prove why Hamilton is a theatrical phenomenon.

It is difficult to convey how well the movement of stage is arranged. The floor of the stage has two circular moving circles that can go in either direction and the large cast, and their props, are always in the perfect position. It is not just traditional dancing/choreography - it is so much more - such as the setting up of a duel. It is so flawless that it looks too easy... but it clearly isn't. The cast, with their multiple costume changes and the crew off stage that have many props ready just in time are clearly working extremely hard to pull of a show that runs so smoothly from the audiences perspective.

Another aspect that is easy to take for granted is both the lighting and sound. Perhaps the early singing was quiet - but then it had the dynamic range to crank it up during the war scenes. This is a sung through show with many voices and each has its space in the mix. I say this as it is often done badly as show rush around the country. Likewise - I cannot imagine how long it took to set up the lighting. These are parts of the show one tends to not notice when they're done so well.

Roshani Abbey (Eliza Hamilton) and Marley Fenton (Alexander Hamilton).
Photo by Danny Kaan

Hamilton is an interesting show to see for the first time. I enjoyed it. A lot. There's a lot going on pretty much all of the time. I have a feeling that I'm going to probably enjoy it more on a second or a third time as the complex nature of the production reveals more that I missed first time.

So there you have it. A show that lives up to the hype and expectation. A show that make one fully appreciate having some fabulous theatres in the North East that can handle direct transfers from the West End/Broadway. Marvellous!

Review: 

Stephen Oliver

Tickets:

#ad

Tickets are available from ATG Tickets: https://tinyurl.com/HamiltonSunderlandTix 

News: Sunderland Theatre Academy Launches With Guaranteed Roles for Local Kids at the Sunderland Empire

 

Sunderland Theatre Academy Launches With Guaranteed Roles for Local Kids at the Sunderland Empire

Local theatre company Astravaganza Entertainment has announced the launch of a brand-new Children’s Theatre Academy in Sunderland, offering young people an incredible opportunity to perform on the big stage at the Sunderland Empire Theatre.

The academy will kick off with a free taster session on Tuesday 24 June, from 5.00pm to 7.30pm at the academy’s base in Ashbrooke. Open to children of all experience levels, the session is a chance to explore theatre in a fun, supportive environment.

What sets this academy apart is its guarantee to give every child who joins a role in their autumn production of Nativity! The Musical, which will run from 31 October to 1 November 2025 at the Sunderland Empire — one of the North East’s most prestigious stages.

Real Stage Experience for Local Kids

“This is all about giving local kids real opportunities,” said Liam Glendinning, Managing Director of Astravaganza Entertainment. “We’re combining professional-level training with a fun, supportive atmosphere — and finishing with a spectacular show right here at the Sunderland Empire.”

The academy will offer weekly professional training in singing, dancing, and acting, with rehearsals on Monday and Tuesday evenings at the Ashbrooke location. The autumn production will be a community-focused show, featuring both local adult and child performers in a fully staged performance.

Importantly, no previous experience is needed to join — just enthusiasm and a willingness to get involved.

“We’ve already seen strong interest,” Glendinning added. “Parents love that this isn’t just another after-school club — it’s a real stage experience that helps build confidence, skills, and lifelong friendships.”

Astravaganza Entertainment is a North East-based theatre company committed to high-quality stage productions and performing arts education. The company is passionate about nurturing local talent and making professional theatre accessible to young people across the region.

Free Taster Session – Book Now

Spaces for the free taster session are limited and must be booked in advance. Families interested in getting involved can find more information and reserve a place by visiting: www.astraents.com

Preview Edgecity at Live Theatre, Newcastle

Sleaford Mods' Jason Williamson to Bring Powerful New Homelessness Stories to Newcastle Live Theatre

Jason Williamson, the unmistakable frontman of the internationally acclaimed post-punk band Sleaford Mods, is set to take the stage at Newcastle’s Live Theatre for a unique three-night performance this September. Known for his raw vocal delivery, sharp social commentary, and no-nonsense presence, Williamson will lend his voice to Edgecity, a bold new production spotlighting the realities of homelessness in Britain.

Photo: Jack Neville

A Raw New Collaboration

Edgecity is the latest work from gobscure, a radical North East playwright and artist whose distinctive ‘brokenword’ writing style challenges conventional storytelling. The six monologues that form Edgecity, with titles including Mind The Reality Gap, Die Like Chekhov, and yu cants start revolutions sitting on yr arse, draw directly from gobscure’s own lived experiences of homelessness across the UK. These stories capture life at the margins through stunningly fragmented, poetic language — shining a light on the people and places often overlooked by society.

Joining Williamson on stage will be two other performers and Geordie turntablist Mariam Rezaei, whose live music will underscore the raw emotional power of the performance.

gobscure, who uses plural and non-binary pronouns, explained:
"We've written our whole life. The only thing making sense in the circumstances is having a voice. To have Live Theatre and Jack McNamara recognise these narratives now, and to work with a musician and performers we genuinely respect and admire, makes us so proud."

About Sleaford Mods

Emerging from Nottingham, Sleaford Mods have carved out a unique place in modern British music over the past 15 years. Known for their stripped-down beats, confrontational delivery, and biting social critiques, they’ve become one of the most important voices on class and austerity in the UK. Their songs, including underground anthems like Jobseeker, Tied Up In Nottz, B.H.S., UK Grim, and Jolly F-cker, speak directly to working-class frustration and the hypocrisies of modern Britain. With a sound that fuses minimalist punk with relentless spoken-word vocals, the duo — Williamson and musician Andrew Fearn — have attracted a fiercely loyal following and high-profile fans including Iggy Pop and Robert Downey Jr.

Jason Williamson’s natural charisma and intensely physical performance style have also made him a sought-after actor, with recent appearances in Peaky Blinders and the critically acclaimed HBO miniseries Landscapers starring Olivia Colman.

About gobscure

gobscure is an award-winning playwright, artist, and performer whose work consistently champions the marginalised and challenges social stigma. With a multidisciplinary practice that spans theatre, visual art, sound, and literature, gobscure uses art as a tool for activism and recovery, often drawing from personal experience of homelessness, mental health struggles, and life on the fringes. Their voice is unapologetically political, often infused with sharp humour, defiant resilience, and a drive to centre stories that typically go unheard.

Director’s Vision

Jack McNamara, Artistic Director of Live Theatre, directs the production. Reflecting on the project, McNamara said: "We are truly stoked to welcome Jason to Live Theatre to give voice to these amazing pieces by one of the most genuinely radical North East writers I have come across. Jason and gobscure are both artists who have glimpsed hell and know how to talk about it, but their approach is full of unexpected insight, brutal honesty and gallows humour. This collaboration is something very special."

McNamara and Williamson previously collaborated during lockdown on an Alan Moore audiobook for purgexxx records, which sparked the connection that has led to this project.

Tickets:

Edgecity runs at Live Theatre, Newcastle, from Thursday 25 to Saturday 27 September 2025, with performances starting at 7.30pm each night.

For tickets and more information, visit: www.live.org.uk

News: Live Theatre Newcastle Serves Up a Scorching Summer Season: A Preview of Unmissable Shows

 

Live Theatre Newcastle Serves Up a Scorching Summer Season: A Preview of Unmissable Shows

There’s something sizzling on the Newcastle Quayside this summer, and it’s not just the sunshine. Live Theatre Newcastle – one of the UK’s leading new writing theatres – is serving up a bold and vibrant Summer 2025 season, packed with boundary-pushing drama, laugh-out-loud comedy, powerful LGBTQ+ stories, and more than a few surprises.

For those unfamiliar, Live Theatre is a cornerstone of Newcastle’s cultural scene. Set in a beautifully restored warehouse right on the Quayside, the venue is known for nurturing new voices, championing northern talent, and creating space for theatre that sparks conversation. With its intimate setting, it offers a rare closeness between performer and audience that makes every show feel personal, immediate, and electric.

This summer, Live Theatre’s programming is nothing short of spectacular, welcoming some of the most exciting touring companies and homegrown talent to its stage.

A Season Brimming with Pride, Power and Playfulness

There’s also a literary twist with Book of Crow on Tuesday 17 June. Presented by New Writing North and Live Theatre, this genre-blurring performance is a poetic dialogue between a woman and a sardonic crow, voiced by Emmerdale’s Natalie Ann Jamieson. With live music from The Shining Levels and dance by Alicia Meehan, it promises to be an atmospheric, multi-sensory experience.

Stars, Satire, and Spectacle

The legendary Josie Lawrence arrives on Friday 20 and Saturday 21 June with What Next? – a daring, unscripted one-woman show where the audience helps shape the story. No two performances will be the same, as Josie is joined by a live musician in what’s sure to be a spontaneous and unforgettable theatrical adventure.

Later in June, Bet’n Lev Theatre’s Remythed (Tuesday 24 and Wednesday 25 June) breathes new life into ancient myths, offering a joyful and queer reimagining of legendary tales. This promises to be a thoughtful and celebratory retelling for modern times.

From Friday 27 to Sunday 29 June, the groundbreaking Trans Performance Now festival comes to Live Theatre, curated in collaboration with Northumbria University and Curious Arts. This weekend-long celebration of trans-led UK theatre and performance is a vital platform for trans voices, creativity, and stories.

If that weren’t enough, The Gallifrey Cabaret crash-lands on Friday 4 and Saturday 5 July – a cosmic, queer drag and cabaret night inspired by the sci-fi legacy of Doctor Who. Expect galactic glamour, otherworldly antics, and more than a few sonic surprises.

Returning Favourites and Fierce New Voices

A major highlight sees the return of Diana: The Untold and Untrue Story from Wednesday 9 to Saturday 12 July. Created by Awkward Productions, this award-winning, no-holds-barred drag spectacular combines multimedia, puppetry, and joyful queer chaos to reframe the story of the People’s Princess in the most hilariously irreverent way.

On Tuesday 15 and Wednesday 16 July, When We Were Young from Geez A Break Productions pulls back the curtain on 1990s gang culture in Glasgow. Forget the tabloid stereotypes – this is a funny, heartfelt, and unapologetically honest exploration of working-class life and survival.

The 90s theme continues on Thursday 17 July with It’s The Economy, Stupid! by Worklight Theatre. Set during the era’s economic turbulence, this play brings the cold facts of recession to vivid life through one family’s struggle, offering a powerful reminder of the people behind the politics.

Local experimental artist Me Lost Me (Jayne Dent) takes to the stage on Friday 18 July to launch her new album This Material Moment. With live visuals and full band support, this is set to be a boundary-pushing live music event, with support from Burd Allen.

A Grand Finale with Mark Thomas

The season wraps up with a major coup: Ordinary Decent Criminal, running Wednesday 23 to Saturday 26 July. Co-produced by Paines Plough, Live Theatre, and Ellie Keel Productions in association with Synergy Theatre Project, this new play stars the ever-provocative political comedian Mark Thomas as Frankie, a recovering addict navigating life’s next chapter. Written by Ed Edwards, it promises to be sharp, funny, and unflinchingly honest.

Why Live Theatre?

Live Theatre continues to be a vital space for stories that matter, staging work that challenges, entertains, and champions underrepresented voices. Whether you’re a regular or a first-timer, this summer season is the perfect invitation to dive in.

From laugh-out-loud comedy to raw social commentary, cosmic drag to trans-fronted theatre, this is a programme that dares to be different.

Tickets:

For tickets and full show details, visit live.org.uk or call the box office on (0191) 232 1232.