REVIEW: Fixing at Newcastle Alphabetti

Fixing

Newcastle Alphabetti Theatre

Until 28 February 2026

then on tour.

Matt Miller returns to Alphabetti with the third show that he has collaborated with Peader Kirk. This time around they are both fixing cars in a holistic car maintenance programme over 8 weeks, whilst also discussing the relationship that they enjoyed with his father and younger sister.

Matt initially appears in their overalls as Natalie Spanner - a lecturer in car maintenance - and they make it clear that there will be some interaction with the audience as they explain the workings of a car from the sump plug through to the engine. This phase of the show is kept light hearted and entertaining. On the night that we were there the audience got involved with everything from pretending to be a car starting up though to a pair of jump leads. Because the audience were up for it this part of the show worked well.

Soon Natalie has asked everyone to close their eyes and think about a moment in a car whilst there is a quick costume change which, in turn, signals the move over to a really personal story. Back in the 90s they spent Fridays with their recently divorced father. He would pick them up in a 1952 Sunbeam Talbot Mark II before taking them to Stargate chippy for their tea. [Which incidentally is an excellent move as it still a great chippy - I digress, this isn't a food review about our nearest take away!] He'd then drive them around the corner to his house which had a nearby allotment and garage. Matt recalls the experience of these visits and the car trips in between using a car that had neither rear seatbelts nor flashing indicators.

The show then toggles between the two situations: how to maintain a car and how to maintain a relationship , both with effective maintenance. The result is a a production that feels like it quickly reaches a conclusion over 75 minutes. The power is in the reflective element as the audience consider their own situation and relationships. There's no big unnecessary gear changes in the story for shock value here. Instead there's a grounded fable that feels authentic. 

The show feels light thanks to Natalie's rapport with the audience from the off. It is also a moving story that is one the audience can relate to. Fixing is another reminder that the region is capable of creating powerful theatrical experiences that represent our fabulous diverse community.

Review: Stephen Oliver

Photos: Von Fox

The tour: 

Saturday 28 February   Alphabetti Theatre, Newcastle 

www.alphabettitheatre.co.uk/fixing 

Thursday 5 March    Barnsley Civic

barnsleycivic.co.uk/event/fixing

Friday 6 March  Nottingham Playhouse 

nottinghamplayhouse.co.uk/events/fixing

Saturday 7 March   ARC Stockton Arts Centre

arconline.co.uk/whats-on/fixing

Thursday 12 March    Stanley Arts, London

stanleyarts.org/event/fixing 

Wednesday 25 March      The Spring Arts Centre, Havant 

www.thespring.co.uk/event/fixing

Friday 27 March       Ripon Theatre Festival

www.ticketsource.co.uk/ripon-theatre-festival/fixing

Friday 10 April         Lowry, Salford 

thelowry.com/whats-on/fixing-dwx9

Saturday 11 April  Slung Low, The Warehouse In Holbeck, Leeds

www.slunglow.org/shows

Friday 17 April   Attenborough Arts Centre, Leicester 

attenborougharts.com/whats-on/fixing-by-wild-open-hearts

Preview: Our Friends in the North 1979–84 at Newcastle Theatre Royal

 

Our Friends in the North Returns Home: An Iconic Saga Takes to the Stage

Our Friends in the North

Newcastle Theatre Royal

Thursday 15 - Saturday 24 October 2026. 

Thirty years after it first gripped the nation on BBC Two, Peter Flannery's landmark drama Our Friends in the North is coming back to Newcastle — this time, live on stage. In a major co-production between Live Theatre, Eastlake Productions and Newcastle Theatre Royal, this boldly reimagined theatrical adaptation promises to be one of the most significant cultural events the North East has seen in years.

When Our Friends in the North first aired on 26 February 1996, it arrived like a bolt of electricity through British television. A sweeping, nine-part epic charting three decades of political upheaval, social change and deeply personal reckoning through the lives of four Geordie friends — Tosker, Geordie, Nicky and Mary — it launched the careers of Daniel Craig, Christopher Eccleston, Gina McKee and Mark Strong, scooped BAFTA Awards for Best Drama Series and Best Actor, and cemented its place as one of the most important pieces of British storytelling ever committed to screen.

Now, thirty years on to the very day of that original broadcast, comes the announcement that feels both inevitable and thrilling: Our Friends in the North is coming home. Not to a screen, but to a stage — specifically, the grand Victorian stage of Newcastle Theatre Royal, where it will receive its world premiere this October.

The new production, titled Our Friends in the North 1979–84, has been adapted for the stage by Live Theatre's Artistic Director Jack McNamara in close collaboration with Peter Flannery himself — the original screenwriter. McNamara will also direct. Rather than attempt to compress all nine episodes of the television series into a single theatrical evening, this version takes a focused lens on the Thatcher years, exploring a period of seismic rupture in British political and social life, and asking how those national shifts played out in the everyday lives of ordinary people in the North East.

A Story Rooted in Place

What makes this production particularly meaningful is the ambition behind its making. This is not a London production parachuting into the regions — it is a story born of the North East, made by the North East, for the North East and beyond. The co-production brings together three of Newcastle's most vital cultural organisations, all of whom share a commitment to telling stories rooted in place and community.

Live Theatre, based on the Quayside and widely regarded as one of the country's most important new writing spaces outside London, provides the creative heartbeat of the project. Newcastle Theatre Royal — one of only nine Grade I listed theatres in the country — provides the iconic stage on which this epic story will unfold. And Eastlake Productions, the Newcastle-based production company led by Jamie Eastlake, brings the producing expertise to realise the production at the scale its subject matter demands.

The three organisations have form together. Their previous collaboration, Gerry & Sewell — a football drama adapted from Jonathan Tulloch's novel The Season Ticket — sold out at Live Theatre in 2023 before transferring to the Theatre Royal in 2024 and then travelling to London's Aldwych Theatre for a critically acclaimed West End run in January 2026. That trajectory demonstrated convincingly that stories from the North East, when told with ambition and craft, can speak to audiences far beyond the region. Our Friends in the North arrives with even greater expectations.

The Voices Behind the Production

Jack McNamara, who has shaped Live Theatre's artistic vision with considerable distinction, speaks with evident passion about the project. Describing Our Friends in the North as "one of the great national sagas of our time," he has spoken of the renewed force these stories carry in today's political climate, and of the particular significance of bringing the narrative back to the community that inspired it — working closely with Flannery to ensure the stage adaptation honours the original while finding fresh theatrical life.

Live Theatre's Executive Director Jacqui Kell has emphasised that this production represents exactly the kind of ambitious, collaborative work the organisation exists to champion — arguing that the combination of Live Theatre's new writing expertise and Eastlake Productions' producing experience has made it possible to realise the play at a scale truly worthy of its legacy.

Marianne Locatori, CEO of Newcastle Theatre Royal, has described the world premiere as "a special moment" for the theatre, its audiences and for the region as a whole — underlining the Theatre Royal's ongoing commitment to presenting and supporting work made in the North East on its grand stage. Jamie Eastlake, meanwhile, frames the production as a full circle moment: "Our Friends in the North is a story that could only have come from this place," he has said, capturing the unmistakable sense that this production is as much about civic pride as it is about theatre.

What to Expect

While the production is still in development — casting has yet to be announced, though auditions are being held locally as part of a commitment to showcasing North East talent — the shape of the piece is already compelling. By concentrating specifically on the years 1979 to 1984, the production places the four central characters in the eye of the Thatcherite storm: the decimation of traditional industries, the fracturing of communities, the collision of personal hope with political reality.

For those who grew up watching the original series, this will be a chance to encounter familiar characters and an era-defining narrative in a bold new theatrical form. For those coming to the story fresh, it promises an urgent and emotionally charged portrait of a Britain in transformation — one that, given the current political moment, may feel startlingly contemporary. This is, after all, not merely a piece of regional nostalgia. It is a story about power, community, betrayal and resilience that speaks directly to questions we are still living with today.

Tickets:

Our Friends in the North 1979–84 plays Newcastle Theatre Royal from Thursday 15 October to Saturday 24 October 2026. Tickets can be purchased online at www.theatreroyal.co.uk or by calling the Theatre Royal Box Office on 0191 232 7010.

Priority booking opens as follows:

Newcastle Theatre Royal Friends Plus: Monday 2 March, from 10am

Friends of Newcastle Theatre Royal & Friends of Live Theatre: Tuesday 3 March, from 10am

Flexi Priority Pass, Groups & Schools: Tuesday 3 March, from 3pm

General booking: Wednesday 4 March, from 10am

Preview: Boiler Room Six: A Titanic Story at Newcastle Live Theatre

The award-winning one-man Titanic drama that took Edinburgh by storm arrives at Live Theatre, Newcastle, for two nights only

Boiler Room Six: A Titanic Story

Newcastle Live Theatre

Friday 17th and Saturday 18th April 2026

Tom Foreman Productions brings its critically acclaimed production Boiler Room Six: A Titanic Story to Newcastle's Live Theatre this April, as part of a sweeping national tour. For North East audiences, this is a rare chance to catch a show that has been generating serious buzz since it first appeared at the Edinburgh Fringe in 2024 — where it sold out its debut run and walked away with the Derek Awards' Best Overall Show of the Festival.

The production tells the true story of Frederick Barrett, a stoker aboard the Titanic, and one of the working-class crew members whose extraordinary acts of courage in the ship's boiler rooms have largely gone unrecognised. Drawing on historical records and personal testimony, writer and director Tom Foreman crafts a gripping account of the vessel's final hours — giving voice not to the wealthy passengers who dominate popular retellings, but to the men below decks who kept the ship afloat long enough for others to escape.

“The script by Foreman is one of the best I’ve ever witnessed.”   — Scottish Field

It is a one-man show, performed entirely by Charlie Sheepshanks, whose portrayal of Barrett has drawn consistent praise from critics. Reviews have described Sheepshanks as “electric” (The Spy in the Stalls) and “made for this role” (The Independent), with the British Theatre Guide calling the production “a spectacular piece of theatre.” The show returned to the Edinburgh Fringe in 2025, where it amassed over 70 audience reviews with 100% positive sentiment.

Tom Foreman Productions has built a strong reputation for ambitious, character-driven new writing since its debut in 2021. The company’s previous productions include Swell, which won the Carol Tambor Award at the 2022 Fringe, and Out of Woodstock, which received a Mervyn Stutter Pick of the Fringe Award in 2024. Boiler Room Six represents their most acclaimed work to date, and the national tour — visiting more than twenty venues across the UK through July — marks a significant step for the company.

The Newcastle dates fall early in the tour, making Live Theatre one of the first venues outside London to host the production. With just two performances scheduled, demand is likely to be high. Following the national tour, the company will return to Edinburgh’s Pleasance for the 2026 Fringe Festival.

Tickets:

Boiler Room Six: A Titanic Story plays at Live Theatre, Newcastle, on Friday 17th and Saturday 18th April. For more information and to book, visit the website: https://www.live.org.uk/whats-on/boiler-room-six-titanic-story

Preview: Beauty & The Beast at Billingham Forum

A Tale as Old as Teesside: Tom Rolfe Returns to Forum Theatre Billingham with Beauty & The Beast

With over 20 years of pantomime history at Forum Theatre Billingham, North East performer and producer Tom Rolfe is bringing families a magical new adventure this February Half Term — and he shows no signs of slowing down.

For many Teesside families, a trip to Forum Theatre Billingham has become as much a part of February Half Term as the school holidays themselves. And at the heart of that tradition is Tom Rolfe — a performer, producer, and North East pantomime institution who has been delighting audiences at the venue for more than two decades.

From Ensemble Dancer to Leading Producer

Tom's story at Forum Theatre begins at Forum Theatre School, where a young Tom first discovered his love of the performing arts. His pantomime debut came in the 2005 festive production of Cinderella, where he appeared as a dancer in the ensemble. Over the years that followed, he continued to develop his craft, returning to the stage in multiple Forum Theatre pantomimes and making his main cast debut in Goldilocks in 2008, a production which also gave him the opportunity to develop his circus skills.

Tom Rolfe

From performer to producer was a natural next step. Tom launched his first Forum Theatre pantomime production in February 2018, and Tom Rolfe Productions has been a fixture of the Billingham February Half Term calendar ever since. His work has earned him a loyal following across Teesside and a strong reputation as one of the region's most respected variety entertainers.

Beauty & The Beast Comes to Billingham

This year, Tom Rolfe Productions brings the beloved classic Beauty & The Beast to the Forum Theatre stage. The show opens on Friday 20 February and runs until Wednesday 25 February, promising dazzling scenery, colourful costumes, catchy songs, and plenty of laugh-out-loud comedy for the whole family.

“I’m thrilled to be returning to Forum Theatre Billingham! The crowds here are always incredible and they bring such amazing energy to every show. I can’t wait to step back on stage and bring a brand new adventure to life for families this February Half Term.”

— Tom Rolfe

With high energy performances and a fantastic cast, this production looks set to be another crowd-pleasing success from a man who clearly knows what North East audiences love.

Tickets

Tickets for Beauty & The Beast are available now and can be purchased online at www.forumtheatrebillingham.co.uk, in person at the box office, or by calling 01642 552663. With limited dates and family audiences already keen, booking early is strongly recommended. 

News: A New Chapter Begins: AlphaBetti Theatre's Spring 2026 Season

 A New Chapter Begins:

Alphabetti Theatre's Spring 2026 Season

 

Newcastle's award-winning fringe home announces an ambitious Spring season of theatre, comedy and new writing – and reveals plans for a landmark 2027 relaunch as it deepens its commitment to the artists of the North East.

There is a particular kind of energy that fills a venue on the cusp of transformation. At Alphabetti Theatre on St James Boulevard – Newcastle's intimate, fiercely independent home for fringe performance – that energy is palpable right now. The theatre has just announced its Spring 2026 season: a richly varied programme of new writing, touring productions, comedy, music, work-in-progress showings and community events that runs through to early June. But alongside the listings, Artistic Director Edward Cole has published a Director's Note that signals something bigger: a considered, determined reimagining of what Alphabetti can be – and a full relaunch planned for early 2027.

In 2023, Alphabetti became the first venue outside London to win Fringe Theatre of the Year at The Stage Awards, and was simultaneously named Best Cultural Venue at the North East Culture Awards. That dual recognition underlined what audiences and artists in the region already knew: Betti punches well above its weight. Cole, who joined as Artistic Director 18 months ago following founder Ali Pritchard's departure, has spent that time in what he calls 'thoughtful transition' – and is now ready to show what comes next.

Photo: Stephen Oliver

A WORD FROM THE ARTISTIC DIRECTOR

Ed Cole's statement is unusually candid – a mixture of artistic manifesto, honest reckoning with the difficulties facing the sector, and genuine invitation to the region's creative community. It is worth quoting at length.

"Since arriving at Alphabetti 18 months ago, I've been guiding the organisation through a period of thoughtful transition, working alongside our staff and trustees to consider the best path forward for Betti, and more importantly, for the artists who rely on us. That transitional period is now approaching its most exciting phase as we move from imagining the next chapter for Alphabetti to making it real."

The centrepiece of that next chapter is a full relaunch in early 2027. Cole is explicit about what will drive it:

"It has always been my ambition to reimagine and revitalise what fringe theatre can be, and for Alphabetti that will mean a renewed and direct focus on opportunities for artists, genuine creative nurturing, and dedicated idea development."

From June 2026 onwards, the programming model will shift – fewer incoming tours and a greater emphasis on development for artists and ideas rooted in the North East. This will include a regular platform for work-in-progress showings and a brand-new associate artist programme. Cole is frank about the context that makes this necessary:

"As we are all very tired of hearing, we sit in an incredibly challenging moment for theatre. Across the country, productions, budgets and tours are being scaled back. A persistent lack of opportunity is leading to widespread disillusionment and the tragedy of unrealised ideas, unfulfilled potential and artists choosing to leave the industry entirely. Nowhere is this tragedy more acute than right here in the North East. Underfunding, broken promises and a lack of opportunity form the foundation of the region's shared narrative. It never ceases to inspire me when I see the resilience, commitment and endeavour of the brilliant freelancers in the region who consistently overcome hurdles to fulfil their creative ambitions."

Cole also acknowledges a painful organisational decision: in order to refocus for the relaunch, a number of fixed-term contracts will not be renewed from June. 'This is an incredibly difficult decision and one I do not take lightly,' he writes. 'I will never be able to thank each of those staff members enough for the immeasurable contribution they have made to Alphabetti and to the creative life of this region.'

The process of reimagining will be a collaborative one. A series of open-house events, conversations and planning gatherings will invite audiences and artists to contribute directly. The first of these – called Story Board – takes place on 15 April. Details are available via Alphabetti's website, mailing list and social channels. Cole's invitation to the region is straightforward:

"We need you to be part of what comes next, and to lend your voice to the future of this organisation."

THE SPRING 2026 SEASON

Before all of that begins in earnest, there is a rich and varied season to enjoy. Here is everything on at Alphabetti from now through to early June – something for every taste, most of it made or performed by the region's own.

FEBRUARY

Common Thread with Ilisha Thiru Purcell  |  Wednesday 18 February, 5.30pm | FREE

The season opens with Common Thread, a regular free evening of shared stories and creative writing, led by guest artist Ilisha Thiru Purcell. Now in its second year, Common Thread is part of Alphabetti's expanding commitment to nurturing writers at every stage. An invitation to 'scratch creative itches in pursuit of our own common thread'. Recommended age 16+.

InterAct Festival 2026: Black Teeth and a Brilliant Smile  |  Wednesday 18 February, 7.30pm | Pay What You Feel

The Northern School of Art's InterAct Festival kicks off with the first of three evenings showcasing students from BA Acting for Stage & Screen performing a range of exciting, dynamic theatre. Black Teeth and a Brilliant Smile opens the festival – come and see the stars of the future doing what they do. Recommended age 14+.

Work in Progress: The Whetherman  |  Saturday 21 February, 8.00pm | Pay What You Feel

Rhian Jade brings a work-in-progress showing of The Whetherman – 'a show about feeling joy, managing fear and keeping ourselves warm in a cold, stormy world.' The Whetherman is on a mission to figure out all things queer culture, or culturally queer depending on your point of view. The WIP strand is a cornerstone of Alphabetti's offer: stage time, rehearsal space and genuine artistic support for ideas in development. Recommended age 18+.

We're Not Getting a Dog  |  Wednesday 25 February, 7.30pm | Pay What You Feel

Sam Freeman brings a heartwarming comic story about making a house a home. Cole singles out this production as one of the season's warmly anticipated pieces. Recommended age 14+.

Alphabetti Writing Group  |  Thursday 26 February, 5.30pm | FREE

A relaxed, peer-led writing group for any skill level. 'A call to action for writers seeking cosiness and community.' The group runs monthly throughout the season and beyond – check the website for all dates. Recommended age 16+.

InterAct Festival 2026: My Mother's Funeral: The Show  |  Thursday 26 February, 7.30pm | Pay What You Feel

The second InterAct Festival evening sees Northern School of Art students tackle My Mother's Funeral: The Show. Recommended age 14+.

Fixing  |  Friday 27 & Saturday 28 February, 7.30pm | £3–£15

Matt Miller's Fixing returns to the Alphabetti stage as part of a nationwide tour, having debuted here in 2024. A show about family breakups, learning car maintenance and choosing the right shade of lipstick to do it in. The British Theatre Guide called it 'a warm-hearted expression of love… underpinned by a subtle and sophisticated theatrical and psychological intelligence.' Recommended age 14+.

Sam Nicoresti: Baby Doomer  |  Friday 27 February, 9.00pm | £3–£16.50

Award-winning comedian Sam Nicoresti opens the season's comedy strand with Baby Doomer – described as 'a glistening diamond hour of stand-up from “delusional trans comedian” Sam Nicoresti about love, insanity, and the hunt for the perfect skirt suit.’ A late-night treat. Recommended age 16+.

MARCH

Spoken Word Workshop with Papi Jeovani  |  Wednesday 4 March, 5.30pm | Pay What You Feel / FREE

Local poet and spoken word artist Papi Jeovani leads a workshop diving into spoken word poetry techniques and building skills around poetry rooted in our own unique voices. Recommended age 16+.

Our Little Hour  |  Thursday 5 – Saturday 7 March, 2.30pm & 7.30pm | Pay What You Feel – £15

One of the season's major headline productions. Live Wire Theatre, in association with Show Racism the Red Card, present an exciting new musical telling the true-life story of Walter Tull – the first Black footballer to play at the highest level and the first non-white British officer to fight in WW1. Described as 'powerfully compelling and hauntingly beautiful', this is socially essential and artistically ambitious work. Multiple performances including a Saturday matinee. Recommended age 11+.

Common Thread with Ilisha Thiru Purcell  |  Wednesday 11 March, 5.30pm | FREE

The monthly evening of shared stories and creative writing continues. Recommended age 16+.

Geet Northern Show  |  Wednesday 11 March, 7.30pm | £3–£10

The Geet Northern Show welcomes the biggest stars from the North onto its busted sofa for the comedy sketch show. Recommended age 18+.

The Reading Room  |  Thursday 12 March, 5.00pm | FREE

Brand new and entirely free: a monthly play reading group co-hosted by Alphabetti and Live Theatre. Cole explains the motivation: 'All too often new plays arrive in London or in other great locations around the world, disappearing before anyone from further afield has had a chance to engage with this new work.' The inaugural session will discuss Anne Washburn's Mr Burns: A Post-Electric Play. Recommended age 16+.

Amy Mason: Behold!  |  Thursday 12 March, 7.30pm | £3–£16

Described as 'thrillingly funny' by The Scotsman (★★★★), Amy Mason brings her acclaimed show to Betti. Recommended age 16+.

Damien McFly  |  Thursday 12 March, 9.00pm | £3–£15

Italian songwriter Damien McFly brings a unique, raw voice and an indie-folk sound to round off the evening.

Work in Progress: JOHNNY (the thinking man's poet)  |  Friday 13 & Saturday 14 March, 7.30pm | Pay What You Feel

Another WIP showing: JOHNNY examines male social conformity, exploring how pressure to follow traditional gender performance norms shapes male psychology and how profoundly shame enforces that conformity. Challenging, necessary work.

InterAct Festival 2026: Joseph K  |  Wednesday 18 March, 7.30pm | Pay What You Feel

The final evening of the Northern School of Art's InterAct Festival sees students perform Joseph K – closing out a festival that, across three nights, showcases some genuinely exciting emerging talent. Recommended age 14+.

Jorvik  |  Thursday 19 & Friday 20 March, 7.30pm | £3–£10

Charlie Blanshard's bold new immersive Viking theatre experience uses the Viking sagas to explore the modern day – and you'll be able to enjoy it with a glass of mead. Swords, stories and saga: Alphabetti doesn't do things by halves. Recommended age 18+.

APRIL

Abby Govindan: Pushing 30  |  Thursday 2 April, 7.30pm | £3–£16

Fresh off a sold-out international tour, Forbes 30 Under 30 international comedy sensation Abby Govindan returns to the UK with her new hour of jokes about dating, getting older and breaking generational curses. Recommended age 14+.

That's Not My Name  |  Wednesday 8 & Thursday 9 April, 7.30pm | £3–£15

Asylum Arts and Covered in Jam bring their five-star 'masterpiece of mess' (Broadway Baby) back to Alphabetti. That's Not My Name is 75 minutes of 'anti-psychiatric carnage using stand up, sketch and musical comedy to challenge diagnoses and our mental health system.' The borderline sell-out show is back, and it's not one to miss. Recommended age 16+.

Story Board – Open House Event  |  Wednesday 15 April

Not a performance, but arguably the most important event of the spring. Story Board is the first in a series of open-house gatherings at which Alphabetti invites audiences and artists to share their thoughts on the theatre's future: 'where we've been, where we are and where we should go.' Full details on the Alphabetti website and mailing list. An essential date for anyone who cares about the future of fringe theatre in the North East.

Colosseum of Chaos  |  Thursday 16 & Friday 17 April, 2.00pm (family) & 7.30pm (18+) | Pay What You Feel – £10

Andy Ross and Jack Fielding's hilariously chaotic combat comedy gets two performances a day: a family-friendly afternoon matinee (age 5+) and an adults-only evening show. Between contests, expect highly choreographed slapstick fight sequences, with the audience controlling the soundtrack via Alexa. 'It's ridiculous, competitive, and entirely in your hands.'

Post Traumatic Slay Disorder  |  Wednesday 22 & Thursday 23 April, 7.30pm | £3–£15

Offie-nominated local performer and writer Lois-Amber Tool brings her acclaimed show to Alphabetti. Kit has a fresh diagnosis of PTSD and, living in a generation that navigates mental illness through TikTok, she is THE main character. Gobby Girl Productions called it 'a brilliant, must-see piece of writing.' Recommended age 14+.

Nadav Tabak  |  Friday 24 April, 7.30pm | £3–£10

Nadav Tabak creates a powerful solo show blending live guitar, percussion, looping and electronic textures into what has been described as 'a tribal-cinematic trance experience that feels part concert, part ritual, part dancefloor celebration.'

APRIL–MAY

Hold the Line  |  Wednesday 29 April – Saturday 2 May, 7.30pm (+ 2.00pm Saturday matinee) | Pay What You Feel – £15

The season's second major headline production. Heaton's own Sam Macgregor follows up his debut hit Truly, Madly, Baldy with an original new play set in an NHS 111 call centre. A comedy-drama about a health adviser facing the shift from hell when a patient unexpectedly dies during a routine assessment over the phone – untangling the story on both sides of the line. Cole is 'over the moon' to be hosting it, and with good reason: Macgregor is one of the region's most exciting emerging theatrical voices. Recommended age 12+. Four performances including a Saturday matinee.

MAY

Gavin Fairhall Lever  |  Wednesday 6 May, 8.15pm | £3–£10

A stunning explosion of colourful contemporary folk, combining 'the joyful tumble of Celtic trad, melodic warmth, vibrant rhythmic invention and the subtle expressivity of jazz harmony.'

Ayoade Bamgboye: Swings and Roundabouts  |  Friday 22 May, 7.30pm | £3–£16

The season's comedy bookend. Winner of Best Newcomer at the Edinburgh Comedy Awards 2025, Ayoade Bamgboye brings his critically acclaimed debut show about suffering (and smiling) to Betti. An essential date for comedy fans. Recommended age 16+.

YEAR-ROUND: COMMUNITY AND CREATIVE DEVELOPMENT

Alongside the productions, Alphabetti's community and creative development programme runs throughout the season and beyond – and is being significantly expanded as part of the relaunch plans.

The Alphabetti Writing Group meets every two to three weeks (roughly fortnightly) on Thursday evenings at 5.30pm and is entirely free. It is described as 'a relaxed peer-led group for any skill level' – a cosiness-and-community offer for anyone who writes or wants to. Sessions run through February, March, April, May and June, with dates continuing into the summer.

Common Thread, led by guest artist Ilisha Thiru Purcell, meets monthly on Wednesday evenings at 5.30pm (18 February, 11 March, 22 April) for an evening of sharing stories and creative writing. Also free.

The Reading Room, in partnership with Live Theatre, is a brand-new monthly play reading group launching on Thursday 12 March at 5.00pm with Anne Washburn's Mr Burns: A Post-Electric Play. It will meet monthly thereafter. Free and open to all play lovers.

Regular playwriting masterclasses with industry leaders are also being introduced as part of the expanded writer development offer.

LOOKING AHEAD: JUNE 2026 AND THE ROAD TO 2027

From June onwards, as Cole explains, the shape of the programme will change. The theatre will be stepping back from incoming tours to create space for a deeper focus on artists and ideas from the region. The associate artist programme will launch, WIP opportunities will increase, and the open-house events – beginning with Story Board on 15 April – will gather voices and perspectives to inform the 2027 relaunch.

Cole's closing words in his Director's Note are worth holding onto:

"Every second we work at Alphabetti is spent with the region's artists in mind. That is what inspires all of us here as we turn the page on an exciting new chapter in the story of this theatre and of creativity in the North East. I hope that you can join us down at Betti and contribute to that story."

There is also one event already in the diary for December 2026: Eliot Smith: Return, an evening celebrating 15 years of Eliot Smith Dance, on Thursday 3 December at 7.30pm (£26–£30). A reminder that even in its transitional year, Alphabetti is still thinking about the work.

 

Tickets:

Address: St James Boulevard, Newcastle upon Tyne NE1 4HP

Phone: 0191 261 9125

Box Office & Full Listings: www.alphabettitheatre.co.uk/whats-on

Opening Hours: Wed–Fri 11am–10pm; Sat 6pm–10pm

Many events offer Pay What You Feel pricing. Alphabetti is committed to making theatre accessible to audiences and creatives regardless of financial background.

REVIEW: Matilda at Sunderland Empire

Matilda

Sunderland Empire

Until Saturday 28 February 2026 and touring

Roald Dahl’s magical tale of an unassuming little girl who quietly fixes what’s wrong with her world through the power of her brain, plus a little bit of magic, comes up fresh and sparkling in this imaginative, rumbustious, and ultimately glorious musical retelling.

Dahl’s beloved children’s tale has consistently been named amongst the best children’s books of all time, notably by the BBC and Time magazine. The filmed version by Danny DeVito in 1996 achieved critical success and has endured in popularity, though it only reaped limited commercial rewards.

Adapting it into a stage musical led the RSC to take an original approach, as befits the material. Starting with a book by noted playwright Dennis Kelly, they then recruited Australian comedian, Tim Minchin to write the songs. This was a shrewd choice, swiftly acknowledged by those who were familiar with Minchin’s unique brand of comedy songwriting, filled with the same kind of mischievous exuberance that characterises Dahl’s books. 

The team, led by Award-winning director Matthew Warchus introduced some new ingredients to give more scope for musical numbers, notably making Matilda’s mother a competitive ballroom dancer with a preposterous pseudo-Italian partner and developed a musical that won seven Olivier Awards and five Tony Awards. The question that often attends such a legendary success is, ‘Does it live up to the hype?’ Based on this production, for this reviewer, the answer is a resounding ‘yes!’

The show starts with a deliberately jarring and abrasive number, showing parents doting on their very average offspring, making them out to be prodigies, while a disenchanted Children’s entertainer laments the glorification of mediocrity. We then meet Matilda, a truly exceptional child, whose ghastly, self-absorbed parents treat her as if she were entirely useless. Her only refuge is the library, where the warm-hearted librarian recognises her gifts and listens intently to the wonderful stories Matilda creates.  

Matilda is sent to the forbidding Crunchem Hall school, ruled over by the monolithic and wantonly vicious Miss Trunchbull, one of the most terrifying villains in children’s literature. Matilda’s form teacher, the timid but kindly Miss Honey, sets out to help Matilda but is defeated by Trunchbull. That is, until Matilda uses her intelligence, ingenuity and a little supernatural power to redress the balance. Suffice to say, it all comes right in the end, though not before some impressive pyrotechnics, baffling stage wizardry and nicely judged moments of genuine emotion amongst the many laughs.

Minchin’s score serves the story superbly, as does Kelly’s unselfconsciously intelligent script, nicely capturing Dahl’s idiom. The thought-provoking, impressive set by Rob Howell and Hugh Vanstone’s spectacular lighting design make a marvellous backdrop for this disciplined and hugely talented cast. Their vocal finesse in delivering some very challenging lyrics and their faultless execution of Peter Darling’s delightful and often surprising choreography led the audience, or this reviewer at least, to moments of open-mouthed awe.

In the title role at this performance was Sanna Kurihara and her portrayal was sharp, intelligent, engaging and beautifully sung. The role is shared with three other performers, Madison Davis, Mollie Hutton and Olivia Ironmonger. Given the tightness and professionalism of this touring company, I have no doubt the others are equally impressive. This is not just a nominal leading role; Matilda is rarely offstage and she carries significant responsibility on her tiny shoulders throughout. 

Richard Hurst’s Trunchbull is a tour de force. His swagger and barely suppressed rage would be the stuff of nightmares if not for the delicious hint of self-mockery he exhibits throughout, as if saying to the audience, ‘I’m terrible, aren’t I?

This same quality pervades the richly comic performances of the parents. Adam Stafford’s Mr Wormwood is a particular delight, relishing his despicable dirty dealings, fully convinced of the rightness of his mindless prejudices. Rebecca Thornhill shakes a mean leg as the joyously brash mother, more than ably supported by Ryan Lay as the strutting, preening and alarmingly flexible Rudolpho. 

Tessa Kadler brings a sweet vulnerability and a touching nobility to Miss Honey, delivering some of the most poignant musical moments in her clear, liquid soprano. Esther Niles brings warmth and charm to the kindly librarian, Mrs Phelps.

The adult ensemble mixes effectively with the disciplined and talented junior ensemble, adding an extra touch of fun, along with their impressive technical skills. There are several standout musical numbers, but School Song is a particular gem, both of writing and staging.

This is a funny, warm, exciting and thoroughly satisfying evening’s entertainment for all the family. If you have seen the, admittedly very good, film of the musical, you may think you have seen the show. You have not. The stage show makes the very most of the unique possibilities of live entertainment and its assured theatricality is both delightful and memorable. From the queues outside the theatre, you would have thought Taylor Swift was playing a free gig, so I doubt you can get tickets. If you can, however, you will be richly rewarded.

Review: Jonathan Cash

Photos: Manuel Harlan

Tickets:

Available from ATG Tickets LINK