Preview: Moulin Rouge! The Musical at Sunderland Empire

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Moulin Rouge! The Musical 

Sunderland Empire

Friday 5 - Saturday 27 June 2026

 

Paris, 1899. A penniless American writer, a dazzling courtesan, a flamboyant impresario and a scheming duke walk into the most famous nightclub in the world. It sounds like the opening of a joke, but the story that unfolds is anything but. Moulin Rouge! The Musical arrives at Sunderland Empire from Friday 5 June to Saturday 27 June 2026, marking a landmark moment for the venue as the production makes its way across the globe on its first ever world tour.

 

The show is rooted in Baz Luhrmann’s 2001 film, which premiered at the Cannes Film Festival and went on to receive eight Academy Award nominations, winning two. That film dazzled audiences with its maximalist visual style and its jukebox approach to pop music, colliding songs from wildly different eras into a single, breathless romantic tragedy. The stage adaptation takes that template and pushes it further still, building an entertainment that runs two hours and forty-five minutes – including an interval – and draws on more than 70 songs spanning over 160 years of music, from Offenbach to Lady Gaga. In total, the production credits 165 songwriters administered by 31 publishers: a feat of rights management as much as artistic vision.

 

The story is, at its heart, a love story told under pressure. Christian, a young bohemian writer newly arrived in Paris, falls for Satine, the star performer at the Moulin Rouge. Their connection is immediate and passionate, but the club’s imperious host Harold Zidler has already promised Satine’s time and attentions to the Duke of Monroth, a man of considerable wealth who assumes that money can secure whatever he desires. Christian’s allies in his battle for Satine’s heart include the painter Toulouse-Lautrec and Santiago, a tango dancer of formidable reputation. What follows is part love story, part spectacle, part musical mash-up, with the fate of the Moulin Rouge itself tangled up in the outcome.

 

Leading the Sunderland cast is Verity Thompson as Satine, opposite Nate Landskroner as Christian. Cameron Blakely takes on the role of the larger-than-life Harold Zidler, with Kurt Kansley as Toulouse-Lautrec, Rodrigo Negrini as Santiago, and James Bryers as The Duke. Kahlia Davis plays Nini, Ellie Jane Grant is Arabia, Scott Sutcliffe takes the role of Baby Doll, Claudia Kariuki plays La Chocolat, and Ann Sophie joins the company as Alternate Satine. They are supported by an ensemble of twenty-five performers, including Joe Burrell, Gracie Caine, Alisha Capon, Nathalie Chaves, Sol Childs, Kamau Davis, Martin Dickinson, Ike Fallon, Francis Foreman, Tessa Fox, Lucie Horsfall, Sayaka Kato, Jacob Kohli, Nathan Mariniello, Matt Powell, Daisy Quainton, Chloe Radford, James Revell, Phoebe Roberts, Samuel Routley, Nathan Saxon, Fraser Stewart, Sorcha Stephenson, Craig Watson and Frazer Woolcott.

 

The creative team behind the production is formidable. Direction is by Tony Award winner Alex Timbers, with choreography by Tony Award winner Sonya Tayeh. The book is by Tony Award winner John Logan, who has also received three Academy Award nominations for screenplays including Gladiator and The Aviator. Music supervision, orchestrations and arrangements are by Tony Award winner Justin Levine. The design work is equally well-credentialled: Tony Award winner Derek McLane is responsible for the sets, Tony Award and Olivier Award winner Catherine Zuber designed the costumes, and Justin Townsend and Peter Hylenski – both Tony Award winners – handle lighting and sound respectively.

 

Those costumes deserve particular attention. The production deploys over 300 costumes in total, incorporating more than 1,200 different fabrics and trims, with over 200 pieces appearing on stage on any given night. The level of decoration is extraordinary: more than 150,000 crystals are used across the show, with the costumes worn by Satine alone accounting for approximately 20,000 of them. A single pair of Satine’s gloves carries around 1,500 crystals. It is the kind of detail that audiences may not consciously register, but which collectively creates a visual density that is entirely deliberate. This is a show about excess, and the design makes no apologies for it.

 

The show received its world premiere on Broadway in 2018 and has since accumulated a remarkable awards haul: ten Tony Awards in 2021 (including Best Musical), an Olivier Award, two Drama League Awards for Outstanding Production of a Musical, five Drama Desk Awards and ten Outer Critics Circle Award honour citations. It is currently running simultaneously in New York, London, Cologne and Utrecht, as well as a North American tour. The world tour launched in Edinburgh in 2025, and Sunderland is one of the venues welcoming it as it travels across the globe. Hamburg opens in November 2026, followed by a return season in Sydney in March 2027.

 

For Sunderland Empire itself, the arrival of a production at this scale is fitting. The venue, which opened in 1907 after its foundation stone was laid by Vesta Tilley, has been the North East’s principal receiving house for major touring productions throughout its history. Operated by ATG Entertainment, it has welcomed West End transfers, opera, ballet and major touring musicals, and its auditorium is one of the largest in the region. A show of the scale of Moulin Rouge! The Musical, with its elaborate sets, extensive cast and extraordinary costume count, is precisely the kind of production the Empire exists to host.

 

Critical response to the show has been consistent and enthusiastic wherever it has played. Reviewers have highlighted the relentless energy of the performances, the ingenuity of the musical arrangements and the sheer visual commitment of the design. The Mail on Sunday described it as displaying “sheer high-octane energy,” while The Observer praised it as “a whirling machine in which set, choreography and music lavishly fuse.” The Times noted its “spectacle and a dash of fairy-tale romance,” and the Telegraph, Metro and Sunday Express all landed on the same word: spectacular.

 

Performances run Monday to Saturday at 19:30, with matinees on Wednesdays and Saturdays at 14:30. The show is recommended for ages 12 and above, and audiences should be aware that the production includes strobe lighting.

 

Tickets:

 

Moulin Rouge! The Musical runs at Sunderland Empire, High Street West, Sunderland, SR1 3EX from Friday 5 June to Saturday 27 June 2026. Tickets are available online at ATGTickets.com/Sunderland (a transaction fee of £3.95 may apply). For group bookings of 10 or more, submit a request at ATGTickets.com or call 020 7206 1174. The Box Office opens 90 minutes before each performance.

REVIEW: The Ballad of Johnny and June at Newcastle Theatre Royal

The Ballad of Johnny and June

Newcastle Theatre Royal

Until Saturday 6 June 2026

The story of Johnny Cash and June Carter Cash is one that has long captured the imagination, and this brand-new musical, currently on UK tour and visiting Newcastle Theatre Royal this week, makes a strong case for why their story deserves a stage of its own. With Olivier and Tony Award-winning director Des McAnuff at the helm, the production carries considerable theatrical pedigree, and the result is a show that combines the story with some well executed music that will please the fans.

The narrative is framed in an intriguing way, told through the eyes of John Carter Cash, the couple's son. This perspective gives the story an intimacy that a more conventional biographical approach might have struggled to achieve. We follow Johnny and June through the turbulence of their professional lives and personal struggles, as well as the slow-burning romance that would eventually define both of them. The writing does not shy away from some of the the harder edges of their story, including the battles with addiction and the complications that came with loving someone as complicated as Johnny Cash. It is a story of two people who were, in many ways, each other's salvation, and the show handles that with care and without sentiment.

The two central performances carry the production with real conviction. Christopher Ryan Grant, known to musical theatre audiences from Million Dollar Quartet, brings a physicality and brooding intensity to Johnny Cash that feels lived-in rather than impersonated. He has a natural authority on stage and handles the emotional complexity of the role with confidence. 

Alongside him, Christina Bianco brings warmth, wit and considerable vocal ability to June Carter Cash. Bianco, whose credits include Joseph and the Amazing Technicolor Dreamcoat and The Wizard of Oz, finds the steel beneath June's charm with notable skill. The interplay between the two leads that gives the show some emotional weight, though at times their relationship comes across as performative. 

Ryan O'Donnell backs up the six piece band on his acoustic guitar, as well as narrating the show as their son John. The supporting company of ten, including Tyneside's very own Pete Peverley, holds up their end of the bargain throughout, ensuring the world around the two leads feels populated and genuine.

The music is, of course, central to everything here, and the show does not disappoint on that front. The songbook is substantial, drawing on decades of material from two of country music's most enduring figures. From I Walk the Line and Ring of Fire through to Sunday Morning Coming Down and Hurt, the selections cover a great deal of ground emotionally and stylistically, and the full band on stage gives each number a live energy that a recorded score could never replicate. The harmonies between Grant and Bianco are well-matched, and there are moments, particularly in the duets, where the music does what no amount of dialogue could. For those familiar with the Cash catalogue, there is the pleasure of recognition; for those coming to the music fresh, there is simply a great deal to enjoy. The music is, indeed, one of the highlights of the show.

The Ballad of Johnny and June is a production that respects its subjects without treating them as untouchable icons. It finds the human story inside the legend, and it tells that story with skill, heart and a great deal of very good music. As the narration keeps saying, don't let the truth get in the way of a good story and this production is as much about spending an evening listening to great songs rather than getting hung up on the accuracy, or timescale, of events. The story is inoffensive to the subject matter , yet there are hints of darker stuff, but ultimately, this is a musical that will probably fade away in the coming years. Newcastle audiences have a short window to catch it before the tour moves on.

Review: Stephen Oliver

Photos: Pamela Raith

Tickets: https://www.theatreroyal.co.uk/whats-on/the-ballad-of-johnny-june/ 

REVIEW: Les Ballets Trockadero do Monte Carlo at Newcastle Theatre Royal

Les Ballets Trockadero do Monte Carlo

Newcastle Theatre Royal

Until Wednesday 27 May 2026

Les Ballets Trockadero de Monte Carlo, the Trocks, as they are affectionately known, are currently celebrating their 50th Anniversary with a UK tour, and what a tour it is. Their comedy is matched equally by their prowess as a ballet company. The Dance Consortium, who promote the tour, are fully aware of their popularity, and indeed the Trocks remain one of the highlights of the Newcastle Theatre Royal dance programme.

The Trocks, Dying Swan
 Photo: Roberto Ricci

Long before shows such as The Play That Goes Wrong, the Trocks were strutting their stuff and making audiences laugh. Indeed, before the dancing had even begun, the pre-show announcements had the auditorium rippling with laughter — especially when the audience realised that each dancer was to be given an outrageously funny stage name. Minnie van Driver, anyone?

When the show opened with an infamous Swan Lake Act II, it was immediately clear that we were in for a treat: both fantastic ballet technique and an abundance of visual humour. The knowing looks, discerning glances, and the occasional inappropriate hand gesture - all of these subtle acts of comedy smash through the fourth wall and hold the theatre audience in the palm of their (very well-trained) hands. And then, of course, there are the “accidental” slip-ups.

The Trocks, photo: Christopher Duggan, Jacobs Pillow

This is my third time seeing the Trocks, and I recognise that their comedy has a great deal in common with another production, their spiritual cousin, if you like, the Danny Adams pantomime. With Danny Adams, the pratfalls, the silly situations, and the “mistakes” are all planned within an inch of their life. They are not as spontaneous as you might believe, but because they are so meticulously rehearsed, they land with massive impact. The same is absolutely true of the Trocks. The slip-up, the high kick that nudges a fellow dancer off balance, the performer who finds themselves in entirely the wrong place at entirely the wrong moment - all of this happens every single night. You know it does. That’s the glorious conceit of theatre. But each night it happens, the audience erupts. The timing is impeccable, the comedy value is immense, and it makes for a truly entertaining evening.

That is not, however, to undermine the quality of the dancing on show. Technically, each member of this all-male company is an excellent dancer, their technique up there with the very best. The fact that males are performing as female dancers makes the various lifts and other manoeuvres all the more remarkable, they are, after all, throwing around considerably larger individuals. The Trocks are a hugely entertaining group, but they also demonstrate real ability in both dance and storytelling. Perhaps because of the exaggerated facial expressions required of their roles, they often do a better job of conveying narrative than a straight ballet production might.

The evening is split into three sections. It opens with Swan Lake Act II, followed by a short interval, then three shorter pieces. Some — Go for Barocco and The Dying Swan, in particular, are very, very funny. Others, including the UK premiere of Metal Garden, are played a little straighter. A second short interval leads into the grand finale: Valpurgeyeva Noch (Walpurgisnacht). How do you close a show like this? Simple: the company launched into a Riverdance-inspired sequence through rolling clouds of dry ice, a moment of pure joyful absurdity that had the whole audience laughing and, it has to be said, very nearly on their feet.

I have been lucky enough to see the Trocks in action several times now, and even knowing a good deal of what is coming, I still find it incredibly entertaining and well worth the repeat visit. The show has a massive reputation, and it is thoroughly deserved. The choreography is fluid, inventive, and very, very funny. Each dancer carries two personas: one male, one female, and one can only imagine the backstage chaos as they switch from one costume to another. They are well worth seeing, and even if ballet is not your thing but you love a good laugh, you will find enormous value in this show. I look forward enormously to seeing them again.

Review: Stephen Oliver

Tickets:

https://www.theatreroyal.co.uk/whats-on/les-ballets-trockadero-2/

Video:

Fans of the Trocks may want to watch Ballerina Boys (Les Ballets Trockadero de Monte Carlo) - A film by Chana Gazit and Martie Barylick

Film link: https://www.sadlerswells.com/digital-stage/documentaries/ballerina-boys/

REVIEW: Astell and Woolf at Newcastle Live Theatre

Astell and Woolf

Newcastle Live Theatre

Until Saturday 6 June 2026

Written by Shelagh Stephenson

Directed by Karen Traynor

Performed by Tessa Parr & Phillippa Wilson

Philosophy and feminism from women hundreds of years apart. When Mary Astell and Virginia Woolf are stranded in a kind of purgatory which sees Mrs Astell chained to the exit and Ms Woolf seemingly free to visit other equally eminent inmates even retrieving some sherry and glasses at one point. Why she has some freedoms when Mrs Astell does not, could be a reflection of women’s changing freedoms through the centuries.

Left to right Phillippa Wilson and Tessa Parr

Both, however spoke of seeing their male siblings nurtured through education while only fate allowed them to become writers, that and their social status. As they point out, a mineworker or a home help does not have the time, energy or opportunity to write poetry and ponder on metaphysics.

Also the ongoing bringing up girls to be polite and accepting of abuse meted out by men, in Woolf’s case, her brothers, was not shied away from. No means yes, and yes means no, the yes being just, polite, so as not to hurt the feelings of the gentleman.

This was an unusual way to look at past sins of the fathers and cast the lens over the state of women’s rights now. Virginia Woolf did seem to be able to see the state of the modern world and convey news of recent mentions of Mrs Astell in presentations. The dwindling nature of which seemed to reflect her movement towards the next place. 

Shelagh Stephenson has written a witty, yet sometimes tense two-hander, with eerie soundscapes hinting at the female-centric great-beyond. With Phillipa Wilson as Astell and Tessa Parr as Woolf carrying the narrative, both putting on a splendid performance. Parr’s Wolf was delightfully irreverent and Wilson played a Mrs Astell who had had much time to think, and evolve her philosophy and approach to the idea of a god. Lighting design gave the impression of something just beyond reach in a dreamlike situation.

The almost full Live Theatre had a very appreciative audience who gave a sound round of applause with a large section of the crowd on their feet. These two women did Astell, and Woolf, proud. 

Review: Joanne Oliver

Tickets: https://www.live.org.uk/whats-on/astell-woolf

REVIEW: Choir of Man at Sunderland Empire

Choir of Man

Sunderland Empire

Until Saturday 16 May 2026

Having started life at the Edinburgh Fringe in 2017, The Choir of Man enjoyed a four year run on the West End before embarking on its first UK tour in 2026. Venturing to the North for the first time, this brilliant piece of theatre brings its blend of music, spoken word and real emotion to the Sunderland Empire. 

As a huge musicals fan, it is pretty rare that I go into a show completely blind, but I admit, I knew very little about the show before I saw it. Now, The Choir of Man may come billed as a jukebox musical, but really, it sits more between a great gig, an insightful play and a soul-baring night out with friends. Rather than a specific storyline, the show invites you into The Jungle pub - and yes, you can even jump on stage before the show and during the interval to enjoy the pub for yourself.

Whilst in the pub, you meet the characters: Barman, Beast, Joker, Poet, Maestro, Bore, Handyman, Hard man and of course, Romantic - representing the types of man you might meet in any pub. Rather than tell the stories of fictionalised men, the show presents the audience with familiar archetypes, allowing them to imagine who would play the role of joker or maestro in their own local. 

In turn, it is not the stories of the fictionalised characters that are told, but those of the actors themselves, beautifully explored through spoken word by Oluwalonimi Owoyemi (Poet). In the telling of their own stories, the distance between the performers and audience shrinks, creating an emotional connection that leaves you hanging on every syllable. It is a beautiful representation of men exploring and sharing their own truths, insecurities and emotions, and in a world where toxic masculinity feels rife, it makes a more than refreshing change.  

The emotional journey is, of course, interspersed with absolutely brilliant music. The audience are actively encouraged to join in with the songs as they perform hit after hit, from huge rock numbers like Welcome To The Jungle, to brilliant mash-ups like Save Tonight/Wake Me Up to stripped back acappella numbers like Chandelier. The music is exceptional, with tight harmonies and phenomenal musicianship, as the actor-musicians show that they can sing, dance and play. 

Whilst it is undeniably emotional with its beautiful portrayal of male vulnerability and heartbreaking songs like Dance With My Father, it isn’t all tears and deep thoughts. There is so much joy and laughter, and the men on stage are clearly having such a great time that you are drawn into the fun of it all. It really does feel like a night out with friends - well, if your friends are exceptionally talented. 

It is true to say that The Choir of Man isn’t your average musical, and if you go in expecting your routine story of boy meets girl, you might feel a little confused. That said, if you go in with an open mind, then The Jungle is ready to welcome you in for a night of laughter, honesty and absolutely brilliant music. 

Review: Hannah Daglish

Photos: Mark Senior

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Tickets:

Tickets are available from the theatre box office and from ATG Tickets LINK

 

REVIEW: Legally Blonde at Newcastle Theatre Royal

Legally Blonde

Newcastle Theatre Royal 

Until Sunday 17 May 2026 and touring

Nikolai Foster’s Curve Leicester production is loud, brash and breezy from the first moment. A polished cast delivers the numbers with great vigour and there is much to enjoy, even if the warmth and charm that characterised the movie are not so pronounced here. Nevertheless, this is a slick, entertaining and ultimately crowd-pleasing show and the Newcastle audience seemed to have a great time.

After its US premiere in 2007, Legally Blonde opened in the West End in 2010, with Sheridan Smith in the titular role. Elle Woods is the Malibu good-time girl who sets out to regain her eminently eligible boyfriend, Warner, by battling her way into Harvard Law School and, in doing so, triumphantly proves that she is so much more than she seems. There have been a few revivals since 2010 but this tour originates in The Curve Leicester where Nikolai Foster has successfully reinvented so many musicals in the past eleven years.

The show opens with a full-on musical number, somewhat over-amplified at this performance, as was much of the first act. A crew of sorority girls are celebrating the imminent engagement of their president, the ultimate party girl, Elle. They meet her at the mall to choose her engagement dress, where she quickly highlights her fashion expertise and the perfect dress, pink of course, is chosen.

Unfortunately, all does not go to plan and Warner dumps her in favour of someone more serious to bolster his well-laid out career plan, taking him from Harvard law to the senate.

Elle, it seems, is a ‘Marilyn’ and he needs a ‘Jackie.’ Bolstered by her Greek chorus of sorority sisters, she sets out to show him that he has underestimated her, just as many underestimated the actual Marilyn.

This leads her through the perils of Harvard Law School, where everyone but her is dressed, somewhat obviously, in monochrome. The fierce and unforgiving Professor Callahan, in a well-defined performance by Adam Cooper, almost defeats her resolve but kindly senior, Emmett, helps her to battle through. Along the way, she allies with the warm but underconfident beautician, Paulette, and finds her own, very individual, way to win a high-profile case for exercise guru, Brooke.

The cast is solid throughout, with Amber Davies’ Elle not putting a foot wrong, although her voice may not be to every taste and her character is not as engagingly vulnerable as some previous purveyors of the role. Jamie Chatterton’s arrogant Warner is well-voiced and convincing, as is Annabelle Terry’s portrayal of Vivienne, Warner’s driven, preppie new girlfriend. George Crawford hits the right note as the down-to-earth Emmett and Karen Mavundukure shows off most impressive vocals as Paulette, although some scenes, including her yearning pursuit of hunky mailman, Kyle, are so broadly characterised as to lessen the impact of the comedy.

Jocasta Almgill is warm and convincing as Brooke and the supporting characters are all effectively played, albeit in broad strokes. The small ensemble also deserve credit for their energy, commitment and skill, keeping up an exhausting pace throughout.

This is not a show that sets out to provoke much thought, rather to entertain in a not too demanding way. There is nothing wrong with that and, from last night’s audience reaction, it clearly achieves it. For this reviewer, however, a little more reflection and focus on the dialogue scenes would have helped temper what, at times, felt like a constant parade of loud and not specially memorable musical numbers.

Review: Jonathan Cash

Photos: Matt Crockett

Tickets: 

https://www.theatreroyal.co.uk/whats-on/legally-blonde/ 

News: 9 to 5 The Musical comes to Darlington Hippodrome

9 to 5 The Musical comes to Darlington Hippodrome

 

The smash-hit 9 to 5 The Musical arrives at Darlington Hippodrome from Tuesday 4 to Saturday 8 August 2026, with full casting now confirmed for the UK tour.

 

Inspired by the much-loved 1980 film, the show follows three office workers who have had enough of their overbearing, chauvinistic boss. When a wild idea turns into a daring plan for revenge, chaos, comedy and sisterhood take centre stage. Featuring an irresistible score by country music legend Dolly Parton, it is a joyful story about friendship, courage and standing up for what is right, packed with toe-tapping tunes you will be humming long after the curtain falls.

Leading the cast is Jessica Martin, whose West End credits include Me and My Girl at the Adelphi Theatre, as the fiercely loyal and slightly unhinged office manager Roz. Of the role, Martin says she cannot wait to bring Roz out on tour in what she describes as a hugely entertaining, sharp, sassy and subversive show. Tim Rogers, known for West Side Story in the West End and on UK Tour and Jesus Christ Superstar across Europe, plays Franklin Hart Jr, the boss you love to hate.

 

Karla Tracey plays Doralee, Kayla Carter, known for Military Wives at York Theatre Royal and the UK and Ireland tour of I Should Be So Lucky, plays Judy, and Jade Marvin, who appeared in Starlight Express at Troubadour Wembley Park Theatre, plays Violet.

The wider cast includes Sammy Graham as Kathy, Ceris Hine as Margaret, Bradley Judge as Dwayne, Benjamin Karran as Joe, Colin Kiyani as Bob, Alicia Mencia as Maria, Rodney Vubya as Josh and Jemima-Jane Willcox as Missy. The ensemble features Jamie Chidzey, Beth Woodcock and Ashley St John, who also serves as Dance Captain.

The production marks a significant milestone as the first in-house production from Landmark Theatres to tour nationally. It is directed by Paul Jepson, CEO and Creative Director at Landmark Theatres, who describes it as a feel-good show with a big heart, in which patriarchal male power behaviours are skewered while all the characters retain heart, soul and dreams. Notably, the production will feature its band performing on stage.

Set and costume design is by Amanda Stoodley, with musical supervision by Mark Crossland, lighting design by Andy Purves and sound design by Chris Whybrow.

Tickets:

Tickets are available at www.darlingtonhippodrome.co.uk or by calling the Box Office on 01325 405405.