London Showtime

25/02/2026

From the opening chords to the heart stopping sound coming from the stage, whether you are already familiar with the Kinks music and story or not, you can’t help but be swept along by Director Edward Hall and teams’ production of ‘Sunny Afternoon’, The Kinks Story, which has rocked into Leeds Grand Theatre This week.

This show has been around since 2014 but it shows that even though the show is 12 years old, and the music is from the 60’s, every audience member, despite the age range and whether they remembered it first time round or not, were blown away by this performance as the clapping along and the well-deserved standing ovation attested to.

As many productions these days, there are no clunky scene changes and the cast keep the pace of the show at rock star level, setting and striking scenes moving the show along brilliantly from one musical number to another with the Kinks songs perfectly placed to give meaning to the story, given even more poignancy as they were written by Ray Davies about his own life and experiences.

Each of the incredibly talented Actor-Musicians slid seamlessly from their character’s exciting and heartfelt stories to each playing a variety of instruments – replacing a guitar with trombone and next sat at the drums, truly phenomenal talent and each worked so hard and hardly seemed to be off the stage, such was the smooth pace of the show.

There are clever nods to historical events, beautifully tender moments and absolute ‘Rock’ moments that you could feel vibrating through your chest, but a particular highlight for me was the excellent 5-part Acapella harmonies, akin to a barbershop choir.
As amazing as the cast are, it would be nothing without the production team - costumes that transport you immediately into the 60’s, and the lighting that augments the sound and also brilliantly steers the emotion of the show.

The sound team have done such a fantastic job balancing all the instruments and voices to maintain the musical feel whilst, with the lighting team, also transporting the audience into a rock concert – certainly one to blow the cobwebs off a dreary February!
An absolutely wonderful show and a must see for anyone – whether a fan of 60’s rock or just wanting to be part of this amazing story, told by a brilliant team.

Leeds Grand Theatre

Bringing together Leeds Grand Theatre, City Varieties Music Hall and Hyde Park Picture House - three unique, historic venues hosting live performance and film

05/12/2025

It's been over twenty years since I first saw Boublil & Schonberg's masterpiece that is 'Miss Saigon'; and now here it is back, reimagined by Cameron Macintosh and on a UK Tour.

Sean Miley Moore who plays the Engineer is outright the winner o this show, his voice is outstanding and his whole demeanour is dirty, funny, engaging, outrageous and enthralling.

Julianne Pundan as Kim was a great strength in voice and character and she was nicely matched with Jack Kane as Chris; even though I thought at times that his vocal range was pushed to his limit for his numbers. Emily Langhan as Ellen was also a great vocal delight - even though her part is considerably smaller she certainly made up for her stage time.

The male ensemble work tirelessly throughout and it was hard not to mention Jamil Abbasi, Daniel J Brian, Ben Fenwick and Owen Johnston he shone with their various character portrayals. The female ensemble create the right mood and atmosphere especially at the start of the show with 'The Heat is on in Saigon' and then in 'Movie in my Mind'.

The moving scenery is superb in this show and the revolve was used to great effect. The helicopter moment was still a breath taking moment with winches and ladders taking soldiers off into the roof of the theatre.

Bui Doi is still a heart breaking and momentous moment in the score with vocal harmonies that are stunning.

Jean-Pierre van der Spuy's Direction is slick and his vision is a sheer joy - with the use of projections and lighting and movement to make the piece flow throughout, never distracting from the music or the emotion. Bruno Poet gives a fabulous lighting plot and it is all rounded off by Andrew D Edwards costume and scenic design.

Miss Saigon still lives on as an impressive and emotional piece of theatre; it's not snowflakes, glitter and Santa Claus but it is certainly a treat for everyone pre Christmas.

Get yourself to the Leeds Grand Theatre to see it before it flies out of town!

https://leedsheritagetheatres.com/

14/11/2025

20/08/2025

A Landmark Theatrical Experience on Tour Across the UK & Ireland
The National Theatre’s internationally acclaimed production of War Horse galloped into Leeds this week, for a 3 week run at the Grand Theatre, kicking off the major UK and Ireland tour.

Based on Michael Morpurgo’s beloved novel, this unforgettable stage production takes audiences on a sweeping journey—from the gentle fields of rural Devon to the harrowing battlefields of First World War France.

Albert (Tom Sturgess), unexpectedly gets a horse (when his drunken father wins it at an auction). Albert and the horse (Joey) gain each others trust and become inseparable.

When young Albert’s beloved Joey is sold to the Cavalry and sent to the front lines, it starts a remarkable tale of loyalty, courage, and survival.

At the heart of the show are the jaw-dropping life-sized horse puppets, brought to life by South Africa’s Handspring Puppet Company. Their astonishing craftsmanship and lifelike movement create some of the most breathtaking scenes I have ever seen on stage. From the flick of an ear to the swish of the tail ….. it’s absolutely amazing.

The stage set is minimal but works beautifully. A simple change of scenery transports you from a paddock to a ship setting out to war.

Along with the lighting and set design – you are transfixed during the whole production.

As Joey faces the horrors of war and crosses enemy lines, Albert too sets out on an epic and dangerous quest to find him—no matter the cost.

This is storytelling at its most powerful—visually stunning, emotionally gripping, and underscored by music and song……Sally Swansons vocals are a delight.

War Horse is a theatrical triumph: bold, imaginative, and deeply moving. Whether you're discovering it for the first time or returning to experience its magic once more, this is a show that stays with you long after the final curtain.

Catch the production at the Grand Theatre in Leeds, on its extended 3 week run until Saturday 6th September

www.leedsherritagetheatres.com

30/07/2025

Fiddler on the Roof is a much-loved Musical favourite with a vast array of wonderful and popular songs, strong characters and a powerful yet moving storyline which, although over 60 years old, is still very relevant today.
The current tour of UK and Ireland arrives at the Leeds Grand Theatre this week and has been described as a ‘theatrical triumph’, winning 3 Olivier Awards including Best Musical Revival and if you manage to see this production, you will understand why.

At the very start we are treated to a ‘Fiddler on the Roof’ (Raphael Papo) playing a beautiful solo, then as the roof raises upwards you are instantly transported to 1905 and the village of Anatevka. The set is simplistic yet stunning and allowed the scenes to effortlessly blend together, combined with clever direction. The moveable roof was used to great effect, particularly in ‘Sunrise, Sunset’, as it lowered down to create a ‘canopy’, enhanced by excellent lighting design. A special shout out to all those behind the scenes who have worked so hard to make the show and the cast shine.

The entire cast were outstanding and fully immersed themselves into their characters throughout with stunning vocals. The standout star, however, was the main man himself, Tevye, played by Matthew Woodyatt. He had the audience in the palm of his hands from the moment he uttered his first word. He had impeccable comic timing and you couldn’t help but be drawn into every single emotion along with him, especially in ‘If I Were a Rich Man’ and the beautifully sung ‘Little Bird/Chaveleh’ which brought a little tear to the eye. I particularly enjoyed the moments with the ‘Fiddler’ who, like his conscience, was with him every step of the way.
Standout moments of the show were the opening ‘Tradition’ where every head (and note) was placed with precision; ‘L’Chiam/To Life’ with the mix of Comedy and excellent choreography and merriment; ‘The Bottle Dance’ and choreography that followed and of course ‘The Dream’ which was so well done, and bizarre, that you felt you were right there in the dream with them. Credit to the Choreographer Julia Cheng and of course Director, Jordan Fein, for these wonderful and often inspired moments.

A song that is usually overshadowed and instantly forgotten in most productions is ‘The Rumour’, but here, the cast delivered this so perfectly that it became another standout moment.

The Orchestra, led by Livi van Warmelo, were fantastic and well deserved their standing ovation and rapturous applause from the audience after the Play Out. Most people rush to leave the theatre as soon as the bows are over, but everyone stayed to listen and show their appreciation to these talented musicians.

Just a few tiny negatives. The cast used so many different accents between them, mostly strong UK Regional accents that appeared a little out of place and were very noticeable and often distracted from the piece at times. Secondly, some of the more emotive moments didn’t quite have the impact that they have had in other productions, leaving me a little disappointed as I was almost willing them to make me cry! Finally, it was a shame that the fiddler was not used at the end of the show but it was replaced by a clarinet.

This aside, overall it was an excellent production and an absolute ‘must see’ for all. The show runs until the 2nd August, make sure you grab any last remaining tickets.

Bringing together Leeds Grand Theatre, City Varieties Music Hall and Hyde Park Picture House - three unique, historic venues hosting live performance and film

25/06/2025

You are cordially invited to an audience with her Majesty!

Showing the power the late Queen Elizabeth had with her impeccable wardrobe; By Royal Appointment, is a funny, nostalgic & celebratory new play by Daisy Goodwin (creator of the ITV series Victoria).

It is a behind the scenes peek into the private world of our late monarch (played by national treasure Anne Reid), her dresser (Caroline Quentin), her milliner (James Dreyfus) & her designer (James Wilby).

A simple yet opulent staging by Jonathan Fensom, set in the dressing room at the palace, with luxurious drapes, carpets & furniture that really transports you into what her Majesty’s world behind closed doors would have been like.

The team have done a remarkable job encapsulating the dresses, coats & hats worn by the late Queen – and Anne Reid looks stunning.

Oliver Fenwick has the stage lighting just right – focusing your eye to just the right spot, and the projection of the achieved footage of the late Queen brought back many memories.

Every outfit worn, has a back story and the audience certainly relishes in the nostalgia.

The play takes you on a journey through the Queen’s lack of interest in fashion, and how her looks for Royal engagements were managed by her Miliner, designer & most importantly her dresser (Gigi).

Gigi is a working-class girl from Wigan who not only advises the Queen on her colour of lipstick, what jewels to wear, but also shows the mutual appreciation that they had for each other.

Anne Reid is perfectly cast as the Queen – at one point I actually forgot it was Anne Reid on stage; her mannerisms, styling and acting totally engulf you into her world.

Caroline Quentin’s character has many attributes, she gutsy, empathetic, resourceful, funny but most of all loyal to her Queen.

The two James' have a wonderful on stage double act as the Miliner & Designer, a love hate relationship – bringing plenty of laughs along the way, as well as covering some historical topics.

The whole play is scripted around the Curator (Grainne Dromgoole) who keeps us on the timeline journey, through the decades, giving us snippets of information of the year in question. (Also a very handy way to assist with the moving of props!)

This is a superbly immersive play and was a joy to watch. You came away feeling like you had been a part of history, with a warm glow too.

Playing at the Grand Leeds until Saturday 28th June

Tickets at www.leedsheritagetheatres.com

17/05/2025

14/05/2025

The first episode of Alan Bleasdale’s Boys From The Blackstuff was aired on BBC 2 back in October 1982 – at that time more than 3 million people were out of work. Now James Graham’s brings his stage adaptation on tour.

The show delivers a poignant and timely exploration of economic hardship and resilience, bringing the struggles of 1980’s life, for a group of tarmac layers in Liverpool.

We follow Chrissie, Loggo, George, Dixie, and Yosser (“Gizza job”) —as they navigate the challenges of joblessness, societal pressure, and personal despair.

Jay Johnson's portrayal of Yosser Hughes stands out, capturing the character's desperation and fragility with compelling intensity. As the show gains momentum, you really feel for this guy – and the slow motion fight scene – just joyful moment of stage craft executed perfectly.

George Caple's Chrissie offers a heartfelt performance, he’s in turmoil with the ethical dilemmas faced by those resisting exploitative work conditions – and trying to keep his marriage afloat.

Ged McKenna brings warmth and wisdom to the role of George, he is the link to the city's industrial past and a true gent.

Jurell Carter (Nate from Emmerdale) – makes a great theatrical debut as Loggo, with his huge sheepskin coat. I must say he’s looking good for a guy who’s been underwater for a few months on Emmerdale! Plus a lot of his Emmerdale friends were in the audience to support him and Mark Womack (playing Dixie) - another Ex-Emmerdale cast member.

Amy Jane Cook's set design envelops you in the industrial landscape of Liverpool, complemented by Jamie Jenkin's video projections.

The staging, particularly during Yosser’s pivotal scenes (as mentioned before), utilizes slow-motion sequences to powerful effect, highlighting the character's inner turmoil .

Whilst the play condenses the original series into a two-and-a-half-hour performance, it maintains the core themes of camaraderie, dignity, and the human cost of economic policies.

Overall, Boys From the Blackstuff offers a moving reflection on the impact of unemployment and societal neglect, making it a relevant and compelling piece of theatre.

Currently at Leeds Grand Theatre until 17 May 2025.

Tickets www.leedsheritagetheatres.com

08/05/2025

Leeds Grand Theatre is the latest stop for Cruel Intentions – The 90’s Musical, based on the 1999 lm of the same name. Nathan O’Boyle and Gary Lloyd bring this piece to life along with a dozen high energy performers who keep the pace so high and with such quality to the singing and performances that the time just flies, leaving you wanting more.

The audience didn’t need much encouragement to get on their feet at the end, joining in with the classic hits. The attention to 90’s detail, from the power suits to the mobile phones and their ringtones, will have many audience members reminiscing, whilst for others, and indeed some of the cast, they were a little before their time. All these little details show respect for the piece that is brilliantly crafted but will have taken a time to create, deciding on which songs are perfect for which elements of the show from the vast array of 90’s music available.

The 90’s classic music is perfectly woven into his story with great skill, meaning this jukebox musical has a song for every emotion, conveyed brilliantly by the cast along with the band under the direction of Will Joy. Often the songs bring comedic moments and others bring drama, anguish and pathos, expertly developed by the team, and the original writers.The superb single set is transformed seamlessly by way of minimal furniture through the scenes, negating the need for clunky changes or the use of cloths and keeps the pace well.

The lighting design, by Nick Richings, framing the stage and occasionally turning the light towards the audience, aids in the transformation of scenes with ease.Not knowing the original story will not hinder an audience from enjoying this powerhouse of musical theatre as the somewhat twisted plot is easy to follow, and whatever your thoughts, or memories, of the 90’s - it should not deter anyone from seeing this fabulous piece of theatre.

The touring cast is made up of Nic Myers as Kathryn Merteuil, Will Callan as Sebastian Valmont, Abbie Budden as Annette Hargrove, Lucy Carter as Cecile Caldwell/Marci Greenbaum, and Luke Conner Hall as Blaine Tuttle. Other cast members include Joe Simmons as Greg McConnell, Gabriella Williams as Mrs. Bunny Caldwell/Dr. Greenbaum, Kevin Yates as Ronald Clifford, and ensemble members Olivia Brookes, Ben Fenwick, Sophie Hutchinson, and Onuri Smith

Grab your tickets now at www.leedsheritagetheatres.com