News: North East Talent Shines on National Stage: Local Writer Sarah Bond Nominated for Prestigious Award

North East Talent Shines on National Stage: Local Writer Sarah Bond Nominated for Prestigious Award

The North East is once again making its mark on the national theatre map. The Stage Debut Awards — the UK’s leading celebration of breakthrough theatre talent — has announced its 2025 nominees, and among them is the region's own Sarah Bond, recognised in the Best Writer category for her play Seagulls and Sad, Sad Stories at Whitley Bay's Laurels.

For a venue that has quickly built a reputation as one of the region’s most vibrant creative hubs, Laurels’ presence in this year’s shortlist feels symbolic. Opened only a few years ago, Laurels has carved out a distinctive identity for championing new writing and comedy, giving emerging artists a space to take risks and develop their voice. What began as a small, ambitious venture in the heart of Whitley Bay is now firmly on the national theatre radar — thanks in no small part to the work of artists like Bond.

Bond’s nomination places the North East centre stage alongside London’s Almeida, the National Theatre, and even Broadway-bound productions. It’s a reminder that stories forged here on our coastline can hold their own with the best in the country.

Her play Seagulls and Sad, Sad Stories has been praised for its dark wit and emotional depth, rooted in themes that feel unmistakably North Eastern. 

The Stage editor Alistair Smith has already highlighted the importance of this year’s nominations stretching across all four nations of the UK. But for audiences here, seeing a local writer spotlighted alongside international names such as Nathan Englander (What We Talk About When We Talk About Anne Frank) shows that the talent nurtured in our region is not just thriving — it’s helping shape the future of British theatre.

The awards, hosted by comedy icon Julian Clary in London this September, are often a springboard for long-term careers. Previous winners include Jodie Comer and Rose Ayling-Ellis, proof that the Debut Awards are a launchpad for stars who go on to define the industry.

Host Julian Clary
Photo: Andy Hollingworth

Whatever happens on the night, Sarah Bond’s shortlisting is a triumph for North East theatre. For Laurels, Whitley Bay, and the wider region, it’s a moment to celebrate a homegrown voice stepping confidently into the national spotlight — and another sign that the North East is fast becoming one of the UK’s most exciting places for new theatre.

Full List of 2025 Nominees

Best Performer in a Play (sponsored by Encore):

• Hilson Agbangbe for Wonder Boy at Bristol Old Vic

• Paula Clarke for The Tragedy of Richard III at the Lyric Theatre, Belfast

• Joseph Edwards for The Red Shoes at the Swan Theatre, Stratford-upon-Avon

• Lucy Karczewski for Stereophonic at the Duke of York’s Theatre, London

• Eva Morgan for The Glass Menagerie at the Yard Theatre, London

• Christopher Neenan for Blood Wedding at Omnibus Theatre, London

• Daisy Sequerra for Ballet Shoes at the National Theatre, London

• Jasper Talbot for Redlands at Chichester Festival Theatre

Best Performer in a Musical (sponsored by Michael Harrison Entertainment):

• Megan Ellis for Muriel’s Wedding the Musical at Curve, Leicester

• Dora Gee for The Mad Ones at the Other Palace, London

• Eve Shanu-Wilson for The Phantom of the Opera at His Majesty’s Theatre, London

• Leesa Tulley for Why Am I So Single? at the Garrick Theatre, London

Best Writer (sponsored by Sonia Friedman Productions):

• Sarah Bond for Seagulls and Sad, Sad Stories at Laurels, Whitley Bay

• Nathan Englander for What We Talk About When We Talk About Anne Frank at Marylebone Theatre, London

• Danny James King for Miss Myrtle’s Garden at Bush Theatre, London

• Nancy Netherwood for Radiant Boy: A Haunting at Southwark Playhouse, London

• Ava Pickett for 1536 at the Almeida Theatre, London

• Milly Sweeney for Water Colour at Pitlochry Festival Theatre and Byre Theatre, St Andrews

• Saana Sze for Belly of the Beast at Finborough Theatre, London

Best Director (sponsored by Arts Council England):

• Aditya Chopra for Come Fall In Love at Opera House, Manchester

• Nathan Crossan-Smith for The Walrus Has a Right to Adventure at Liverpool Everyman

• Adam Karim for Guards at the Taj at Orange Tree Theatre, London

• Emily Susanne Lloyd for The Mad Ones at the Other Palace, London

• Richard Mylan for Mumfighter at Swansea Grand Theatre

Best Designer (sponsored by Preevue):

• Juliette Demoulin (set), various at Finborough Theatre, London

• Adam Jefferys (lighting) for Communion at Bush Theatre, London

• Hannah Schmidt (set and costume) for The Passenger/Personal Values at Finborough Theatre/Hampstead Theatre, London

• Chloe Wyn (set and costume) for The Walrus Has a Right to Adventure at Liverpool Everyman

Best Composer, Lyricist or Book Writer (sponsored by Theatrical Rights Worldwide):

• Martin Batchelar, James Cooper, Bryn Christopher for Lovestuck at Theatre Royal Stratford East, London

• Yve Blake for Fangirls at Lyric Hammersmith, London

• Nicola Dempsey and Rosie Dempsey for One Man Musical by Flo & Joan at Pleasance Dome, Edinburgh

Best West End Debut Performer (sponsored by Noël Coward Foundation):

• Heather Agyepong for Shifters at the Duke of York’s Theatre

• Samuel Brewer for Oedipus at Wyndham’s Theatre

• Georgie Buckland for The Devil Wears Prada at Dominion Theatre

• Tosin Cole for Shifters at the Duke of York’s Theatre

• Emma Flynn for Clueless the Musical at Trafalgar Theatre

• Diego Andres Rodriguez for Evita at London Palladium

• Kat Ronney for Titanique at Criterion Theatre

• Rachel Zegler for Evita at London Palladium

Best Creative West End Debut (sponsored by Learn My Lines Productions):

• Eline Arbo (adapter/director) for The Years at Harold Pinter Theatre

• Tye Blue (writer/director), Marla Mindelle (writer) and Constantine Rousouli (writer) for Titanique at Criterion Theatre

• Darren Clark (music and lyrics) and Jethro Compton (book and lyrics) for The Curious Case of Benjamin Button at Ambassadors Theatre

• Justin Craig (musical director and orchestrator) for Stereophonic at the Duke of York’s Theatre

• Benedict Lombe (playwright) for Shifters at the Duke of York's Theatre

• Mark Rosenblatt (playwright) for Giant at the Harold Pinter Theatre

• Amit Sharma (director) for Retrograde at Apollo Theatre

Preview: Blackeyed Theatre’s Sherlock Holmes: The Hunt for Moriarty

 

A New Hunt for Holmes: Blackeyed Theatre’s Sherlock Holmes: The Hunt for Moriarty

It begins in London, 1901. The British Empire is at war abroad, the monarch’s health is failing, and a shadowy figure is pulling strings at the very heart of government. As power, secrecy and corruption collide, only one detective seems capable of unravelling the mystery.

This autumn, Blackeyed Theatre – one of the UK’s most inventive touring companies – launches a major new production: Sherlock Holmes: The Hunt for Moriarty. Written and directed by Nick Lane, the play reimagines Arthur Conan Doyle’s detective stories by threading several of Holmes’s most intriguing short adventures into one gripping, singular narrative.

For North East audiences, the production arrives at Newcastle’s Northern Stage (23–24 September) and Billingham Forum (25–27 September), offering the first chance to see a world premiere that promises intrigue, danger and – crucially – the return of Holmes’s most enigmatic nemesis.

Holmes in a Time of Upheaval

The production situates Holmes and Dr Watson in the charged political atmosphere of 1901. A series of mysterious events threatens to destabilise monarchy and Empire. At the centre of this conspiracy is a “shadowy figure” whose influence stretches across government and the press: Professor James Moriarty, Holmes’s greatest adversary.

As Lane explains, this isn’t a simple adaptation of one novel but a tapestry woven from four of Conan Doyle’s stories – The Adventure of the Bruce-Partington Plans, A Scandal in Bohemia, The Adventure of the Second Stain, and The Final Problem.

“It was really exciting to create something a little different for our third Holmes collaboration,” Lane says. “We’ve interwoven a handful of Conan Doyle’s adventures into one thrilling tale. Our hope is that, like the stories themselves, The Hunt for Moriarty will keep audiences gripped – and guessing – along with the great detective himself, right to the last.”

 

A Cast of Intrigue

Holmes will be played by Mark Knightley (The Colours, Soho Theatre; The Listening Room, The Lowry), with Ben Owora as the ever-faithful Dr Watson. Pippa Caddick takes on dual roles as Irene Adler and Mrs Hudson, while Gavin Molloy doubles as Moriarty and Inspector Lestrade. They are joined by Robbie Capaldi as Sir James DeWilde and Eliot Giuralarocca as Holmes’s calculating brother, Mycroft.

With original music by Tristan Parkes, fight direction by Rob Myles, and striking design by Victoria Spearing, the production aims to be as atmospheric as it is thrilling.

Blackeyed Theatre: Innovation on Tour

Since its founding in 2004, Blackeyed Theatre has earned a reputation for reimagining classics in bold and innovative ways. Previous productions have included new adaptations of Dracula, Not About Heroes, The Great Gatsby, Frankenstein and two Holmes novels (The Sign of Four and The Valley of Fear).

Resident at South Hill Park in Bracknell, the company has built a touring model that balances accessibility with artistic ambition – bringing mid-scale productions of literary classics to towns and cities that might otherwise miss them.

Why the North East Dates Matter

For Newcastle audiences, The Hunt for Moriarty lands at Northern Stage on Tuesday 23 – Wednesday 24 September 2025 – a fitting venue for a work that combines high-stakes drama with inventive storytelling. Two days later, the production moves to Billingham Forum (Thursday 25 – Saturday 27 September 2025), giving Teesside audiences the chance to encounter Holmes and Watson as they face their deadliest game yet.

These back-to-back North East engagements make the region an early proving ground for the tour, which runs nationally until May 2026. For Holmes devotees and newcomers alike, it’s an opportunity to see Conan Doyle’s world reinvigorated for a contemporary stage.

If You Go

• Sherlock Holmes: The Hunt for Moriarty
  Written & directed by Nick Lane
  Produced by Blackeyed Theatre in association with South Hill Park Arts Centre & Theatre Royal Winchester

• Northern Stage, Newcastle – 23–24 September 2025

• Billingham Forum – 25–27 September 2025

Approx. running time: 140 minutes (incl. interval)
Recommended for ages 11+

More info: blackeyedtheatre.co.uk/shows/sherlock-holmes-and-the-hunt-for-moriarty

Tickets:

Northern Stage: https://northernstage.co.uk/whats-on/sherlock-holmes/

Billingham Forum: https://www.forumtheatrebillingham.co.uk/show/sherlock-holmes-the-hunt-for-moriarty/ 

🕵️‍♂️ Holmes has faced thieves, spies and scandalous royals before. But in Blackeyed Theatre’s The Hunt for Moriarty, the great detective confronts corruption at the highest level – and the one adversary who always seems two steps ahead.

Preview: Mama Afrika: Anna Mudeka Brings Miriam Makeba’s Story to Life in the North East

Mama Afrika: Anna Mudeka Brings Miriam Makeba’s Story to Life in the North East

This October, audiences in the North East will have the chance to step into the remarkable life of one of Africa’s greatest cultural icons when Anna Mudeka brings her one-woman show Mama Afrika: Hope, Determination and Song to Alnwick Playhouse (October 10th) and Northern Stage, Newcastle (October 11th).

The production, which has been described as both a musical celebration and a political awakening, tells the story of South African singer and anti-apartheid activist Miriam Makeba, who became affectionately known around the world as Mama Afrika.

Anna Mudeka.
Photo: Gideon Graylyons

The Story of Mama Afrika

Miriam Makeba’s career was far more than music. Rising from the townships of South Africa, her voice carried her onto international stages where she became the first African woman to win a Grammy Award. Yet her outspoken criticism of apartheid saw her forced into exile, banned from her homeland for more than three decades.

She testified at the United Nations about the horrors of the Sharpeville massacre, married Black Panther activist Stokely Carmichael during her years in the United States, and later became a Pan-African cultural ambassador, lending her voice not only to song but also to the struggles of her people.

Makeba’s music – from the global hit Pata Pata to protest songs like Soweto Blues – continues to resonate, carrying with it the urgency of resistance and the hope of freedom.

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Anna Mudeka: Carrying the Torch

For Anna Mudeka, a Zimbabwean-born singer, dancer, and storyteller now based in the UK, Makeba has always been an inspiration.

“When I was growing up in Zimbabwe, Miriam Makeba was one of the women I admired most. Seeing her perform with Paul Simon in Harare in 1987 was life-changing. Later I learned about her exile and her fearless opposition to apartheid. After she passed away in 2008, I knew I wanted to tell her story.”

Mudeka first explored Makeba’s story in 2010 but set it aside until she had developed her own one-woman show, Kure Kure, about her upbringing and migration to the UK. The experience gave her the confidence to return to Makeba. In 2016, with the support of Arts Council England, she embarked on two years of research and development.

The result was Mama Afrika: Hope, Determination and Song – a 120-minute performance combining multilingual song, narration, and traditional African musical textures. Scripted by Tomas Lutuli Brickhill and directed by Tonia Daley Campbell, the show is supported by The Miriam Makeba Foundation and has received glowing reviews from both audiences and critics.

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A Show with Urgency and Relevance

The 2024 tour played to sold-out houses across the UK. For 2025, the production scales up, with 12 dates in larger theatres across the autumn season, including the two shows in Alnwick and Newcastle.

Mudeka believes Makeba’s story is more relevant than ever:

“It’s not just about South Africa or about the past. It’s about the courage to stand up to oppression, about the cost of speaking truth to power, and about the way music can inspire hope across generations. That message still resonates today.”

Audiences can expect to hear Makeba’s best-loved songs, including Mbube, Pata Pata and Soweto Blues, alongside pivotal moments of her life: the exile years, the political struggles, the international acclaim, and the personal sacrifices behind the music.

North East Dates 

The shows at Alnwick Playhouse (October 10th) and Northern Stage, Newcastle (October 11th) are a rare opportunity for North East audiences to experience a performance that is as intimate as it is epic.

Alnwick Playhouse, with its community roots and reputation for high-quality touring work, provides a fitting setting for Mudeka’s storytelling, while Northern Stage offers a larger stage to match the scale and ambition of the production.

Both venues promise an unforgettable evening where audiences will be transported from the heart of South Africa’s struggle to the global stage where Makeba’s voice became synonymous with freedom.

About Anna Mudeka

Anna Mudeka has built a career as a cultural ambassador, performer, and educator. Since moving to the UK in the 1990s, she has shared African music and traditions with schools, festivals, and international audiences. Her work has earned awards and recognition, but Mama Afrika represents one of her most ambitious artistic achievements.

“This is a show I first conceived 15 years ago,” she explains. “To now be performing it in bigger theatres around the country, and to bring Miriam Makeba’s story to new audiences, feels incredibly rewarding.”

✨ This October, let Anna Mudeka’s Mama Afrika remind us how one woman’s voice can echo across continents and generations – a story of resilience, song, and the unbreakable power of hope. 

If You Go

• Mama Afrika: Hope, Determination and Song
  Performed by Anna Mudeka

• Alnwick Playhouse – Friday 10 October 2025

• Newcastle Northern Stage – Saturday 11 October 2025

• Suitable for ages 12+

• On the web: www.annamudeka.co.uk

Tickets:

Alnwick Playhouse: https://alnwickplayhouse.co.uk/event/mama-afrika/ 

Northern Stage: https://northernstage.co.uk/whats-on/mama-afrika/

REVIEW: Bat Out Of Hell – The Musical at Sunderland Empire

Bat Out Of Hell – The Musical

Sunderland Empire

Until Saturday 23 August 2025

#ad Tickets: https://tinyurl.com/BatInSUnderland *

The jukebox musical, featuring the hits made famous by Meatloaf, lands in our region this week. The Sunderland Empire audience can enjoy the hits like Dead Ringer For Love once again, performed by a talented cast, backed by a band that are in full view on the stage.

Carly Burns

This is an interesting musical and one I felt I needed to see again after seeing it at the opening of the Stockton Globe back in 2021. Whilst the links with Meatloaf are obvious, it is his collaborator Jim Steinman who wrote the book, the music and the lyrics putting the show in a fairly unique position. Often jukebox musicals are written by a third party who was not involved in creating he music in the first place - not the case here. Fans of his music will recognise that the tone of those classic albums has been carried over to the story here. Sticking the band on stage also reinforces that the show is, as much about the music, as it is the story happening in the foreground.

Georgia Bradshaw as Zahara & Ryan Carter as Jagwire

As for the story, we have a group of people called "The Lost", including a free spirit called "Tink", who never grow old, and they are persecuted by a bad guy. If we change the group to the lost boys and the spirit to Tinkerbell then we have Peter Pen. Apparently, in interviews, Steinman stated that Peter Pan had influenced elements of the original Bat Out of Hell album back in 1977, and when he started working on this project it had the title "Nevermind". This is, however, not a pantomime and none of the cast fly around.

Katie Tonkinson as Raven & Glenn Adamson as Strat

The stage is split into 3 performance areas with the band at the back. Most of the stage represents the dystopian Manhattan including a disused subway tunnel called The Deep End. Here you find the rebel group called The Lost under their leader Strat (Glenn Adamson). On a raised area to the right is a bedroom in Falco Towers. Here the bad guy Falco (Rob Fowler) plots away, accompanied by his wife Sloane (Sharon Sexton) - who illudes to a more rebellious past and sympathises with the Lost - and his daughter Raven (Katie Tonkinson) who wants to join Strat and the gang.

Rob Fowler as Falco & Sharon Sexton as Sloane

Thus you have an Shakespearean set up of 2 groups and a daughter who wants to get romantically involved with the other group against the wishes of her domineering father. The plot is fairly predictable as it follows the often used tropes until its predictable conclusion. But that's not the point, or why anyone buys a ticket, as the Meatloaf hits appear in regular interviews after short blasts of exposition. As my companion pointed out, Falco is something of a one dimensional baddie who not so much undergoes a redemption arc at the end - he hits a redemption wall. But in terms of story - the Falco character serves a purpose in giving the Lost something to push against and an excuse to sing the hits.

LtoR Luke Street, Carly Burns, Ryan Carter & Glenn Adamson

What is interesting, though, is how some of the action is presented to the audience. In an era when many people watch theatre at cinema or on streaming services, you can get used to seeing more than one angle on the action. When one watches a broadcast it is possible for a camera to focus in on the action, like someone drawing on their arm, and to highlight a plot point. This multi-angle view is not usually possible when you're always sat in seat E26. In this production they employ a videographer (Tom Samuels) who tends to use interesting angles and these are then projected on big screens at the back. This is mainly in the Falco Towers scenes and helps everyone to see what's happening on the side of the stage.

The downside is that, under director Jay Scheib, there are occasions when the cameraman blocks the audience's view of the action or that the cast are performing with the backs to the audience - thus forcing you to look at the screens in order to follow the plot. At the Sunderland Empire - this kind of worked better than what I experienced in Stockton (where I was sat closer to the front and found my head having to move left and right, like in a tennis match, as it oscillated between action and screen).

Another directing decision is to give the main cast members handheld microphones (as you'll see in the photos). This changes both the way that they deliver the songs but also in the way that they talk to each other. For example when Falco and Raven are in full father/daughter argument it can come across like a confrontation in the middle of a WWE wrestling match as they pose with the mics for emphasis.

Sharon Sexton as Sloane & Rob Fowler as Falco

Sharon Sexton as Sloane & Rob Fowler as Falco

But, as I say, this musical is much more about the music than the story. There was always a big theatrical element to Meatloaf's performances and so it is less of a shock to see that translated in this musical. 

As far as the singing goes, the central four main characters get their chance to shine. Glenn Adamson and Katie Tonkinson do really well with their songs as, rather than trying to copy Meatloaf, they own the song and sing it their way - which in my opinion is the best way to handle covers. Tonkinson is superb in her delivery of Heaven Can Wait at the start of act two. She shows it is possible to be powerful in delivery whilst showing the fragility of her character's mindset. 

Glenn Adamson covers the Meatloaf material with ease and hits the shows highpoint with I'll Do Anything For Love, But I Won't Do That. However, just like in Stockton, my enjoyment of his performance was marred by drunk audience members thinking this was a point to sing along. Such selfish behaviour can spoil a show as people pay good money to hear professionals sing. They don't want to hear a poor drunk "karaoke" rendition by someone who cannot reach the note (or indeed hold any note). I could go on about people drinking throughout the performance passing comment loudly about everything, but I won't. (Just thought - that last sentence could be a title of a Meatloaf song!)

Rob Fowler as Falco

The originators of the roles of Falco and Sloane, Rob Fowler and Sharon Sexton, get their teeth in to the classic duet Paradise By The Dashboard Light. This was always a popular request in the bar I worked at in the early 90s and it is easy to see why as it explores the exploratory phases of youth in love. Fowler and Sexton, complete with visuals from our videographer, use a car prop to bring the song to life in an authentic way.

The band get their chance to shine on the closing number of act one. The iconic Bat Out Of Hell was a layered and multi-tracked opera of grandiose proportions and this suits the large band, under musical director Grant Walsh. I did feel that the set and lighting could have done more to highlight the guitar work of Ben Fletcher and Mark Cox through this particular number. After all, we got to see plenty of the keyboard players in action.

Meatloaf was very popular in the UK. In interviews, he mentioned that he felt that we (the Brits and Europeans) got what he was trying to achieve more than in his home country. This show, therefore, has a market as it matches the grandeur and pomposity of the popular source material. This show was never going to be a shrinking violet.

Katie Tonkinson as Raven

Some songs land well into the plot (You Took The Words Right Out Of My Mouth, Rock And Roll Dreams Come True, All Revved Up And No Place To Go and It's All Coming Back To Me Now) whilst others, in my opinion, are just played because they were hits (Objects In The Rear View Mirror May Appear Closer Than They Are). 

the North East's own Carly Burns (Valkyrie) with Harley Davidson's
from Ultimate Moto and Harley Owners Group Geordie Chapter
Photo: Sunderland Empire

The action is non-stop. The ensemble, including local actor Carly Burns who appears as Valkyrie, sing and dance the way through the action with real energy and vigour. The fact that you have 2 large video screens, a band which is split in to two and 2 further performances areas means that something is always happening somewhere wherever you look. I will steal a comment made by another reviewer at the interval "it is ADHD fuel" - a point my companion agreed with. A relentless juggernaut of entertainment that delivers in a pleasing fashion.

...and yes, just like Wicked, I did enjoy it much more second time around.

Review: Stephen Oliver 

Photos: Chris Davis

#ad 

Tickets:

Bat Out of Hell - The Musical is rocking the Sunderland Empire’s stage from Monday 18 – Saturday 23 August 2025. Tickets are available from ATG tickets: https://tinyurl.com/BatInSUnderland *

*A transaction fee applies to online bookings.

Preview: Buffy Revamped Stakes Its Claim at Newcastle’s Tyne Theatre

Buffy Revamped Stakes Its Claim at Newcastle’s Tyne Theatre

Seventy minutes. Seven seasons. One Spike.

That’s the promise behind Buffy Revamped, a smash-hit parody that distills all 144 episodes of the cult 90s series Buffy the Vampire Slayer into a fast-paced, laugh-out-loud one-man show. Following a triumphant UK tour, three Edinburgh Fringe seasons, and even a North American debut in Toronto, the show lands at Newcastle’s Tyne Theatre & Opera House on Wednesday 24 September 2025.

The Vampire With the Best Stories to Tell

Acclaimed comedy actor Brendan Murphy steps into the boots of everyone’s favourite peroxide anti-hero, Spike. With a mix of sharp satire, physical comedy, and buckets of 90s pop-culture nostalgia, Murphy reimagines Sunnydale’s supernatural mayhem from the perspective of its snarkiest vampire.

Critics and audiences alike have been slayed:

• ★★★★★ EdFringeReview – “A riotously good time”

• ★★★★★ British Theatre Guide – “A hilarious romp”

• ★★★★★ DarkChat – “An exceptional performance”

Officially crowned the best-reviewed show at Edinburgh Fringe 2023 by the British Comedy Guide, Buffy Revamped has become a must-see event for die-hard fans and Buffy newbies alike.

Brendan Murphy: A Comedy Powerhouse

Beyond Buffy Revamped, Brendan Murphy is known for creating FRIEND (The One With Gunther), winner of Best Play at the World Wide Comedy Awards, and for his extensive work as an improviser and writer. He’s toured globally with Potted Potter, performed in Las Vegas, and co-created the ARIA-nominated satirical podcast NonCensored with Rosie Holt.

Tickets:

📍 Venue: Tyne Theatre & Opera House, 109–119 Westgate Road, Newcastle, NE1 4AG
📅 Date: Wednesday 24 September 2025

🔗 Book here

 

Preview: Black Is The Color Of My Voice Comes to Newcastle’s Tyne Theatre

Black Is The Color Of My Voice Comes to Newcastle’s Tyne Theatre

On Tuesday 7 October 2025, the Tyne Theatre & Opera House welcomes an internationally acclaimed play inspired by the life and music of Nina Simone. Black Is The Color Of My Voice, written and directed by Apphia Campbell, has been a global sensation, moving audiences from Shanghai to New York, and winning the Best Theatre Award at Adelaide Fringe 2024.

A Story of Resilience and Music

The play follows a successful jazz singer and civil rights activist as she reflects on her extraordinary journey following the death of her father. From her beginnings as a piano prodigy with a church-bound future to her rise as a renowned jazz vocalist and a powerful voice in the Civil Rights Movement, the show captures the essence of survival, determination, and artistry.

Audiences will also be treated to live performances of many of Nina Simone’s most iconic songs, seamlessly woven into the narrative. Critics have described the piece as:

• “Moving portrayal of determination and survival.” ★★★★ The Times

• “Nothing short of sensational… will make you cheer for her, smile with her and then sting your eyes with tears.” ★★★★★ Broadway Baby

The Performer

Stepping back into the role is Florence Odumosu, whose 2022 debut in the production earned widespread acclaim. Her diverse stage credits include 2:22 A Ghost Story (Lyric and Criterion), Every Leaf A Hallelujah (Regent’s Park), A Christmas Carol (Pitlochry Festival), and Birdwoman (Bush Theatre). Odumosu’s rich, soulful presence promises to bring both the music and the story vividly to life on stage.

The Creator

Playwright and director Apphia Campbell first wrote Black Is The Color Of My Voice in 2013, and it has since become a powerful theatrical tribute to Nina Simone’s legacy. Campbell herself is a celebrated theatre-maker: her work Woke (later retitled Through the Mud) won a Scotsman Fringe First, Amnesty International commendation, and multiple award nominations at the Edinburgh Fringe. She has also written for the BBC and the National Theatre of Scotland, cementing her reputation as a vital voice in contemporary theatre.

Tickets:

📍 Venue: Tyne Theatre & Opera House, 109–119 Westgate Road, Newcastle, NE1 4AG
📅 Date: Tuesday 7 October 2025
🔗 Book now