REVIEW: Les Ballets Trockadero do Monte Carlo at Newcastle Theatre Royal

Les Ballets Trockadero do Monte Carlo

Newcastle Theatre Royal

Until Wednesday 27 May 2026

Les Ballets Trockadero de Monte Carlo, the Trocks, as they are affectionately known, are currently celebrating their 50th Anniversary with a UK tour, and what a tour it is. Their comedy is matched equally by their prowess as a ballet company. The Dance Consortium, who promote the tour, are fully aware of their popularity, and indeed the Trocks remain one of the highlights of the Newcastle Theatre Royal dance programme.

The Trocks, Dying Swan
 Photo: Roberto Ricci

Long before shows such as The Play That Goes Wrong, the Trocks were strutting their stuff and making audiences laugh. Indeed, before the dancing had even begun, the pre-show announcements had the auditorium rippling with laughter — especially when the audience realised that each dancer was to be given an outrageously funny stage name. Minnie van Driver, anyone?

When the show opened with an infamous Swan Lake Act II, it was immediately clear that we were in for a treat: both fantastic ballet technique and an abundance of visual humour. The knowing looks, discerning glances, and the occasional inappropriate hand gesture - all of these subtle acts of comedy smash through the fourth wall and hold the theatre audience in the palm of their (very well-trained) hands. And then, of course, there are the “accidental” slip-ups.

The Trocks, photo: Christopher Duggan, Jacobs Pillow

This is my third time seeing the Trocks, and I recognise that their comedy has a great deal in common with another production, their spiritual cousin, if you like, the Danny Adams pantomime. With Danny Adams, the pratfalls, the silly situations, and the “mistakes” are all planned within an inch of their life. They are not as spontaneous as you might believe, but because they are so meticulously rehearsed, they land with massive impact. The same is absolutely true of the Trocks. The slip-up, the high kick that nudges a fellow dancer off balance, the performer who finds themselves in entirely the wrong place at entirely the wrong moment - all of this happens every single night. You know it does. That’s the glorious conceit of theatre. But each night it happens, the audience erupts. The timing is impeccable, the comedy value is immense, and it makes for a truly entertaining evening.

That is not, however, to undermine the quality of the dancing on show. Technically, each member of this all-male company is an excellent dancer, their technique up there with the very best. The fact that males are performing as female dancers makes the various lifts and other manoeuvres all the more remarkable, they are, after all, throwing around considerably larger individuals. The Trocks are a hugely entertaining group, but they also demonstrate real ability in both dance and storytelling. Perhaps because of the exaggerated facial expressions required of their roles, they often do a better job of conveying narrative than a straight ballet production might.

The evening is split into three sections. It opens with Swan Lake Act II, followed by a short interval, then three shorter pieces. Some — Go for Barocco and The Dying Swan, in particular, are very, very funny. Others, including the UK premiere of Metal Garden, are played a little straighter. A second short interval leads into the grand finale: Valpurgeyeva Noch (Walpurgisnacht). How do you close a show like this? Simple: the company launched into a Riverdance-inspired sequence through rolling clouds of dry ice, a moment of pure joyful absurdity that had the whole audience laughing and, it has to be said, very nearly on their feet.

I have been lucky enough to see the Trocks in action several times now, and even knowing a good deal of what is coming, I still find it incredibly entertaining and well worth the repeat visit. The show has a massive reputation, and it is thoroughly deserved. The choreography is fluid, inventive, and very, very funny. Each dancer carries two personas: one male, one female, and one can only imagine the backstage chaos as they switch from one costume to another. They are well worth seeing, and even if ballet is not your thing but you love a good laugh, you will find enormous value in this show. I look forward enormously to seeing them again.

Review: Stephen Oliver

Tickets:

https://www.theatreroyal.co.uk/whats-on/les-ballets-trockadero-2/

Video:

Fans of the Trocks may want to watch Ballerina Boys (Les Ballets Trockadero de Monte Carlo) - A film by Chana Gazit and Martie Barylick

Film link: https://www.sadlerswells.com/digital-stage/documentaries/ballerina-boys/

REVIEW: Astell and Woolf at Newcastle Live Theatre

Astell and Woolf

Newcastle Live Theatre

Until Saturday 6 June 2026

Written by Shelagh Stephenson

Directed by Karen Traynor

Performed by Tessa Parr & Phillippa Wilson

Philosophy and feminism from women hundreds of years apart. When Mary Astell and Virginia Woolf are stranded in a kind of purgatory which sees Mrs Astell chained to the exit and Ms Woolf seemingly free to visit other equally eminent inmates even retrieving some sherry and glasses at one point. Why she has some freedoms when Mrs Astell does not, could be a reflection of women’s changing freedoms through the centuries.

Left to right Phillippa Wilson and Tessa Parr

Both, however spoke of seeing their male siblings nurtured through education while only fate allowed them to become writers, that and their social status. As they point out, a mineworker or a home help does not have the time, energy or opportunity to write poetry and ponder on metaphysics.

Also the ongoing bringing up girls to be polite and accepting of abuse meted out by men, in Woolf’s case, her brothers, was not shied away from. No means yes, and yes means no, the yes being just, polite, so as not to hurt the feelings of the gentleman.

This was an unusual way to look at past sins of the fathers and cast the lens over the state of women’s rights now. Virginia Woolf did seem to be able to see the state of the modern world and convey news of recent mentions of Mrs Astell in presentations. The dwindling nature of which seemed to reflect her movement towards the next place. 

Shelagh Stephenson has written a witty, yet sometimes tense two-hander, with eerie soundscapes hinting at the female-centric great-beyond. With Phillipa Wilson as Astell and Tessa Parr as Woolf carrying the narrative, both putting on a splendid performance. Parr’s Wolf was delightfully irreverent and Wilson played a Mrs Astell who had had much time to think, and evolve her philosophy and approach to the idea of a god. Lighting design gave the impression of something just beyond reach in a dreamlike situation.

The almost full Live Theatre had a very appreciative audience who gave a sound round of applause with a large section of the crowd on their feet. These two women did Astell, and Woolf, proud. 

Review: Joanne Oliver

Tickets: https://www.live.org.uk/whats-on/astell-woolf

REVIEW: Choir of Man at Sunderland Empire

Choir of Man

Sunderland Empire

Until Saturday 16 May 2026

Having started life at the Edinburgh Fringe in 2017, The Choir of Man enjoyed a four year run on the West End before embarking on its first UK tour in 2026. Venturing to the North for the first time, this brilliant piece of theatre brings its blend of music, spoken word and real emotion to the Sunderland Empire. 

As a huge musicals fan, it is pretty rare that I go into a show completely blind, but I admit, I knew very little about the show before I saw it. Now, The Choir of Man may come billed as a jukebox musical, but really, it sits more between a great gig, an insightful play and a soul-baring night out with friends. Rather than a specific storyline, the show invites you into The Jungle pub - and yes, you can even jump on stage before the show and during the interval to enjoy the pub for yourself.

Whilst in the pub, you meet the characters: Barman, Beast, Joker, Poet, Maestro, Bore, Handyman, Hard man and of course, Romantic - representing the types of man you might meet in any pub. Rather than tell the stories of fictionalised men, the show presents the audience with familiar archetypes, allowing them to imagine who would play the role of joker or maestro in their own local. 

In turn, it is not the stories of the fictionalised characters that are told, but those of the actors themselves, beautifully explored through spoken word by Oluwalonimi Owoyemi (Poet). In the telling of their own stories, the distance between the performers and audience shrinks, creating an emotional connection that leaves you hanging on every syllable. It is a beautiful representation of men exploring and sharing their own truths, insecurities and emotions, and in a world where toxic masculinity feels rife, it makes a more than refreshing change.  

The emotional journey is, of course, interspersed with absolutely brilliant music. The audience are actively encouraged to join in with the songs as they perform hit after hit, from huge rock numbers like Welcome To The Jungle, to brilliant mash-ups like Save Tonight/Wake Me Up to stripped back acappella numbers like Chandelier. The music is exceptional, with tight harmonies and phenomenal musicianship, as the actor-musicians show that they can sing, dance and play. 

Whilst it is undeniably emotional with its beautiful portrayal of male vulnerability and heartbreaking songs like Dance With My Father, it isn’t all tears and deep thoughts. There is so much joy and laughter, and the men on stage are clearly having such a great time that you are drawn into the fun of it all. It really does feel like a night out with friends - well, if your friends are exceptionally talented. 

It is true to say that The Choir of Man isn’t your average musical, and if you go in expecting your routine story of boy meets girl, you might feel a little confused. That said, if you go in with an open mind, then The Jungle is ready to welcome you in for a night of laughter, honesty and absolutely brilliant music. 

Review: Hannah Daglish

Photos: Mark Senior

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Tickets:

Tickets are available from the theatre box office and from ATG Tickets LINK

 

REVIEW: Legally Blonde at Newcastle Theatre Royal

Legally Blonde

Newcastle Theatre Royal 

Until Sunday 17 May 2026 and touring

Nikolai Foster’s Curve Leicester production is loud, brash and breezy from the first moment. A polished cast delivers the numbers with great vigour and there is much to enjoy, even if the warmth and charm that characterised the movie are not so pronounced here. Nevertheless, this is a slick, entertaining and ultimately crowd-pleasing show and the Newcastle audience seemed to have a great time.

After its US premiere in 2007, Legally Blonde opened in the West End in 2010, with Sheridan Smith in the titular role. Elle Woods is the Malibu good-time girl who sets out to regain her eminently eligible boyfriend, Warner, by battling her way into Harvard Law School and, in doing so, triumphantly proves that she is so much more than she seems. There have been a few revivals since 2010 but this tour originates in The Curve Leicester where Nikolai Foster has successfully reinvented so many musicals in the past eleven years.

The show opens with a full-on musical number, somewhat over-amplified at this performance, as was much of the first act. A crew of sorority girls are celebrating the imminent engagement of their president, the ultimate party girl, Elle. They meet her at the mall to choose her engagement dress, where she quickly highlights her fashion expertise and the perfect dress, pink of course, is chosen.

Unfortunately, all does not go to plan and Warner dumps her in favour of someone more serious to bolster his well-laid out career plan, taking him from Harvard law to the senate.

Elle, it seems, is a ‘Marilyn’ and he needs a ‘Jackie.’ Bolstered by her Greek chorus of sorority sisters, she sets out to show him that he has underestimated her, just as many underestimated the actual Marilyn.

This leads her through the perils of Harvard Law School, where everyone but her is dressed, somewhat obviously, in monochrome. The fierce and unforgiving Professor Callahan, in a well-defined performance by Adam Cooper, almost defeats her resolve but kindly senior, Emmett, helps her to battle through. Along the way, she allies with the warm but underconfident beautician, Paulette, and finds her own, very individual, way to win a high-profile case for exercise guru, Brooke.

The cast is solid throughout, with Amber Davies’ Elle not putting a foot wrong, although her voice may not be to every taste and her character is not as engagingly vulnerable as some previous purveyors of the role. Jamie Chatterton’s arrogant Warner is well-voiced and convincing, as is Annabelle Terry’s portrayal of Vivienne, Warner’s driven, preppie new girlfriend. George Crawford hits the right note as the down-to-earth Emmett and Karen Mavundukure shows off most impressive vocals as Paulette, although some scenes, including her yearning pursuit of hunky mailman, Kyle, are so broadly characterised as to lessen the impact of the comedy.

Jocasta Almgill is warm and convincing as Brooke and the supporting characters are all effectively played, albeit in broad strokes. The small ensemble also deserve credit for their energy, commitment and skill, keeping up an exhausting pace throughout.

This is not a show that sets out to provoke much thought, rather to entertain in a not too demanding way. There is nothing wrong with that and, from last night’s audience reaction, it clearly achieves it. For this reviewer, however, a little more reflection and focus on the dialogue scenes would have helped temper what, at times, felt like a constant parade of loud and not specially memorable musical numbers.

Review: Jonathan Cash

Photos: Matt Crockett

Tickets: 

https://www.theatreroyal.co.uk/whats-on/legally-blonde/ 

News: 9 to 5 The Musical comes to Darlington Hippodrome

9 to 5 The Musical comes to Darlington Hippodrome

 

The smash-hit 9 to 5 The Musical arrives at Darlington Hippodrome from Tuesday 4 to Saturday 8 August 2026, with full casting now confirmed for the UK tour.

 

Inspired by the much-loved 1980 film, the show follows three office workers who have had enough of their overbearing, chauvinistic boss. When a wild idea turns into a daring plan for revenge, chaos, comedy and sisterhood take centre stage. Featuring an irresistible score by country music legend Dolly Parton, it is a joyful story about friendship, courage and standing up for what is right, packed with toe-tapping tunes you will be humming long after the curtain falls.

Leading the cast is Jessica Martin, whose West End credits include Me and My Girl at the Adelphi Theatre, as the fiercely loyal and slightly unhinged office manager Roz. Of the role, Martin says she cannot wait to bring Roz out on tour in what she describes as a hugely entertaining, sharp, sassy and subversive show. Tim Rogers, known for West Side Story in the West End and on UK Tour and Jesus Christ Superstar across Europe, plays Franklin Hart Jr, the boss you love to hate.

 

Karla Tracey plays Doralee, Kayla Carter, known for Military Wives at York Theatre Royal and the UK and Ireland tour of I Should Be So Lucky, plays Judy, and Jade Marvin, who appeared in Starlight Express at Troubadour Wembley Park Theatre, plays Violet.

The wider cast includes Sammy Graham as Kathy, Ceris Hine as Margaret, Bradley Judge as Dwayne, Benjamin Karran as Joe, Colin Kiyani as Bob, Alicia Mencia as Maria, Rodney Vubya as Josh and Jemima-Jane Willcox as Missy. The ensemble features Jamie Chidzey, Beth Woodcock and Ashley St John, who also serves as Dance Captain.

The production marks a significant milestone as the first in-house production from Landmark Theatres to tour nationally. It is directed by Paul Jepson, CEO and Creative Director at Landmark Theatres, who describes it as a feel-good show with a big heart, in which patriarchal male power behaviours are skewered while all the characters retain heart, soul and dreams. Notably, the production will feature its band performing on stage.

Set and costume design is by Amanda Stoodley, with musical supervision by Mark Crossland, lighting design by Andy Purves and sound design by Chris Whybrow.

Tickets:

Tickets are available at www.darlingtonhippodrome.co.uk or by calling the Box Office on 01325 405405.

News: Gerry & Sewell returns to Newcastle Theatre Royal

 Gerry & Sewell returns to Newcastle Theatre Royal

One of the North East's most beloved productions is coming home. Gerry & Sewell, the raw, funny and deeply Geordie tale of two Gateshead lads on a mission to watch their beloved Toon, returns to Newcastle Theatre Royal for a run from Tuesday 9 to Saturday 13 June 2026.

It is a significant homecoming. The show enjoyed a sell-out week at the Theatre Royal in 2024 before embarking on a West End transfer earlier this year, where it transformed the Aldwych Theatre into a sea of black and white and received rave reviews. Before that it played sell-out runs at Laurels Theatre in Whitley Bay in 2022 and Live Theatre in 2023. This time around, the production takes over the Grey Street venue's main stage in what promises to be its biggest outing yet.

The story is rooted firmly in the region. Adapted by Olivier Award-winning Jamie Eastlake from Jonathan Tulloch's beloved novel The Season Ticket, which inspired the cult Geordie film Purely Belter, the show follows Gerry and Sewell as they do whatever it takes to get their hands on season tickets for St James' Park. With nowt but each other, their wits, and an unshakeable dream, the pair dodge radgie charvers, the social, and the odd madcap scrap merchant along the way. It is a story of hope and heartbreak that goes well beyond football.

The returning cast brings back the faces that made the show such a hit. Dean Logan and Jack Robertson reprise their roles as Gerry and Sewell respectively, with Becky Clayburn as Tyneside and Erin Mullen returning as Bridget McCarten. BAFTA-nominated Jack Robertson, born and raised in Newcastle, co-created the viral comedy ensemble Metroland and has been selected by Rolling Stone UK and The Guardian as one to watch at the Edinburgh Fringe. Dean Logan, from Wallsend, has been working as a professional actor since the age of 16, with TV credits including Coronation Street and Doctors.

Joining them this time around is Sammy T. Dobson as Clare McCarten. A Newcastle born and bred comedian and actress, Sammy is currently on BBC1's Casualty and began her career at just 14 in Byker Grove. Mr and Mrs McCarten are played by two further formidable local talents: David Nellist, known for I, Daniel Blake, Eastenders and Waterloo Road, and Angela Lonsdale, whose extensive TV credits include Emmerdale, The Good Ship Murder and All Creatures Great and Small. Matty Renton, founder and owner of The Magpie Channel and winner of the best club content creator at the Football Content Awards 2023, also returns as himself.

The production features live music, puppet dogs, and the support of Wor Flags, and is bold, hilarious, and proudly Geordie to its core.

Tickets:

Tickets are available at www.theatreroyal.co.uk or by calling the Theatre Royal Box Office on 0191 232 7010.

NEWS: Pretty Woman: The Musical returns to the UK

 Pretty Woman: The Musical returns to the UK

One of Hollywood's most beloved romantic comedies is heading back on the road. Pretty Woman: The Musical returns for a major UK tour in 2027, bringing Vivian and Edward's unlikely love story to stages across the country, including a week at Sunderland Empire fromTuesday 29 June to Saturday 3 July 2027. Casting is yet to be announced. 

Vivian and Edward are unlikely soulmates who overcome all odds to find each other, and themselves. The show takes the iconic moments audiences love from the 1990 film and reimagines them for the stage in what critics have called a dazzlingly joyous love story. At its heart is the Roy Orbison and Bill Dee classic Oh, Pretty Woman, the song that inspired the whole thing, woven into a brand new score.

The production is brought to life by a powerhouse creative team. Direction and choreography comes from two-time Tony Award winner Jerry Mitchell, whose previous credits include Kinky Boots, Legally Blonde and Hairspray. The score, described by the Daily Mail as blazing rock, was written by Grammy winner Bryan Adams and Jim Vallance, the songwriting duo behind Summer of '69 and Heaven. The book is by the film's own director Garry Marshall and screenwriter J.F. Lawton.

The show had its world premiere in Chicago in March 2018 before transferring to Broadway's Nederlander Theatre. A German production opened in Hamburg in September 2019 to rave reviews, and a US tour followed in October 2021. In the UK, the production opened at the West End's Piccadilly Theatre on 13 February 2020, later relocating to the Savoy Theatre from July 2021, where it ran until June 2023. A sell-out first UK and Ireland tour launched that October. This new 2027 tour marks the show's return to British stages.

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Tickets: 

ATG+ presale tickets go on saleWednesday 13 May at 10am. General sale opens Friday 15 May at 10am via ATGTickets. A transaction fee may apply to online bookings.

REVIEW: Waitress at Sunderland Empire

Waitress 

Sunderland Empire

Until Saturday 9 May 2026

Sara Bareilles’ criminally underrated masterpiece comes to Sunderland, packed full of humour, heart and plenty of pie

Celebrating its tenth anniversary this year, Waitress is rolling into Sunderland this week. The show, penned by Grammy-award winner Sara Bareilles, is based on the 2007 film of the same name, and tells the story of Jenna, a woman trapped in an awful marriage in small town America. Despite her horrendous homelife, Jenna is an exceptionally gifted baker - her pies are the toast of the town, whilst baking allows her to escape from reality, if only momentarily.

Whilst a violent husband and a penchant for pie-making may not seem like your typical musical storyline, the show is lovingly crafted into a work of pure genius, much like Jenna’s pies themselves. It is a wonderfully genuine exploration of friendship and love, with a brilliant soundtrack and regular moments of absolute hilarity. 

Returning to the North East on Monday, the audience in Sunderland were certainly ready to welcome Waitress back, with heartfelt responses to both the humour and moments of poignancy. There were moments where the laughter was almost deafening, and instances where it seemed like everyone in the audience was reaching for a hanky. Such is Waitress - it breaks your heart and heals your soul in equal measure, and this production is no exception. 

For a show that is all about the power of sisterhood and women making it work against all the odds, it is only fitting to start with the sheer brilliance of the female performers. Durham-born Emma Lucia takes over from superstar Carrie Hope Fletcher as Jenna Hunterson for the Sunderland leg of the tour, but believe me when I say that she is far from a gap filler. Lucia’s performance is nothing short of breathtaking. From start to finish, she is entirely captivating, holding the audience in the palm of her hand throughout and making it absolutely impossible to tear your eyes away from her. 

She is masterfully accompanied by Waitress stalwarts Sandra Marvin as Becky and Evelyn Hoskins as Dawn. With both having played their respective roles before, both on the West End and on previous UK tours, the two have perfected their roles, partnering beautifully with Lucia’s Jenna to make a phenomenal trio. Marvin’s sass throughout makes Becky someone you’d love to hang out with, but it is her powerhouse vocals in I Didn’t Plan It that solidify Marvin’s performance as standout. Hoskins delivers a flawless lesson in comedic performance, carefully crafting the character of Dawn through impeccable timing and brilliant physicality. 

Hoskins’ brilliant depiction of Dawn is beautifully complimented by Mark Anderson’s Ogie, who brings a sublime standard of physical comedy to the stage. The audience delighted in every moment Anderson was on stage, with almost every line and movement drawing genuine laughter from the crowd. Their partnership is both hilarious and heartwarming, and it is a true joy to watch the two perform together. 

One of the brilliant things about Bareilles’ show is how well-written the male characters are, each one not out to steal the show but to perfectly complement the leading women. Dan Partridge plays a wonderful role as the hapless Dr Pomatter. He manages to be both hilariously chaotic and incredibly earnest, creating a character who is entirely likeable. His vocals are beautiful and the harmonic blend between Partridge and Lucia during You Matter To Me is heavenly. 

Perhaps the most famous name in the show, Les Dennis brings a warmth and humour to grumpy Old Joe, whilst Mark Willshire does a great job of portraying Jenna’s waster husband Earl, who is incredibly easy to dislike from the offset. I may have seen the show several times, but Sunderland’s audience surprised me with a round of applause in a place I have never heard it before. Without giving away too much, let’s just say that the clapping was testament to just how much the audience adored Jenna and how much they really hated Earl. 

Very few shows make the impact on me that Waitress has done. A show about life, the pursuit of happiness and, of course, pie, I defy anyone to watch this brilliant show and not feel the joy of friendship and that love, in all its forms, has the power to overcome a great number of obstacles. It is borderline criminal that Sunderland has so many tickets left for the show’s run this week - if you do nothing else, treat yourself to a ticket. You won’t be disappointed. 

Review: Hannah Daglish

Photos: Johan Persson

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Tickets

General tickets for Waitress at Sunderland Empire are on sale now. Don’t miss the chance to see this extraordinary production — and to welcome Durham’s own Emma Lucia home.

Book at: ATGTickets.com/Sunderland

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

REVIEW: The Red Shoes at Newcastle Theatre Royal

The Red Shoes

Newcastle Theatre Royal 

Until Saturday 9 May 2026

Lavish, imaginative and completely captivating, Sir Matthew Bourne’s The Red Shoes is a loving tribute to its movie source and delivers beauty, comedy and high emotion, brilliantly interpreting Bernard Herrman’s soaring music.

Originally staged ten years ago, this production was touring in 2020, when the pandemic closed all the theatres. It is a cause for celebration that Bourne’s dazzling New Adventures company are once more bringing this exquisite dance drama to regional audiences.

Powell and Pressburger’s 1948 film was unlike anything that went before it. A Technicolor extravaganza in glamorous locations, it told the story of Victoria Page, a young dancer torn between her love for an aspiring composer and her passion for dance. Her signature role mirrors her real-life dilemma in portraying a girl so captivated by her red shoes that she is forced, literally, to dance herself to death.

The dance is personified here by Andy Monaghan’s imposing and obsessive impresario, Boris Lermontov, as well as Liam Mower’s stern, demanding ballet master, Grisha Lubov. Both deliver flawless dancing, coupled with nuanced and believable characterisation. Together, they deliver one message: dance demands your complete dedication, to the exclusion of all other passions.

Last seen here in her brittle and affecting portrayal of Miss Roach in The Midnight Bell, Cordelia Braithwaite wrings every nuance and hint of emotion from her role as Page. An exceptional dancer at the peak of her powers, the beauty of her lines and her flawless technique mean that she effortlessly embodies Herrman’s richly emotional music.

At this performance, Braithwaite was skilfully partnered by Jarrod McWilliams, the cover for composer Julian Craster, who danced out of his skin to bring out all the contrasting emotions of this idealistic character. In the titular ballet within the ballet, Jackson Fisch brought the same quality of youthful freshness and flawless technique to the role of her lover.

Typically for Bourne, the production has enjoyable elements of comedy and simple joy to temper the drama. Blissful seaside frolics, a boozy cast party and a hilarious sand-dancing sequence were particularly memorable. But it is the passion and the rapturous beauty of the more dramatic dance sequences that will stay in the memory most powerfully.

Lez Brotherston’s inspired scenery, centred by a gilt proscenium arch that rotates to change the aspect from stage to audience is a wonder, as are his glorious costumes. The sense of the period is all-pervading, and the perfectly judged extravagance of the images portrayed chimes perfectly with Terry Davies’ inspired orchestrations. Sadly, there was no live orchestra and the dancers performed to a recorded track, but such are the constraints of touring dance in 2026.

One would think that Matthew Bourne’s rich imagination and choreographic versatility would be a splendid fit with Powell and Pressburger’s unique and colourful vision and so it proves. This multiply awarded production is everything one could hope for it to be and more. Simply wonderful!

Review: Jonathan Cash

Photos: Johan Persson

Tickets:

Tickets are available online from https://www.theatreroyal.co.uk/whats-on/matthew-bournes-the-red-shoes/ and the Theatre Royal box office.