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Jan 4th


By Cameron Lowe
Howard Panter and Rosemary SquireATG’s Howard Panter and Rosemary Squire have topped theThe Stage 100 for a fourth consecutive year. The exclusive list, compiled annually by the industry’s leading newspaper, ranks the powerhouses of British theatre. This year, Panter and Squire share the revered accolade with the National Theatre.

One of the biggest production highlights of 2012 was the ATG initiated, highly-successful reunion with Royal Court Theatre Productions. This collaboration led to a 2012 Royal Court West End season at the Duke of York’s.  Laura Wade’s Posh, April De Angelis’ hit comedy, Jumpy starring Tamsin Greig, and the highly-acclaimed Constellations starring Sally Hawkins and Rafe Spall, all received critical acclaim, garnering rafts of 4 and 5-star reviews. This trio of plays each celebrated and promoted fresh new writing, with Constellations winning this year’s Evening Standard Best New Play Award.

The last 12 months also saw the UK premieres of Dolly Parton’s 9 to 5 The Musical and All New People starring Zach Braff; the Australian premiere of Legally Blonde the Musical in Sydney; Pinero’s classic comedy Dandy Dick starring Patricia Hodge and Nicholas Le Prevost; Joe Penhall’s Blue/Orange starring Robert Bathurst;South Pacific in London and on UK Tour; the return of a brand new production of Spamalot to the West End; Matthew Bourne’s Nutcracker in London and on UK Tour; Simon Callow starring in Being Shakespeare and The Mystery of Charles Dickens in London; The Mountaintop starring Samuel L Jackson and Angela Bassett in New York and 10 FFE produced regional pantomimes starring Hollywood favourites David Hasselhoff and Priscilla Presley.

Howard Panter said: “Rosemary and I are both humbled and delighted that The Stage continues to recognise that ATG is a great British success story, which brings music and creative brilliance to countless audiences around the globe. We have just celebrated our 20th anniversary, and the diversity, depth and breadth of what ATG does is, in many ways, unparalleled. 2012 was a historic year for the UK, in particular London, and we were delighted to play a small part and make our own contribution. We would like to congratulate the National Theatre, with whom we are honoured to share this distinction, on their success.”

Upcoming highlights for 2013 will include Howard Panter and British director Jamie Lloyd’s first collaboration, Macbeth starring James McAvoy in the reconfigured Trafalgar Studio 1, starting in February.  In the West End, Passion Play by Peter Nichols, the inaugural production from Tali Pelman Productions starring Zoë Wanamaker at the Duke of York’s, will open next spring. There will also be a brand new production of The Rocky Horror Show which will celebrate its fortieth anniversary and a UK tour of Priscilla Queen of the Desert starring Jason Donovan, set to open in Manchester in February.
Jan 15th

Tongues by Perfect Mayhem at the Tristan Bates Theatre

By Carolin Kopplin


Moral: Everything goes to shit. Reboot.

Perfect Mayhem was formed nine years ago and is dedicated to working with new or neglected North American playwrights. About a year ago, the company unearthed John Vanbrugh's amusing play The Provoked Wife at the Greenwich Playhouse, setting the action in the 1930s, which worked very well. This time they present a 30-minute play by a contemporary English author as part of "First:  A Season of Solo Performances" at the Tristan Bates Theatre.  

Kay, a war correspondent, makes an unscheduled stop during the Balkans conflict in Bosnia, in an area much like the Yorkshire Dales. As the lights go up, Kay is taking photos of an executed soldier although it makes her nauseous. In her monologue, addressed to the dead man, she confronts the cruel nature of war, journalism and the vagaries of map reading. She also explains the rules of  "Tongues" to him, a card game for children in which the loser keeps on playing until the bitter end. The absurdity of the situation and the humour of the text make this short one-hander a darkly comic play that also raises some important questions. 

Provence Maydew gives an intense performance as the not so hardened journalist who feels the need to connect and assist somebody, even if her attempts are in vain because the only other person around is dead. In this respect the play has an almost optimistic outlook on humanity. 

By Carolin Kopplin 

Until 16th January 2012,  7.30pm
Tristan Bates Theatre
The Actors Centre, 1a Tower St., London WC2H 9NP
Tel: 020 7240 6283
Aug 20th

Testing Times Returns to the People's Theatre

By Cameron Lowe
Back by public demand, Testing Times returns after a triumphant try-out run last year. Described as being “as witty and uplifting as Calendar Girls; as profound and engaging as The Vagina Monologues; and as moving and emotive as Blood Brothers”, the play received critical acclaim and inspired cathartic outpourings of emotion from audience members.

Testing Times

Based on playwright Steve Burbridge’s interviews conducted with HIV+ young men from around the region, this compelling new play explores the life-changing impact of being diagnosed HIV+ from the perspective of a young gay man, his partner and his mother. Frank and funny, poignant and provocative, Testing Times chronicles the journey from anger, fear and despair to acceptance, strength and hope.

It visits The People’s Theatre,  Newcastle for a strictly limited run of only four performances. 

17 to 20 November 2014

May 23rd

The Mystery of Edwin Drood at the Arts Theatre

By James Buxton


The Mystery of Edwin Drood
is a rip rollicking, solve-it-yourself Musical, based on Charles Dickens last, unfinished novel. It was adapted in 1985 by Rupert Holmes and won 5 Tony Awards including Best Musical production when it was first performed on Broadway. Intriguingly, it takes the novel approach of allowing the audience to decide the identity of the murderer. 

This year marks the 200th anniversary of Dickens' birth and Aria Entertainment and the Arts Theatre, inject a new lease of life into a typically Dickensian assortment of eccentric oddballs and dastardly villains. Holmes adaptation ingeniously takes the form of a play within a play, as the cast of the Music Hall Royale perform their ramshackle version of Dickens final novel under the watchful eye of their compere, Chairman William Cartwright, (Denis Delahunt) a sage, yet cheeky old man who narrates the events of the novel whilst orchestrating the action. Delahunt also doubles up as the Mayor Sapsea, switching roles with incredible dexterity, from their larger than life MC to the hunched, miserly old mayor.

Natalie Day plays the title role of Edwin Drood as her stage persona, Miss Alice Nutting, who has the questionable honour of being described as the best male impersonator in London! Day’s Drood is an earnest young man, brimming with all the theatrical, grand gestures of turn of the century music hall theatre. While Daniel Robinson as Mr Clive Paget, plays John Jasper, Drood’s nefarious uncle, and choirmaster of Cloisterham Cathedral. Robinson puts on a powerhouse performance switching character with Jekyll and Hyde like intensity.

wondering eye takes a shine to Drood’s fiancée, Rosa Budd played by the inestimable, Victoria Farley. Farley’s petite frame disguises her superb voice, which is one of the highlights of the show. Jasper however, is not the only man bewitched by Drood’s fiancée as the dastardly, Neville Landless (David Francis) a newly arrived aristocrat from Ceylon, takes a shine to Rosa Budd. Francis’s hammed up version of Landless is hysterically funny, in his brown face mask he wildly arches his eyebrows and acts out the role of a vaudeville villain with great relish. Landless brings with him his sister, Helena Landless (Loula Geater) who carries an air of exoticism as she struts about the stage speaking in a Eastern European accent. Once Drood disappears however, we are left with a cast of suspicious characters, each more extraordinary than the last, but it is left to us to decide, who is responsible for Drood’s murder!

 The music hall tradition is lovingly brought to their mock-proscenium arch stage, replete with stage musicians, who provide a raucous soundtrack without missing a beat. We are treated to a multi-sensory experience as the smell of incense wafts through the air, smoke fills the stage, the lights turn red and the cello carves out it’s tune as the matriarch of the opium den, Princess Puffer (Wendi Peters) waddles onto the stage. Peters in her busty dress is hilarious as an East End mistress of vice, sharing a great sense of mirth with the audience. She excellently alternates between the cockney, pugnacious Princess Puffer and her theatrical alter ego, the well spoken, Angela Prysock.

Credit goes to Matthew Gould who’s direction artfully balances the play within a play, as the narrative of Edwin Drood is skillfully intertwined with the chaos of the company of the Music Hall Royale. Thus we are introduced to a cabaret of characters, of villains and aristocrats, fiends and lovers, in this fast paced romp that will have you rolling in the aisles. So kick off your boots and loosen your corsets for this schizophrenic, music hall rendition of The Mystery of Edwin Drood. 

18 May - 17 June

Aug 21st


By Kirstie Niland
Blackpool Opera House

MAMMA MIA! How can I resist you when the Blackpool show has broken box office history. After seeing this five-star performance at the Opera House it’s clear to see why it remains packed well into its 12-week run.

Geraldine Fitzgerald, Sara Poyzer & Sue Devaney in MAMMA MIA! International Tour, credit Brinkhoff & M+Âgenburg.jpg

Having watched the movie several times it took a few minutes to adjust to the cast. It’s a bit like seeing the film before the book, it spoils you for the real thing. After all, how can anyone beat such a stellar line-up including Meryl Streep and Colin Firth? forming a cast so packed full of charisma and talent that you forget the big names and get carried away by their magic – enough to have you on your feet, dancing and singing along with a standing ovation at the end.

Blackpool’s Opera House is the only venue to host the international tour of the West End production of MAMMA MIA! this year, and took £2million in ticket sales in the first six weeks alone, making it Blackpool’s highest ever grossing show.

The feel good family tale set on a Greek island features a simple set which is seamlessly changed by the cast themselves, so that the story flows without interruption.

The most spectacular moments are: the Voulez Vous scene, where Sophie’s three fathers announce they will give her away as she swirls into confusion under disco lights; and the high action flipper sequence where the groom’s friends carry the boy band-esque Sky (Bart Edwards) away to Lay All Your Love on Me. And if like me you’ve seen the film first, then deleted movie scenes Under Attack and The Name of the Game are a welcome surprise.

Understudy Jasmin Colangelo is sweet as Sophie, and Sara Poyzer powerfully eclipses Meryl Streep as Donna. Ex Corrie star Richard Standing is superb as Sam, and anyone wondering at the heightened chemistry between him and his Say I Do bride should know they celebrated their real life wedding anniversary one night this summer after their on-stage marriage!

The cast as a whole create huge chemistry together, and a special shout-out must go to homegrown talent and West End Billy Elliot star Ashley Luke Lloyd who is an entertaining and high energy Eddie.

My favourite stars of the show were Donna and the Dynamos. Sara (Donna), Sue Devaney (Rose), and Geraldine Fitzgerald (Tanya) are excellently cast as friends for life. Chiquitita, Does Your Mother Know and Take a Chance on Me are hilarious and excellently choreographed, and Sara’s performance of The Winner Takes it All and Slipping Through My Fingers are mesmerising and full of emotion.

Geraldine Fitzgerald, Sara Poyzer & Sue Devaney in MAMMA MIA! International Tour 2, credit Brinkhoff & M+Âgenburg.jpg

Of course no production of Mamma Mia would be complete without the comedy finale of Waterloo. The three male leads, Sam, Bill Austin and Harry Headbanger, do Abba, Blackpool and Funny Girls proud, strutting their stuff to perfection.

So on behalf of UK Theatre Network I say: MAMMA MIA and the Opera House...Thank you for the Music.

The International Tour of MAMMA MIA! is playing at the Winter Gardens Opera House, Blackpool, until September 14. Take a Chance on me and see it. (Sorry, couldn’t resist).

Tickets, priced from £20, are available from Blackpool Opera House and VisitBlackpool Tourist Information Centre, 01253 478222, or by calling Ticketmaster 0844 847 2517.

Apr 18th

Bridlington at the Rosemary Branch Theatre

By Carolin Kopplin

 My heart is like a frozen sea.

This is the third part of writer Peter Hamilton's trilogy about provincial towns in England after Basingstoke and Basildon. Inspired by a holiday in Bridlington in the 1950s, Hamilton created the partially autobiographical character of Bernard who is fascinated by a red German submarine from WW I that was washed up on the beach below Flamborough Head. Directed by Ken McClymont, Clockschool Theatre Company presents Bridlington at the Rosemary Branch Theatre for a 3-week run.

Bernard and Ruth are both patients in a psychiatric institution. Ruth is making her mark in the Poetry Workshop and is obsessed with Wuthering Heights, which she has read 49 times. Bernard is intrigued by anti-submarine warfare in the North Sea during the First World War. He has an imaginary friend, a German submarine commander named Wulf, who celebrates adventure and the risky life of a hunter. Ruth is fascinated by Bernard as he reminds her of Heathcliff and they begin a doomed relationship.

Julia Tarnoky as Ruth -- Photo by Bill Knight

As the performance begins, a big book moves across the stage like a butterfly, conjured by Ruth - a fascinating image that implies that Ruth might be the creative force of the evening. Eric and ward sister Gillian are chatting, her assistant Alexander fetches tea. Gillian is worried about Ruth as she has not seen her in some time. This conversation frames the production. Ruth enters and tells us the happiest day of her life was when she discovered "Wuthering Heights" by Emily Brontë. Inspired by Brontë, she has written poetry and has now finished her first novel and we - the "dear readers" - are her first audience. And so the story begins.

The first part of this play is fascinating as we meet the sweet-natured and delicate Ruth with her passion for Emily Brontë. Her world is filled with the characters of "Wuthering Heights" and she keeps writing to them. Her heart belongs to the volatile Heathcliff and there is a deep longing for the wild and dangerous Yorkshire moors. Bernard, a man in his late 30s who is dressed like a little boy, shares Ruth's yearning for a more natural life, away from the institution. Bernard dreams of joining his imaginary friend Wulf in the submarine war to live a free life at sea. Ruth is very attracted to Bernard's qualities and they become involved in a relationship. But Bernard's urge to leave the institution to live a free, adventurous life threatens their delicate friendship.

As Ruth's and Bernard's relationship comes to a conclusion and the important issues seem resolved, it felt like the performance had finished. The remainder of the play, after the interval, did not bring much to the play although several of the scenes were rather intriguing.

Richard Fish as Bernard and Julia Tarnoky as Ruth -- Photo by Bill Knight

This is a sensitive and intelligent portrayal of two people who are traumatised by the industrialised coldness that we all live in. They have lost their connection to nature but feel a deep longing for it - Ruth for the Yorkshire moors, Bernard for the vast sea. The form of the play is fascinating as we are taken into Ruth's - and partially Bernard's - imaginary world by Ken McClymont's skilful direction. Julia Tarnoky is outstanding as Ruth as she draws us into her story and Richard Fish comes a close second as the childlike Bernard whose manic laughter sent chills down my spine although I felt sympathy with him at the same time. Christopher James Barley is charming as Gillian's kind assistant Alexander and charismatic in a rather sinister way as Bernard's imaginary friend Wulf. Toni Brooks and Steve Hunt are very good as the the caring sister Gillian and the frustrated opera singer Eric.

An intriguing play about mental illness caused by a sterile and industrialised world.

By Carolin Kopplin

Until 3rd May 2015

Rosemary Branch Theatre

Shepperton Road, London, N1 3DT

Mar 24th

Matthew Bourne's SLEEPING BEAUTY

By Douglas McFarlane


I never know what to expect when I go to the theatre to review a production. It's the way I like it, much like BAFTA film review time when I had no idea what The Revenant was because it arrived in November before any press marketing has started, and at that time I didn't even know it was Leonardo's route to Oscar glory. I'm always very busy and a review is another one of many appointments in my day.  Planning on how to get there, followed by where to eat take up the next priority of the evening.  Then the conversation with my wife starts with, so what's this all about ? 

"Matthew Bourne, that choreographer fellow who made a name for himself with Swan Lake where it was an all male cast", I offer knowingly but then my tired brain fails me with attempting to get further. "Sleeping Beauty, is there a beast in that ?".  No beast, but "was that where she eats the apple ?". No, that's Snow White. "No mirror mirror on the wall then ?". Nope, Snow White again, so what's Sleeping Beauty about then ?

I knew I loved Tchaikowsky's music which I had played over and over again when I got hooked on Swan Lake & Nutcracker for the first time, and proceeded to learn more. Wait, is this a ballet ?  In a regional theatre ?. Yes, as it turns out.

That thought reminded me of the fantastic Glasgow actor Gary Lewis in Billy Elliot. "Ballet ?" he snorts. "What's wrong with ballet?" says Billy. "What's wrong with ballet ?" his dad replies with increasing angst, "It's perfectly normal", "Perfectly normal". Then the nan gets involved and now his dad is fuming with every word being emphasised. "Aye for yer nan, for girls, not for lads Billy. Lads do... football, or... boxing, or..... wrestling. Not friggin.... BALLET".

Well this ballet is a modern, contemporary ballet, without all the white tights and cod pieces. A dark fantasy story-telling ballet with fine sets, elegant costumes, expressive dancers and a cute and funny puppet baby.

Watching ballet requires you to zone out and let the dance feed you. Much in the way that you'll never understand a Shakespeare play if you attempt to focus too much, ballet needs your subconscious to take over and make sense of it.  Fortunately, I was in great seats with no distractions to be able to do that. In the first act that is, more on this later.

As you zone out, and let the stress of the day melt away, and consume the dance, you reach a part a short way in where it starts to make sense. Not in words, not in he said, she said, but as a whole. The production shares the story, and the expressions on faces, swaying arms and fast moving legs of the dancers become both the musical staff lines, and the written lines of the script. It wasn't overdone either. It didn't have to be over-expressed, just subtle enough like a normal conversation.  That was clearly evident from this production.

Each and every one of the dancers were talented actors as well as being masters of their craft of dancing. You could feel Matthew Bourne's demand for excellence in each performer. You knew they had stripped back everything they knew about dance, and relearned to immerse themselves in Matthew Bourne's way. Much like film actors might do in a Mike Leigh film.  The quality was very evident, and you knew you weren't going to see much better dance talent on a Wimbledon stage than this, ever.

In the second act, I made the mistake of swapping seats with my wife who had a tall lady in front of her. When I moved I then realised that not only did I have wobbly headed tall gangly woman in front of me, to the left I also had excitable dancer bloke who hummed the tunes and shouted "Bravo" regularly, and was constantly looking over at other excitable dancer bloke to our right, to nod, smile and giggle throughout. It took a lot of hard work to get into the zone again, but I got there and thoroughly enjoyed this quality performance, despite the theatrics next to me.

Matthew Bourne's Sleeping Beauty is touring and apart from Wimbledon which closes this Easter Weekend, there's a few venues in Newcastle, Nottingham, Cardiff, Sheffield and High Wycombe where you can still book up, before they head out for an international tour.


The official website is here >



Review by Douglas McFarlane



Sep 4th

Singin' In The Rain - Bradford Alhambra

I was not quite sure what to expect from this big budget production of the stage show of this popular film. I need not have been worried though because the show is an all singing, dancing, lavish and very funny musical.

Singing in the Rain

It is like being back in the golden age of cinema, when movie stars were some of the biggest names around. Set in Hollywood in 1927 the story of the stage show sticks closely to the film version.

With Monumental Pictures loosing out to Warner Brothers new "talking" movies, Monumental has to move with the times and its new film hence The Duelling Cavalier becomes The Dancing Cavalier with a musical score. Of course there is a twist in the tale.

On screen lovers Don Lockwood (played with style and panache by James Leece) and Lina Lamont (Vicky Binns) move swiftly over to the "talking" movies, however, there is just one problem in that Lamont cannot sing! Lockwood's off screen lover Kathy Seldon (Amy Ellen Richardson) has the voice and she becomes the on screen singing voice of Lamont much to her dislike.

One of the stars of the show who has some brilliant one liners is Cosmo Brown (Stephane Anelli). Anelli has perfect comic timing and his slapstick comedy is one of the main draws of the show.

Credit too must go to Paul Grunert who plays a brilliant part as Director Roscoe Dexter. Studio owner R F Simpson is played with authority by Maxwell Caufield.

The songs are well known though Make 'em Laugh is memorable, there is even a dancing gorilla!

Some of the front row have come armed with umbrella's, they need them too as just before the end of the first half of the show Singin' In The Rain is performed as  some of the 12,000 litres of water used in the show, starts to rain all over the stage!

There is no escaping as the song is performed again - with more rain, at the end of the show.
The show has everything you want from a musical and more, I enjoyed every minute of it. My tip though is do not sit near the front unless you enjoy getting wet. It does not deter though from what is one of the best musicals currently touring the UK.
Runs until Saturday 13 September 2014,  tickets from £19.50 available from:  Telephone 01274 432000
Feb 28th

Round the Horne @ The Waterside Theatre, Aylesbury

By Yvonne Delahaye

Round The Horne Tickets at Victoria Hall,

“Oh, Mr Horne! How bona to vada your dolly old eek!”

If you were around between 1965 to 1968, you may recognise this line from the biggest radio programme in Britain at the time, the ground-breaking Round the Horne.  For half an hour every Sunday afternoon, audiences of up to 15 million people would gather around the wireless to listen to Kenneth Horne and his merry crew get up to all sorts of mischief.

With its infamous movie spoofs and hilarious regular characters such as Rambling Sid Rumpo, Charles and Fiona, J. Peasemold Gruntfuttock and Julian and Sandy, Round the Horne was one of the biggest and best radio comedy shows of all time.  Over 50 years since it began it still earns new fans every year and with packed theatres around the country to see the tour, set in the BBC’s Paris Studios, its success is assured for years to come. 

This is the end of the 50th anniversary tour which has been running since 2015 with three U.K. tours and eight weeks in London. The cast were all excellent at recreating the iconic characters portrayed in the radio show, though Colin Elmer deserves a special mention for perfectly emulating  Kenneth Williams’ voice and mannerisms.

Kenneth Horne - Julian Howard McDowell

Kenneth Williams - Colin Elmer

Hugh Paddick - Alex Scott Fairley 

Betty Marsden - Eve Winters 

Douglas Smith - Alan Booty

SFX/Musician - Miles Russell 

The show was compiled, produced and directed by Tim Astley who set up Apollo Theatre Company in 2010, after graduating from Guildford School of Acting.

Personally, I didn’t know the radio shows so a lot was lost on me, but the almost full theatre whooped at familiar lines and characters they recognised.  What I loved, as an actor myself, was that all of the actors seemed to be thoroughly enjoying themselves which made me wish I was up there with them!  We certainly need to see more comedy on stage and it’s a compliment to the clever writing of Barry Took and Marty Feldman that it still works to this day.

The tour ends on 1st March at The Victoria Theatre, Stoke-on-Trent.  Tim Astley says ‘It is entirely possible that we may produce a 'Round the Horne' show again in the future but for now there are no immediate plans.’

For further details of all their productions, go to

Reviewed by:

Yvonne Delahaye




Sep 4th

Dangerous Corner at the Theatre Royal Windsor

By Clare Brotherwood

A shot in the dark, followed by a scream, and the stage is set for the first of J B Priestley’s many plays.

Dangerous Corner

But the content is in stark contrast to the rich, warm tones of the Art Deco drawing room of the country house in which the play is set. For beneath the 1930s respectability of wealthy couple Robert and Freda Caplan, their friends and colleagues, lurks the darkest of secrets which are disclosed as the evening unfolds.

J B Priestley himself described the play as ‘pretty thin stuff when all is said and done’, but if it were a book it would be a real page-turner, and in the hands of director Michael Attenborough and his sterling cast it has its audience in suspense right up to the very last line as devastating revelation after devastating revelation is exposed.

Some, such as affairs and homosexuality, probably wouldn’t turn a hair in today’s society, but in the mannered world of the 1930s, beautifully recreated by set and costume designer Gary McCann and lighting designer Tim Mitchell, what unfolds appears to be somewhat shocking when the stiff upper lip collapses - with tragic consequences.

As Robert Caplan, Colin Buchanan (remember Dalziel’s Pascoe?) is the perfect host for most of the evening but shows his passionate side in the closing scenes with a powerful explosion of emotions. Robert’s wife, however, shows her feelings more easily from the very beginning and Finty Williams portrays her as both fearful and feisty with a presence she has obviously inherited from her mother, Dame Judi Dench, who was in the audience.

Though Kim Thomson’s Olwen is gentle and almost wan, her presence is just as striking, as is Lauren Drummond’s Betty, for completely different reasons - a playful, shrieking child well suited to her gauche, lumbering husband (Matt Milne).

Though the most contained of all the characters, it is Charles Stanton’s lack of emotion which makes him the most menacing and Michael Praed’s performance is memorable for its steely coldness.

All in all, a class act to be savoured.

Dangerous Corner is at the Theatre Royal Windsor until September 13 and then tours:

Sept 15-20: Clwyd Theatr, Mold

Sept 29-Oct 4: Richmond Theatre

Oct 6-11: Devonshire Park Theatre, Eastbourne

Oct 13-18: Yvonne Arnaud Theatre, Guildford

Oct 27-Nov 1: Theatre Royal Glasgow

Nov 3-8: Birmingham Repertory Theatre

Nov 10-15: Malvern Theatre

Nov 17-22: Regent Theatre, Stoke-on-Trent

Nov 24-29: New Victoria Theatre, Woking