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07/06/2026

Preview: The Curious Incident of the Dog in the Night-Time at Newcastle People's Theatre

The Curious Incident of the Dog in the Night-Time

Newcastle People's Theatre

Tuesday 9 June to Saturday 13 June 2026

 

"I am going to find out who killed Wellington and make it a project. Even though Father told me not to."

 

It is a simple enough premise. A dead dog. A determined fifteen-year-old. A neighbourhood full of doors that might be better left closed. But in the hands of Simon Stephens, adapting Mark Haddon's bestselling novel for the stage, what begins as a neighbourhood mystery becomes one of the most celebrated pieces of theatre of the past two decades. The Curious Incident of the Dog in the Night-Time arrives at Newcastle's People's Theatre in Heaton from Tuesday 9 June to Saturday 13 June 2026.

 


Published in 2003, Haddon's novel was an immediate success, winning the Whitbread Book of the Year prize and going on to sell millions of copies in more than forty languages. Its narrator, Christopher Boone, is a mathematically gifted fifteen-year-old who processes the world differently from those around him. When he discovers his neighbour's dog Wellington dead in the street, stabbed with a garden fork, at seven minutes after midnight, he resolves to investigate. His father has told him to leave it alone. Christopher, characteristically, does not leave it alone.

 


The detective inquiry that follows takes Christopher far beyond the familiar geography of his Swindon home, eventually drawing him into the unfamiliar chaos of London and forcing him to confront truths about his own family that are considerably more unsettling than anything he expected to find at the end of his road. Haddon's achievement was to write a novel that is simultaneously a coming-of-age story, a family drama, a puzzle narrative and a portrait of a mind that sees the world with unusual clarity and unusual difficulty. Stephens's stage adaptation, which premiered at the National Theatre's Cottesloe space in 2012 under the direction of Marianne Elliott, found ways to externalise Christopher's interior experience that the novel's first-person prose could only imply. The production went on to win seven Olivier Awards and subsequently transferred to the West End and Broadway, where it won five Tony Awards including Best Play.

The play asks its audience to experience the world as Christopher does: where crowds are threatening, touch is intolerable, information arrives in overwhelming quantities, and numbers and logic provide the only reliable comfort. The staging that made the National Theatre production famous used a grid-covered box set, with performers doubling as both characters and physical elements of Christopher's mental landscape. It is a technically inventive piece that demands considerable commitment from its cast, not merely in terms of performance but in the physical co-ordination that the staging requires.

The People's Theatre production is directed by Sam Burrell and stars Zachary Douglas as Christopher, the role around which the entire play pivots. Douglas carries the weight of almost every scene, and the demands of the part are substantial: Christopher rarely leaves the stage, narrates his own story, performs complex mathematical calculations aloud, and must convey both the rigorous internal logic and the profound emotional vulnerability of a character who is, in many ways, far more self-aware than the adults who surround him. Alison Carr plays Siobhan, Christopher's teacher and the person to whom he reads his account of the investigation. Siobhan is, in many respects, the audience's guide to Christopher: the character most capable of translating between his world and the conventional social world the rest of the cast inhabits.

Sean Burnside plays Ed, Christopher's father, a man who loves his son and is simultaneously overwhelmed by him. The role requires considerable nuance: Ed is neither villain nor simple sympathetic figure, but a parent doing his imperfect best under circumstances that test him beyond his resources. Sara Jo Harrison plays Judy, whose position in the story becomes clear only as Christopher's investigation deepens. Eileen Davidson takes the role of Mrs Alexander, a neighbour whose conversation with Christopher early in the play proves more consequential than either of them anticipates. The ensemble, completing the large cast that the play requires, comprises Cat White, Charlie Milne, Colette Knowles, Lauren Kinnersley and Tim Clark.

The production runs at the People's Theatre on Stephenson Road in Heaton, which has been staging non-professional theatre in Newcastle since 1911 and is the leading amateur theatre company in the North of England. Founded over a century ago, the theatre operates a 500-seat Main Auditorium and a Studio Theatre, producing up to fifteen shows a year across both spaces. Every production is mounted entirely by the company's members, covering performance, direction, design, technical operation and front of house. The organisation has a long track record of working to professional standards, and a number of its members have moved into professional theatre. For this production, the Main Auditorium provides the scale that a piece of this ambition requires.

The Curious Incident is a play that has retained its capacity to move and surprise through successive productions around the world, partly because the questions it raises about family loyalty, honesty, and the difficulty of navigating a world that was not designed with you in mind are not questions that date. Christopher's journey from Swindon to London is, among other things, an account of what it takes to face the things you cannot control and keep moving anyway. The play's emotional force comes not from sentimentality but from the precision with which it observes the consequences of the small decisions that adults make and the large ways in which those decisions shape the children around them.

Performances run Tuesday to Saturday evenings at 7.30pm, with no matinees scheduled during this run. The show is suitable for a general audience, though parents of younger children may wish to note that the play deals with themes of family breakdown and loss, handled with care but not avoided.

 

Tickets:

The Curious Incident of the Dog in the Night-Time runs at the People's Theatre, Stephenson Road, Newcastle upon Tyne, NE6 5QF from Tuesday 9 June to Saturday 13 June 2026 at 7.30pm. Tickets are priced at £16.50 and £14. Available from the Box Office on 0191 265 5020 (option 2) or online at www.peoplestheatre.co.uk


06/06/2026

Preview: CBeebies House Party Live at Stockton Globe

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CBeebies House Party Live

Stockton Globe 

Sunday 9 August 2026


There is a particular kind of chaos that descends on a household when small children discover their favourite television characters are coming to town. CBeebies House Party Live is the show responsible for a great deal of that chaos across the UK this summer, and on Sunday 9th August it arrives at Stockton Globe for two performances.



The show is written and directed by Justin Fletcher MBE, the BAFTA award-winning performer best known to young audiences as Mr Tumble. Fletcher has been at the heart of CBeebies for years, and this touring production carries his fingerprints throughout, from its energetic pacing to its commitment to inclusive performance. Every show features a BSL interpreter, ensuring that deaf children and families can share fully in the experience. Makaton signs are also woven into the fabric of the performance through Mr Tumble himself, whose long-running series Something Special has introduced thousands of children to this communication system.

Mr Tumble is among the headline names joining the Stockton date, and his role in the party has a suitably domestic flavour: he is in charge of the food. Given his track record of cheerful catastrophe, things may not go entirely to plan, and that unpredictability is part of the appeal. Fletcher describes the show as "the party of ALL parties", and while that is his character talking, the production does appear to deliver on the promise.



The wider cast assembled for the tour reads like a who's who of the CBeebies schedule. Andy Day, Mister Maker (Phil Gallagher), George Webster, Evie Pickerill, Nigel Clarke, Rebecca Keatley, Rhys Stephenson, Joanna Adeyinka-Burford, Dodge (Warrick Brownlow-Pike) and Duggee are all part of the rotating lineup. The show has been produced by the same team behind CBeebies House and CBeebies Bedtime Stories, giving it a coherence and warmth that reflects those much-loved programmes.

What children can expect on the day is a live show built around participation: dancing, singing, streamers, giant jellies and plenty of bubbles. There is also a CBeebies Bedtime Story woven into the running order, though the show makes clear that sleep is very much off the agenda. The energy is deliberately high, the staging colourful, and the running time free of an interval, which tends to suit the attention spans of the target audience well.



The Manchester Evening News described the production as "Glastonbury for kids", while the Reviews Hub called it "bursting with colour, music, laughter and a whole lot of love", both giving it five stars. These responses come from a 2025 run of the show, and the 2026 tour is described as bigger and brighter than that outing.

Stockton Globe is an appropriate home for this kind of event. The venue opened in 1935 on the High Street and has hosted everyone from The Beatles to Sadler's Wells Ballet. Its art deco interior, restored following a multimillion-pound refurbishment funded by Stockton-on-Tees Borough Council and the Heritage Lottery Fund, makes for a vivid setting. For many of the children in the audience on 9th August, it will be their first proper theatre trip, and the Globe gives that occasion the setting it deserves.


Tickets:

CBeebies House Party Live plays Stockton Globe, 153A High Street, Stockton-on-Tees TS18 1PL on Sunday 9th August 2026. Performances are at 11:00am and 2:00pm. The show runs without an interval. Tickets are available at www.atgtickets.com/shows/cbeebies-house-party/stockton-globe/ or www.stocktonglobe.co.uk. For group bookings of ten or more, call 020 7206 1174 or submit a request online via the ATG Tickets website.




 

 

Preview: Moulin Rouge! The Musical at Sunderland Empire

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Moulin Rouge! The Musical 

Sunderland Empire

Friday 5 - Saturday 27 June 2026

 


Paris, 1899. A penniless American writer, a dazzling courtesan, a flamboyant impresario and a scheming duke walk into the most famous nightclub in the world. It sounds like the opening of a joke, but the story that unfolds is anything but. Moulin Rouge! The Musical arrives at Sunderland Empire from Friday 5 June to Saturday 27 June 2026, marking a landmark moment for the venue as the production makes its way across the globe on its first ever world tour.

 


The show is rooted in Baz Luhrmann’s 2001 film, which premiered at the Cannes Film Festival and went on to receive eight Academy Award nominations, winning two. That film dazzled audiences with its maximalist visual style and its jukebox approach to pop music, colliding songs from wildly different eras into a single, breathless romantic tragedy. The stage adaptation takes that template and pushes it further still, building an entertainment that runs two hours and forty-five minutes – including an interval – and draws on more than 70 songs spanning over 160 years of music, from Offenbach to Lady Gaga. In total, the production credits 165 songwriters administered by 31 publishers: a feat of rights management as much as artistic vision.

 


The story is, at its heart, a love story told under pressure. Christian, a young bohemian writer newly arrived in Paris, falls for Satine, the star performer at the Moulin Rouge. Their connection is immediate and passionate, but the club’s imperious host Harold Zidler has already promised Satine’s time and attentions to the Duke of Monroth, a man of considerable wealth who assumes that money can secure whatever he desires. Christian’s allies in his battle for Satine’s heart include the painter Toulouse-Lautrec and Santiago, a tango dancer of formidable reputation. What follows is part love story, part spectacle, part musical mash-up, with the fate of the Moulin Rouge itself tangled up in the outcome.

 


Leading the Sunderland cast is Verity Thompson as Satine, opposite Nate Landskroner as Christian. Cameron Blakely takes on the role of the larger-than-life Harold Zidler, with Kurt Kansley as Toulouse-Lautrec, Rodrigo Negrini as Santiago, and James Bryers as The Duke. Kahlia Davis plays Nini, Ellie Jane Grant is Arabia, Scott Sutcliffe takes the role of Baby Doll, Claudia Kariuki plays La Chocolat, and Ann Sophie joins the company as Alternate Satine. They are supported by an ensemble of twenty-five performers, including Joe Burrell, Gracie Caine, Alisha Capon, Nathalie Chaves, Sol Childs, Kamau Davis, Martin Dickinson, Ike Fallon, Francis Foreman, Tessa Fox, Lucie Horsfall, Sayaka Kato, Jacob Kohli, Nathan Mariniello, Matt Powell, Daisy Quainton, Chloe Radford, James Revell, Phoebe Roberts, Samuel Routley, Nathan Saxon, Fraser Stewart, Sorcha Stephenson, Craig Watson and Frazer Woolcott.

 


The creative team behind the production is formidable. Direction is by Tony Award winner Alex Timbers, with choreography by Tony Award winner Sonya Tayeh. The book is by Tony Award winner John Logan, who has also received three Academy Award nominations for screenplays including Gladiator and The Aviator. Music supervision, orchestrations and arrangements are by Tony Award winner Justin Levine. The design work is equally well-credentialled: Tony Award winner Derek McLane is responsible for the sets, Tony Award and Olivier Award winner Catherine Zuber designed the costumes, and Justin Townsend and Peter Hylenski – both Tony Award winners – handle lighting and sound respectively.

 


Those costumes deserve particular attention. The production deploys over 300 costumes in total, incorporating more than 1,200 different fabrics and trims, with over 200 pieces appearing on stage on any given night. The level of decoration is extraordinary: more than 150,000 crystals are used across the show, with the costumes worn by Satine alone accounting for approximately 20,000 of them. A single pair of Satine’s gloves carries around 1,500 crystals. It is the kind of detail that audiences may not consciously register, but which collectively creates a visual density that is entirely deliberate. This is a show about excess, and the design makes no apologies for it.

 


The show received its world premiere on Broadway in 2018 and has since accumulated a remarkable awards haul: ten Tony Awards in 2021 (including Best Musical), an Olivier Award, two Drama League Awards for Outstanding Production of a Musical, five Drama Desk Awards and ten Outer Critics Circle Award honour citations. It is currently running simultaneously in New York, London, Cologne and Utrecht, as well as a North American tour. The world tour launched in Edinburgh in 2025, and Sunderland is one of the venues welcoming it as it travels across the globe. Hamburg opens in November 2026, followed by a return season in Sydney in March 2027.

 


For Sunderland Empire itself, the arrival of a production at this scale is fitting. The venue, which opened in 1907 after its foundation stone was laid by Vesta Tilley, has been the North East’s principal receiving house for major touring productions throughout its history. Operated by ATG Entertainment, it has welcomed West End transfers, opera, ballet and major touring musicals, and its auditorium is one of the largest in the region. A show of the scale of Moulin Rouge! The Musical, with its elaborate sets, extensive cast and extraordinary costume count, is precisely the kind of production the Empire exists to host.

 


Critical response to the show has been consistent and enthusiastic wherever it has played. Reviewers have highlighted the relentless energy of the performances, the ingenuity of the musical arrangements and the sheer visual commitment of the design. The Mail on Sunday described it as displaying “sheer high-octane energy,” while The Observer praised it as “a whirling machine in which set, choreography and music lavishly fuse.” The Times noted its “spectacle and a dash of fairy-tale romance,” and the Telegraph, Metro and Sunday Express all landed on the same word: spectacular.

 


Performances run Monday to Saturday at 19:30, with matinees on Wednesdays and Saturdays at 14:30. The show is recommended for ages 12 and above, and audiences should be aware that the production includes strobe lighting.

 

Tickets:

 

Moulin Rouge! The Musical runs at Sunderland Empire, High Street West, Sunderland, SR1 3EX from Friday 5 June to Saturday 27 June 2026. Tickets are available online at ATGTickets.com/Sunderland (a transaction fee of £3.95 may apply). For group bookings of 10 or more, submit a request at ATGTickets.com or call 020 7206 1174. The Box Office opens 90 minutes before each performance.




03/06/2026

REVIEW: The Ballad of Johnny and June at Newcastle Theatre Royal

The Ballad of Johnny and June

Newcastle Theatre Royal

Until Saturday 6 June 2026

The story of Johnny Cash and June Carter Cash is one that has long captured the imagination, and this brand-new musical, currently on UK tour and visiting Newcastle Theatre Royal this week, makes a strong case for why their story deserves a stage of its own. With Olivier and Tony Award-winning director Des McAnuff at the helm, the production carries considerable theatrical pedigree, and the result is a show that combines the story with some well executed music that will please the fans.



The narrative is framed in an intriguing way, told through the eyes of John Carter Cash, the couple's son. This perspective gives the story an intimacy that a more conventional biographical approach might have struggled to achieve. We follow Johnny and June through the turbulence of their professional lives and personal struggles, as well as the slow-burning romance that would eventually define both of them. The writing does not shy away from some of the the harder edges of their story, including the battles with addiction and the complications that came with loving someone as complicated as Johnny Cash. It is a story of two people who were, in many ways, each other's salvation, and the show handles that with care and without sentiment.



The two central performances carry the production with real conviction. Christopher Ryan Grant, known to musical theatre audiences from Million Dollar Quartet, brings a physicality and brooding intensity to Johnny Cash that feels lived-in rather than impersonated. He has a natural authority on stage and handles the emotional complexity of the role with confidence. 



Alongside him, Christina Bianco brings warmth, wit and considerable vocal ability to June Carter Cash. Bianco, whose credits include Joseph and the Amazing Technicolor Dreamcoat and The Wizard of Oz, finds the steel beneath June's charm with notable skill. The interplay between the two leads that gives the show some emotional weight, though at times their relationship comes across as performative. 



Ryan O'Donnell backs up the six piece band on his acoustic guitar, as well as narrating the show as their son John. The supporting company of ten, including Tyneside's very own Pete Peverley, holds up their end of the bargain throughout, ensuring the world around the two leads feels populated and genuine.



The music is, of course, central to everything here, and the show does not disappoint on that front. The songbook is substantial, drawing on decades of material from two of country music's most enduring figures. From I Walk the Line and Ring of Fire through to Sunday Morning Coming Down and Hurt, the selections cover a great deal of ground emotionally and stylistically, and the full band on stage gives each number a live energy that a recorded score could never replicate. The harmonies between Grant and Bianco are well-matched, and there are moments, particularly in the duets, where the music does what no amount of dialogue could. For those familiar with the Cash catalogue, there is the pleasure of recognition; for those coming to the music fresh, there is simply a great deal to enjoy. The music is, indeed, one of the highlights of the show.



The Ballad of Johnny and June is a production that respects its subjects without treating them as untouchable icons. It finds the human story inside the legend, and it tells that story with skill, heart and a great deal of very good music. As the narration keeps saying, don't let the truth get in the way of a good story and this production is as much about spending an evening listening to great songs rather than getting hung up on the accuracy, or timescale, of events. The story is inoffensive to the subject matter , yet there are hints of darker stuff, but ultimately, this is a musical that will probably fade away in the coming years. Newcastle audiences have a short window to catch it before the tour moves on.

Review: Stephen Oliver

Photos: Pamela Raith

Tickets: https://www.theatreroyal.co.uk/whats-on/the-ballad-of-johnny-june/