Preview: Waitress at Sunderland Empire

A Slice of Broadway Magic Comes to Sunderland: Waitress Heads to the Empire in 2026

Waitress 

Sunderland Empire

Monday 4 - Saturday 9 May 2026

Sunderland’s theatre scene is set to welcome a big helping of sugar, butter, and flour in 2026, as the smash-hit romantic musical comedy Waitress is confirmed for a week-long run at the Sunderland Empire. Producers Barry & Fran Weissler and David Ian for Crossroads Live have announced that the much-loved show will visit Wearside from Monday 4 May to Saturday 9 May 2026, bringing with it a heartfelt story, unforgettable songs, and a whole lot of pie.

For those who haven’t yet had the pleasure, Waitress is no ordinary musical. Based on Adrienne Shelly’s 2007 indie film of the same name, the show has won legions of fans thanks to its sharp blend of humour, romance, and empowerment. Its score, written by Grammy Award-winning singer-songwriter Sara Bareilles, has become a modern classic—filled with heartfelt ballads and toe-tapping numbers that capture the bittersweet flavour of everyday life. Jessie Nelson provides the book, while Tony Award-winning director Diane Paulus and choreographer Lorin Latarro round out a creative team that has ensured the show’s global success.

The story follows Jenna, a waitress and expert pie maker stuck in a loveless marriage, who discovers that a local baking contest—and the town’s handsome new doctor—might just offer her the fresh start she’s been yearning for. Alongside her loyal fellow waitresses, Jenna learns that the recipe for happiness is never straightforward, but it can be found with courage, friendship, and a little faith in yourself.

Since making its Broadway debut at the Brooks Atkinson Theatre in 2016, where it played until 2020, Waitress has risen to become a true international hit. London’s West End production at the Adelphi Theatre opened in 2019 to rave reviews, and the show has since spread its magic to audiences in Japan, Holland, Canada (in French), Mexico (in Spanish), and across North America. The 2026 tour marks a much-anticipated return to UK and Irish stages.

While casting for the Sunderland run is still under wraps, anticipation is already building. The production promises to deliver the same warmth, wit, and soul that has won over audiences worldwide. Whether you’re a musical theatre enthusiast, a fan of Sara Bareilles’ music, or simply in search of a feel-good night out, Waitress is set to be a delicious treat for the North East.

Photos from Previous Production [Montreal] by Marie-Andrée Lemire

#ad Tickets:

Tickets are now on general sale via ATGTickets.com/Sunderland*. Given the show’s reputation and its limited one-week run at the Empire, early booking is strongly advised—because much like a slice of Jenna’s best pie, seats are sure to sell fast.

*A £3.95 transaction fee may apply to online bookings.

Preview: Woman In Mind at Sunderland Empire

Sheridan Smith Returns in Ayckbourn’s Woman in Mind

Woman In Mind

Sunderland Empire

Wednesday 4 - Saturday 7 March 2026

Few living playwrights have reshaped British theatre as profoundly as Alan Ayckbourn, and few actors today command the same mix of critical acclaim and popular affection as Sheridan Smith. Their creative worlds will soon collide in a major new production of Woman in Mind, which opens in the West End this December before heading to just two regional theatres – Sunderland Empire (4–7 March 2026) and Theatre Royal Glasgow (10–14 March 2026). Tickets for Sunderland are now on sale.

A Play of Two Worlds

First staged in 1985, Woman in Mind is among Ayckbourn’s boldest and most psychologically adventurous works. Unlike his comedies of suburban mishap, this play places us directly inside the mind of its central character, Susan, a woman whose bump on the head prompts a split in her perception of reality. Audiences are drawn into both her drab, frustrating domestic life and the vibrant imagined world she creates, until the two intertwine with unsettling results.

Ayckbourn himself once described the play as his most personal, exploring loneliness, disillusionment, and the fragile boundary between imagination and breakdown. In the hands of director Michael Longhurst – acclaimed for his inventive, emotionally charged productions (Constellations, Amadeus) – this revival is likely to combine fidelity to Ayckbourn’s wit with fresh theatrical daring.

Sheridan Smith at the Centre

Sheridan Smith’s involvement is the headline draw. The Olivier-winning actress has proven her ability to command both comic sparkle and dramatic intensity, from Legally Blonde to Shirley Valentine. Her TV roles, too – from Cilla to Mrs Biggs – have made her a household name. That versatility is likely to serve her well in Woman in Mind, a role demanding rapid switches between sardonic humour, emotional vulnerability, and surreal fantasy.

Smith’s recent return to the Duke of York’s Theatre in Shirley Valentine sold out quickly, suggesting her upcoming run there (9 December 2025–28 February 2026) will generate similar demand. For audiences in Sunderland and Glasgow, her arrival offers a rare chance to see a West End-calibre performance outside London.

A Creative Team with Pedigree

Longhurst is joined by set and costume designer Soutra Gilmour, whose distinctive visual storytelling (Cabaret, Yerma) will be key in shaping the blurred realities of Susan’s world. The production also features lighting by Lee Curran and sound design by Paul Arditti – both established collaborators on projects that demand precision and atmosphere.

Why It Matters Locally

The Sunderland Empire engagement is especially notable. The city has hosted major touring musicals and pantomimes, but straight plays with this level of West End prestige are less common. For North East theatregoers, Woman in Mind represents not just another production on the calendar but an event: the opportunity to see a leading British star in one of Ayckbourn’s most daring works, staged by a top-tier creative team.

Balanced Expectations

Still, Woman in Mind is not a conventional crowd-pleaser. Its fragmented narrative, shifting tones, and ambiguous conclusion can be disorienting, even unsettling. Some may find the play darker and more demanding than Ayckbourn’s more familiar comedies. Yet that is also the reason this revival feels timely: in an era of widespread conversation about mental health and hidden struggles, Susan’s fractured perceptions may resonate more powerfully than ever.

Final Word

This production promises a fusion of heavyweight talent, classic writing, and contemporary relevance. For Ayckbourn devotees, Smith admirers, or anyone curious about theatre that combines humour with psychological depth, Woman in Mind looks to be one of the most anticipated stage events of the coming season – whether in London, Sunderland, or Glasgow. 

Photos: Oliver Rosser

#ad

Tickets are now available from ATG Tickets: https://www.atgtickets.com/shows/woman-in-mind/sunderland-empire/

REVIEW: Dolly Peel – Rebel on the Tyne at South Shields Customs House

Dolly Peel – Rebel on the Tyne 

South Shields The Customs House

Until Saturday 20 September 2025

In the third annual presentation from their First Play Club, The Customs House turns a spotlight onto legendary South Shields character, Dolly Peel. Four short plays by different writers, supported by original songs, give a account of her life and tell stories inspired by her legacy. It makes for an intriguing evening of contrasts, vigorously performed by a talented cast.

Immortalised by a statue in the town, Dolly Peel was a strong, resourceful character known for her courage and wit. A fishwife by day and a smuggler by night, she was a fierce defender of local men against the naval press gangs that kidnapped them to serve in the navy during the Napoleonic wars. When she could not prevent her husband and son from being taken, she stowed away on their ship, becoming a nurse and ultimately winning their freedom. In addition, she was known for writing verse and entertaining shoppers with her lively banter.

Unsurprisingly, this multi-faceted woman and her eventful life provide a rich vein for the four playwrights to mine, and each one takes a very different approach.

The first piece is The Smuggler’s Daughter by Emma Zadow, set in 2045. A 17-year-old Dolly, inspired by her namesake’s courage, is using illegal broadcasting to fight against the gentrification of the town and the demolition of the last council estate in South Shields. When a local policeman comes to their flat, her mother takes the blame and gives the hapless man more than he bargained for, as Dolly mobilises the local population into a united protest.

Bright and engaging, with a fierce energy, Helen Chong makes her Dolly a worthy inheritor of her namesake’s legacy and Emma Crowley-Bennett gives her mother a relatable disillusioned wisdom. It makes a rousing curtain raiser, with Paige Temperley’s music providing the climax.

Cleaning Up by John Dawson depicts the way a young man, overprotected by his mother, becomes vulnerable to the misogynist and sexist narratives of right-wing influencers. Gaz Thompson gives a believable portrayal of the troubled teenager, gradually peeling back the layers of his anger. Stephanie Butson is sincere as his anxious mother, trying to reach out to the boy he was with remembered tales of Dolly Peel and her verses. This is a good attempt at analysing an important subject, understandably a difficult watch, though it feels like it could be refined further.

Tom Kelly’s Finding Dolly comes next, with a South Shields couple at a crossroads in their lives, trying to find a way forward. The wife uses Dolly’s story to encourage her husband, an earnest but dithering Mark Akinfolarin, to stop complaining and take action. Meanwhile, the three other actors all embody Dolly and portray different elements of her remarkable story. It is an entertaining piece, full of Kelly’s characteristic empathy and good nature.

Janet Plater’s Dolly Peel of Shadwell Street depicts an imagined incident in Dolly’s life as she combines her hustling with fixing up a job for a friend’s husband, through her acquaintanceship with the town’s MP. This piece makes a virtue of necessity, drawing humour from Mark Akinfolarin’s quick changes to portray multiple characters. This is deftly handled, in line with Georgie Rankcom’s imaginative and confident direction throughout.

After the various perspectives applied to Dolly so far, it is comforting to end with a simple narrative depiction of her in her own time, and another lively song provides a stirring curtain call.

Using a central character is a clever way to bring a kind of unity to an evening of short plays. This is further aided by the songs and the director’s consistent approach. The evening’s 90 minutes, with no interval, passed quickly and who can say fairer than that?

Review: Jonathan Cash

Tickets:

Dolly Peel – Rebel on the Tyne at South Shields The Customs House

📅 Wednesday 17 – Saturday 20 September 2025
🎟️ Tickets from £10
📍 The Customs House, Mill Dam, South Shields
🔗 Book now

News: Back to the Future Musical Heads to Sunderland on First UK Tour

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Back to the Future Musical Heads to Sunderland on First UK Tour

The DeLorean is set to arrive in Sunderland as the award-winning Back to the Future The Musical embarks on its first-ever UK tour. The show will play at the Sunderland Empire from Tuesday 13 April to Saturday 8 May 2027, with casting still to be announced.

Based on the iconic 1985 film, the stage adaptation has become a global hit since opening in London’s West End, where it is now in its fifth year at the Adelphi Theatre. More than 2 million people have seen the production in the capital, and worldwide the musical has entertained over 4 million theatregoers across North America, Japan and on Royal Caribbean Cruises, with further productions planned for Australia and Germany.

Producer Colin Ingram, who developed the show alongside film creators Robert Zemeckis and Bob Gale, said:

“I’m so delighted that the DeLorean will be travelling 88 mph to all the main theatre cities in the UK so that we can bring this heartfelt spectacle of a show to those who haven’t seen it in the West End or want to see it again. Great Scott! Audiences are going to have such a fun and thrilling ride in a show which will tour in all its glory and be one of the biggest sets to come out on the road.”

The musical features a book by Bob Gale and new songs by Alan Silvestri and Glen Ballard, alongside familiar classics from the film, including The Power of Love and Johnny B. Goode. Direction is by Tony Award-winner John Rando, with a design team boasting multiple Tony and Olivier Awards between them.

The announcement coincides with the 40th anniversary of the original Back to the Future film, which starred Michael J. Fox as Marty McFly and Christopher Lloyd as Doc Brown. The 1985 blockbuster grossed over $360 million worldwide, with the trilogy earning the equivalent of more than $1.8 billion today.

Tickets:

🎟️ Tickets for the Sunderland are now general sale.  Bookings can be made at ATGTickets.com/Sunderland (transaction fees may apply).

 

News: Panto Meets the Big Top: Darlington’s Goldilocks and the Three Bears

 🎪✨ Panto Meets the Big Top: Darlington’s Goldilocks and the Three Bears ✨🎪

Darlington Hippodrome is set to dazzle audiences this festive season with a pantomime that promises to be just right. For four weeks only, the beloved theatre will be transformed into a glittering circus arena as Goldilocks and the Three Bears takes centre stage from Friday 5 – Wednesday 31 December 2025.

This year’s production brings together a stellar cast, each bringing their own sparkle to the Hippodrome stage.

Leading the line-up is Brendan Cole, best known as one of the original professionals on Strictly Come Dancing. Stepping into the role of the deliciously wicked Baron Von Bolshoi, Brendan will swap sequins for sinister flair as the Evil Ringmaster.

Comedy comes courtesy of local favourite Josh Benson, returning to Darlington as the panto comic. Known for his infectious energy and razor-sharp wit, Josh is guaranteed to keep audiences laughing from start to finish.

Adding theatrical flair both on and off stage is Jamie Jones, a rising star with a passion for performance and costume design. Expect sparkle, glamour and a touch of magic in every outfit that graces the stage.

Completing the quartet is Taziva-Faye Katsande, stepping into the role of Goldilocks herself. With an impressive list of credits from the West End to touring productions of Annie and Bugsy Malone, she’s set to charm Darlington audiences this Christmas.

Packed with riotous comedy, daring stunts, jaw-dropping circus acts and spectacular special effects, this year’s pantomime promises a festive extravaganza for all ages. Whether you’re a panto regular or new to the magic, this big top adventure will be a highlight of the Christmas season.

Photo: Scott Akoz Photography

🎟️ Tickets are on sale now – call the Box Office on 01325 405405 or visit www.darlingtonhippodrome.co.uk to secure your seats.

REVIEW: War Horse at Newcastle Theatre Royal

War Horse

Newcastle Theatre Royal 

Until Saturday 20 September 2025

Theatre Royal Newcastle has opened its doors to one of the most acclaimed theatrical productions of the 21st century, as War Horse begins its very first run in the city. This epic production is a poignant reminder of the sacrifices made during the Great War—not only by men and boys, but by animals too, who paid the ultimate price on the battlefield.

Based on Michael Morpurgo’s much-loved 1982 novel, War Horse tells the story of Joey, a farm horse sold to the army during the First World War, and Albert, the determined teenager who vows to find him again. The novel, first embraced by younger readers, was transformed into a stage play by the National Theatre in 2007. Its innovative puppetry, combined with a deeply emotional narrative, won critical and audience acclaim, paving the way for Steven Spielberg’s 2011 film adaptation.

The stage version directed by Tom Morris with revival director Katie Henry, however, remains the definitive telling of the story. From its National Theatre debut in London, War Horse became an international phenomenon, touring across the globe and attracting millions of theatre-goers. What makes it extraordinary is its balance of heart-wrenching storytelling with theatrical invention. At its centre is a deeply human tale of friendship, loyalty, and endurance set against the devastation of war, yet its most unforgettable element is the astonishing life given to the horses through world-class puppetry. Sorry Spielberg, your movie didn't cut it in my eyes. But we're here to review a theatre production so lets do that...

Audiences are introduced to Joey when farmer Ted (Karl Haynes) purchases him at auction, outbidding his brother Arthur (Gareth Radcliffe). Pride drives the purchase, leaving Joey to prove his worth as more than just an expensive gamble. Rose (Jo Castleton), the farmer’s wife, decides that their son Albert (Tom Sturgess) will train and care for the animal, forming the bond that anchors the story. Albert, still only 16, later lies about his age to enlist and follow Joey to the Western Front.

What makes the production unique is the way Joey—and other horses—are realised on stage. Each animal is operated by a team of three puppeteers, who work seamlessly to capture every flick of the ears, snort, and surge of strength. As a foal, Joey is presented with a vulnerability that instantly connects with the audience, while the older Joey embodies both majesty and fear as he learns to plough a field, charge into battle, and endure the brutal conditions of war. It is a masterclass in theatrical craft that eclipses the film adaptation in emotional impact. Credit thus goes to Tom Quinn, Lewis McBean and Michael Larcombe for bring Joey to life.

As war breaks out, the men of the village enlist with optimism, convinced the campaign will be over by Christmas. Horses too are requisitioned in large numbers, representing both their commercial value and their expendability. The stage design cleverly contrasts the bucolic warmth of rural England with the desolate battlefields of Europe. The use of a dark, empty backdrop allows the audience’s imagination to fill in the horrors, ensuring the story remains family-friendly while never shying away from the tragedy of loss.

The large ensemble cast shine in a variety of roles, from soldiers to villagers to medical staff. Their quick transformations between characters create a seamless, almost cinematic experience. While the decision to have French and German characters speak English occasionally produces moments of unintentional repetition—where actors claim they cannot understand one another despite using the same language—the choice keeps the production accessible for all ages. Importantly, it reminds us that on both sides of the conflict, ordinary people were swept into a catastrophe not of their own making.

A handful of traditional songs add texture and atmosphere to the narrative, with a single clear female voice lending haunting beauty to some of the most emotionally charged scenes. These musical interludes, never overused, ground the story in its historical moment while intensifying its emotional resonance.

For many young audience members, War Horse will be their introduction to theatre as well as to the memory of the First World War. While the production is more sanitised than grittier works such as All Quiet on the Western Front, it serves an important role in opening up a conversation about sacrifice, courage, and remembrance.

It is easy to see why War Horse has become such a beloved favourite over the past 18 years. Combining masterful storytelling with breathtaking theatrical craft, it offers Newcastle audiences an unforgettable experience. With its powerful puppetry, moving performances, and universal themes, this is a production that will linger long after the curtain falls.

Review: Stephen Oliver

Photos: Brinkhoff-Moegenburg 

Tickets:-

War Horse plays at Newcastle Theatre Royal from Wednesday 10 – Saturday 20 September 2025. Tickets are available online at theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.

REVIEW: 2:22 - A Ghost Story at Sunderland Empire

2:22 - A Ghost Story

Sunderland Empire

Until Saturday 13 September 2025.

Things are going bump in the night in Sunderland this week. Returning to the role of Jenny, Stacey Dooley appears in Sunderland alongside her partner Kevin Clifton who plays Jenny’s husband, Sam, in the thought provoking drama written by award-winning writer Danny Robins.

This is the first time that I have seen 2:22, but it is one of those shows that keeps getting mentioned in despatches - I knew I had to check it out when I got the chance. But now that I have seen it I'm in a dilemma. How much do I reveal without spoiling it for you? Normally I'd say the first 20 minutes of a 2 hour (including interval) show is fair game to share with you. In this case I'm going to say - don't miss the start. Sit back, enjoy the Massive Attack soundtrack as the lights are ready to dim...

The bulk of the play is much more straightforward to discuss. Sam (Kevin Clifton) has just returned from a trip to Sark and he is jointly hosting, with his wife Jenny (Stacey Dooley) a meal for long time university friend Lauren (Shvorne Marks) and her new partner Ben (Grant Kilburn). Quickly it is established that Jenny is on maternity leave from teaching, Sam is a lecturer with a fascination about space and no time for religion, Lauren works in mental health and has recently had a new bathroom fitted by Ben - who pretty much stayed with her afterwards. The fourth character is the couple's baby that makes interruptions to the evening's entertainment with cries from wherever she is sleeping off set.   

Jenny is concerned about the noises she hears at precisely 2:22am and she persuades the group, including her highly sceptical husband to stay up to that time to prove that something's up with the newly bought house that they're currently renovating. Adding to the fun are the noises of the local foxes outside and a pair of clocks that count down to that time.

So the tension builds up as the time approaches and the guests consume the alcohol and discuss their ideas. There are plenty of light hearted moments which had the audience laughing too. The chemistry between the couples is apparent - as is the antagonism between them which weaves nicely in the story. It helps that the cast are believable.

To me the story felt like an reboot of a Charles Dickens style chiller. Many of the elements were there, updated with mobile phones and automatic sensors on outdoor lights. He was a classic storywriter who knew a thing or two about keeping the reader interested in his tales - and a similar feel evolves here with a few theatre tricks. Certainly the show has sold well for a Monday night given that it has been in the region before. Credit goes to the Monday crowd around me as they were absorbed: laughing at the funny parts, silently watching in the others. This is not a show to discuss during the action, but it'll give you plenty to dissect on the way home. 

It is nice to see a straight drama at the Wearside venue packing the crowds in. I do wonder in many in the audience will guess the ending?

Review: Stephen Oliver

Photos: Helen Murray

Tickets:

2:22 - A Ghost Story will bring chills to Sunderland Empire’s stage from Monday 8 – Saturday 13 September 2025. Tickets on sale online now at ATGTickets.com/ Sunderland *

* A £3.95 transaction fee may apply to online bookings.