Interview: Miss Saigon at Newcastle Theatre Royal

Miss Saigon is about to land!

Miss Saigon will open its new UK tour at Newcastle Theatre Royal from Saturday 4 to Saturday 25 October 2025. Produced by Michael Harrison in association with Cameron Mackintosh, the production presents Boublil and Schönberg’s well-known musical with a new company of performers.

Chris (Jack Kane)

Cast and Creative Team

Seann Miley Moore reprises the role of The Engineer following acclaimed international performances. Filipino-Australian Moore previously received the Critics’ Choice Award for Best Performance in a Musical at the Time Out Sydney Arts & Culture Awards.

The production introduces new talent with Brit School graduate Julianne Pundan making her professional debut as Kim, and actor Jack Kane (DragonHeart Vengeance, Years And Years) as Chris. Dom Hartley-Harris (Hamilton, Dreamgirls) plays John, and Emily Langham (Singin’ in the Rain, Hello, Dolly!, The Witches) is Ellen.

Gigi (Ace), Kim (Julianne Pundan) and Ensemble

The cast also features Mikko Juan as Thuy, Ace as Gigi, Bea Ward as Alternate Kim, Aaron Teoh as Alternate Engineer, and a large ensemble including Newcastle-born Ben Fenwick.

Local Perspective – Interview with Ensemble Member Ben Fenwick

Ben Fenwick, who trained in North Tyneside as a child before pursuing professional theatre, will appear in the ensemble and also cover the role of Chris. He spoke about the significance of performing in his home city:

“It’s a huge full-circle moment to be performing at the Theatre Royal, having been here many times as a child to watch performances. I remember watching Joseph here about 17 years ago. It’s the place that inspired me to pursue my career, and I will never forget how lucky I was to have access to this building. To now be in Miss Saigon as it premieres in Newcastle is an honour.”

Ben Fenwick

Fenwick described the atmosphere of rehearsals and the opportunities of being in the ensemble:

“It’s great to be involved in a piece that encourages the ensemble to be playful and use each other to aid the storytelling. For example, Bui-Doi is one of my favourite songs of all time, yet it’s such a vulnerable moment in the show. I’m finding that this material is allowing me to grow as an actor, which I’m grateful for.”

Asked about the challenges of staging the production, he highlighted the early sequences:

“The most difficult number so far is probably Dreamland near the opening because it is so detailed and fast-paced. It uses lots of props, plus the revolving stage, which takes a bit of getting used to.”

Working with experienced performers has also been a valuable learning opportunity:

“Seann is one of the most fearless performers I have ever worked with. They are constantly reminding me to be brave and make bold choices.”

Looking ahead, Fenwick expressed interest in a variety of future roles:

“I would love to do a Sondheim at some point. Sweeney Todd is one of my favourites. I’m also keen to explore screen acting and plays. I’m open-minded to whatever the future holds.”

The Engineer (Seann Miley Moore) and Kim (Julianne Pundan) 

He also offered advice to aspiring performers in the North East:

“Watch as much as you can, even the unheard-of stuff. Research the industry and read play scripts and books on acting technique that are easy to understand. Try and join a stage school if you can, and listen to soundtracks beyond the mainstream. From there, you can build a repertoire and find songs you really like.”

Rehearsal Photos: Danny Kaan Photography 

Tickets:

Miss Saigon runs at Newcastle Theatre Royal from Saturday 4 to Saturday 25 October 2025. Tickets are available at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.

Preview: Mamma Mia at Newcastle Theatre Royal

MAMMA MIA! – Still Having the Time of Our Lives

Few musicals can boast the kind of global success that MAMMA MIA! has achieved. Since premiering in London’s West End in 1999, Judy Craymer’s joyous production has grown into a cultural phenomenon, weaving ABBA’s unforgettable hits into a heartwarming and hilarious tale of love, friendship, and family set against the sun-soaked backdrop of a Greek island.

Now in its 26th year, the musical has been seen by over 70 million people worldwide, spawning two record-breaking films and establishing itself as one of the most successful stage shows of all time. In London alone, it has played more than 10,000 performances and shows no signs of slowing down. Its unique blend of irresistible music, uplifting storytelling, and sheer feel-good energy continues to draw audiences of all ages.

That energy will be lighting up the North East very soon, as the full casting has now been announced for the sensational feel-good musical MAMMA MIA! which will stop off at Newcastle Theatre Royal from Wednesday 11 to Saturday 28 February 2026 during a brand-new UK tour. Jenn Griffin takes the lead as Donna Sheridan, with Ashleigh Jones as Alternate Donna Sheridan, Rosie Glossop as Rosie, Sarah Earnshaw as Tanya, Luke Jasztal as Sam Carmichael, Richard Meek as Harry Bright, Mark Goldthorp as Bill Austin, Lydia Hunt as Sophie Sheridan, Joe Grundy as Sky, Bibi Jay as Ali, Eve Parsons as Lisa, Joseph Vella as Pepper, Ethan Casey-Clothier as Eddie and William Hazell as Father Alexander. Further casting includes Brook Blackford-Jenkins, James Brice, Aled Davies, Rebecca Donnelly, Ryan Ebbrell, Erin-Sophie Halliday, Marisa Harris, Natorii Illidge, Jay Jobarteh, Sarah McFarlane, Jacob Morrish, Rachel Oates, Megan Speirs, Cameron Sutherland, Richard Vorster and Maisy Wignall.

Leading the company as Donna Sheridan is Jenn Griffin, who trained at Guildford School of Acting and has already played the role as Alternate Donna in the West End. She brings both powerhouse vocals and heartfelt warmth to this iconic character. Ashleigh Jones, also no stranger to MAMMA MIA!, joins as Alternate Donna after performing in the international tour and on board Royal Caribbean’s production of the show. Rosie Glossop, a seasoned performer with credits including Come From Away and Priscilla Queen of the Desert, steps into the role of Rosie, while Sarah Earnshaw, well known for her roles in Wicked and Spamalot, takes on the glamorous Tanya.

Among Donna’s “three possible dads” are Luke Jasztal as Sam Carmichael, having previously played the role in the West End; Richard Meek as Harry Bright, whose extensive credits include The Rocky Horror Show and Hairspray; and Mark Goldthorp as Bill Austin, a versatile actor with experience in Mary Poppins, Sunset Boulevard and Les Misérables. The younger generation of the cast is led by Lydia Hunt as Sophie Sheridan, fresh from her Off West End Award-nominated performance as Tinkerbell in Peter Pan, alongside Joe Grundy as Sky, who trained at ArtsEd and recently appeared in the UK premiere of Cry-Baby.

From West End to global phenomenon, MAMMA MIA! is Judy Craymer’s ingenious vision of staging the storytelling magic of ABBA’s timeless songs with a sunny, funny tale of a mother, a daughter and three possible dads unfolding on a Greek island idyll. Judy Craymer, creator and producer of MAMMA MIA!, said, “I’m delighted to announce this 2025 UK tour cast of MAMMA MIA! and excited for them to step into these roles. Our much-loved musical tells the story of a mother, a daughter and three possible dads, inspired by ABBA’s irresistible hits. We can’t wait for audiences across the country to escape to our Greek island idyll and have the time of their lives!”

This irresistibly funny show has been thrilling audiences all around the world and now there’s never been a better time to see this unforgettable musical. Whatever age you are, you can’t help but have the time of your life at MAMMA MIA! Now in its 26th year, the show has been seen by over 11 million people and has played over 10,000 performances in London’s West End. The MAMMA MIA! International Tour has visited 42 countries in the past 20 years, performed more than 3,900 shows and been enjoyed by over 7.7 million people. On Broadway, it became the ninth longest-running show in history with a record-breaking 14-year run, before recently returning to the Winter Garden Theatre. In 2011, it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China.

The show’s legacy also extends beyond the stage. MAMMA MIA! has been turned into two hugely successful films. Produced by Judy Craymer, MAMMA MIA! The Movie became the highest-grossing live action musical film of all time upon its release in 2008. A second film, MAMMA MIA! Here We Go Again, opened in July 2018 and became the most successful live musical movie sequel of all time. Both films featured a star-studded cast including Meryl Streep, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Amanda Seyfried and Dominic Cooper, with Lily James, Andy Garcia and Cher joining for the sequel.

With music and lyrics by Benny Andersson and Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. The production is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce and Bobby Aitken, and musical supervision, additional material and arrangements by Martin Koch.

The MAMMA MIA! UK Tour is produced by Judy Craymer, Richard East and Björn Ulvaeus for Littlestar in association with Universal Music Group and NGM.

Photography of previous production by Brinkhoff-Mögenburg

Tickets:

Newcastle audiences will have the chance to experience the magic first-hand when the production plays at Newcastle Theatre Royal from Wednesday 11 to Saturday 28 February 2026. Tickets are available now at www.theatreroyal.co.uk/whats-on/mamma-mia/.

Preview: Home, I’m Darling at Newcastle People's Theatre

Home, I’m Darling 

Newcastle People's Theatre

Tuesday 30 September - Saturday 4 October 2025

Step back into the 1950s this autumn as the People’s Theatre in Heaton presents Home, I’m Darling, Laura Wade’s Olivier Award-winning comedy about marriage, nostalgia, and the pursuit of the “perfect” home life.

The play follows Judy, who has given her world a retro rebrand, swapping modern life for the glamour of a 1950s housewife. Her days are filled with vintage frocks, cocktails, and carefully polished surfaces, creating what looks like an ideal picture of domestic bliss. But as the cracks start to show, Judy is forced to confront uncomfortable questions about love, happiness, and the realities of married life.

Directed by Eileen Davidson, the People’s Theatre production promises sharp humour, stylish design, and moments of heartfelt drama, inviting audiences to step into Judy’s dream world while questioning whether the past is really as idyllic as it seems.

This is the first Main Stage play of the People’s Theatre’s new season and continues their commitment to presenting award-winning contemporary works alongside classic repertoire. The show is brought to life by their talented membership, with Kay Edmundson as Judy, Sam Burrell as Johnny, Steph Moore as Fran, Sam Hinton as Marcus, Sara Jo Harrison as Alex, and Jo McEvedy as Sylvia.

Tickets:

Home, I’m Darling runs from Tuesday 30 September to Saturday 4 October 2025 at 7.30pm. Tickets are priced at £16 / £13.50 and are available from the People’s Theatre Box Office on 0191 265 5020 or online at www.peoplestheatre.co.uk.

Photos: Paul Hood

Preview: Private Lives at Newcastle Northern Stage

Private Lives 

Newcastle Northern Stage 

Tuesday 4 – Saturday 8 November 2025

Noël Coward’s Private Lives, directed by the up-and-coming Tanuja Amarasuriya, arrives at Northern Stage from 4-8 November 2025 in a co-production with Octagon Theatre Bolton, Mercury Theatre, and Rose Theatre, supported by The Royal Theatrical Support Trust. It promises elegance, wit, emotional turbulence — and plenty of sparks.

What is Private Lives

First staged in 1930, Private Lives is one of Coward’s best-known comedies of manners. It centres on Amanda and Elyot, a divorced couple who, while honeymooning with their new spouses in neighbouring suites at a French hotel, accidentally (or perhaps fatefully) run into each other. Despite having divorced for good reason, their mutual attraction re-ignites, and what follows is a volatile interplay of romance, nostalgia, irritation, jealousy, and comedy. The play juggles glamorous social settings and sparkling dialogue with darker undercurrents of emotional conflict.

Themes include the tension between public decorum and private desire, the absurdity and pain of human relationships, and how love, even when familiar, can be unpredictable and destructive as much as it is intoxicating. 

What makes this production distinctive

• Director: Tanuja Amarasuriya, winner of the 2024 RTST Sir Peter Hall Director Award, brings a modern sensibility to classic texts. She is known for atmospheric, emotionally rich work, often exploring identity, culture clash, and immersive storytelling.

• Access: Several performances are access-friendly: BSL interpretation, captioning, audio description, and touch tours are offered. This enhances inclusivity for the region’s audiences.

What audiences might expect

• Glamour & period style: The play is set in 1930s France, a setting ripe for art deco glamour, elegant costumes, sun-splashed terraces, hot nights — elements that often serve both aesthetic appeal and dramatic contrast.

• Sharp wit & rapid dialogue: Expect Coward’s signature verbal sparring, irony, and the kind of humour that cuts as much as it charms. The emotional stakes are real, even in comedy.

• Intense emotional swings: The love-hate cycle between Amanda and Elyot includes laughter, longing, anger — sometimes physical tension. The “outrageous battles” of the promotional copy are not just comedic but grounded in genuine emotional messiness.

• Relevance: Though written nearly a century ago, many find that the play’s observations about relationships, the masks people wear, regret, desire and the difficulty of change still ring true. In the words of Amarasuriya, these are “bittersweet truths about the complex difficulties of relationships,” with characters that feel “modern” in their contradictions.

• The play is recommended for age 14+ due to physical violence, smoking, alcohol, and emotionally intense scenes; some of the conflict may be uncomfortable but is part of what gives the play its power.

Why this matters for our region?

Northern Stage is a key venue in the region for presenting both established classics and fresh takes, and this production seems to bridge that divide: a classic Coward text reinterpreted by a director with a contemporary, inclusive vision. For local audiences, it offers both nostalgia and relevance — for those familiar with Coward, a chance to see something new; for those less so, an accessible entry into what comedy of manners can offer: laughter, glamour, and surprising emotional depth.

Photos: Pamela Raith

Tickets:

https://northernstage.co.uk/whats-on/private-lives/

Access Performances

Audio described - Fri 7 Nov, 7:30 pm

BSL - Wed 5 Nov, 7:30 pm

Captioned - Fri 7 Nov, 7:30 pm

News: Blonde Ambition Comes to the North East: Legally Blonde Heads to Newcastle and Sunderland in 2026

Blonde Ambition Comes to the North East: Legally Blonde Heads to Newcastle and Sunderland in 2026

The North East has always had a soft spot for big, bold musical theatre, and in 2026 one of Broadway and the West End’s most vibrant success stories will strut its way into the region. Legally Blonde The Musical, the hit rom-com turned stage sensation, will visit both Newcastle Theatre Royal (12–17 May 2026) and the Sunderland Empire (1–5 December 2026) as part of its brand-new UK and Ireland tour, with Amber Davies starring in the iconic role of Elle Woods.

For local theatre-goers, the announcement is a cause for celebration. Not every national tour stops off at both Newcastle and Sunderland — two venues that are cornerstones of the North East’s cultural calendar. Together, they ensure the region’s audiences don’t miss out on the kind of blockbuster musicals that often dominate West End marquees.

A North East Stage Legacy

Theatre Royal and Sunderland Empire both have proud histories of hosting large-scale touring productions. The Theatre Royal, with its rich Georgian heritage and reputation for high-quality programming, often draws loyal audiences who relish seeing the latest London hits without leaving Tyneside. Meanwhile, Sunderland Empire, one of the largest theatres in the country, is famed for welcoming spectaculars on a grand scale — from Disney classics to Andrew Lloyd Webber epics.

That Legally Blonde will stop at both venues highlights not only the show’s enduring popularity but also the North East’s status as a region where musical theatre thrives. For years, audiences here have supported productions with gusto, often selling out runs well in advance. From the standing ovations at Kinky Boots to the electric buzz of Wicked and The Lion King, the North East has become a vital stop on any major tour.

Amber Davies: Elle in the Spotlight

At the heart of this new production is Amber Davies, who has carved out a significant career on the musical stage. Best known to TV audiences as the 2017 winner of Love Island, Davies has since built an impressive CV, taking leading roles in Pretty Woman, Back to the Future, and 9 to 5. Now, she faces her biggest challenge yet: stepping into Elle Woods’ pink heels.

Davies herself has called the role “the part of a lifetime,” describing Elle as an icon who proves brains, determination and individuality matter more than appearances. For audiences in Newcastle and Sunderland, this is a chance to see a rising star at the top of her game in a role that demands charisma, comedy, and powerhouse vocals in equal measure.

Why It Matters for the North East

When Legally Blonde first hit Broadway in 2007, it quickly developed a loyal following. Its infectious songs, tongue-in-cheek humour, and heartwarming message made it a crowd-pleaser. For North East audiences, its arrival in 2026 is about more than nostalgia — it’s part of a larger story about the region’s place in the UK’s cultural map.

Theatre Royal and Sunderland Empire have worked hard to attract first-class productions, and in doing so, they’ve helped nurture a theatre-going culture that stretches across Tyneside, Wearside, and beyond. For many, a visit to these venues is more than just a night out — it’s a tradition, a family occasion, or the spark that ignites a lifelong love of the stage.

By bringing Legally Blonde here, producers are recognising what local audiences already know: that the North East doesn’t just welcome major musicals, it embraces them wholeheartedly.

What to Expect

Directed by Curve’s Artistic Director Nikolai Foster (whose recent successes include Kinky Boots and The Wizard of Oz), this fresh staging promises to combine playful spectacle with emotional depth. Elle’s journey from sorority queen to Harvard Law star will be brought to life with vibrant choreography, Laurence O’Keefe’s infectious score, and all the glittering energy that has made Legally Blonde a fan favourite worldwide.

And while Elle Woods might be heading to Harvard on stage, in 2026 her heart will belong firmly to the North East — for two unmissable runs that are sure to bring plenty of pink, pizzazz and power to Newcastle and Sunderland alike.

Legally Blonde The Musical – North East Dates

• Newcastle Theatre Royal: Tue 12 – Sun 17 May 2026 | www.theatreroyal.co.uk | 0191 232 7010

• Sunderland Empire: Tue 1 – Sat 5 Dec 2026 | atgtickets.com/sunderland-empire

Review: Friends! The Musical Parody at Sunderland Empire

 

Friends! The Musical Parody

Sunderland Empire

Until Saturday 27 September 2025

The one in which they started to sing...

Friends was one of the most popular of the 90s sitcoms. Running for 10 series from 1994, a total of 236 episodes were made (plus a reunion special). These were characters that defined an era in American television and thus ripe for turning into a musical. This, though, is a parody of a comedy which starts at the beginning and tries to finish where they ended up in the final episode.

The safety curtain lifted to reveal a set that was based on the soundstage of a television studio. A warm up guy comes on to get the audience in the mood as the set up is that we are the audience for a live taping of the show. Soon the door is revealed before the sofa and window, with "Central Perk" are both rolled onto the stage. The coffee shop owner Gunther starts a story before remarking that that will be it for his lines in the show. Then we have eccentric Phoebe (Amelia Atherton), brother and sister Monica (Alicia Belgarde) and Ross (Enzo Benvenuti), excitable Joey (Ronnie Burden) and Chandler (Daniel Parkinson) pointing out how much time they spend drinking coffee. Rachel (Eve Hope) pops into the shop wearing a wedding dress as she has just stood up her groom at the alter and they immediately become friends.

This is a parody, so the change of scene to Monica's flat is accompanied by a song that points out the unlikelihood of what we are about to accept, that Monica can afford a large flat in a great area on her single income. From this point the show struggles on two fronts. One is that the lack of a story, a linear progression beyond who is dating who, leaves a vacuum in the experience as not much actually happens. Secondly, the parody elements get in the way of a story breaking out as they expect the audience, one that loves these characters and wishes to spend some time with them again,  to take issue with the ridiculous set up, around which the original television series was set.

I hoped that matters would improve in the second act but a decision had been made to hit fast forward in order to get to the final episode in the remaining time. Whilst the original programme tried to offer a coherent exposition, we were left with the scattered remnant that only a committed fan would be able to piece together.

It is a musical, but I struggled to hear the lyrics for some of the songs. In fact I cannot remember any of the songs once I got home.   

There are some positives in that the cast worked hard and certainly looked the part. The costumes (Jennie Quirk) and wigs (Craig Forrest-Thomas) helped with the trip down memory lane. Certainly the set (Andrew Exeter) and crew enabled the action to flow without a break.

As someone who watched the shows, back in the day, I was looking forward to seeing this show. But ultimately the tangle of incoherent vignettes wrapped around forgettable songs left one feeling  that this was a missed opportunity. Don't get me wrong: some of the audience were laughing and getting involved when the fourth wall was broken - but that was mainly during the warm up act at the start of each act. The cast, I believe, had the capacity to deliver a more entertaining and satisfying show but the material wasn't up to it. 

Having said that, that's just my opinion and you may disagree and love it. It would be a boring world if we all loved the same things.

Review: Stephen Oliver

Photos: Pamela Raith

#ad Tickets: — Tickets are on sale at the Sunderland Empire box office or online via ATG Tickets ONLINE LINK.

🎟️ Essential Info:

📍 Venue: Sunderland Empire
📅 Dates: Monday 22 – Saturday 27 September 2025
⏱️ Running Time: TBC
🔞 Recommended Age: 13+ (contains strong language and adult humour)
🎭 Produced by: Mark Goucher, Matthew Gale & Oskar Eiriksson
💡 Created by: Bob & Tobly McSmith | Music: Assaf Gleizner | Design: Andrew Exeter

News: Shildon’s Anniversary Picnic Brings Railway History to the Stage

 

Shildon’s Anniversary Picnic Brings Railway History to the Stage

This weekend, Shildon will do more than commemorate its proud role in railway history—it will transform it into live theatre. On Saturday 27 September, Hackworth Park becomes a stage where the story of the world’s first passenger railway is retold not through textbooks or exhibitions, but through dance, music, and powerful storytelling.

At the heart of the celebration is STEAM, a newly commissioned performance by Southpaw Company. This is not a static retelling of history but an immersive piece of theatre, weaving together mass movement, striking visuals, and narrative drama. The performance reimagines the determination of pioneers like Timothy Hackworth, George Stephenson, and Edward Pease, whose combined ingenuity reshaped travel and industry forever. For audiences, it promises to be both a history lesson and a visceral, live spectacle.

The Anniversary Picnic isn’t just about looking back—it’s about making history come alive for today’s community. Alongside STEAM, the day’s programme showcases The Auckland Shanty Singers, Easington Brass Band, folk musician Sam Slatcher, and the Railway Institute Singers. Together, these performances create a rolling tapestry of sound and story that speaks to the spirit of Shildon as the world’s first railway town.

Theatre, of course, thrives in community settings, and this event captures that perfectly. From vintage funfair rides and crafts to performances timed across the afternoon, Hackworth Park becomes an open-air theatre where families, history enthusiasts, and casual visitors alike can gather and experience culture woven into heritage. Even the act of sharing a picnic—with free lunches provided by local organisations—becomes part of the theatre of togetherness.

Cllr Karen Allison of Durham County Council has described Shildon as being in the global spotlight this year, and she’s right. But what makes this picnic remarkable isn’t only its historical significance—it’s the way it brings history alive through performance. In a world where heritage is often confined to museums and archives, Shildon is daring to stage it in the open air, as living, breathing theatre.

If you only attend one event in the S&DR200 celebrations, make it this one. See history come to life, hear it sung, feel it danced, and remember it together.

The Anniversary Picnic will feature the performances at the following times:

12pm - The Auckland Shanty Singers

12.30pm - STEAM by Southpaw

1.10pm - Easington Brass Band

1.50pm - Sam Slatcher

2.25pm - Railway Institute Singers

2.50pm - STEAM by Southpaw

3.30pm - Easington Brass Band

There will also be many other events taking place in Darlington and Tees Valley across the weekend. To view the full programme, visit www.sdr200.co.uk .

Preview: Waitress at Sunderland Empire

A Slice of Broadway Magic Comes to Sunderland: Waitress Heads to the Empire in 2026

Waitress 

Sunderland Empire

Monday 4 - Saturday 9 May 2026

Sunderland’s theatre scene is set to welcome a big helping of sugar, butter, and flour in 2026, as the smash-hit romantic musical comedy Waitress is confirmed for a week-long run at the Sunderland Empire. Producers Barry & Fran Weissler and David Ian for Crossroads Live have announced that the much-loved show will visit Wearside from Monday 4 May to Saturday 9 May 2026, bringing with it a heartfelt story, unforgettable songs, and a whole lot of pie.

For those who haven’t yet had the pleasure, Waitress is no ordinary musical. Based on Adrienne Shelly’s 2007 indie film of the same name, the show has won legions of fans thanks to its sharp blend of humour, romance, and empowerment. Its score, written by Grammy Award-winning singer-songwriter Sara Bareilles, has become a modern classic—filled with heartfelt ballads and toe-tapping numbers that capture the bittersweet flavour of everyday life. Jessie Nelson provides the book, while Tony Award-winning director Diane Paulus and choreographer Lorin Latarro round out a creative team that has ensured the show’s global success.

The story follows Jenna, a waitress and expert pie maker stuck in a loveless marriage, who discovers that a local baking contest—and the town’s handsome new doctor—might just offer her the fresh start she’s been yearning for. Alongside her loyal fellow waitresses, Jenna learns that the recipe for happiness is never straightforward, but it can be found with courage, friendship, and a little faith in yourself.

Since making its Broadway debut at the Brooks Atkinson Theatre in 2016, where it played until 2020, Waitress has risen to become a true international hit. London’s West End production at the Adelphi Theatre opened in 2019 to rave reviews, and the show has since spread its magic to audiences in Japan, Holland, Canada (in French), Mexico (in Spanish), and across North America. The 2026 tour marks a much-anticipated return to UK and Irish stages.

While casting for the Sunderland run is still under wraps, anticipation is already building. The production promises to deliver the same warmth, wit, and soul that has won over audiences worldwide. Whether you’re a musical theatre enthusiast, a fan of Sara Bareilles’ music, or simply in search of a feel-good night out, Waitress is set to be a delicious treat for the North East.

Photos from Previous Production [Montreal] by Marie-Andrée Lemire

#ad Tickets:

Tickets are now on general sale via ATGTickets.com/Sunderland*. Given the show’s reputation and its limited one-week run at the Empire, early booking is strongly advised—because much like a slice of Jenna’s best pie, seats are sure to sell fast.

*A £3.95 transaction fee may apply to online bookings.

Preview: Woman In Mind at Sunderland Empire

Sheridan Smith Returns in Ayckbourn’s Woman in Mind

Woman In Mind

Sunderland Empire

Wednesday 4 - Saturday 7 March 2026

Few living playwrights have reshaped British theatre as profoundly as Alan Ayckbourn, and few actors today command the same mix of critical acclaim and popular affection as Sheridan Smith. Their creative worlds will soon collide in a major new production of Woman in Mind, which opens in the West End this December before heading to just two regional theatres – Sunderland Empire (4–7 March 2026) and Theatre Royal Glasgow (10–14 March 2026). Tickets for Sunderland are now on sale.

A Play of Two Worlds

First staged in 1985, Woman in Mind is among Ayckbourn’s boldest and most psychologically adventurous works. Unlike his comedies of suburban mishap, this play places us directly inside the mind of its central character, Susan, a woman whose bump on the head prompts a split in her perception of reality. Audiences are drawn into both her drab, frustrating domestic life and the vibrant imagined world she creates, until the two intertwine with unsettling results.

Ayckbourn himself once described the play as his most personal, exploring loneliness, disillusionment, and the fragile boundary between imagination and breakdown. In the hands of director Michael Longhurst – acclaimed for his inventive, emotionally charged productions (Constellations, Amadeus) – this revival is likely to combine fidelity to Ayckbourn’s wit with fresh theatrical daring.

Sheridan Smith at the Centre

Sheridan Smith’s involvement is the headline draw. The Olivier-winning actress has proven her ability to command both comic sparkle and dramatic intensity, from Legally Blonde to Shirley Valentine. Her TV roles, too – from Cilla to Mrs Biggs – have made her a household name. That versatility is likely to serve her well in Woman in Mind, a role demanding rapid switches between sardonic humour, emotional vulnerability, and surreal fantasy.

Smith’s recent return to the Duke of York’s Theatre in Shirley Valentine sold out quickly, suggesting her upcoming run there (9 December 2025–28 February 2026) will generate similar demand. For audiences in Sunderland and Glasgow, her arrival offers a rare chance to see a West End-calibre performance outside London.

A Creative Team with Pedigree

Longhurst is joined by set and costume designer Soutra Gilmour, whose distinctive visual storytelling (Cabaret, Yerma) will be key in shaping the blurred realities of Susan’s world. The production also features lighting by Lee Curran and sound design by Paul Arditti – both established collaborators on projects that demand precision and atmosphere.

Why It Matters Locally

The Sunderland Empire engagement is especially notable. The city has hosted major touring musicals and pantomimes, but straight plays with this level of West End prestige are less common. For North East theatregoers, Woman in Mind represents not just another production on the calendar but an event: the opportunity to see a leading British star in one of Ayckbourn’s most daring works, staged by a top-tier creative team.

Balanced Expectations

Still, Woman in Mind is not a conventional crowd-pleaser. Its fragmented narrative, shifting tones, and ambiguous conclusion can be disorienting, even unsettling. Some may find the play darker and more demanding than Ayckbourn’s more familiar comedies. Yet that is also the reason this revival feels timely: in an era of widespread conversation about mental health and hidden struggles, Susan’s fractured perceptions may resonate more powerfully than ever.

Final Word

This production promises a fusion of heavyweight talent, classic writing, and contemporary relevance. For Ayckbourn devotees, Smith admirers, or anyone curious about theatre that combines humour with psychological depth, Woman in Mind looks to be one of the most anticipated stage events of the coming season – whether in London, Sunderland, or Glasgow. 

Photos: Oliver Rosser

#ad

Tickets are now available from ATG Tickets: https://www.atgtickets.com/shows/woman-in-mind/sunderland-empire/

REVIEW: Dolly Peel – Rebel on the Tyne at South Shields Customs House

Dolly Peel – Rebel on the Tyne 

South Shields The Customs House

Until Saturday 20 September 2025

In the third annual presentation from their First Play Club, The Customs House turns a spotlight onto legendary South Shields character, Dolly Peel. Four short plays by different writers, supported by original songs, give a account of her life and tell stories inspired by her legacy. It makes for an intriguing evening of contrasts, vigorously performed by a talented cast.

Immortalised by a statue in the town, Dolly Peel was a strong, resourceful character known for her courage and wit. A fishwife by day and a smuggler by night, she was a fierce defender of local men against the naval press gangs that kidnapped them to serve in the navy during the Napoleonic wars. When she could not prevent her husband and son from being taken, she stowed away on their ship, becoming a nurse and ultimately winning their freedom. In addition, she was known for writing verse and entertaining shoppers with her lively banter.

Unsurprisingly, this multi-faceted woman and her eventful life provide a rich vein for the four playwrights to mine, and each one takes a very different approach.

The first piece is The Smuggler’s Daughter by Emma Zadow, set in 2045. A 17-year-old Dolly, inspired by her namesake’s courage, is using illegal broadcasting to fight against the gentrification of the town and the demolition of the last council estate in South Shields. When a local policeman comes to their flat, her mother takes the blame and gives the hapless man more than he bargained for, as Dolly mobilises the local population into a united protest.

Bright and engaging, with a fierce energy, Helen Chong makes her Dolly a worthy inheritor of her namesake’s legacy and Emma Crowley-Bennett gives her mother a relatable disillusioned wisdom. It makes a rousing curtain raiser, with Paige Temperley’s music providing the climax.

Cleaning Up by John Dawson depicts the way a young man, overprotected by his mother, becomes vulnerable to the misogynist and sexist narratives of right-wing influencers. Gaz Thompson gives a believable portrayal of the troubled teenager, gradually peeling back the layers of his anger. Stephanie Butson is sincere as his anxious mother, trying to reach out to the boy he was with remembered tales of Dolly Peel and her verses. This is a good attempt at analysing an important subject, understandably a difficult watch, though it feels like it could be refined further.

Tom Kelly’s Finding Dolly comes next, with a South Shields couple at a crossroads in their lives, trying to find a way forward. The wife uses Dolly’s story to encourage her husband, an earnest but dithering Mark Akinfolarin, to stop complaining and take action. Meanwhile, the three other actors all embody Dolly and portray different elements of her remarkable story. It is an entertaining piece, full of Kelly’s characteristic empathy and good nature.

Janet Plater’s Dolly Peel of Shadwell Street depicts an imagined incident in Dolly’s life as she combines her hustling with fixing up a job for a friend’s husband, through her acquaintanceship with the town’s MP. This piece makes a virtue of necessity, drawing humour from Mark Akinfolarin’s quick changes to portray multiple characters. This is deftly handled, in line with Georgie Rankcom’s imaginative and confident direction throughout.

After the various perspectives applied to Dolly so far, it is comforting to end with a simple narrative depiction of her in her own time, and another lively song provides a stirring curtain call.

Using a central character is a clever way to bring a kind of unity to an evening of short plays. This is further aided by the songs and the director’s consistent approach. The evening’s 90 minutes, with no interval, passed quickly and who can say fairer than that?

Review: Jonathan Cash

Tickets:

Dolly Peel – Rebel on the Tyne at South Shields The Customs House

📅 Wednesday 17 – Saturday 20 September 2025
🎟️ Tickets from £10
📍 The Customs House, Mill Dam, South Shields
🔗 Book now