REVIEW: The Anastasia File at Newcastle Theatre Royal

The Anastasia File 

Newcastle Theatre Royal

Until Saturday 19 September 2026

For anyone with a passing interest in twentieth-century mystery, the story of Anna Anderson, or Mrs Anna Manahan, as she became, remains one of history's great "what ifs". Did she die with the rest of the Romanovs in that Ekaterinburg cellar in 1918, or did she somehow survive to be fished, half-drowned, from a Berlin canal two years later, carrying fragments of memory that only a Grand Duchess could possess? Royce Ryton's *The Anastasia File* sets out the case for both sides and, admirably, refuses to hand the audience a verdict, a decision that feels true to the real mystery, even if it makes for a slightly frustrating night in the stalls.

The programme notes date the play to 1953, though a little digging suggests it actually belongs closer to the late 1970s, an origin that, frankly, makes more sense of what unfolds on stage. This is a play built from an older dramatic toolkit: a two-hander conversation between the Inspector and Mrs Manahan, followed by a scene in which the Inspector reconvenes with a colleague to mull over what's just been said and, in the process, deliver another slab of exposition to the audience. Rinse and repeat. It's a structure that was probably already looking a touch old-fashioned decades ago, and in 2026 it does show its age. There's a ponderousness to some of the exposition-heavy stretches, particularly in the first half, where the piece seems more interested in laying out the historical record than in building dramatic momentum.

That said, there is a genuinely interesting device at its heart: Simon Shepherd plays both the original Inspector and, in a later section that pushes the action on into the 1980s, his son - a neat way of extending the timeline and letting the play gesture towards the ongoing, decades-spanning nature of the real case. It's a shame, then, that the production doesn't push this modernising instinct further. The DNA evidence that eventually resolved the Anderson/Manahan question in the real world, and which would have given the play's closing arguments a sharper, more contemporary edge, goes unmentioned, leaving the drama to close on ambiguity that the history books have since settled - though I'm not sure how advanced dna was back at the time the play was written. Whether that's a deliberate choice to preserve the mystery for dramatic purposes, or simply a text that hasn't quite caught up with the facts, is hard to say. It does the play no harm to be scrupulously fair to the story of Mrs Manahan's uncertain origins, but it will nag at anyone in the audience who knows how the tale ends.

None of this is a criticism of the performances, which are the real reason to see this production. Jenny Seagrove is superb as Mrs Manahan, navigating a role that demands she be by turns fragile, imperious, evasive and utterly convinced of her own identity, often within the same scene, without ever tipping into caricature. It's a performance built on stillness and control as much as outburst, and it's easy to see why she's returned to the part. Simon Shepherd is an equally assured scene partner, giving the Inspector (and later his son) a dogged, decent scepticism that never curdles into cruelty; the two of them carry enormous amounts of dialogue between them, and do so with a naturalism that papers over some of the script's creakier joins. Ashley D. Gayle and Rosie Thomson bring welcome variety in a string of smaller roles, providing the shifts in tone and pace that the two leads' extended exchanges occasionally need.

Roy Marsden's direction is unfussy, trusting the material and the cast rather than reaching for visual flourish, which suits a play that is, at heart, a battle of words and wills rather than of spectacle. The design, likewise, keeps things simple, letting the performances do the heavy lifting.

*The Anastasia File* is an intriguing evening, and one that respects its audience enough to let them draw their own conclusions about a mystery that captivated the world for the best part of a century. But it's also, at times, a wordy and demanding one - a play more comfortable telling than showing, that leans hard on its two leads to keep an old-fashioned structure feeling alive. Seagrove and Shepherd are more than equal to the task, and their performances alone make this worth seeking out. Just don't expect the play itself to have moved on quite as far as the story it's telling.

Review: Stephen Oliver

Tickets:

https://www.theatreroyal.co.uk/whats-on/the-anastasia-file/

REVIEW: North East Film Orchestra – Hollywood Adventure at Durham Gala

Hollywood Adventure

Durham Gala Theatre 

Until Friday 11 September 2026

Now a regular feature at the Gala, North East Film Orchestra is comprised of 68 of the finest musicians in the region, under the baton of multi-talented musician and showman, Lewis Wilkinson. Here they present a choice programme of the best music from classic adventure movies in a captivating evening’s entertainment.

When I say that the North East Film Orchestra is led by Bradley Creswick, internationally renowned violinist and Leader Emeritus of the Royal Northern Sinfonia, you will perhaps understand the calibre of musicians that make up this stunning ensemble.

Lewis Wilkinson, the Music Director, is a prolific and versatile artist, conducting various ensembles of different types throughout the region, as well as being a multi-talented performer in his own right. His carefully curated selections and his detailed and exuberant conducting style have helped the Orchestra to showcase both their technical prowess and the sheer beauty and emotive power of great film music.

It is fair to say that most of us take film music for granted, except in movie musicals. But, as violinist and music psychologist, Kelly Jakubowski, reminded us in a brief but fascinating talk, so much would be lost in terms of tension, emotion and dramatic power, without it.

All the pieces in this programme stand on their own as first rate orchestral music but they also conjure for us memories of the classic films in which they featured. From Erich Korngold’s rousing score for the 1938 swashbuckler, ‘The Adventures of Robin Hood’ and Maurice Jarre’s sweeping overture to ‘Lawrence of Arabia’ to the exhilarating fun of John Williams’ score for ‘Raiders of the Lost Ark’, the evening provided multiple delights.

Other highlights included Dave Tomson’s haunting performance of Ennio Morricone’s ‘Gabriel’s Oboe’ from ‘The Mission’ and Elizabeth Woods soaring soprano solo in Hans Zimmer’s ‘Now We Are Free’ from ‘Gladiator.’ Jeremy Harbottle also gave us a jaunty and engaging cello solo, conjuring the swagger, or perhaps stagger, of Jack Sparrow in Klaus Badelt’s terrific score for ‘Pirates of the Caribbean.’ They even made time for a personal favourite of mine from Michael Giachino’s lilting and emotive score for Pixar’s ‘Up.’

The orchestra has a wonderful feel of expert musicians all attuned to each other and the music, delivering a strong sense of the joy of performing, which quickly communicates itself to the audience. I do not wish to spoil the surprise for Friday’s audience so I will only say, make sure your applause is strong enough to trigger the unexpected delight of the encore.

The North East has many jewels in its musical crown to rival the best in the country. I’m thinking of ensembles like Royal Northern Sinfonia and The Strictly Smokin’ Big Band, among others. The North East Film Orchestra is a welcome and worthy addition to this illustrious group.

The Orchestra returns to the Gala on 21 and 22 May 2027 with an evening of Hollywood Musicals. I strongly recommend booking ahead as they are likely to sell out quickly. I know I won’t miss it.

Review: Jonathan Cash

Tickets:

Tickets available from: Hollywood Musicals

 

 

REVIEW: Lord of the Dance of the Sunderland Empire

Lord of the Dance

Sunderland Empire

Until Saturday 12 September 2026 and touring

First mounted thirty years ago, Lord of the Dance is still a dazzling display of Irish dance and a sprinkling of other Celtic folk traditions, delivered by a hugely talented and hardworking company. Though the flimsy plot that is interpolated, only half-committed to by some of the cast, and the unexpected video presence of the show’s creator, Michael Flatley, seem to add little to the evening, it remains a rousing crowd-pleaser.    

With the appearance of Riverdance on the Eurovision Song Contest in Ireland in 1994, the world became suddenly aware of the exciting choreographer and dazzling Irish dancer, Michael Flatley. This was Irish dance on steroids, freed from some of its constraints and woven into a bewitching and truly exciting entertainment that marked its dramatic crossover into mainstream entertainment. It became a successful stage show, with the addition of elements of other dance styles. When Flatley parted company from Riverdance, he created Lord of the Dance as a showcase for his talents, combined with a polished supporting company.  That show is now thirty years old. Flatley, of course, is no longer dancing in the show but he still has total artistic control.

The show is really an extravaganza of Irish dance, with musical interludes provided by a singer and a pair of virtuoso string players. The softer elements of the medium are contrasted with the resonating taps, kicks and heel clicks that characterise Irish dance for most people. There is, however, a flimsy storyline running through, whereby some bad guys in black seek to dethrone the titular Lord (Lucas Lawton) while two contrasting females compete for his attention. This is laced through the dance set pieces by a charming elfin figure in a sparkly gold costume, looking like a cross between a pixie and a Balinese temple dancer.

Lucas Lawton heads up the cast in Flatley’s role, mirroring almost exactly his expansive, strutting persona. He is clearly an exceptional dancer, though he pays only minimal attention to the acted elements of the plotline, notably an unconvincing fight scene with his nemesis, the Dark Lord (Joe Howarth).  But, in all honesty, it is really all about the dancing and this company of 40 terrific dancers deliver that with great panache.

The supporting female dancers, the Lord’s partner, Saoirse (Katie Coates), and Morrighan (Erin McPolin), the dark-haired temptress, are technically stunning and persuasive in their roles. The Dark Lord is committed to his role as pantomime villain, as well as an exciting dancer. Gerard Fahy’s sensational music runs throughout and underpins the dancing brilliantly.  

This is a hugely entertaining evening. I have, however, a couple of points that slightly niggled. With a video at the beginning focused on Flatley and the show’s inception, plus a deal of portentous posing in monk-like robes, the show took over 5 minutes to really get started. Also, just before the end, a video is interposed showing 3 images of Michael Flatley, presumably from 20 years ago, competing to show off his technical brilliance. Though that brilliance is undoubted, it seemed an odd inclusion in a live show, as if he was saying, ‘Sure, these guys are good but look how amazing I used to be.’  I’m probably being churlish and, no doubt, hard core fans would have been delighted to see the man himself. After all, it is still, resolutely, his show and one that brought the Sunderland audience rousingly to their feet.

As an aside, I must apologise for the lack of namechecks. The company didn’t provide a programme or a cast list, so I am somewhat at a loss.

Review: Jonathan Cash

Tickets:

Tickets are available from our affiliate ATG Tickets - LINK