Following last year’s sold-out Edinburgh Festival run, producers David Adkin, RJG Productions, and Midnight Theatricals in association with NewYorkRep are delighted to announce that Club NVRLND, the immersive nightclub phenomenon, will transfer to The Vaults, Waterloo from Saturday 14 November 2026 until Saturday 31 January 2027.
Conceived and directed by Steven Kunis (Hir, Straight White Men), with a book by Olivier Award-winning Jack Holden (Cruise, KENREX), Club NVRLND is a high-energy immersive musical, transforming The Vaults into Peter Pan’s underground nightclub, where audiences become part of the party revelling in nostalgia, exhilaration and youthful abandon. Set to the biggest 2000s anthems by legends including Britney Spears, Rihanna, P!nk, Outkast, Coldplay and many more, audiences are invited to leave their worries at the door and lose themselves on the dancefloor!
Casting to be announced.
Welcome to NVRLND, where the party goes straight on till morning.
When runaway bride Wendy Darling stumbles back into Peter’s world, she’s forced to question everything she thought she wanted. Offered the chance to rewrite her story, Wendy’s thrown back into a world of intoxicating fun and reckless adventure.
Club NVRLND premiered at the 2025 Edinburgh Fringe Festival, where it sold out every performance. This nightclub musical event is an irreverent, high-energy, immersive party where fairy dust is in the air, the drinks flow, and the night is always young.
The production has choreography by Ashley Nottingham, executive music production and arrangements by Hugo Dunn-Vereker, set and costume design by Suzu Sakai, lighting design by Oliver Award-nominee Robbie Butler, sound design by Sound Quiet Time, casting direction by Lucy Casson, music production & arrangements by Liam James, Kieran Smith & Gregor Philp post-production & mastering by Robin Sutherland and vocal arrangements by Simon Nathan, music supervision by Colm O’Regan with Aida Rocci as creative producer.
Club NVRLND is produced by David Adkin, RJG Productions, andMidnight Theatricals in association with NewYorkRep and is presented by arrangement with Great Ormond Street Hospital Children’s Charity and Concord Theatricals Ltd.
A BRAND-NEW PRODUCTION OF AUGUST WILSON’S FENCES DIRECTED BY DANIEL BAILEY WILL TOUR THE UK FROM SEPTEMBER CO-PRODUCED WITH LEEDS PLAYHOUSE, LYRIC HAMMERSMITH THEATRE & HOME MANCHESTER.
Pioneering theatre company Headlong have announced today the first details of cast for their brand new production of August Wilson’s Fences, touring the UK this autumn. The principal cast will include Ray Fearon (Othello- RSC, Fleabag – BBC, Coronation Street – ITV) as Troy, Madeline Appiah (In the Long Run – Sky, The Winter’s Tale – RSC, Tina Turner The Musical – West End) as Rose, Michael Ahomka-Lindsay (Choir Boy – Theatre Royal Stratford East & Bristol Old Vic, Cabaret – Kit Kat Club, Playhouse Theatre) as Lyons and Josh Tedeku (Boarders – BBC, Supacell – Netflix) as Cory.
Fences will be directed by award-winning director Daniel Bailey (Red Pitch), with Aundrea Fudge (Voice and Dialect) and Amber Ruby (Associate Director) also in the creative team. It is a co-production with Leeds Playhouse, Lyric Hammersmith Theatre and HOME Manchester, marking the first major revival in over a decade of this American blockbuster.
Fences will open at Leeds Playhouse from Friday 11 – Saturday 26 September, before touring to Headlong Associate Partner Oxford Playhouse (Wed 30 Sep – Sat 3 Oct), Lyric Hammersmith Theatre (Tue 6 – Sat 31 Oct), HOME Manchester (Tue 3 – Sat 7 Nov), and Nottingham Playhouse (Tue 10 – Sat 14 Nov).
Ray Fearon said: “I’m so excited to be part of Fences. August Wilson is one of the greatest playwrights of the 20th century, I’ve always been drawn to his writing. Troy is such a rich, complex character, and it’s a real joy to get the chance to play him. Fences is one of those plays which stays with you, it captures a powerful honesty about pride, dreams and missed opportunities which resonates deeply. I’m really looking forward to getting into the room with Daniel Bailey and this company and sharing it with audiences across the UK, especially alongside the brilliant Madeline Appiah.
Madeline Appiah added: “Anyone who knows me will know what this moment means to me. I first discovered Fences in drama school and fell in love with it and with the role of Rose. The chance to now play her is truly a dream. I’m so excited to get working on Daniel Bailey’s exciting vision for this powerful piece. Daniel is one of the most important directors of our time and I am thrilled to be working with him. I can’t wait to get into rehearsals with this incredible company and unlock and explore the many themes and layers of this play.”
The creative team for Fences includes Set & Costume Designer Lily Arnold, Composer and Sound Designer Khalil Madovi, Lighting Designer Jai Morjaria, Movement Director Shelley Maxwell, Fight Director Kev McCurdy, Design Associate Emily King, Casting Director Heather Basten CDG, Voice and Dialect Aundrea Fudge and Associate Director Amber Ruby.
Director Daniel Bailey said: “It’s a proper privilege to welcome Ray, Madeline, Michael and Josh to the Fences Family. I can’t wait to realise this shows hidden gems with artists right at the top of their game. I’ve watched them enchant audiences and now we have the opportunity to do that together.”
From August Wilson, one of one of America’s most influential 20th century writers, this landmark play is a story of ambition for our time, exploring ever-present themes including masculinity, motherhood, music and the abiding hope for a different future. Troy Maxson has cheated death once, but the past keeps closing in. On Pittsburgh’s streets, he cracks jokes and spins stories, yet at home, the pressure is building. His wife, Rose holds the family together. She sees a changing world and hopes their son Cory might step into it with more freedom than Troy ever had. But when dreams collide, and tempers flare, the Maxson’s edge towards a reckoning that could reshape everything they know.
Lisa Maguire of Headlong said: “It means so much to be putting August Wilson’s work front and centre for audiences across the country. This extraordinary play encompasses so much of what drives us at Headlong – breathing new life into work that deserves its place in the canon, whilst asking our audiences to think and feel deeply about the world we share.
Despite being written over 40 years ago, the central themes are still all too resonant today. From the streets of Pittsburgh to our own backyard here in the UK – how much can we say has really changed? We’re thrilled to be working with Daniel on his take on this classic.”
Headlong and Leeds Playhouse have forged a highly successful Associate Partnership during Holly Race Roughan’s tenure, collaborating on a string of critically acclaimed productions including Henry V, The House Party, A Raisin in the Sun, A Midsummer Night’s Dream and August Wilson’s Jitney. This production also sees Headlong and Leeds Playhouse reuniting with long-term collaborators the Lyric Hammersmith Theatre after their joint success in 2024 of A Raisin in the Sun, and with HOME in Manchester after their hit The House Party. Headlong will also be returning to their Associate Partner Oxford Playhouse, with their third major touring show at Oxford Playhouse since Headlong relocated to the city.
Producer Adrian Grant is delighted to announce that I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL will transfer to Troubadour Wembley Park Theatre from 22 July – 27 September for a limited season starring multi-platinum recording artist and award-winning actress Alexandra Burke* (The X Factor, Sister Act, The Bodyguard, Curfew) as Chaka Khan. Press night will be on 4 August 2026.
The musical made its premiere earlier this year with performances at Hackney Empire, Belgrade Theatre, Coventry and the Congress Theatre, Eastbourne.
Further casting for the production will be announced in due course.
Chaka Khan said “This musical is more than my story. It’s every woman’s story. It’s about finding your voice, owning your truth, and rising through everything life throws at you. I’m honored to see my journey brought to the stage with such heart, strength, and authenticity.”
I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL is the powerful and inspiring life story of the award-winning, multi-platinum selling, global superstar herself.
The new musical reveals the woman behind the icon and charts her rise to stardom. It has a book by Nia T. Hill, direction by Racky Plews, music supervision by Mark Crossland, choreography by Ebony Clarke, casting by Debbie O’Brien, production management by Toby P Darvill, and general management by Emily Obasohan.
The fame, the fire, the fight – this is her story. I’m Every Woman brings to life the untold story of Chaka Khan, one of the most influential voices of our time. Unapologetically bold and deeply human, the production explores her unwavering passion for civil rights, her defiance in the face of a toxic music industry, the harrowing road through addiction, and the unrelenting pressure of being a working mother. At its core, it’s a story of resilience, purpose, and power – a celebration of the woman behind the legend.
I’M EVERY WOMAN features Chaka Khan’s much-loved songs released as a solo artist and lead singer of the band ‘Rufus’ such as I Feel For You, Tell Me Something Good, Ain’t Nobody, Sweet Thing, Higher Love and Through the Fire. The show, which is a journey of music, love and betrayal has a book that includes an array of Chaka’s famous friends.
I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL is produced by Adrian Grant Productions in association with Chaka Khan. Co-Producers include Tammy Michelle for Chaka Khan Enterprises, Nia T. Hill and Michael Derek Thomas for ODX Studios; Willette Murphy Klausner for WMK Productions. For Adrian Grant Productions: Emily Obasohan, Mahben Quddus and Dave Lumby.
Website: www.imeverywomanthemusical.com
Instagram: @imeverywomanthemusical
TikTok: @imeverywomanthemusical
Facebook: @imeverywomanthemusical
*Alexandra will not perform on 22, 23, 25 (matinee), 30 (evening) July, 1, 6 (evening), 8 (matinee), 13 (evening), 15 (matinee), 20 (evening), 22 (matinee), 27 (evening), 29 (matinee) August, 3 (evening), 5 (matinee), 10 (evening), 12 (matinee), 17 (evening), 19 (matinee), 24 (evening) and 26 (matinee) September
2026 LISTINGS INFORMATION
I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL
Running time: 2 hours 20 minutes plus an interval
22 July – 27 September (preview performances 22 – 23 July)
Set in the prestigious Charles R. Drew Prep School for Boys, Tarrell Alvin McCraney’s coming-of-age drama follows five young Black men as they navigate masculinity, sexuality, identity, and the pressures of belonging within a rigid, traditional institution.
The show focuses on the school’s choir lead, Pharus (Terique Jarrett), a gifted singer and young queer man who carries himself with pride. However, following an incident in which a fellow student hurls homophobic slurs at Pharus, we see his confidence falter, and the dynamics among the students shift. The characters have intense conversations, debates, and even confrontations, questioning things like their legacy, beliefs and their belonging at the school.
With gospel hymns, creative direction and thought-provoking dialogue, Choir Boy is a beautiful, candid exploration of Black queer masculinity.
My thoughts
I must begin by applauding the flawless acapella performances by the incredible cast. With musical direction & arrangement by Femi Temowo, the cast performs gospel and spiritual hymns throughout the play. The blend of harmonies was remarkable, capturing our attention right away. Music has always been used as a way to express ourselves. In Choir Boy, I enjoyed how each character was given the space to convey their unspoken emotions, be it frustration, hurt, joy, or guilt, through movement and music.
There is a tense debate among the students about the meaning of spirituals, the songs by enslaved African Americans. The characters hold differing views on whether the music helped their ancestors find routes to freedom or if it was used as a way to survive. McCraney examines the historical and cultural significance of the spirituals and what it means to the character’s own identity and faith.
Directed by Nancy Medina, the production has a simple, wooden set design (Max Johns), with smooth transitions between the various locations within the school. This simplicity allows us to focus fully on the characters and their stories.
Terique Jarrett is superb in the role of Pharus. Jarrett showcases great comic delivery while also blessing the stage with his powerful voice. He expertly captures the duality of a young man who refuses to let bullies shrink his personality, while also portraying a vulnerable character who carries hurt, and is often in defence mode (his clapbacks were super quick!). In a scene with Headmaster Marrow (Daon Broni), Pharus’s face visibly lights up as he speaks about what the choir means to him. We see just how much singing serves as escapism for Pharus within an environment that tries to confine him. This was an interesting connection to the earlier discussion about spirituals and their meaning.
Michael Ahomka-Lindsay is a standout as David, whose vocals stunned the entire audience. His solo genuinely left me with goosebumps! Ahomka-Lindsay portrays David with soft and quiet determination. An aspiring pastor, we witness the pressure David faces as the first in his family to attend such a prestigious school. Rabi Kondé delivers a compelling performance as Bobby, the headmaster’s nephew, whose bigotry is mixed with grief for his mother. Khalid Daley brings an abundance of charisma to JR, who is struggling academically yet still carries this optimistic energy. Freddie MacBruce plays AJ, Pharus’s roommate, who often supports Pharus. AJ is played with a calm presence and a hint of cheekiness. I adored their conversations as both characters portrayed a genuine, fun friendship.
The parallel phone calls scene subtly highlights the contrasts between the characters’ lives at home – the different expectations and relationships with their family. There’s intimate movement direction (Ingrid Mackinnon) with the characters leaning on or holding one another up. One poignant scene sees the students physically support a grieving Bobby, and it was honestly a powerful display of brotherhood.
Choir Boy brilliantly explores the intersection of Black masculinity, sexuality, faith and how this manifests in the young men. The play acknowledges the courage it takes to be open and have self-acceptance. McCraney crafts nuanced characters, and the script feels incredibly authentic. Paired with Medina’s expressive direction, the chemistry between the actors is outstanding. The playful banter and sharp comebacks add so much humour, but also make their relationships feel real.
With exceptional performances, beautiful music and wonderful writing, Choir Boy is a fantastic piece of theatre that I won’t forget!
Charlie Josephine’s smash hit play returns to London following a critically-acclaimed run at Watford Palace Theatre last year.
The story
The play takes place in 2012 London, ahead of the London Olympics in Stratford, where we meet aspiring boxer, Chloe Jackson (wonderfully played by Jodie Campbell). 2012 is a pivotal year in sports – women were finally allowed to compete in the Olympic boxing ring! It’s a triumphant moment for Chloe as it’s an opportunity she’s been training for her whole life.
Chloe speaks fondly about her father, his constant support, and the bond they share over boxing. When he suddenly passes away, Chloe puts her entire focus into boxing, rather than allowing herself to mourn. She’s convinced that showing vulnerability may cost her the dream she and her father shared.
The play explores grief, ambitions, love and societal expectations. Chloe goes through a rigorous training schedule, a new relationship and the loss of her father. All while balancing the pressure of this Olympic dream.
Photo by Ross Kernahan
My thoughts
From the moment she steps on stage, Jodie Campbell captivates the entire room. The opening monologue carries a fun, charismatic energy that immediately commands our attention. Paired with Campbell’s brilliant comic delivery and conversational storytelling, it genuinely felt like we were listening to a friend. She showcases an impressive versatility, seamlessly shifting between characters, from her girlfriend, to her coach. Chloe feels like a character we all know – playful, confident, swears a lot, and seems like a great person to go clubbing with!
It’s interesting to learn that Chloe didn’t cry at her father’s funeral, and while we all grieve differently, in Chloe’s case, it’s feels as though she must prove that she is tough. Behind the bravado, there is a softer side to Chloe, which we see when she’s with her girlfriend, Jamie, who even says, “I like when you’re ill, because you let your guard down”.
Photo by Ross Kernahan
Directed by Prime Isaac, the production maintains high momentum and tension throughout. Campbell utilises the entire stage (designed by Hazel Low), circling the boxing ring, and ducking in and out of the ropes. Isaac’s direction also maximises the lighting and sound design, which elevates the storytelling.
Mwen’s sound design transports us between training gyms, nightclubs (shoutout to the nostalgic playlist!) and boxing matches, while Jessie Addinall’s lighting transitions are so precise! Whether it was capturing the intense fight scenes or Chloe’s moments of reflection, the lighting was perfectly in sync with the story.
Mateus Daniel’s movement direction was incredible, particularly for showcasing authentic boxing techniques. Campbell’s jabs, hooks and uppercuts are sharply choreographed, her physicality poised and convincing. We became spectators, cheering her on.
Photo by Ross Kernahan
Charlie Josephine balances humour with an exploration of the pressures Chloe, a young Black queer woman, faces. The show sparks an interesting discussion – how should we mourn? Who is allowed to be seen as fragile? Chloe’s reluctance to show vulnerability feels rooted in the expectations placed on her identity. Society tends to expect strength or resilience from Black women in particular, often denying them the space to be vulnerable, or, in this story, publicly mourn.
Overall, Bitch Boxer is funny, intense and unique exploration into loss, ambition and the pressure to remain strong. This production boasts a fantastic creative team and a standout performance by Jodie Campbell – it’s not one to miss!
Jonathan Bailey & Ariana Grande will star in a new stage production of Stephen Sondheim’s legendary musical, Sunday in the Park with George.
Performances will begin at the Barbican Centre, London in Summer 2027.
Sunday in the Park with George has music and lyrics by Stephen Sondheim and a book by James Lapine. The production will be directed by Marianne Elliot, with design by Tom Scutt.
Tickets for the season at the Barbican will go on sale in May 2026 and will only be sold via the official Barbican website and box office. To be the first to hear details and all further information about the production, sign-up at www.sundayintheparkmusical.com.
Sunday in the Park with George is produced by Empire Street Productions and presented in association with the Barbican.
All further information about the production will be announced at a later date.
Richmond Theatre’s annual panto has arrived, and it’s absolutely marvellous! I was invited to a fun & festive performance of Cinderella, featuring a stellar cast – Charlie Stemp, Helen George, and TV icon, Basil Brush! I’ve heard wonderful things about the pantomimes at Richmond Theatre & this did not disappoint.
Directed by Gary Wilmont, this entertaining production re-imagines the classic tale of Cinderella, with notable characters and more. With all the traditional panto ingredients, this proves to be a delightfully charming show! The show feels extra festive, with all the sparkles, atmospheric lighting and wonderfully Christmassy numbers.
Photo by Ian Olsson
Helen George is enchanting as the Fairy Godmother, arriving on stage in a burst of pyrotechnics. Her vocals are stunning, especially when she shows off her operatic range. George’s comic delivery was another highlight, and we enjoyed all the ‘Call the Midwife’ jokes throughout.
Photo by Ian Olsson
Tom Major makes a fantastic Prince Charming and has a beautiful voice, while Hope Dawe is an excellent Cinderella; she has a warm, Disney-like presence and brings a fun spirit to the show. There’s a playful love triangle between Prince Charming, Cinderella, and her friend, Buttons. They literally fight for Cinderella’s affection, in a comical musical number involving physical comedy and tumbles off a wall.
Charlie Stemp impresses as Buttons and proves himself to be a pantomime legend! Stemp lights up the stage with his charisma, charm, terrible jokes and impeccable comedic timing. He has the audience in the palm of his hand, as we cheer for and even ‘awww’ for him.
Photo by Ian Olsson
Though there are no traditional panto dames, the wicked stepsisters, Verucca & Hernia Hardup (played brilliantly by Jak Allen-Anderson and Stephen Guarino) certainly make up for it. They are a hilarious duo, strutting around in the most dazzling, flamboyant costumes (the stripy pink number was a personal fave!). As the sisters proclaim, “Don’t we look gorgeous?!”, the audience erupts with boos, although I couldn’t help but cheer. Allen-Anderson and Guarino were over-the-top, silly and had excellent comedy and ad-libs. Their remixed ABBA routine as they try to squeeze into Cinderella’s glittery heels was one of my highlights.
Photo by Ian Olsson
Celebrating over 60 years on TV, the legendary Basil Brush makes a booming entrance as Baron Basil. His witty jokes, physical comedy, and a tongue-twister segment had the audience laughing out loud. Having watched Basil Brush as a child, I found his appearance so nostalgic, and judging by the reactions around me, I wasn’t the only one.
Photo by Ian Olsson
Stephen Mear’s choreography is captivating throughout. The ensemble shines as they perform slick, high-energy routines, including one in polar bear outfits! Musical theatre stars Michael Lin (playing Dandini) and Charlie Stemp star in a hilarious dance off. Lin displayed real technical flair and a variety of dance styles, while Stemp opted for classic school disco dances from the Macarena to the Ketchup Song. Lin and Stemp perform a quick but impressive dance duet, which made me want even more!
Photo by Ian Olsson
I had hoped for a little more audience interaction, like with most pantos, but overall, the fabulous cast ensures we are thoroughly entertained! There were plenty of laughs for all the classic Panto sketches and even the references to local spots (Putney!!).
From lively dance numbers, dazzling costumes, a vibrant set design, and all the slapstick chaos you could imagine – this Cinderella is a brilliant panto for all ages! It’s playing at Richmond Theatre until 4 January.
🎭 Limp Wrist and The Iron Fist 📍Brixton House 🎟️ Gifted ⭐⭐⭐⭐⭐
After a sold-out run during the 2024 Housemates Festival, Emmanuel Akwafo’s Limp Wrist and The Iron Fist has returned! The debut play is a captivating, funny and unflinchingly honest exploration of black queer identity.
Set in London, the play follows 4 friends, Monday, Omari, Nathaniel and Joseph, as they prepare for a night out! As they wait at a bus stop, dancing, bantering and drinking miniature bottles of alcohol, deeper conversations unfold. The group embark on a journey of discovery and healing, as they open up about their sexuality, faith, and masculinity in a society that often tries to silence them.
Photo by Helen Murray
Akwafo’s play is beautiful and authentic, particularly as it draws upon personal experiences, which makes it feel profoundly human. The writing includes plenty of witty and laugh-out-loud scenes, especially the dialogue between the characters. The show balances this with moments of vulnerability and hard-hitting revelations. The show sensitively handles its heavy themes, exploring how sexuality intersects with race, religion and masculinity. We are reminded that Black people and their experiences are not a monolith. The play is also a testament to the fact that Black queer stories can be joyful, complex and full of heart.
The talented cast, Prince Kundai, Romeo Mika, Tyler Orphé-Baker and Noah Thomas, showcased palpable chemistry. The dialogue was natural and truly captured the essence of friendship as they banter, bicker and support each other.
The production boasts a strong creative team. Nathaniel Campbell’s exuberant direction kept us fully engaged and the energy high. Especially when the cast jumped, climbed and vogued around the set. It worked well to highlight the characters’ playfulness. Pierre Flasse’s sound design featured harrowing echoes from the character’s past, while Jahmiko Marshall’s atmospheric lighting perfectly set the scenes. The warm, golden brown lighting during the sequence about Black nightlife was captivating. Paired with Annie-Lunnette Deakin Foster’s slick movement direction, this created a beautiful and liberating scene.
Photo by Helen Murray
Each character delivers a powerful and thought-provoking monologue about their experience, from religion, family expectations, to mixed heritage and coming out. ‘Limp Wrist and The Iron Fist’ recognises individuality and reminds us that these men are not defined by a single identity. The cast shine in their own way; from Orphé-Baker’s warmth and optimism, to Thomas’s cheeky humour. Kundai brings an intense, almost ‘tough love’ attitude. Romeo Mika stands out as Joseph, the group’s newly ‘out’ friend, who sparks conversations with historical facts and dictionary definitions. Mika’s performance is pure and effortlessly charming, which makes a later revelation even more heartbreaking.
Photo by Helen Murray
I wish there were a slightly longer runtime to add depth to each character’s journey, and also the room for the audience to reflect. Still, Limp Wrist and the Iron Fist remains a powerful, unapologetically Black and queer story. It celebrates friendship and encourages us to embrace our full, authentic selves.
Brixton House continues to be an important space for platforming real stories and lived experiences from underrepresented communities.
🎭 Wendy & Peter Pan 📍Barbican Theatre 🎟️ Gifted ⭐⭐⭐⭐
Ella Hickson’s reimagining of J.M Barrie’s classic, Peter Pan, places Wendy at the core of the story, exploring her journey in Neverland. Originally produced by Bunkamura Theatre and Leeds Playhouse, Wendy & Peter Pan has enchanted its way around the globe – from Japan to the UK!
This adventurous production transforms a familiar tale into a coming-of-age story, exploring family, loss, navigating emotions and what it means to grow up. Having only watched the modern Peter Pan film, this adaptation was a total treat!
Colin Richmond’s set design is beautifully detailed and feels quite grand, making the most of the Barbican stage. The production certainly captures the magic of Neverland, with its enchanting design elements. There were video projections and impressive aerial stunts, with characters flying in the air. I also loved the revolving ‘Jolly Roger’ ship, where most of the action took place. The great thing about the Barbican theatre is that most seats have a good view of the stage, even from the back of the stalls! So it didn’t feel like we missed any of the action.
Photo by Manuel Harlan
At over two and a half hours, it seemed like a lengthy watch for younger audiences, but Hickson’s witty script and pacy direction kept us entertained. The humour is sharp and playful, with the Lost Boys stealing scenes through their perfect comic timing, especially Curly, Slightly, and Tootles (Tom Xander, Max Lauder and Kyle Ndukuba). One particularly sassy Lost Boy had the audience laughing as he quoted famous movie lines (‘You can take my life, but never my freedom! and ‘No one puts Baby in the corner!’). I initially struggled to connect with Tinkerbell. This interpretation was more feisty than the usual Tinkerbell we’ve seen in films.
Lucy Hind’s choreography for the Shadows was another standout; the contemporary routines were precise and very expressive, adding to the wonderful storytelling. Daniel Krikler shines as Peter, capturing the character’s boyish charisma, while Hannah Saxby was brilliant as Wendy, full of warmth and determination. Her brothers, John, Michael, and Tom, offer a new angle to the story, especially as we learn the origins of the Lost Boys.
Photo by Manuel Harlan
Toby Stephens is fantastic as the witty yet villainous Hook, alongside his amusing sidekick, Smee (performed by Scott Karim). Hook might be the villain, but he asked some valid questions; “Why does Peter need a mother but never have to grow up?”. This tied into the production’s themes on the different expectations for girls and boys. Why can the boys cling onto childhood, but the girls are forced to ‘grow up’? There’s a sequence in the show as Wendy reflects on this, and it’s like a lightbulb moment for her and the audience.
Photo by Manuel Harlan
Hickson’s modernised dialogue that featured slang and references to Snapchat amused the younger audience members, as well as the audience participation, which kept the energy high. It was refreshing to see a show that was accessible for all ages, as it explores difficult issues such as grief and dealing with our emotions. The second half sees strong character development and relationships between the characters, making this more than just a ‘retelling’. This production is a compelling reflection on growing up, loss, and the importance of finding joy in even the smallest of things. Beneath all the fun and fantasy lies a beautiful message that is sure to resonate with many.
With imaginative staging, playful humour, and wonderful performances, Wendy & Peter Pan captures the magic of a classic while offering a fresh perspective that’s both moving and full of joy!
Wendy & Peter Pan plays at Barbican until 22 November. You can book tickets here
Emma Dennis-Edwards’ powerful new play, Not Your Superwoman, heads to Bush Theatre for its world premiere. Directed by Lynette Linton, the play explores the emotional aftermath of a family matriarch’s death. Acclaimed actors, Golda Rosheuvel and Letitia Wright, portray mother and daughter, Joyce and Erica, who find themselves grappling with uncertainty and inherited patterns.
I had the wonderful opportunity to attend the rehearsals and discover more about the play. I met with playwright Emma Dennis-Edwards, Golda Rosheuvel and Letitia Wright to talk about the play, inspirations and why they believe people should see the show!
What inspired you to create a play about intergenerational dynamics?
Emma: When Lynette and I were talking about doing something around Black women and mental health, I was thinking, how many of my Black women friends are seeing therapists and unlocking some of the ancestral nature of the trauma that we’re carrying as Black women. A lot of that comes from those maternal relationships. I really wanted to do something that looks at that dynamic.
I think quite a lot of the Black British cannon, rightfully so, focuses on fatherhood and I was like ‘let’s really talk about the mums, about those relationships. That’s where the intergenerational idea of creating this play came from.’
Emma Dennis-Edwards (photo by Tyler Fyose)
Did you face any challenges when writing such an intimate, emotionally charged story?
Emma: Yeah. The Caribbean in me is like, ‘why you chatting my business?’. This is the most personal piece of work that I’ve done in my career. Also, there’s a responsibility – because in that room with Golda, Letitia and Lynette, we’ve shared and brought quite a lot. There’s a level of responsibility because I’m holding their stuff as well within this play.
I was talking to our dramaturg, and felt I put too much of myself [in the play]. But it’s fine – it’s a shared story, it’s our story, a story for us, by us.
You’re known for powerful, screen performances. What excited you about returning to the stage?
Golda: What it speaks to. The people involved. I was looking for something I was interested in exploring – mental health, trauma, especially in the guise of Black women. I’ve been sent a lot of plays, but they didn’t speak to me.
What’s important in this project is the people involved in it. Talking and engaging with Lynette Linton’s excitement and enthusiasm for telling Black stories is something that drew me to this play, and this building and this project. I hadn’t seen one single word on the page, but through discussions and joint understanding of storytelling, and the need for Black stories to be put on stage, I was in, 100%.
Golda Rosheuvel and Letitia Wright (photo by Tyler Fyose)
Letitia: Film is good, you have maybe 2 weeks, a month to prep and learn your character. In theatre, it’s hard. You need to know the full play, all the beats, the moments, props. It’s a completely different ball game. I love both, but the difference is what’s required of you.
Theatre is like, you’re right there, I can’t hide, you’re going to see everything, feel everything, hear everything. It’s exciting! Once the stage lights go green, you’re just on. Anything can happen, you want the best to happen – you can laugh at different things and moments. The objective is always the same – whether it’s film, or TV, or theatre – is just to tell the truth. To leave something of purpose in our work.
Letitia on how she relates to the show and character, Erica:
Letitia: I wanted to do something about Black women, mental health and traumas. A play that we can all relate to. Especially the whole concept of not being a superwoman. That whole concept that plagues us, we wanted to dissect it and see what that looks like. I relate with the characters and the themes a lot.
For the first time, there is a play where I don’t have to imagine myself in a situation. Maybe there are a few elements I haven’t gone through, I won’t share, but you will discover it when you come to see the play. but everything else in the play I’ve lived it, I’ve experienced it, I know what it feels like. I relate to it a lot. I hope that other women relate to it too and feel healed once they’ve seen it.
Lynette Linton and Golda Rosheuvel (photo by Tyler Fyose)
What would you like audience to take away from the show?
Emma: Healing and healing parts of yourself. I mean, it’s one of the harshest lessons a Black woman you come to. I’ve got to really find that peace, that healing, all that stuff, myself in a world that is not set up for us to do that. I hope this play offers that.
Before we wrapped up, I asked some quick-fire questions:
English