Preview: Big Ange at Newcastle Live Theatre

 THE REVOLUTION WILL BE CATERED AS BIG ANGE TO PREMIERE AT LIVE THEATRE THIS AUTUMN.

Big Ange 

Newcastle Live Theatre

Thursday 6 - Saturday 22 November 2026

Big Ange written and directed by Olivier award-winning Jamie Eastlake to premiere at Live Theatre from Thursday 6 November 2025. Set in a forgotten town stitched together with broken bus shelters and fading murals of the past, the play explores growing up in a fractured world, with footy!

This is England, but skewed, off-balance, spinning. A teenage football squad charges through a world of projected noise, collapsing housing estates, graffiti glowing like prophecy. But one woman wants to change everything. Big Ange the dinner lady - blue jeans, a whistle and a Neil Diamond playlist – she’s got this!

Bringing Eastlake’s characters to life are Joann Condon (Little Britain, The Office), comedian Gavin Webster (I Daniel Blake, Sorry We Missed You), Curtis Appleby (Roxy and Cy, Offended), Erin Mullen (Gerry and Sewell, The Last Breath), Lucy Eve Mann (Yen) and Ashen Hazel (Fresh Air, Chitty Chitty Bang Bang).

Big Ange is presented by the team behind smash hit Gerry and Sewell, Eastlake Productions, and Live Theatre in association with Newcastle Theatre Royal.

“Live Theatre and its brilliant team have played such a key role in my journey,” said Jamie Eastlake, who was the founding artistic director at Laurels Theatre in Whitley Bay where Gerry and Sewell started its phenomenal two-year journey, which included a sell out run at Live Theatre and a four-night black and white takeover of Newcastle Theatre Royal. “From starting out on their playwriting course 15 years ago (wearing an ASDA hi-vis) to now being lucky enough to call this my job. That still feels surreal. Big Ange promises chaos, unexpected political heft, dancing dinosaurs and an unhealthy amount of Neil Diamond. I’m genuinely delighted.”

Tickets:

Big Ange runs from Thursday 6 to Saturday 22 November with tickets from £11 to £26. To find out more about this riot inspired play and to book go to https://www.live.org.uk/whats-on/big-ange

Preview: To Kill A Mockingbird at Newcastle Theatre Royal

 To Kill A Mockingbird Brings Acclaimed Stage Adaptation to Newcastle

To Kill A Mockingbird

Newcastle Theatre Royal

Tuesday 21 - Saturday 2 April 2026

A new trailer has been released for the upcoming UK and Ireland tour of To Kill a Mockingbird, Aaron Sorkin’s stage adaptation of Harper Lee’s classic novel. The production will visit Newcastle Theatre Royal from Tuesday 21 to Saturday 25 April 2026.

Aaron Shosanya (Tom Robinson) in To Kill A Mockingbird.
Photo: Johan Persson

The play, which became a major success on Broadway and in London’s West End, reimagines the 1960 Pulitzer Prize-winning novel that explores themes of racial injustice and moral growth in 1930s Alabama.

The trailer features Richard Coyle, known for The Player Kings, Macbeth, and Fantastic Beasts: The Secrets of Dumbledore, who reprises his West End role as Atticus Finch for part of the 2025 tour. Casting for the Newcastle dates has yet to be confirmed.

The touring company includes Anna Munden as Scout Finch, Gabriel Scott as Jem Finch, Dylan Malyn as Dill Harris, and Andrea Davy as Calpurnia, alongside a large supporting cast.

Aaron Sorkin, best known for The West Wing and The Social Network, adapted the novel for the stage. The production is directed by Bartlett Sher, whose previous credits include My Fair Lady, The King and I, and South Pacific.

Richard Coyle (Atticus Finch) & Aaron Shosanya (Tom Robinson)
Photo: Johan Persson

The creative team also features Miriam Buether (Set Design), Ann Roth (Costume Design), Jennifer Tipton (Lighting), and Scott Lehrer (Sound), with an original score by Adam Guettel.

Presented by Jonathan Church Theatre Productions in association with Karl Sydow and Tulchin Bartner, the touring version continues the legacy of the Broadway original.

Photo: Johan Persson

Tickets:

To Kill a Mockingbird will run at Newcastle Theatre Royal from 21–25 April 2026.

Tickets are available from theatreroyal.co.uk  or via the Box Office on 091 232 7010.

REVIEW: Urinetown at Newcastle Jubilee Theatre

Urinetown

Newcastle Jubilee Theatre 

Until Saturday 11 October

Urinetown is one of the rarer musicals that gets performed - and that is a real shame as it has the magic combination of great songs, a captivating story and a good number of laughs. It is also relevant for today's society. This week it is being performed at the Jubilee Theatre (which is in St. Nicholas Hospital in Gosforth) by an enthusiastic group who don't settle for the usual pot boilers.

If you're not familiar with the story, Urinetown was written after writer Greg Kotis encountered pay-per-use public restrooms in Europe and was inspired to create a satirical musical about a dystopian future where private toilets are banned, and a corrupt corporation controls public sanitation. Collaborating with composer Mark Hollmann, Kotis developed the musical as a commentary on capitalism, environmental issues, and social inequality, satirizing both political corruption and the conventions of American musical theatre. 

Narration is shared between Officer Lockstock (Sam Honour) and Little Sally (Megan Crampsey) who frequently break the fourth wall to explain the main conceit of the show (or certainly the part not passed on in the lyrics). The show opens at a public toilet, one of the filthiest urinals in town, which is only used by the poorest in society. For the show to work, toilet attendants Penelope Pennywise (Rebecca Graham) and her assistant Bobby Strong (Tyler Neumann) need to not only lead the audience along the potentially crazy senario but also to nail their respective songs. Graham hit the notes in It's A Privilege To Pee and Neumann took show stopper Run Freedom Run in his stride.

The show also needs a bad guy for the idealistic Strong to push against and Alan Davison both brought a unique take on Caldwell B. Cladwell and he also added sparkle to the fun song Don't Be The Bunny. 

The other principal of note is Cladwell's naïve daughter Hope (Bee Iceton) who has to literally add that hope to an otherwise challenging tale of corporate greed and corruption. The show is then supplemented with corrupt politicians like Fipp (Fran Haigh) at one end of the spectrum and men with a rebellious streak like Hot Blades Harry (Henry Akinosho) who also get a chance to add their singing talent to the show. 

Now, regular readers will know that we are fans of this musical. It is a joyous celebration of life, in its own cavalier way. I cannot help but think that a bad decision would be to try to stage it without a live band - as they provide the energy - fortunately this show had a 5 piece band under John Freer-Dalziel which brought the songs to life.

This is a different interpretation from directors Callum Buchanan and Mary Freer-Dalziel. Lockstock going jazz hands at the start and the use of a tight group of dancers dressed in what I can only describe as "Glasgow Wonka Umpa Lumpas" to some motion to some of the scenes added a different vibe to previous productions that we've seen and it worked.

Thus this version of Urinetown was a successful reminder of what a great musical it is. Energetic songs and a relevant storyline make it a happier night at the theatre than Little Sally might think. Worth seeking out.

Hail Malthus!

Review: Stephen Oliver

Tickets: www.ticketsource.co.uk/first-act-limited

Location: Jubilee Theatre NE3 3XT

REVIEW: Bad Lads at Newcastle Live Theatre

Bad Lads

Newcastle Live Theatre

Until Saturday 11 October 2025

Written by Mike Kenny created from a story by Jimmy Coffey and the testimonies of the other Medomsley boys

Directed By Jenny Sealey

Performed by Robin Paley Yorke & Danny Raynor + Performance Interpreter Craig Painting

A passionate play, that is a fine example of advocacy storytelling, is currently at Live Theatre before heading out of tour across the country, including shows between 14 – 15 November at the ARC Stockton Arts Centre. Using the testimonies from survivors Mike Kenny has written a disturbing account of the reality behind the headlines.

As the Bristol Radical History Festival 2025 stated "In 1979 the new Tory government led by by Margaret Thatcher and Home Secretary, Willie Whitelaw, abolished borstals for young offenders and introduced a new system of ‘youth detention centres’ employing harsh, quasi-military discipline. They proudly claimed in their party manifesto that they were going to “experiment with a tougher regime as a short, sharp shock for young criminals”.  This play is about one such centre near Consett in County Durham which housed young lads from our region that had committed crimes such as shoplifting or stealing a milk float.

An interesting decision has been made in this show in that Danny Raynor appears as the older, modern day, Jackie and Robin Paley Yorke as the younger contemporary Jackie. So you have an older character describing the memories whilst the younger one is actually living that reality. 

In addition to this, in order to make the show accessible not only is Craig Painting an interpreter signing throughout the show but he also takes an active part in the show and becomes integral in the narrative.

Jackie has received a letter from Durham police asking for help in their enquiries about the behaviour of staff at the youth detention centre. This results in recollections of the letter that demanded his only court appearance. Whilst the solicitor had suggested that he'd get a non-custodial reprimand, he ended up being sent to the prison for 3 months. From the very first evening he was subjected to ridicule and physical acts of discipline. Unfortunately the tale goes on to describe sadistic behaviour and sexual exploitation of the prisoners.   

The resultant show is both gripping and harrowing. The audience are put through a well executed yet disturbing description of systematic abuse. The theatre has numerous posters offering routes of support for members of the audience that need it this offering the audience more pastoral support than was available in the 80s.

This is a show that I am really glad that I have seen. It is moving, well acted and able to give everyone plenty to think about afterwards. Bad Boys is powerful theatre that does not need to exaggerate its message and it simply  lets the audience draw their own natural conclusion.

Review: Stephen Oliver

Photos: Von Fox

Tickets:

https://www.live.org.uk/whats-on/bad-lads

All performances will integrate British Sign Language (BSL), audio description, creative captions and will be presented in a relaxed environment.

Warnings: This show is 16+

Bad Lads contains descriptions of physical and sexual assault.

There will be a FREE Post Show Talk to discuss themes within the show following the 7.30pm performance on Thu 9 Oct.

Casting: Beauty and the Beast at Newcastle Northern Stage

 

NORTHERN STAGE ANNOUNCES NORTH EAST-LED CAST FOR THIS YEAR’S MAGICAL CHRISTMAS SHOW 

Beauty and the Beast

Newcastle Northern Stage

4 December 2025 - 3 January 2026

Northern Stage, the largest producing theatre in the North East, has announced the cast for its magical reimagining of Beauty and the Beast, arriving on its iconic Newcastle stage this Christmas. 

This Christmas Northern Stage will bring its magical reimagining of Beauty and the Beast to its iconic North East stage. A stolen rose sets everything in motion for Beauty and her unfortunate dad. Two mischievous fairies whisk us through rural France with a Thoughtsnatcher machine and a very helpful rabbit in tow. With live music from the Insect Orchestra, Northern Stage is inviting families to experience this tale as old as time in fresh, funny and unexpectedly touching ways.

In this adaptation, devised by Katie Mitchell and Lucy Kirkwood, directed by Bryony Shanahan with costume and staging by local designer Verity Quinn, Northern Stage will explore this tale as old as time that families know and love. 

Northern Stage is proud to announce a cast with deep North East roots:

Newcastle-based performer Bridget Marumo leads the company as Beauty. A familiar face on North East stages, her recent theatre work includes Here Be Dragons (Unfolding Theatre), Wintry Tales (Live Theatre) and We Are the Best! (Live Theatre). On screen and radio she has appeared in Vera (ITV), A Kind of Spark (BBC), Father Brown (BBC) and BBC Radio 4’s I Must Have Loved You.

Bridget Marumo leads the company as Beauty

She is joined by Davey Hopper as Father, a South Shields actor who learned his craft at The Customs House, where he played ‘Arbuthnot’ in more than 20 productions. Davey’s recent roles include Pumbaa in The Lion King: Rhythm of the Pridelands (Disneyland Paris) and Baloo in The Jungle Book (S4K International) across the UAE; now back home, he also fronts North East rock band Two Metres Apart. The role of the Beast will be played by Conor McCready, an actor from Bishop Auckland trained at the Manchester School of Theatre, whose screen credits include Rough Edges and the contemporary crime drama Itchy Fingers. 

Lucy Doig plays Cecile. A Royal Conservatoire of Scotland graduate with strong North East links via Newcastle Theatre Royal’s Project A, her recent credits include RSC 37 Plays (Northern Stage), The Final Exam (Alphabetti) and Julius Caesar (Bard in the Botanics). Helena Antoniou will play Pink; trained at LAMDA, her theatre credits include Trial By Laughter (Watermill/UK tour), The Snow Queen (Yvonne Arnaud), Bin Juice (VAULT Festival), Love Them to Death (Underbelly, Edinburgh Fringe) and The Hound of the Baskervilles (Theatre by the Lake), with television credits including Call the Midwife (BBC, Series 9) and EastEnders (BBC), and film credits including Love Without Walls (Hidden Door).

Completing the announced cast Maya Torres appears as Lettice; a Newcastle performer and creative, Maya’s stage work includes The Sorcerer’s Apprentice (Northern Stage), Raven (Alphabetti/Northern Stage) and Wintry Tales (Live Theatre). On screen she features in the BAFTA-winning How To Be A Person (Channel 4) and BAFTA-nominated Blue Jean (BBC/BFI). 

Natalie Ibu, artistic director, Northern Stage, said: ““Beauty and the Beast is a story so many of us know and love, and we can’t wait to share it with families this Christmas. What makes this year extra special is the sheer amount of North East talent on our stage, artists who live, work and train here, bringing heart, humour and that unmistakable regional spirit to our biggest show of the year. Alongside brilliant collaborators from the region and beyond, we’re conjuring real Christmas magic, mischief and music and a big-hearted tale about empathy, courage and seeing beyond appearances.

“Every year we’re overwhelmed by the generosity of our audiences, especially through our Pay It Forward campaign. Thanks to their support, children and young people who might otherwise miss out can join us to share the joy of theatre. That, to me, is the true spirit of Christmas.”

Tickets:

Tickets are on sale now. For performance dates, access performances and booking, visit https://northernstage.co.uk/whats-on/beauty-and-the-beast/ or call 0191 230 5151.

REVIEW: Mary Poppins at Sunderland Empire

Mary Poppins

Sunderland Empire

Until Saturday 25 October 2025

At 21 years old, Cameron Mackintosh’s clever opening-up of Disney’s immortal classic is as fresh and bright as a new pin in this new touring production. Breathtaking staging, technical wizardry and a top-notch cast make for a dazzling and thoroughly satisfying evening of theatre.

Julie Andrews and Dick Van Dyke, with a cartoon cast including dancing penguins, were a tough act to follow but Cameron Mackintosh is never afraid of a challenge. With a book by Downton Abbey’s Julian Fellows and additional songs by George Stiles and Anthony Drewe, choreography by Matthew Bourne and Stephen Mears, and Richard Eyre sharing directorial duties with Bourne, one would expect something special. And that is what happened. The story of the mysterious and magical nanny who appears when needed to sort out the lives of George and Winifred Banks and their rebellious children, Jane and Michael, is in very safe hands.

Having first seen the show fifteen years ago on Broadway and being dazzled by the scope and invention of the staging, I was very curious to see how the show could be delivered by a touring company. The answer is – superbly. From the two-storey house on Cherry Tree Lane that opens up just like Jane Banks’ doll’s house to the, well, I won’t spoil things by revealing what else happens. I will say, however that the chimneys sweeps’ rooftop dance number is a sparkling highlight. 

The show is, at times, darker than the film and introduces a number of other characters. It goes deeper into the background and character of George Banks, putting his redemption more at the centre of the story, which gives the show its heart. All the technical brilliance and the stunning musical numbers performed by an unimpeachable cast would be for nothing if the show did not have an emotional depth and relatability. Here the balance is perfect. 

All the expected numbers are here, though not presented in the same way as the film. Supercalifragilisticexpialidocious is a dazzling delight, as is Jolly Holiday, so bright and imaginative one never misses the dancing penguins.

Mary Poppins is played by Stefanie Jones, star of the Australian tour and she is joined by Jack Chambers, her co-star from that tour, as Bert. They are wonderfully at ease and polished in their roles, as you might expect. Jones manages the tricky task of balancing Poppins’ steely determination and her warmth. This is a formidable portrayal and one feels grateful she is on the side of the angels, which is true to PL Travers’ original creation. Her voice is as clear and true as a bell. Chambers’ Bert, by contrast, is all warmth and empathy. If his diction, at times, left a little to be desired, his gently cheeky personality and his wonderful dancing more than made up for it.

This choice pairing is well complemented by the Banks Family. Michael D Xavier’s George is a splendid creation. He manages to balance the necessary sternness and pomposity of the hidebound banker with an underlying vulnerability that makes the character surprisingly likeable.  Sarah-Marie Maxwell (understudying for Lucie-May Sumner at this performance) is a warm, convivial Winifred, struggling to keep up the front to the world that George deems necessary.

Emma Harold (understudying for Rosemary Ashe at this performance) and Ruaridh McDonald, as the domestics, bring lots of comedy and Sharon Wattis is a joyously rumbustious Mrs Corry. Wendy Ferguson, as George Banks’ terrifying old nanny, is delightfully villainous and soaringly over the top.

Connie Jones and Oliver Manning as Jane and Michael are excellent. They have a lot to do in the show, and they pull it off with the panache of stage veterans.

A top-notch orchestra under the direction of Isaac McCullough gave the big Broadway sound that lifts the musical numbers up another level, and lighting and sound design, by Tom Howard and Simon France respectively, are flawless.

This is altogether a delightful, dazzling, heartwarming, surprising, and ultimately joyous evening’s entertainment. Yes, I’ll say it – Practically perfect, in every way! (Forgive my lack of invention, but it’s true.)

Review: Jonathan Cash

Photos: Danny Kaan

🎟️ Tickets

Dates: Wednesday 1 October – Saturday 25 October 2025

Venue: Sunderland Empire Theatre

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Tickets: Available now at ATGTickets.com/Sunderland *

* (Transaction fee of £3.95 applies to online bookings)

Preview: Come From Away at Darlington Hippodrome

North East theatre company all set for Come From Away

Darlington Operatic Society is all set to stage the groundbreaking musical Come From Away in an exciting and much anticipated new production.

Darlington Operatic Society (DarlingtonOS) is just three weeks away from its forthcoming production of the globally acclaimed musical Come From Away, which will take to the Darlington Hippodrome stage later this month.

Photo: Scott Akoz 

Directed by Joanne Hand, with musical direction by Steven Hood, this timely and heartwarming show will run from Wednesday 22 October to Saturday 1 November. The production promises to bring a message of hope, community, and resilience to audiences as it tells the true story of how 7,000 airline passengers were stranded in a small town in Newfoundland following the tragic events of September 11, 2001.

Come From Away, which made its Broadway debut in 2017, has been lauded for its ability to showcase the beauty of human kindness in the face of tragedy. The musical focuses on the people of Gander, Newfoundland, who opened their homes and hearts to thousands of passengers when 38 planes were diverted to their small town after U.S. airspace was closed. The heartfelt narrative is underscored by remarkable music that blends folk, rock, and traditional musical theatre styles, creating an unforgettable experience for the audience.

Photo: Scott Akoz 

Director Joanne Hand: “A story of hope and humanity” Director Joanne Hand is excited to bring this emotional and uplifting story to the Darlington stage. “Come From Away is a show that resonates with people across the globe because it taps into the universal themes of empathy, kindness, and unity,” Joanne says. “The events of September 11 may feel like a distant memory, but the spirit of generosity and selflessness shown by the people of Gander is a timeless message that is incredibly relevant today. I am thrilled to be working with the talented team at DarlingtonOS to bring this story to life in a way that will engage and inspire our local audience.”

Hand, who has previously directed numerous successful productions at Darlington Hippodrome, notes the importance of this particular show. “This production is particularly special because it not only highlights the resilience of a community, but also demonstrates the incredible power of theatre to bring people together, particularly after a difficult time. I’m honoured to be a part of telling this important story.”

Photo: Scott Akoz 

Musical Director Steven Hood, who is renowned for his work in musical theatre in the north east, has been deeply moved by Come From Away’s music. “The score is simply outstanding,” Hood explains. “It’s one of those rare musicals where the music perfectly complements the story. From the upbeat folk-style numbers to the more introspective ballads, every song speaks to the emotional arc of the characters. The challenge and joy of this production is how we will bring those elements to life with a local cast and musicians, and we’re all incredibly excited about the chemistry we’ve already started to see develop in rehearsals.”

Steven also shares that the music’s ability to combine humour and heart makes it a unique challenge for any musical director. “There’s such a beautiful balance in this score - it’s emotionally deep but never heavy-handed. It can make you laugh, make you cry, and make you think. I believe our Darlington audience is going to feel deeply connected to the story through the music. It’s a soundtrack for our times, for sure.”

Eddie Taylor-Jones, Chair of DarlingtonOS, is equally enthusiastic about the forthcoming production, describing it as an exciting milestone for the theatre company. “We are absolutely delighted to be bringing Come From Away to Darlington Hippodrome. It is a show that perfectly captures the heart of what DarlingtonOS is all about - bringing high-quality, meaningful theatre to our local community,” Taylor-Jones states.

Photo: Scott Akoz 

“This production is a major undertaking, and it speaks to the incredible talent and dedication of our team. It’s an iconic show that has been embraced around the world, and we’re thrilled to be staging it here in Darlington. We’re confident that the cast and crew, under the leadership of Joanne and Steven, will bring their full passion and commitment to making this production a memorable one for all of our audience members.”

Taylor-Jones also highlights the impact of the production on Darlington’s cultural scene. “Come From Away is a show that will touch people from all walks of life, and it’s wonderful to be able to offer such a powerful and uplifting experience right here in Darlington. We look forward to welcoming both new and familiar faces to the Hippodrome this autumn.”

Tickets:

Come From Away will run at Darlington Hippodrome from Wednesday 22 October to Saturday 1 November. Tickets are on sale now, to book call the ticket hotline on 01325 244659 or book online at www.darlingtonos.org.uk.