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

REVIEW: Mamma Mia! at Newcastle Theatre Royal

Mamma Mia!

Newcastle Theatre Royal

Until Saturday 28 February 2026

There are few musicals that can guarantee a smile on your face from curtain up to the final encore, but Mamma Mia! remains one of the most reliable feel-good experiences in British theatre. Currently lighting up Newcastle Theatre Royal, this production demonstrates exactly why the show has been seen by over 65 million people worldwide and continues to pack theatres more than two decades after its West End premiere.

For those unfamiliar with the story, the show is set on the Greek island of Kalokairi, where twenty-year-old Sophie Sheridan (Lydia Hunt) is preparing for her wedding to Sky (Joe Grundy). Desperate to be walked down the aisle by her father, Sophie faces one significant problem: she doesn't know who he is. After discovering her mother Donna's diary reveals three potential candidates, Sophie secretly invites all three men to the island without telling her mother. What follows is a sun-soaked celebration of love, friendship, and family, wrapped around more than twenty of ABBA's most beloved hits.

The genius of Mamma Mia! lies in how seamlessly it weaves Benny Andersson and Björn Ulvaeus's catalogue into Catherine Johnson's narrative. The songs aren't simply dropped into the action; they genuinely serve the story, enhanced by the fact that ABBA's own journey through marriage and divorce provides a natural emotional arc. From the instantly recognisable opening notes of the first number to the infectious encore, the score delivers everything from laugh-out-loud comedy to genuinely touching moments.

Jenn Griffin brings considerable warmth and vocal strength to the role of Donna Sheridan. Her delivery of "The Winner Takes It All" is a particular highlight, finding the emotional depth in what could easily become a showstopper for its own sake. It's a moment where the theatre falls genuinely silent, testament to Griffin's ability to convey real vulnerability within this most exuberant of musicals.

The three potential fathers each bring distinct personalities to their roles. William Hazell's Sam Carmichael represents the romantic past that never quite let go, Mark Goldthorp's Bill Austin provides much of the show's warmth and humour, whilst Richard Meek's Harry Bright offers a more buttoned-up counterpoint. The chemistry between these three very different men creates some genuinely funny moments as they navigate their unexpected reunion.

Sophie's two best friends, Ali (Bibi Jay) and Lisa (Eve Parsons), provide energetic support, whilst Donna's former bandmates prove equally entertaining. Rachel Oates as Rosie and Sarah Earnshaw as Tanya bring both comic timing and impressive vocal performances, with their numbers among the show's most enjoyable moments. Their rendition of "Dancing Queen" with Donna reminds us why this song became a global anthem.

Special mention must be made of the young male performers who bring real energy and skill to the choreography. Joseph Vella as Pepper delivers a particularly physical and committed performance, his movement work genuinely impressive throughout. Alongside Ethan Casey-Clothier as Eddie and Joe Grundy as Sky, these performers inject youthful vitality into the production. The choreography, originally by Anthony Van Laast, remains clever and inventive, with these young men tackling some demanding routines with evident enthusiasm and technical ability.

The live band deserves considerable credit for keeping the energy levels high throughout the evening. Under tight musical direction on the Thursday night that we attended from Ashley Jacobs, they navigate ABBA's catalogue with precision, from the disco-driven numbers to the more acoustic arrangements. There's something particularly special about hearing these songs performed live, and the musicians do justice to some of the most recognisable melodies in popular music.

What could seem like a minimal set design actually proves remarkably effective, with the two revolving sections allowing scenes to flow smoothly between the tavern's exterior and the upstairs bedrooms. Combined with effective lighting design, this creates everything from sun-drenched Mediterranean daytime scenes to the magical atmosphere of the wedding finale.

The production maintains impressive consistency with the West End version, proving that touring productions need not compromise on quality. The ensemble cast work tirelessly throughout, singing, dancing, and creating the vibrant community that makes the island setting feel alive. These performers don't simply fill the stage; they invest fully in the world of the show.

It would be easy to be cynical about Mamma Mia!'s formula, but there's genuine craft in how effectively this show works. Yes, it's designed to entertain, but it achieves that goal through strong performances, excellent musicianship, and choreography that looks as fresh now as when the show premiered. The comedy lands consistently, the emotional moments resonate, and the sheer joy of the piece proves infectious.

By the time the encore arrives, with the entire cast returning in full ABBA regalia for "Waterloo" and other hits that didn't quite fit the narrative, the audience is fully invested. The standing ovation at the Theatre Royal felt entirely earned, with audience members dancing in the aisles and singing along to every familiar chorus.

Mamma Mia! makes no apologies for what it is: a bright, loud, unashamedly entertaining celebration of ABBA's music. Some might dismiss it as lightweight, but there's real skill in creating something this consistently enjoyable. From the talented cast's vocal performances to the live band's energy, from the impressive dancing (particularly from the young male ensemble members) to the infectious spirit that permeates every scene, this production delivers exactly what audiences want from this show.

In an era when we could all use a bit more joy and escapism, Mamma Mia! at Newcastle Theatre Royal provides both in abundance. It's a production that reminds us why this particular jukebox musical has endured whilst others have faded, and why audiences continue to respond to its particular brand of sun-soaked, ABBA-powered entertainment.

Review: Stephen Oliver

Photos: Brinkhoff-Moegenburg

Tickets:

https://www.theatreroyal.co.uk/whats-on/mamma-mia/

Preview: TINA – The Tina Turner Musical at Newcastle Theatre Royal

 

TINA – The Tina Turner Musical 

Newcastle Theatre Royal

Tuesday 3 to Saturday 14 March 2026

The Queen of Rock 'n' Roll is ready to reign over Newcastle this March. From Tuesday 3 to Saturday 14 March 2026, Newcastle Theatre Royal will shake to the electrifying power of TINA – The Tina Turner Musical, as this West End mega-hit makes its triumphant return to the North East.

This is no ordinary jukebox musical. While many productions about musical legends fall into the trap of prioritising spectacle over substance, or abandoning narrative halfway through for a glorified concert, TINA – The Tina Turner Musical takes its cues from the acclaimed 1993 film What's Love Got To Do With It, delivering a powerful, unflinching portrait of one of music's most extraordinary journeys. It's a production that honours both the artist and the woman behind the legend, tracing the turbulent, triumphant life of Anna Mae Bullock from her humble beginnings in Nutbush, Tennessee, to her transformation into an international icon.

The story begins in the Deep South, where a young girl sang too loudly in church and dreamed of something bigger than the small-town life that surrounded her. From those modest origins, the musical charts Tina's discovery by Ike Turner, their explosive creative partnership, the darkness of an abusive relationship, and ultimately her resurrection as a solo artist who would go on to win twelve Grammy Awards and conquer the world's biggest stages. It's a narrative arc that encompasses heartbreak and hope, despair and determination, defeat and ultimate victory.

When TINA – The Tina Turner Musical played at Sunderland Empire last year, our reviewer was struck by the production's emotional authenticity. The audience's audible gasp during a scene depicting domestic violence demonstrated the visceral power of this staging, which refuses to sanitise or sentimentalise Tina's experiences. As noted in our March 2025 review, this is not merely a concert celebrating a legendary artist but rather "a powerful, emotional rollercoaster that traces the life and career of Tina Turner from her humble beginnings in Nutbush, Tennessee, to her rise as an international superstar."

The musical brilliantly captures both the personal and professional struggles that defined Tina's life, showcasing the trials, triumphs, and sheer resilience that made her a symbol of strength and perseverance for generations. It's about a woman who didn't just break the rules of what was expected of her – she rewrote them entirely, defying the bounds of age, gender, and race to achieve superstardom against impossible odds.

The production doesn't shy away from the complexity of this relationship, presenting Ike as more than a one-dimensional villain while never excusing his behaviour. The chemistry between cast members creates a cohesive, powerful experience that draws audiences deep into the emotional landscape of Tina's journey. Local talent also shines in this production, with young performers bringing enthusiasm and authenticity to the early years of Anna Mae's life.

The production values are spectacular. Set to the pulse-pounding soundtrack of Tina's iconic hits – including The Best, What's Love Got To Do With It?, Private Dancer, and River Deep, Mountain High – the musical delivers the high-energy performances fans expect while using these beloved songs to illuminate key moments in Tina's story. Each number is meticulously choreographed, with the legendary moves and signature style that made Tina Turner a force of nature on stage.

The staging captures different eras with impressive attention to detail, from the intimate clubs of the early years to the massive stadium spectacles of Tina's solo career. Lighting, costume, and sound design work in perfect harmony to transport audiences through decades of music history, while never losing sight of the human story at the centre of it all.

What makes TINA – The Tina Turner Musical particularly special is its refusal to take the easy route that many biographical musicals follow. This isn't a show that tells a story in act one before giving up and turning into a concert in act two. Instead, it maintains its narrative integrity throughout, using Tina's music not as mere nostalgia but as a genuine expression of her emotional journey. The songs become windows into her soul, moments of triumph, cries of pain, and ultimately, anthems of survival and reinvention.

The musical explores themes that resonate far beyond Tina's individual experience. It's a story about finding your voice in a world that tries to silence you, about reclaiming your identity when others seek to define you, and about the transformative power of art to heal and empower. It speaks to anyone who has ever felt trapped, diminished, or written off, showing that it's never too late to take control of your own narrative and write a new chapter.

The production is recommended for ages fourteen and above, with content warnings for scenes depicting domestic violence, strong language, racist language, gunshots, haze, strobe lighting, and loud music. These elements are handled with care and purpose, serving the story rather than sensationalising it. The running time is two hours and forty-five minutes including an interval, giving the production the space it needs to fully explore Tina's remarkable life without feeling rushed or superficial.

Newcastle Theatre Royal provides the perfect setting for this explosive production. The venue's historic grandeur and excellent acoustics will showcase the musical's powerful score to maximum effect, while the intimate connection between stage and audience will intensify the emotional impact of Tina's story. With evening performances at 7.30pm and matinees on Thursdays and Saturdays at 2.30pm, there are multiple opportunities to experience this extraordinary show across its twelve-day run.

For theatre-goers in the North East, this represents a rare opportunity to see a West End production of this calibre on their doorstep. TINA – The Tina Turner Musical opened in London's West End to critical acclaim and has been captivating audiences ever since. The touring production brings all the energy, emotion, and expertise of the original to regional audiences, with a cast and creative team committed to delivering the same world-class experience that made the show a smash hit.

Whether you're a lifelong Tina Turner fan who grew up with her music, a theatre enthusiast who appreciates powerful storytelling, or someone discovering her story for the first time, this musical offers something genuinely special. It's a celebration of an icon, yes, but more importantly, it's a celebration of the indomitable human spirit, the courage to leave behind what's toxic, and the power of reinvention at any age.

As our reviewer concluded after the Sunderland Empire production, TINA – The Tina Turner Musical creates an experience where audiences feel they're "not just watching a musical — they're witnessing Tina Turner's legacy unfold right before their eyes." It's theatre that inspires, music that moves, and a story that resonates long after the final curtain call.

This is your chance to discover the heart and soul behind the Queen of Rock 'n' Roll, to experience the soundtrack that defined generations, and to witness an exhilarating celebration of a woman who dared to dream fiercely and conquer the world. Simply the best? Without question.

Tickets:

TINA – The Tina Turner Musical runs at Newcastle Theatre Royal from Tuesday 3 to Saturday 14 March 2026. Tickets are priced from £39.00 to £51.00 depending on the performance. Evening performances are at 7.30pm, with matinees on Thursdays and Saturdays at 2.30pm. Book online at www.theatreroyal.co.uk or call the box office. Tickets are selling fast, so book early to secure your seats for this must-see production.

Read our full review of TINA – The Tina Turner Musical from its Sunderland Empire run at http://www.northeasttheatreguide.co.uk/2025/03/review-tina-tina-turner-musical-at.html

Preview: Zog at Durham Gala

Zog 

Durham Gala

Tuesday 24 to Thursday 26 February 2026

This half-term, families across the North East have the perfect excuse to take flight into the magical world of one of children's literature's most beloved dragons. Julia Donaldson and Axel Scheffler's classic, feel-good story Zog returns to County Durham, bringing its roaring, soaring charm to Gala Durham from Tuesday 24 to Thursday 26 February.

Freckle Productions' adaptation of this enchanting tale has become a smash-hit theatrical experience, delighting audiences with its masterful blend of live music, captivating puppetry, and laugh-out-loud storytelling. This is theatre that truly comes alive, transforming Donaldson's much-loved picture book into an immersive adventure that young audiences can experience with all their senses.

At the heart of the story is Zog himself, the keenest yet most accident-prone dragon in Madam Dragon's school. Despite his enthusiasm and determination, this lovable orange dragon seems to encounter disaster at every turn as he strives to win his own golden star. It's a tale that speaks to every child who has ever tried their best, stumbled, and picked themselves up to try again. With the help of the courageous Princess Pearl, Zog must overcome his biggest challenge yet, teaching young audiences valuable lessons about perseverance, friendship, and believing in yourself.

Since its first publication in 2010, Zog has soared into the hearts of families worldwide. With more than 4.8 million copies sold globally, the story has established itself as a modern classic, sitting proudly alongside Donaldson's other treasured works. The theatrical adaptation honours the spirit of the original while bringing fresh energy and dimension to the beloved characters.

Lizzie Glazier, culture venues and programme manager, captures the essence of what makes this production so special: "We are delighted to once again welcome Zog to Gala Durham. Julia Donaldson's much-loved classic has enchanted audiences for the last 15 years and, featuring joyful songs by Joe Stilgoe and beautiful puppets by Little Angels, this charming smash-hit production is a treat for children and adults alike."

The musical score by Joe Stilgoe adds another layer of magic to the production, with joyful songs that will have young audience members humming long after the curtain falls. The puppetry by Little Angels is nothing short of spectacular, bringing Donaldson's colourful characters to life with creativity and craftsmanship that will mesmerise children and impress adults in equal measure.

What makes this production particularly special is its accessibility for younger theatre-goers. Recommended for children aged three and over, Zog offers an ideal introduction to the world of live performance. It's perfectly pitched to hold the attention of little ones while delivering enough sophistication to keep parents and guardians thoroughly entertained. The show's running across three days with multiple performances means families have plenty of options to find a time that suits their half-term schedule.

Glazier emphasises this aspect: "It's the perfect excuse for a half-term excursion, with a number of performances running across the three days. And, with the production recommended for children aged three and over, it's also a great opportunity to introduce younger family members to the joy of theatre and spark their love for the arts."

For families looking to make the most of the February half-term break, Zog offers more than just entertainment. It's an opportunity to create lasting memories, to introduce children to the transformative power of live theatre, and to share in a story about courage, kindness, and never giving up. The intimate setting of Gala Durham provides the perfect backdrop for this heartwarming tale, allowing young audience members to feel truly connected to the action unfolding on stage.

The production has proven immensely popular in previous runs, with families praising its faithful adaptation of the source material, the quality of the performances, and its ability to engage even the youngest theatre-goers. Parents appreciate the show's thoughtful pacing, which keeps children engaged without overwhelming them, and the positive messages woven throughout the narrative.

Whether you're a long-time fan of Julia Donaldson's work or discovering Zog for the first time, this theatrical adaptation promises a roar-some experience that celebrates everything that makes children's theatre so valuable. It's storytelling at its finest, puppetry that sparks wonder, and music that brings joy – all wrapped up in a production that respects young audiences' intelligence while never forgetting that theatre should be, above all, fun.

Tickets:

To find out more and to book tickets, visit www.galadurham.co.uk/zog or call Gala Durham on 03000 266 600.

Interview: Romesh Ranganathan Makes Stage Debut in Woman In Mind at Sunderland Empire

Romesh Ranganathan Makes Stage Debut in Woman In Mind at Sunderland Empire

Woman In Mind

Sunderland Empire

Wednesday 4 – Saturday 7 March 2026.

Romesh Ranganathan (Bill).
Photo: Marc Brenner

Comedian and TV star Romesh Ranganathan talks about stepping onto the stage for the first time alongside Sheridan Smith in Alan Ayckbourn's psychological comedy

Following its West End run at the Duke of York's Theatre, Alan Ayckbourn's psychological comedy Woman In Mind arrives at Sunderland Empire this March, marking the stage debut of one of Britain's best-loved comedians.

Multi award-winning comedian Romesh Ranganathan will play Bill Windsor alongside the previously announced Sheridan Smith as Susan in this spellbinding revival directed by Michael Longhurst. When Susan sustains a bump to the head, her world splits in two—one mundane, one imagined—and the lines begin to blur. Ayckbourn's groundbreaking play is a gripping exploration of identity, family, and mental escape.

The production also features Louise Brealey as Muriel, Tim McMullan as Gerald, Sule Rimi as Andy, Chris Jenks as Tony, Safia Oakley-Green as Lucy and Taylor Uttley as Rick, with Katie Buchholz and Michael Woolfitt completing the company.

Romesh Ranganathan is known for fronting hugely popular series The Misadventures of Romesh Ranganathan, BAFTA-winning Rob & Romesh Vs, A League Of Their Own, The Ranganation, and BBC One's Weakest Link. He is also the host of BBC Radio 2's Saturday show and several podcasts, including The Romesh Ranganathan Show and Wolf & Owl with Tom Davis. His 2022 stand-up tour The Cynic's Mixtape was released as a Netflix special, and his latest tour Hustle culminated in two sold-out nights at the O2 in London.

We spoke to Romesh about making his stage debut, tackling Ayckbourn's precise writing, and bringing this complex psychological comedy to audiences.

The Romesh Ranganathan Interview for Woman In Mind

You're making your stage debut with this production! How have you found it, and have the company taken you under their wing?

I've done a fair bit of acting, but that's all been for TV, so it's a very different beast. Most of the TV acting I've done is for stuff that I've written, so it's been a learning curve in terms of getting acquainted with material that I haven't created, and then trying to find out what my version of the character that Alan Ayckbourn has written is, and then taking my character through their entire journey every single night and twice on Wednesdays and Saturdays. Preparing for that has been a new challenge!

I'm the least experienced member of the cast, I think, in terms of theatre acting, but the company has been great at helping me through, and obviously Michael Longhurst directing has been unbelievable. They've let me figure it out for myself and they've been there if I have questions. Even things like learning lines, I've never had to learn this quantity of lines before, because when you're doing TV, you only learn what you're going to film the next day and then they leave your brain forever. Whereas with this, you've got to know the whole thing! I know that sounds like an obvious thing to say, but it's a challenge that I haven't encountered before.

Romesh Ranganathan (Bill) and Sheridan Smith (Susan).
Photo: Marc Brenner

How does performing Ayckbourn differ from making people laugh on your own terms?

When you do stand up you can do whatever the hell you want, as the audience doesn't know what the joke is supposed to be. If you mess it up, you can make a joke of that or take it in a different direction. Whereas with a play, with Ayckbourn particularly, it's so precisely written, and even if you did an appropriation of the line, you wouldn't be doing what that line's supposed to do. There's a precision to it that you have to get to grips with.

You've built your career predominantly on playing yourself. Have you found it liberating or terrifying to have to play someone else?

I've talked to more experienced actors than me, and people that I really respect, and the advice they gave to me was to try and find whatever you've got in common with your character and kind of blow that up, if you like. I have tried to find that with Bill Windsor. Even though I'm not playing myself, there are elements of his nervousness and bumbliness that I do have. There was also a maths teacher I used to work with when I was a teacher, who reminds me of what Bill Windsor's like. So, I've got him to thank really because sometimes, when I'm thinking, "what would Bill do?" I'm often thinking, "what would that guy do?" and channelling that really.

Did you find anything unexpectedly relatable within your character?

Yeah, I think that social, not ineptitude, but that kind of social awkwardness. I do have that. A lot of people don't think that you'll have that because you're a stand-up comedian, but you are sort of playing a character when you're a stand up. You're playing a version of yourself that isn't worried about what people think of them. Whereas when you're off stage, you are incredibly worried, it's all you think about, it is what keeps you up at 3am in the middle of the night! Somebody said to me the key is to find what is in your character that is also in yourself, but there are also certain things about him that aren't the same. I've watched other people playing other characters to see if there is something that I can use as inspiration, so my Bill Windsor is really an amalgamation of myself and different kinds of influences.

The play moves between Susan's reality and fantasy, and between absurd comedy and real emotional pain. How do you strike the balance between the two?

The comedy comes from playing the situation for real. Ayckbourn has set up these characters with dialogue that is just funny and it's kind of everyday life mundanity. You don't want to overegg it, so you play it truthfully and then the comedy, or the tragedy, will emerge naturally. The challenge is, in my inexperienced opinion, to find the truth as effectively as you can and then everything else will take care of itself.

Romesh Ranganathan (Bill), Tim McMullan (Gerald) and Sheridan Smith (Susan).
Photo: Marc Brenner

How do you help the audience - and yourselves - keep track of what's real, or is that confusion part of the fun?

That's been a lot of our discussion really, because before the script even starts, it says, "all of this is from Susan's POV", and so what that means is, even the situations that look like they're a normal life, they could be imagined. You can't really trust anything in a way, because everything can be imagined. For all we know, what we think is the imaginary family is actually the real family and vice versa, you just don't know. My character, Bill Windsor, is probably the only one that kind of exists in both worlds - Susan's link between the two.

I do think there should be a bit of confusion, but I think that you can play with that. Sometimes you don't have to answer the question, you just have to put a question there and then the audience can come and decide for themselves.

Woman In Mind was first performed in 1985; how do you think the play speaks to audiences today? Has anything in it felt surprisingly contemporary?

The truth is that the mental health issues that Susan's going through still resonate, arguably more so, because I think we're now more aware of mental health issues and people's struggles than we were when the play was first written. I also think that some of the gender politics will look different now than it would have done when the play first came out. I think there are certain things that maybe in the '80s, would not have raised much of an eyebrow as it does now. Some of the ways that Susan's spoken to, some of the way she's spoken over, all of those things, I think, will look starker now in the modern version.

Ayckbourn has a loyal following, but new generations might not know his work. What do you hope audiences take away from seeing this production?

Alan Ayckbourn is an incredible playwright. One of the reasons that I wanted to get into theatre was that I think there's a lot of people who think theatre isn't for them. We are doing our best to take a psychologically complex piece of Alan Ayckbourn's work and present it to people, so that even if you're not a regular theatre goer, or you're not familiar with Alan Ayckbourn, there'll still be something in it for you.

Can you describe Woman In Mind in three words?

Challenging, dark and funny.

Cast:

Sheridan Smith as Susan
Romesh Ranganathan as Bill
Louise Brealey as Muriel
Tim McMullan as Gerald
Sule Rimi as Andy
Chris Jenks as Tony
Safia Oakley-Green as Lucy
Taylor Uttley as Rick
Katie Buchholz
Michael Woolfitt

Creative Team:
Director: Michael Longhurst
Set and Costume Design: Soutra Gilmour
Lighting Design: Lee Curran
Sound Design: Paul Arditti
Casting: Jim Carnahan CSA and Liz Fraser CSA

Produced by Wessex Grove and Gavin Kalin Productions

Tickets:

Show: Woman In Mind
Venue: Sunderland Empire
Dates: Wednesday 4 – Saturday 7 March 2026
Tickets: Available online at ATGTickets.com/Sunderland
A £3.95 transaction fee may apply to online bookings