REVIEW: Cinderella at Newcastle Theatre Royal

Cinderella

Newcastle Theatre Royal 

Until Saturday 31 October 2026

Northern Ballet’s first-rate company present Prokofiev’s classic music in a charming, romantic setting by Michael Pink that places the focus on the individual performances by this terrific company.

Northern Ballet are past masters at touring ballet in the modern era. Previous tours have used recorded music to keep down costs, but this production has reinstated their splendid orchestra, albeit in a reduced form, to deliver the extra punch that only live music can bring.

That said, this is a relatively small-scale staging, with a tight, beautifully co-ordinated corps de ballet. Minimal settings by Bruce Brockman and David Grill’s mostly subdued lighting underpin a cast of excellent dancers, giving close attention to characterisation as well as classical technique.

Traditionally, the stepsisters are danced by men, here Yu Waizuka and Andrew Tomlinson, the latter a wonderful grotesque, the former a softer portrayal. I thought it, perhaps, a little too soft, as his natural delicacy made the awkwardness of the character something of a reach. Though I should point out, my companion disagreed with me, thinking their contrast was very effective. Alessia Petrosino was a convincingly villainous stepmother and Harry Skoupas doddled about amiably as Cinderella’s father. I must say, however, that he looked improbably youthful and vigorous for the role.

The story runs true to Perrault’s original form, though Cinderella’s mother fulfils the function of the fairy godmother in an endearing performance by Heather Lehan. One of the highlights is a lovely scene in the garden when the spirits of the seasons, dance in couples to lead up to the presentation of Cinderella’s ballgown and sparkling slippers.

Jack, Cinderella’s below stairs friend, is danced by Harris Beattie, with great style, charm and athleticism. His leaps were a joy to behold, as he positively hung in the air.

Jonathan Hanks is masculine and virile as the prince. He overcame some initial balance issues to demonstrate strong and sympathetic partnering skills, and a solid technique. 

In the titular role, Saeka Shirai, is an absolute delight. Delicate and light as thistledown, she mixes immense charm with flawless classical technique, making a true fairytale princess. Her emergence from a particularly lovely pumpkin coach into the arms of her prince and the enchanting pas de deux that follows are surely the stuff of dreams.

This is not a dazzling spectacular but a charming and involving night of dance, where character, delicacy and romance are to the fore.

Review: Jonathan Cash

Tickets:

https://www.theatreroyal.co.uk/whats-on/northern-ballet-cinderella/

Preview: Close Enough to Touch at Arts Centre, Washington

 Powerful new drama explores secrets, sex… and toilets

Close Enough to Touch

Arts Centre, Washington

Thursday 29 October 2026

Leeds-based Red Ladder Theatre Company and Hull’s Silent Uproar have joined forces to produce a powerful new play from an exciting and original voice in northern theatre.

Close Enough to Touch, a one-person drama about secrets, sex…and toilets written by new playwright Henry Roberts, will go on tour to venues across the North of England and down to the Midlands this autumn, visiting Washington in October.

What happens when our deepest urges are shrouded in shame? What happens when we can’t articulate our desires, even to ourselves? Close Enough to Touch follows a man who has a girlfriend … and a secret.

In this gripping, intimate drama, audiences are taken into the mysterious and taboo world of cruising – anonymous sex in public places. As our nameless character’s secret builds, so does his shame. The play swings between passion, pathos and humour as we watch a young man struggle to find pleasure, acceptance and, crucially, the language to express himself.

Playwright Henry Roberts, whose script was longlisted in the RSC 37 Plays Project said: “I'm thrilled to be working with Red Ladder and Silent Uproar on Close Enough to Touch. I wrote the play because I wanted to explore the ambiguous sides of our desires – the kinds of desire that aren't easy to categorise or label, that may be contradictory to who we feel we are as people.

Playwright Henry Roberts

“From day one the entire team has championed the play and supported me to make it the best it can be. I can't wait for people to see it.”

Red Ladder Theatre Company’s artistic director, Cheryl Martin, who is directing the play, said: “New writing is at the heart of what Red Ladder has been doing for nearly 60 years. That’s why we’re so excited to be working with a writer as gifted as Henry and a play as good as this.

“Henry is a brilliant new northern voice in the world of theatre, and his powerful script tells the kind of story you don’t come across every day. As a director, I’m spoilt for choice with Close Enough to Touch because it offers so many possibilities – exploring them is going to be a real pleasure.”

Alex Mitchell, Silent Uproar’s artistic director, said: “Close Enough to Touch is messy, filthy, funny and heartfelt, a show about relationships, cruising and the shame we can feel when desire, particularly queer desire, doesn’t fit neatly into the life we’ve built for ourselves.  It asks what happens when that shame, or our own cowardice, grows because we don’t have the words to say what we really want. Henry’s play is humorous, challenging and painfully human. It’s exactly the kind of work Silent Uproar exists to champion.”

Yorkshire-born actor Stefan Race, who trained at ALRA (Academy of Live & Recorded Arts), will star in the show. Director, Cheryl Martin, said: “We were lucky enough to have several excellent actors to choose from, but Stefan was the standout, matching the character so closely – even at audition – it hardly seemed like acting. It was as if Stefan was the character and understood the script so well.”

Red Ladder, set up in 1968 against a backdrop of civil unrest and anti-war protests, has a rich history of creative collaborations, having previously worked on co-productions with the likes of Leeds Playhouse, Liverpool’s Royal Court and Theatre Direct, in Toronto.

Established in 2013, Silent Uproar has built up an impressive reputation for identifying and championing extraordinary talent.

Recommended age rating 16+

• Directed by Cheryl Martin
• Written by Henry Roberts
• Dramaturg – Alex Mitchell

Running time 70 minutes, no interval

Content warning: sexual description and strong language.

#closeenoughtotouch

Tickets: https://www.sunderlandculture.org.uk/whats-on/close-enough-to-touch/

News: NEWCASTLE THEATRE ROYAL LAUNCHES VISION 2037 CONSULTATION TO HELP SHAPE THE FUTURE OF CULTURE IN THE NORTH EAST

NEWCASTLE THEATRE ROYAL LAUNCHES VISION 2037 CONSULTATION TO HELP SHAPE THE FUTURE OF CULTURE IN THE NORTH EAST

Newcastle Theatre Royal is inviting people from across the North East to help shape its next chapter as it launches Vision 2037, a major public consultation ahead of the theatre's bicentenary in 2037.

Launching on 14 October 2026, the consultation will engage audiences, communities, artists, partners, supporters and staff in a conversation about the role Newcastle Theatre Royal can play in the cultural life of the region over the next decade and beyond. The consultation will run until December 2026, with findings and next steps shared in Spring 2027 during the theatre's 190th anniversary year.

Under the banner "Our Time. Our Friends. Our Future.", Vision 2037 recognises a period of growing cultural confidence and ambition across the North East while acknowledging the need for greater investment and infrastructure to help the region fulfil its potential.

Rather than developing a long-term strategy behind closed doors, Newcastle Theatre Royal is inviting people to help shape its direction from the outset. As an independent charity that receives no regular public funding, Newcastle Theatre Royal relies on the support, participation and engagement of audiences, communities, donors, partners and supporters across the region. Vision 2037 reflects the theatre's commitment to ensuring those voices help shape its future direction.

Marianne Locatori, Chief Executive of Newcastle Theatre Royal, said: "As we look towards our 200th anniversary in 2037, we have a unique opportunity to think boldly about the future. Vision 2037 is an invitation to audiences, communities, artists, partners and supporters to help shape the next chapter of Newcastle Theatre Royal and its role in the cultural life of our city and region. We want to hear a wide range of perspectives as we begin this important conversation together."

The consultation will explore how Newcastle Theatre Royal can champion creativity and local talent, care for its historic home, widen access to theatre, and strengthen its contribution to the social, cultural and economic life of the North East. Nick Swales OBE DL, Chair of the Newcastle Theatre Royal Trust Board, said: "The North East is entering an exciting new chapter, and culture has an important role to play in shaping that future. Newcastle Theatre Royal has been at the heart of our region for generations, and this consultation is an opportunity for people to help shape its contribution to the cultural, social and economic life of the North East for years to come."

The insights gathered will help shape the organisation's long-term vision as it approaches its bicentenary in 2037. The consultation forms part of a wider ambition to ensure Newcastle Theatre Royal remains relevant, accessible and impactful for generations to come.

Helen Costello, Chief Operating Officer of Newcastle Theatre Royal, explained: "The decisions we make now won't just affect the people who come through our doors today. We continue to benefit from choices made nearly 200 years ago by people who believed Newcastle deserved a great theatre. We are the beneficiaries of their vision. Through Vision 2037, we have a similar opportunity to make choices today that will create opportunities for future generations long after we're gone."

People can take part in the consultation from 14 October 2026 via Vision 2037: Shape Our Next Chapter | Newcastle Theatre Royal, with opportunities to contribute online and through a programme of engagement activity taking place across the region throughout October, November and December.