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.

REVIEW: Mrs Doubtfire at Newcastle Theatre Royal

Mrs Doubtfire

Newcastle Theatre Royal 

Until Sunday 11 October 2026 and touring

This slick musical adaptation of the iconic family movie cleverly captures the spirit of the original and delivers lots of laughs and a string of impressive musical numbers in a thoroughly enjoyable evening’s entertainment.

The 1993 film, Mrs Doubtfire, was based on the novel Madame Doubtfire by English author,  Anne Fine. It contained supporting turns from Sally Field, Harvey Fierstein and Pierce Brosnan. Nevertheless, it is most fondly remembered for the star performance of the much-missed Robin Williams as the frenetic voice actor who masquerades as an elderly Scottish nanny in order to stay close to his children after his divorce.

There are various challenges presented by bringing this story to the stage and I venture to suggest it probably wouldn’t have worked as a straight play. The logistics of managing the transformations from a lean thirty-something male to a well-upholstered elderly female are the first challenge. The second, and perhaps greater, challenge is to fill Robin Williams’ shoes as Daniel Hillard.

The first of these is met here by the judicious use of musical numbers providing the necessary hiatus to allow for the metamorphosis, though the transformations seen live on stage are also impressively speedy and slick. The second challenge is met by the casting of Gabriel Vick, a hugely talented and engaging impressionist, actor and singer. His performance is not an impression of Williams, though he must of course nod to the iconic voice of the Scottish nanny. He makes the role his own, showcasing a formidable range of voices and a lightning delivery.

The jokes come thick and fast, achieving genuine hilarity at times. The script by Karey Kirkpatrick and John O’Farrell seems designed to give him his head on the comedy front and he seizes the opportunity. Vick created the role in the West End and has toured it for some time, so he has total mastery of it. At times, he even breaks the fourth wall to make local gags and even to bring in the audience in a pantomime fashion. Purists might bridle at this, but it is so genuinely funny that the Newcastle audience adored it.

The beneficent impact of Mrs Doubtfire on the troubled family and Daniel’s realisation of his answerability for the marriage breakdown are effectively detailed, with Kara Lily Hayworth working hard to flesh out the somewhat thankless role of Daniel’s wife. The inevitable unravelling of the deception is nicely handled as Daniel tries to have two separate dinners in the same restaurant at the same time, one as himself and one as Doubtfire. That we see it coming does nothing to lessen its entertainment value, played out against Rhianne Alleyne’s hilarious pastiche of a flamenco singer, lamenting her lover’s deception.

Ryan Pigeon, as Daniel’s brother, Frank and Jairus McClanahanan as his outrageous husband Andre, comprising his hair and make-up team, transcend stereotypes and deliver some of the funniest moments. The children, led by Aaliya Mai’s intelligent performance as Lydia, also do a great job.

Set pieces like the transformation song, Make Me A Woman, are glitzy and effective, with Lorin Lataro’s snappy choreography delivered with great panache by this talented and hardworking ensemble.

Underpinned by a superb band, under the direction of Iestyn Griffiths, Wayne and Karey Kirkpatrick’s songs are effective, if not particularly memorable. Overall, the show is consistently funny, slick, inventive and entertaining. It also packs a punch emotionally, leaving the audience with a warm glow of satisfaction, that made for a deserved standing ovation on press night. 

Review: Jonathan Cash

Photos:  Matt Crockett

Tickets:

https://www.theatreroyal.co.uk/whats-on/mrs-doubtfire/

REVIEW: Dirty Dancing at Sunderland Empire

Dirty Dancing

Sunderland Empire

Until Saturday 26 September 2026

Few films are as universally loved as Dirty Dancing, and it is therefore no surprise that the popular stage show has cha-cha’ed back into Sunderland this week. Featuring a soundtrack inspired by the 80s film and filled with more high kicks than a Strictly extravaganza, the show allows audiences an opportunity to relive the beloved film.

Led by Charlie Varlet (Frances ‘Baby’ Houseman) and Joel Benjamin (Johnny Castle), the show features all of the aspects and moments of the film that an audience expects. There’s dancing, she still carries a watermelon and we’re still not allowing anyone to put Baby in the corner. The show is light, comic and moves at pace, running at just over 2 hours including an interval. Varlet is charming as Baby, paying homage to Jennifer Grey’s original quirks without feeling like it’s pure mimicry.

Benjamin is, to the obvious delight of the audience, fairly ripped, and great attention has been paid to ensuring that the audience regularly see plenty of muscles. At times, it feels like it may be bordering on excessive – was a shirtless scene entirely necessary? – but where Benjamin comes into his own is his dancing ability, particularly in his routines with Ellie Fergusson (Penny Johnson). Their pairs routines are nothing short of breath-taking, filled with kicks, flicks and tricks. There are moments where Fergusson, and many of the ensemble dancers, seem to be pushing their bodies beyond what is humanly possible, creating dance scenes that are impossible to tear your eyes from.  It is absolutely the dancing which elevates this show to something which stands alone as its own piece of work, for which choreographer Austin Wilks should surely take a great deal of credit.

The show sits somewhere between a musical and a loving retelling of the classic story on stage. Whilst music is used and performed throughout the play, the principal cast largely focus on bringing the story to life through dance and drama, leaving the singing in the (admittedly very capable) hands of Mimi Rodrigues-Alves (Elizabeth) and Asher Forth (Billy Kostecki). The inclusion of a small band on stage throughout key musical numbers really lifts the musical elements of the show, and does create a much more intimate feeling despite the show’s significant scale. Admittedly, the instrumental version of She’s Like The Wind felt like a bit of a painful tease to the audience. Memorably recorded by Patrick Swayze for the original film, the swelling of the band did feel that we may be about to be treated to a rare moment of music from the principal cast. Alas, it was not to be, cue collective sigh from the audience.

Admittedly, it isn’t a show that you will be humming for the next week, but that is not its purpose. The show is a heartfelt and loyal recreation of the film. There are no shocks, no surprises, and it serves up that warm feeling that you get from watching something that you know really well, and that’s something that we all need from time to time. It’s funny, entertaining and allows you to sit back and relax, and quite frankly that sounds like a perfect night out to me.

Review: Hannah Daglish

Tickets:

Tickets are on sale now via ATG Tickets' Sunderland box office site (a transaction fee may apply to online bookings). LINK

 

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