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Sep 30th

Blithe Spirit at The Mill at Sonning

By Clare Brotherwood

Spirits abound in The Mill at Sonning’s latest production - not least because The Mill has just won The South East Award for Most Welcoming Theatre 2016!

First night elementals may have spooked both the cast and the audience but Noel Coward’s endearing comedy continued on to conjure up some spirited performances.

Set designer Michael Holt, Matt Smee on sound, and Matthew Biss, who is responsible for the lighting, go all out to produce special effects for this evening of fun and frights which will have you both giggling and gasping.

Written by Coward in just six days in 1941, Blithe Spirit charts the course of events which occur after eccentric medium Madame Arcati accidentally summons up the deceased wife of novelist Charles Condomine.

Charles has invited Madame Arcati to dinner in order to research the occult for his latest book, but his smug scepticism, so well portrayed by Darrell Brockis, soon turns to annoyance when the ghost of his wayward first wife makes a play for him, with tragic consequences.

Madame Arcati is one of the most colourful characters on the English stage and former EastEnders’ Mrs Hewitt, Elizabeth Power, causes much mirth with her outlandish antics, and outfits provided by costume designer Natalie Titchener. Natalie also adds a nice touch by duplicating the ethereal spirits in a pair of hung pictures onto the diaphanous clothes worn by the grey ghost of Elvira.

As Elvira, Finty Williams is sultry, mischievous and childlike, even down to some impressive tantrums, but there’s a steeliness which is quite alarming. It is Phillipa Peak, as Charles’ current wife, Ruth, however, who steals the show. From starting out as strait-laced and sensible, if not a little unnerved at the prospect of a seance, she plays some spectacular scenes as her failure to cope with an unwanted guest she cannot see drags her down into moments of pure hysteria. A real tour de force.

Directed by Tam Williams at a steady pace, the cast is completed by his mother Belinda Carroll and his stepfather Michael Cochrane, and Janine Leigh, who makes the most of her part as the nervous new maid - though the sound effects of her hurrying about the house could be toned down a jot.


Blithe Spirit is at The Mill at Sonning until November 19.

Box Office: 0118 969 8000

Sep 29th

Charles Dickens' A Tale of Two Cities at the Richmond Theatre

By Carolin Kopplin

7-ATOTC courtroom 2 cRobert Day.jpgEnsemble - Courtroom

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity...

Charles Dickens considered A Tale of Two Cities the best story he had ever written. It remains a timeless classic, as relevant today as it was at its publication as citizens protest around the world against globalisation and injustice. Co-produced by Touring Consortium and Royal & Derngate, Northampton, James Dacre's seminal 2014 production is presently touring the country. Adapted by Mike Poulton, with whom James Dacre collaborated on Wolf Hall, the production does not attempt to bring the entire novel to the stage but distills the essence of the epic story interweaving a family's personal drama with the violence and terror of the French Revolution.

Starting off with a gripping courtroom scene that sees French aristocrat Charles Darnay falsely accused of spying for the mutinous American colonies, it is only due to the intervention of the clever barrister Sydney Carton, who bears an uncanny resemblence to the accused, that saves Darnay from being sentenced as a traitor. Carton dilligently undermines the credibility of the witnesses - Jenny Herring, who works in a house of ill repute, and Mr Barsad who is anything but the English patriot as which he presents himself to the court. The testimony of the pub landlady of the Homesick Cabinboy brings some necessary comic relief to the tenseness of the trial.

1-ATOTC Joseph Timms, Rebecca Birch and Jacob Ifan cRobert Day.jpg

Sydney Carton (Joseph Timms) and Charles Darnay (Jacob Ifans) enjoying a drink after the trial, served by Waitress (Rebecca Birch)

James Dacre's production has the pace of a thriller. It keeps the audience in suspense throughout as the aftermath of the French Revolution unfolds and draws both Darnay and Carton into the bloody terror. 

The excellent cast of 10, some of which perform a variety of roles, is augmented by the Edmundian Players. As Darnay and Carton, Jacob Ifans and Joseph Timms are complete opposites in temperament though so similar in looks. Darnay is a selfless nobleman who is in a romantic relationship with Dr Manette's lovely daughter Lucie, a delicate Shanaya Rafaat. Joseph Timms gives an outstanding performance as Carton, an embittered, self-destructive drunk who, although desiring Lucie Manette, knows that he will never be worthy of her. Michael Garner impresses as the sympathetic banker Mr Lorry, a loyal friend to the Manettes and Darnay. Noa Bodner is relentless in her longing for revenge as Madame Defarge as she cries: "Vengeance before justice!" 

Although James Dacre's production is set in the late 18th century, the play still speaks to us today. When the odious Marquis de Evrément states that "Repression is the only lasting philosophy” contemporary dictators come to mind. The witch hunt and paranoia after the revolution recalls the excesses of Stalinism and the Cultural Revolution in China.

24-ATOTC Joseph Timms andn Sean Murray cRobert Day .jpg

Carton (Joseph Timms) and Barsad (Sean Murray) execute a bold plan

Mike Britton's shifting stage design creates picturesque views of the English countryside contrasting with the imposing walls for the courtroom and prison scenes in Paris. Ruth Hall's costumes and Paul Keogan's lighting paint beautiful images and Oscar winning composer Rachel Portman's stirring score boosts the tension of the piece.

By Carolin Kopplin

Until 1st October 2016 at Richmond Theatre, then touring

Running time: 2 hours 35 minutes including one interval


Tour dates:

All photographs by Robert Day. 

Sep 29th

RSC's Cymbeline Live Screening @ Second Space, The Waterside Theatre, Aylesbury

By Yvonne Delahaye

The live screenings have proven to be a huge success and this time it was the RSC’s acclaimed production of Cymbeline that was screened around the country.  This little performed play was set in ancient times when the Romans ruled Britain, which was alienated and on the brink of disaster, as questions were raised about the taxes that had to be paid, as well as national identity.  Director Melly Still brings a fresh contemporary interpretation, with comparisons to Brexit, making it as relevant to today, as when it was written.

An ineffectual Queen Cymbeline rules over a divided dystopian Britain. Consumed with grief at the death of two of her children, Cymbeline’s judgement is clouded. When Innogen, the only living heir, marries her sweetheart Posthumus in secret, an enraged Cymbeline banishes him. Behind the throne, a power-hungry figure plots to seize power by murdering them both.

In exile Innogen's husband is tricked into believing she has been unfaithful to him and in an act of impulsive jealousy begins a scheme to have her murdered. Warned of the danger, Innogen runs away from court in disguise and begins a journey fraught with danger that will eventually reunite Cymbeline with a long-lost heir and reconcile the young lovers.

Cymbeline mashes up a variety of different Shakespeare stories, with a woman dressing as a man, a ring being given to a lover, a poison that’s actually a sleeping draft, ghosts to name but a few.  As one of Shakespeare’s last plays it’s in the Romance grouping, which are more sharply tragicomic than his comedies: threats of death and scenes of suffering are more acute.  Personally, I felt it was very violent and bloody, especially with a beheading and headless corpse being hugged, but maybe the sense of humour was different in those times?

Gillian Bevan takes the title role of Cymbeline, the first woman to take on the role for the RSC, as it was written as King Cymbeline.  Gillian gives a very strong performance, but actually she is rarely on the stage and it seemed to me that the play really was about her daughter Innogen, so perhaps that should have been the play’s title?  Bethan Cullinane gives a critically-acclaimed performance, as Innogen, as the wronged wife seeking to find her misled husband.

The most enthralling performance of the show for me though was by Oliver Johnstone as Iachimo, the Italian nobleman who sets out to deceive Posthumus.  Oliver’s commitment and intensity make him so compelling to watch and I’m sure he’s someone we’re going to hear a lot more of in the next few years.

A cleverly designed set, for this theatre in the round production, worked well to create the different countries and the photographs and graffiti added to the feel of the piece.  The only downside was that when the translations of Latin were screened on the wall, the cameras moved off too quickly so we couldn’t always read them.  Still it’s a great way to see an RSC production, at a fraction of the cost of travelling to the theatre itself and there are 2 more coming up, King Lear on 12th October and The Tempest on 11th January, so book your seats at your local cinema/theatre now!

Reviewed by:
Yvonne Delahaye

Sep 28th

The MGM Story: The Magic of the Musicals

By Clare Brotherwood

To generations of film fans, MGM meant glitz and glitter.

Between its foundation in 1924 and its demise in the 1950s, Metro-Goldwyn-Mayer’s Hollywood studios produced the biggest though not always the best musicals, launching the careers of the likes of Judy Garland, Gene Kelly and Fred Astaire.

If audiences of this show expect even a little of the glamour of MGM’s productions, however, they will be sorely disappointed.

Set on a drab, disused film set, this budget production from Katy Lipson for Aria Entertainment Concerts and Szpiezak Productions Ltd is essentially a small show with big songs. There isn’t even a whimper from MGM’s famous signature lion.

But there are big performances.

West End veteran Miranda Wilford heads a hard-working, all-singing, all-dancing trio which also gives a light but informative history of one of the largest, most glamorous and revered studios ever, with some fascinating behind-the-scenes stories.

Her beautiful renditions of some of the most famous songs to come from America are faultless. James Leece, who trained at the Royal Ballet School and has worked for Matthew Bourne, also gives a fine performance - his voice has a vintage quality which suits the era, though tiredness was beginning to show towards the end of the first night show. Completing the trio, Steven Dalziel literally throws himself into his role. He’s full of enthusiasm and with his expressive face and flexible body would go far as a comedy actor.

But this is essentially a musical revue and the songs really are the stars.

Musical director Charlie Ingles and his handful of musicians take audiences down memory lane with nostalgic arrangements of such classics as That’s Entertainment, Broadway Melody, Over the Rainbow, Meet Me in St Louis, New York, New York, I Got Rhythm, Singin’ in the Rain, Make ‘Em Laugh and The Night They Invented Champagne.

This show proves that there really is No Business Like Showbusiness!


The MGM Story: The Magic of the Musicals is at the Theatre Royal Windsor until

Oct 1

Box Office: 01753 853888

Further performances:

Oct 7: Playhouse Norwich

Feb 18, 2017: Chipping Norton Theatre

Sep 28th

Sunny Afternoon @ The Waterside Theatre, Aylesbury

By Yvonne Delahaye


Reaching your teens is a time of great anxiety for everyone, as many changes are taking place in your life and body.  Imagine that on your 13th birthday you're given a guitar by an older sister, who then goes out to a dance and dies from a heart attack?  Such a terrible personal tragedy at that delicate stage of life, must leave an indelible pain in your heart that could never be erased.  This is exactly what happened to Ray Davies, but he turned this personal heartbreak into a very successful career spanning many decades, as he wrote songs from the heart.  Unable to express himself because of a terrible stutter, Ray turned to writing and his lyrics still remain relevant 50 years on.

Sunny Afternoon tells the story of Ray and his brother Dave’s rise to success in the 1960s, as The Kinks exploded onto the scene with a raw, energetic new sound that rocked the nation.  The show opened at The Hampstead Theatre to critical acclaim, before transferring to The Harold Pinter Theatre in October 2014.  In April 2015, Davis won an Olivier Award for Outstanding Musical Achievement for the show, which also won Best Actor in a Musical for John Dagleish, Best Supporting Actor in a Musical for George Magquire and Best New Musical.

Ray Davies continues to be very instrumental in the production of the show, including the casting and development of the roles.  This tour features Ryan O’Donnell as Ray Davies and he has a superb range, which can belt out the rockier numbers You Really Got Me and All Day and All of the Night, but also portray the depth of emotion in I Go to Sleep.  It’s a very sensitive performance, that gives a unique insight into the real man behind the music.    Mark Newnham is also outstanding as the younger brother Dave Davies and the rest of the cast are also all very talented musician/actors.

I didn’t know much about The Kinks before seeing the show, so was very surprised to hear two lovely ballads, Stop Your Sobbing and I Go to Sleep, as I knew they were both big hits for The Pretenders in the 1980s.  Ray had a relationship with lead singer of that group, Chrissie Hynde and they had a daughter together, so that’s where the connection comes in.

The story of how The Kinks became another band that made up ‘The British Invasion’ of The States in the 60s, was very interesting.  They also managed to get themselves thrown out after disputes about non-payment of union fees!  It’s a great story and the theatre was packed to the rafters with fans, old and new, who loved the songs and whooped and applauded with a standing ovation.  My top tip though if you have sensitive hearing is to take a pair of ear plugs, as it is very loud!  Also at nearly 3 hours with the interval the show is very long, but you won’t be disappointed when you hear all their old hits being played live.

For further tour details go to:

Reviewed by:
Yvonne Delahaye

Sep 27th

VIBRANT 2016 – A FESTIVAL OF FINBOROUGH PLAYWRIGHTS Sunday, 30 October – Thursday, 17 November 2016

By Carolin Kopplin



Curated by Finborough Theatre Artistic Director Neil McPherson.

with plays by Gerry Moynihan, Colleen Murphy, Jim Nolan, Sarah Page, Micah Smith, and James Anthony Tyler

and The Earl’s Court Film Festival 2016

and After Orlando International Theatre Action

Now in its eighth consecutive year, the multi-award-winning Finborough Theatre presents Vibrant 2016 – A Festival of Finborough Playwrights, its annual celebration of new writing, running between 30 October – 17 November 2016. This year's festival also includes the Earl's Court Film Festival 2016, and the European premiere of the After Orlando International Theatre Action, 70 short plays inspired by the Orlando nightclub shooting earlier this year. As always, this year's festival features an intriguing selection of staged readings of new works by UK and international playwrights, both established and new, discovered, developed or championed by the Finborough Theatre.

The Earl’s Court Film Festival 2016, one of the most innovative short film events in London, the Earl’s Court Film Festival returns for the second year featuring six locally shot and co-produced Earl’s Court Film Festival funded short films, as well as showings of an additional 12 external film submissions. The estimated running time of each screening will be 1 hour 30 minutes including a post-film Questions and Answers session led by Festival Producers Sean Duffy and Caroline Tod-Richardson. 

After Orlando International Theatre Action is an international playwright driven theatre action including over seventy playwrights from the United States, Canada, the United Kingdom, Australia and Africa. Plays have been specifically written and curated in response to this tragic event and will be performed across the US and in the UK throughout the autumn including readings in New York City (Rattlestick Theatre, LGBT Center, Abingdon Theatre, and HERE); Los Angeles (Theatre @ Boston Court, The Road Theatre, East West Players and EST-LA); Seattle (Forward Flux Productions and Cornish College); Portland, Oregon (Artists Repertory Theatre and Boom Arts): Washington, DC (Round House Theatre and Olney Theatre Center); Philadelphia (Philadelphia Theatre Company); Boston (Brandeis University) and many more theatres and universities across the United States and internationally.

Playwrights include both noted and emerging voices in the theatre including Israel Horovitz, Neil Labute, Anders Lustgarten, Jordan Tannahill, Caridad Svich, Lindsey Ferrentino, Stephen Sewell, and many, many, more. 

Directed by Clare Bloomer, Liz Carruthers, Robert Cavanah, Helen Donnelly, Melissa Dunne, Tommo Fowler, Sara Joyce, Jonny Kelly, Scott Le Crass, Anna Marsland, Lydia Parkerand Lotte Wakeham

Further information:

PLEASE NOTE – Tickets for the Earl’s Court Film Festival are only available on the Earl’s Court Film Festival website at or by calling 07789 435448. 

Sep 26th

Sister Act at Milton keynes Theatre

By Alison Smith

 Reviewed by Alison Smith

26th September 2016


Who would have thought that a tale of a diva living in a convent would generate so much fun? But this is exactly what Sister Act does. The tale in fact is ludicrous. Deloris Van Cartier is a night club singer and a gangster’s moll. Curtis, her sleazy, controlling boyfriend, (Aaron Lee Lambert) kills an informer. Deloris, a witness to the shooting, is placed by witness protection in a convent– the antithesis of Deloris’ normal hang-outs, and it is this contrast which causes much of the delight in the show. There are of course run-ins between Deloris, now Sister Mary Clarence, and the strict Mother Superior, wonderfully interpreted by Karen Mann, caution, and habits, are thrown to the wind, musical and dancing talents are rekindled, the congregation miraculously increases in number and the convent is saved from  threatened closure.

 Alexandra Burke plays the sassy, feisty female lead (aka the Godsend) and the success of the musical is, to a great extent, down to her. Her comic timing is excellent as is her voice – rich and strong; her delivery is faultless. Of course the music, gospel, Motown and soul, by Alan Menken is a gift to any musical star. Craig Revel Horwood directs and choreographs the show and fills the stage with great routines for the hoodlums, the nuns and the police. And they are a talented cast – proficient musicians as well as funky dancers and tuneful singers – nuns with saxes and violins, a trumpet playing priest, all strutting their stuff.  Mention must be made of the cop ‘sweaty’  Eddie, (Jon Robyns) who transforms to give a stupendous, John Travolta like performance of I Could Be That Guy, and the novice Sister Mary Robert (Sarah Goggin) touches hearts with The Life I never Led. 

The stage set, designed by Matthew Wright, is simple - gothic arches, a few steps and metal railings – but clever lighting enables the one set to be used as a convent, a night club and a police station. Similarly, the sound system marks the different locations with an echo being used effectively for scenes in the church.

 The musical highlights the simple emotions of sisterhood, friendship and love, all  enhanced by the joy of music. Sister Act is definitely a feel good musical.

 Sister Act is at Milton Keynes Theatre from Monday 26th September to Saturday 1st October.

 0844 871 7652 

Booking fee applies


Sep 25th

Imogen at Shakespeare's Globe

By Clare Brotherwood

EastEnders family The Carters have been out in force at Shakespeare’s Globe.

Actors Danny Dyer and Kellie Bright, who play publicans Mick and Linda Carter in the BBC soap, were there to support Maddy Hill, who played their on-screen daughter Nancy.

Maddy’s credits, apart from EastEnders, only amount to a handful of parts, but two of them are Shakespearian, and now there’s a third - Imogen, the title role in a ‘renamed and reclaimed’ production of Cymbeline.

Part of the Globe’s artistic director Emma Rice’s first season, Imogen couldn’t be better for attracting new, young audiences to Shakespeare.

Gang warfare, it seems, is nothing new, and director Matthew Dunster has brought this play literally kicking and screaming into the 21st century. Imogen is bang up to date with a cast clad in tracksuits, trainers and baseball caps, rapping and street dancing its way through a bloody tale of murder, revenge - and, of course, love.

Designer Jon Bausor’s set is stark and dark, the only dressings, butchers’ curtains! And there’s plenty of butchery, I can tell you! Oh, and occasional drugs and can of lager.

Fights between Imogen’s black-clad Britons and the Romans, dressed in white, who are harbouring Imogen’s banished husband Posthumus, are both balletic and realistic, with the added attraction of sometimes taking place in midair! The energetic young actors take everything in their stride. To the pounding beats of sound designer George Dennis’s atmospheric music, their performances are invigorating, and aggressive, especially Ira Mandela Siobhan’s powerful Posthumus, with added gravitas from Jonathan McGuinness as Cymbeline, king of the Britons, and Martin Marquez as Belarius, who for the last 20 years has been bringing up the king’s sons as his own.

I don’t know whether it’s politically correct to single out William Grint, one of those sons, but he and the rest of the cast should be applauded for making William’s deafness part of the action and giving this play extra depth and some humanity. I doubt many briefs include sign language!

The play is, however, Imogen’s story - of how she marries against the wishes of her father, the king, who punishes her by banishing her husband. How her husband believes her to be unfaithful and sends someone to kill her while she, dressed as a youth, searches the land to be at his side, on the way being poisoned and waking up beside an headless corpse. Always fiesty but with a soft side, as Imogen Maddy Hill shines, appearing streetwise and yet with that vulnerability which made her so popular in EastEnders. She’d certainly give The Mitchells a run for their money!

The story may be a familiar one in today’s world where drugs and street crime are sadly all too common, but there are lighter moments: Joshua Lacey causes a laugh every time he struts onto the stage as Cymbeline’s loutish, football shirt-wearing stepson, and the appearance of an illuminated greenhouse apparently growing marijuana, also causes amusement.


Imogen is at Shakespeare’s Globe until October 16

Sep 25th

Finborough Winter Season 2016/17 Announced

By Carolin Kopplin


Winter Season at the Finborough concentrates on rediscoveries with works from the 1930s, 1940s, 1970s and 1980s including the rediscovery of playwright James Bridie, one of the West End’s most popular dramatists of the 1930s and 1940s. New writing is represented by the eighth consecutive year of Vibrant 2016 – A Festival of Finborough Playwrights featuring a selection of staged readings by UK and international playwrights, developed, nurtured or championed by the Finborough Theatre. This year’s festival also includes new filmmaking from the Earl’s Court Film Festival, and the European premiere of the After Orlando International Theatre Action, a collection of 70 short plays in response to the massacre at Pulse Nightclub in Orlando, Florida, in June 2016.

The season opens with Magnificence, Howard Brenton’s seminal 1973 political drama, playing 25 October–19 November 2016. It runs alongside the eighth consecutive year of Vibrant 2016 – A Festival of Finborough Playwrights, on Sunday and Monday evenings and Thursday matinees from 30 October–17 November 2016.

Rodney Ackland’s After October receives its first Central London production in 80 years, playing from 22 November–22 December 2016, running alongside the first English production for nearly 70 years of Scottish dramatist James Bridie’s Dr Angelus, playing Sunday and Monday evenings and Tuesday matinees from 27 November–20 December 2016.

The season culminates with Tony Harrison’s The Trackers of Oxyrhynchus in its first London production for nearly 30 years playing 3–28 January 2017, together with the first UK production in over 25 years of Veterans Day by multi-award-winning American playwright Donald Freed, on Sunday and Monday evenings and Tuesday matinees from 8–24 January 2017. The Finborough Theatre will also be relaunching its Friends Scheme this Winter with a new range of categories and benefits.

Elsewhere, following its critically acclaimed sell-out run at the Finborough Theatre earlier this year where it was nominated for seven OffWestEnd Awards including Best New Play, Best Male Performance, and Best Director, Neil McPherson's new play It Is Easy To Be Dead transfers to the Trafalgar Studios playing 9 November–3 December 2016.

For full information, please visit

Sep 24th


By Elaine Pinkus

Out There

Suspend belief for two hours at the Union Theatre, Waterloo. It is 1969, a time of excitement and mystery in the sphere of space travel. We are in Texas, awaiting a space launch when astronaut, Newman Carter, receives devastating news and is pulled from the mission to disappear into obscurity. Fast forward 40 years to the world of business and a clearly dysfunctional relationship between business magnate David Carter and his rebellious (engineer) son, Logan. These are troubled times with tempers and frustration at boiling point. In his anger, Logan is sent to small town, Hope, in Texas with a letter which will change everything for everyone.

Essentially this is an allegory crossing three generations of grandfather, father and son. It is a story of lost ‘hope’, of lost dreams and of lost connection where space (both actual and metaphorical) are desired more than human connection. ‘Out There is a fiction. A fable. A make believe.’ (Elliot Davis)  However, the confusion of the (too many) subplots spoil the premise of this concept and prevent an effective ‘lift off’.

The country-inspired score is created by James Bourne and Elliot Davis, the team behind the musicals Loserville, Out There and Busted. It is pleasingly melodious and is sung with superb harmonies by the enthusiastic and energetic cast, whose voices are strong and whose synergy is evident. Lyrics are less effective and there are times when the need for couplet rhyming is cringingly over-powering rendering the score tedious.

A small, intimate venue, Nick Corrall has adapted the space (excuse the pun) so that the audience sit on two adjacent sides in close proximity to the players. Staging is minimal, with cardboard boxes and chairs being the main props, demanding unreasonable generosity of imagination by the audience.

Directed by Michael Burgen, the cast includes Dave Willetts, Luke Street, Neil Moors, Imelda Warren-Green, Melissa Veszi, Adam Pettit, Rhys Owens, Jodee Conrad, Melissa Bayern, Thea Jo Wolfe and Shane Gibb. Musicians are Joe Louis Robinson (MD/Keys) and Ollie Hannifan/Will Bennett (Guitar).The Union Production features musical direction by Joe Louis Robinson, choreography by Lisa Mathieson, lighting design by Iain Dennis, set designs by Nik Corrall, and costume designs by Zoe Engerer. Out There is produced by The Union’s artistic director Sasha Regan.

Out There

Wednesday 21st September to Saturday 8th October 2016.


Old Union Arches, 229 Union Street, London, SE1 0LR

(closest tube: Southwark station on the Jubilee line or Waterloo station)

Performances: 7.30pm Tuesday - Saturday, 2.30pm Saturday and Sunday

Tickets: All seats £15 in week one (excluding Sunday) then £25, with £22.50 concessions and under 18 at £15.

Box Office: 020 7261 9876 or (booking fees apply)

Twitter: @theuniontheatre