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Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Tue, 09 Jun 2026 12:03:21 PST

Around the BroadwayWorld is our monthly snapshot of the biggest stories making waves across the global theatre community. In this May 2026 edition, we're bringing you a fresh batch of standout reviews from regional stages across the country - from Brigadoon at Pasadena Playhouse in Los Angeles to The Phantom of the Opera at Seattle's Paramount Theatre and Pippin at Signature Theatre in DC.

Diane Paulus directs an immersive, David Bowie-inspired Life on Mars at American Repertory Theater, the producers of Japan's Gypsy revival walk back a planned title change, and we go behind the scenes with interviews spanning Adam Fields of the Beetlejuice national tour, The Muny's casting director Michael Baxter, Richard Kind on finally taking on Edna in Hairspray, and BWW's Kid Reporters chatting with the touring Von Trapp kids of The Sound of Music. Plus, get a first look at exciting new productions through performance videos and photos, including Anastasia at La Mirada Theatre, Dear Evan Hansen at Arden Theatre, Pippin at Signature Theatre, and the Manila cast of Jesus Christ Superstar - and so much more from across the BroadwayWorld.

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Joshua Wright | Boston

Diane Paulus will direct Life on Mars, an immersive theatrical production set to David Bowie's music, as the inaugural production at the Goel Center for Creativity & Performance in May.

GYPSY in Japan: Producers Walk Back Title Change Ahead of 2026 Revival

Joshua Wright | Japan

The Japanese revival of GYPSY will retain its original title when it returns to the stage in 2026, reversing an earlier decision to present the production under the name 'Rose.'

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Brock Mills | Jacksonville

For Adam Fields, returning to Jacksonville with the national tour of Beetlejuice the Musical isn’t just another stop, it’s a full-circle moment. The production will play in Jacksonville from May 12–17 at the Jacksonville Center for the Performing Arts.

Interview: BWW’s 'Kid Reporters' Chat With THE SOUND OF MUSIC’s Touring Von Trapp Kids

Melissa Heckscher | Los Angeles

BroadwayWorld Los Angeles' kid reporters talk with the young touring cast of THE SOUND OF MUSIC to find out what it's like to be part of one of Broadway’s most iconic shows and what actually happens behind the curtain.

Interview: Chatting with The Muny's Casting Director Michael Baxter

James Lindhorst | St. Louis

Michael Baxter’s work will shine on The Muny stage during all 50 performances this summer. He led the efforts and had a hand in hiring every one of the 194 actors who will fill the principal and ensemble roles.

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

James Lindhorst | St. Louis

When The Muny opens their production of Hairspray on June 15, 2026, the legendary Richard Kind will don Edna Turnblad’s housecoat and step into her fuzzy house slippers. Kind, star of stage, screen and film, calls it bucket list moments to get to perform at The Muny and play Edna all at the same time.

Reviews

Review: BRIGADOON at Pasadena Playhouse

Andrew Child | Los Angeles

Brava to Alexandra Silber for capturing all the heart and humor of Lerner’s original book with her thoughtful new adaptation and brava to Katie Spelman for dreaming up a Brigadoon that is as ebullient and spirited as it is deeply human.

Review: THE PHANTOM OF THE OPERA at Paramount Theatre

Shelley Dean | Seattle

It’s almost unbelievable for me to admit that this was my first time seeing The Phantom of the Opera. Of course, I knew the iconic songs and had seen countless clips over the years, but experiencing the production live on stage for the first time was entirely different, haunting, and spine-chilling in the best way possible. From the chandelier drop to the monumental set pieces, the show truly lives up to its legendary reputation. The 2026 tour, directed by Harold Prince, serves as a revitalized version of the original production, featuring Maria Björnson’s iconic designs, musical staging, and choreography by Gillian Lynne. It is absolutely ravishing, and Seattle audiences are lining up hours early to witness the spectacle for themselves.

Review: PIPPIN at Signature Theatre

Aidan O'Connor | Washington, DC

Certain facets of the human condition are foundational to our very existence – change, connection, desire. One such particularly toxic universal truth is a constant need to be something more than we currently are. To search for happiness in external achievement rather than within ourselves, in our simple joys. Pippin at Signature Theatre breathes within that precise virulence, relatively orchestrated by a troupe of impeccably costumed and choreographed players. A feast for the eyes in all senses, Matthew Gardiner’s production surpasses even the highest of expectations.

Videos

Video: Watch La Mirada Theatre's ANASTASIA Star Lena Ceja Perform 'Journey to the Past'

Michael Major | Los Angeles

La Mirada Theatre has released new video footage of Lena Ceja rehearsing 'Journey to the Past' from their upcoming production of Anastasia. The production features Dillon Klena as Dmitry, a role first played on Broadway by his brother Derek Klena.

Photos/Video: DEAR EVAN HANSEN At Arden Theatre

A.A. Cristi | Philadelphia

Arden Theatre Company is now presenting DEAR EVAN HANSEN as the final production of its 2025/26 season, with performances continuing through July 5. New production photos and video have been released from the Philadelphia production, including footage of Evan A. Kaushesh performing “Waving Through a Window.”

Video: Watch 'Corner of the Sky' From Signature Theatre's PIPPIN

Michael Major | Washington, DC

Watch a video of Brayden Bambino performing 'Corner of the Sky' in Signature Theatre's production of Pippin. The in-the-round production is now running through July 26 with tickets available now.

Photos

Photos: Get a First Look at JESUS CHRIST SUPERSTAR in Manila

Oliver Oliveros | Philippines

The 2017 Olivier Award winner for Best Musical Revival, Tim Rice and Andrew Lloyd Webber’s rock opera 'Jesus Christ Superstar,' has officially opened at The Theatre at Solaire.

Review: CONSTELLATIONS at Q Theatre

Tue, 09 Jun 2026 10:48:34 PST

Constellations brings a Matariki love story to the Q Theatre stage from 2 – 19 July. Presented by Silo Theatre and adapted by Nī Dekkers-Reihana, Nick Payne’s acclaimed work is transported to Aotearoa, where te ao Māori is woven in to bring this love story of infinite possibilities home.

Silo’s 2026 presentation of Constellations is the first indigenous version of this award-winning script to be performed in the world.

At 5.37am on Maungawhau, an astrophysicist and a beekeeper meet at a Matariki gathering. Maarire and Rowley. Two strangers. There is a spark. And there isn’t. They fall in love. And they don’t. Both. Everything. Te katoa. Messy, tender, funny, and devastating. Constellations presents love and loss from every angle all at once. But if every moment contains another possibility – which version do we end up living?

“I want it to be romantic and devastating,” says director Nī Dekkers-Reihana (they/them). “Like The Notebook, but if you could see all the versions of it happening at the same time. I want people to leave the theatre not analysing it but feeling it — wanting to turn to someone and say I love you. Or I’m sorry. Or I should have said something differently.”
Constellations offers up a love story scattered across the multiverse with limitless possibilities and theoreticals. In this Aotearoa version, those theoreticals are grounded in place, Maungawhau at dawn, under Matariki skies, in the emotional weather of here. A time of renewal, reflection, and possibility. It becomes not just about what happens in love, but everything that almost did.

Internationally, Constellations has been widely praised for both its intelligence and emotional impact, and has been produced on both Broadway and the West End. The Evening Standard called it “funny, heartbreaking. A sharp, smarty hit of first-class drama.” The Guardian described it as “a Sliding Doors to the power of 100.” The Daily Telegraph called it “the classiest show in the West End,” while Whatsonstage called it “cosmically brilliant.”

The stellar cast features Jarod Rawiri (he/him) and Renaye Tamati (she/her). Together, they bring immediacy, chemistry, and emotional volatility to a relationship that must constantly re-form in front of the audience. Rawiri (Ngāti Porou) is an established screen and stage actor whose work spans The Brokenwood Mysteries, Shortland Street, Fantail, Hope and Wire, and includes numerous Silo productions, UPU, Cellfish, and Angels in America.

Tamati (Ngāti Kahungunu, Rongomaiwahine, Te Atiawa, Ngāi Tahu) is a graduate of The Actors’ Program, with theatre credits across Auckland Theatre Company, Te Pou Theatre, Massive Theatre Company, and Pop-Up Globe’s Māori-language Shakespeare productions, alongside screen roles in The Brokenwood Mysteries and The Gone.

Director Nī Dekkers-Reihana brings a practice shaped by their directing, acting and production work across theatre and screen, including their role in Auckland Theatre Company’s Tiri: Te Araroa Woman Far Walking, which is set to tour internationally. Premiering in June, they can be seen in the lead role of the television series Head Girl (based on the poetry of Freya Daly Sadgrove). Constellations is their first mainstage directing project in Tāmaki Makaurau, following a growing body of independent and development theatre.

Silo Theatre’s Artistic Director Sophie Henderson (she/her) says the production continues the company’s commitment to staging influential contemporary international work and letting it shift in response to Aotearoa.

“After A View from the Bridge, we’re interested in what happens when major contemporary plays land here,” she says, “... when those plays are made alive in this place - carrying the weight of extraordinary writing, while also carrying our own voices.”

“Nī has woven te reo Māori through the play so beautifully. Their approach to this script is all about drawing people in, no matter their experience with te reo Māori,” says Sophie Henderson. “When we first reached out to playwright Nick Payne, asking for permission to adapt his words for Aotearoa, he said how touched he was, and said yes overnight!”

The Constellations creative team includes lighting design by Filament Eleven 11, set design by Grace Newton with mentoring from John Verryt, sound by Te Aihe Butler, choreography by Ross McCormack, costume by Tautahi Subritzky, and te reo guidance from Loi Dekkers-Reihana and Nīkau Balme.

CONSTELLATIONS
By Nick Payne. Adapted for Aotearoa by Nī Dekkers-Reihana.
2–19 July
Q Theatre, Loft
Here!

Review: CALL TO WALLIS at Mangere Arts Centre

Fri, 05 Jun 2026 20:21:14 PST

Opening last night at Mangere Arts Centre, Auckland with CALL TO WALLIS was the 13th Pacific Dance Festival. This is its most ambitious programme yet with a vibrant pan-Moana season showcasing contemporary Pacific dance, culture and creativity across Auckland and Kerikeri . Artists from Micronesia, Melanesia and Polynesia all bring powerful new works and intergenerational stories to the stage with the heart of the community at its centre.

This is also Samoan language week, and the core theme of Samoa Language Week (Vaiaso o le Gagana Sāmoa). In Samoan culture, the proverb is "E afua mai i mauga tetele manuia o le nu'u," translating to "From the high mountains come the blessings of the village." [1, 2]

The prosperity, wisdom, and strength of a community flow from its foundational pillars—ancestors, elders, and leaders—who nurture and guide future generations. It likens leaders and elders to tall mountains that channel protection and wisdom down to the community, allowing the village to thrive.

CALL To WALLIS was written by Justin Haiu, and he features as the storyteller in this magnificent personally inspired dance narrative. It is an intimate, incredibly powerful presentation that celebrates ancestry, belonging and the shared spirit of Matariki. This special performance honours the writer’s Uvean identity, the concept of renewal and the deep connection between Pacific communities and Te Tai Tokerau.

Beautifully executed in a range of dance styles, by outstanding performers, the storyline of reconnection to your roots and reconciliation is well captured. At times poignant, at times exceptionally witty, always authentic and honest, the story is imbued with love. The audience could understand and appreciate the various elements of the narrative: the memorable moments of education, the difficulties and challenges of migration, the growth of family and the challenges of loss, the “show and tell” in schools, the working environments both natural and in stores such as Rebel, the search for identity and the return to New Caledonia.

See the website https://www.pacificdance.org.nz

Do get along to see the other performances in this exceptional Pacific Dance Festival.at Mangere Arts Centre. You will not be disappointed. It’s important to recognize the broad heritage and talent within our nation.

BroadwayWorld Launches Producer Fantasy Game

Tue, 09 Jun 2026 11:00:05 PST

Ever watched the weekly Broadway grosses roll in and thought you could pick the winners? Now you can put it to the test. BroadwayWorld has launched the Producer Fantasy Game, a free, season-long competition that lets theatre fans build a roster of Broadway shows and earn points based on how those productions actually perform at the box office. The draft window is open now.

How It Works

The setup is simple. During the draft window, you pick any six Broadway productions that opened this season. Drafting is non-exclusive, so there is no need to race a rival for a hot title. Any number of players can roster the same show.

From there, your shows go to work for you. Every week, each production on your roster earns fantasy points based on its reported box office grosses and capacity percentages. When Tony, Drama Desk, Drama League, and Outer Critics Circle nominations and wins are announced, your shows bank bonus points on top of that. And each week you can answer our Fantasy Forecast prediction questions for up to five bonus points per correct call.

Weekly Scoring

Each week, a show earns one base point for every $50,000 it grosses, so a $1 million week is worth 20 base points. On top of that, shows can earn bonuses: up to five points for filling seats (based on how close to full capacity the house ran), six points for grossing $2 million or more (or three points for grossing between $1 million and $2 million), and eight points if its gross jumped at least 15 percent from the week before. A show loses four points if its gross dropped at least 15 percent. If a show goes dark and reports no gross for a week, it scores zero for that week with no penalty.

The Fantasy Forecast

The Producer Fantasy Game is really two games in one. The first is the box office game: drafting shows and earning points from their weekly grosses and awards. The second is the Fantasy Forecast, a weekly set of prediction questions about what's happening on Broadway, where each correct answer is worth up to five points. You can play one or both.

We track them separately so you can shine at either. Your Producer score covers the box office game, your Forecast score covers your prediction results, and your Combined score adds the two together for the overall championship ranking. The leaderboard lets you toggle between Overall, Producers, and Forecasters, so a sharp predictor can top the Forecasters board even during a rough season for their roster, and a roster powerhouse can lead the Producers board without answering a single question.

Managing Your Roster

Your lineup stays at six shows all season, and you have plenty of room to maneuver. You get one free drop every week, three additional season drops to use anytime before the trade deadline, and free replacements whenever a show on your roster closes. New productions open throughout the season and become available the moment they start reporting grosses, so it pays to keep a transaction in your pocket for that buzzy new opening.

Join the Game

The Producer Fantasy Game is free for all BroadwayWorld users, and you can join any time the draft window is open. Draft within the first two weeks of the season and your roster is scored from opening week, so the earlier you get in, the more weeks you bank. Build your roster, make your predictions, and start climbing the leaderboard today.

Review: OVER AND OUT REVIEWED BY LOTTIE BUTCHER at Hannah Playhouse

Sun, 31 May 2026 09:20:45 PST

Over and Out arrives at The Hannah Playhouse for its second outing following a successful season at BATS Theatre, where it collected a clutch of awards and considerable acclaim. With an experienced director in Simon Leary and a talented performer in Jackson Burling, my expectations were high.

Centred around a deceptively simple question, “has Jackson chosen the correct career path: truck driver or actor”? Over and Out takes audiences on a deeply personal journey through the lens of verbatim theatre. Burling breaks the fourth wall, inviting us into both the form and the story, He schools us in the mechanics of verbatim theatre, making the audience active participants in the journey rather than passive observers.

A performer playing themselves can sometimes veer towards indulgence or self-importance, but Burling avoids that trap entirely. He is disarmingly charming, immensely likeable, and effortlessly engaging. His warmth creates an immediate connection with the audience, allowing us to invest fully in the question at the heart of the show.

At the centre of the narrative is Murphy, a quintessential Kiwi truck driver whose story provides both hearty laughs and moments of stark honesty as he recounts the realities of life on the road. The true magic of the production lies in the moments where Burling transitions between himself and Murphy, replaying the interview on the road. These transformations are seamless, a masterclass in characterisation. Burling's ability to inhabit another person while retaining their authenticity is a testament to his considerable skill as a performer.

The production's visual language is equally thoughtful. Jacob Banks' lighting design features a flickering lamp that becomes a potent symbol throughout the work. Acting as a connection to home and family, it casts its glow across the stage like a reminder of the life Burling might have chosen had he continued the family trucking business. The lamp's intermittent flicker suggests something unresolved, perhaps uncertainty, perhaps guilt, perhaps simply the persistent pull of another possible future.

Importantly, additional lighting is also not hidden, rigged on the sides of the staging. Its mechanics remain visible, deliberate and clever, echoing the production's willingness to expose its own theatrical construction. Just as Burling breaks the fourth wall, the design elements refuse to disappear into the background. This is a story within a story, and the production embraces that self-awareness at every turn.

One particularly special aspect of this performance was sharing the audience with the real Murphy and his whānau. Throughout the show, whispers of "That's so him" drifted around the auditorium. It was a rare privilege to witness a community seeing themselves reflected on stage with such accuracy and affection. Those reactions confirmed what was already evident: Burling had captured Murphy's voice, humour, and humanity with remarkable precision. His family were clearly moved by the portrayal, and their responses became an unexpected but powerful extension of the performance itself.

Over and Out is funny, heartfelt, technically assured, and deeply human. Beneath its exploration of career choices lies a broader meditation on identity, family expectations, and the paths we choose or leave behind.

If the standing ovation was any indication, Jackson can safely leave his Class 5 licence in his wallet.

Review: JULIA by BRAVE Theatre

Sat, 30 May 2026 19:38:18 PST

Julia tells the story of Julia Gillard and the now-famous misogyny speech that resonated around the world, standing as one of the most powerful moments in Australian political history. The production explores the lead-up to that speech, weaving in glimpses of Gillard’s childhood and upbringing to show how these experiences shaped her path to becoming Australia’s first female Prime Minister.

The stage is relatively bare on arrival, with a series of angled frames set at the back. Initially, I assumed these would serve as projection surfaces, but the audiovisual elements instead appeared from behind them. Their true purpose became apparent as reflective surfaces, mirroring the actor throughout the performance, perhaps inviting the audience to reflect on both the story and its impact. It’s a clever and effective design choice, and set designer Mark McEntyre deserves high praise.

Lighting, designed by Marcus McShane, is thoughtfully executed throughout, enhancing the performance without ever overwhelming it.

It is a real credit to both director Mel Dodge and actor Lara Macgregor that there is not a single lull in the performance. The show is driven by strong physicality, sustained energy, and rapid-fire delivery. At times the pace borders on being too quick, but it undeniably keeps the production moving with momentum. I found myself checking my watch only once, not out of impatience, but in disappointment that the end was approaching so soon.

The play opens with a narrator reflecting on the significance of Gillard’s iconic speech before stepping back in time to examine what led to it. What finally pushed her to break her silence on sexism and deliver such a searing address?

At moments, the production feels almost like a TED Talk, informative, reflective, and sobering. It reminds us that these events did not occur in some distant era, but within this millennium, and that many of the issues explored still persist today.

This is a play that provokes a powerful emotional response, whether outrage, empathy, or deep introspection. It challenges the audience to consider how they might respond in similar circumstances. As a woman, would you have reached your breaking point? As a man, are you complicit in a system that enables such treatment?

Audible gasps and expressions of disbelief from the audience underscore the impact of hearing the real comments made about Gillard in the media. The stark contrast between her treatment and that of her male counterparts is undeniable. A comparison to Helen Clark highlights the double standards, from intrusive questions about Gillard’s partner to persistent scrutiny that no male leader would likely face.

Julia is an important and necessary piece of theatre, a voice that demands to be heard. It lingers long after the final moments, leaving the audience with much to reflect upon.

Review: HEATHERS THE MUSICAL at Wellington Opera House

Thu, 28 May 2026 19:28:45 PST

Heathers the Musical is a darkly comic stage adaptation of the 1988 cult classic, and over time it has built a fiercely loyal following. Premiering in Los Angeles in 2013 before moving Off-Broadway in 2014, it’s a show that somehow escaped my radar, until now.

The story follows Veronica Sawyer, an unpopular high school student who unexpectedly finds herself welcomed into the inner circle of the Heathers,three ruthless “mean girls” who dominate the social hierarchy. Things take a turn when she meets the enigmatic Jason Dean (JD). Their relationship quickly spirals in ways Veronica could never have anticipated, as the show dives into themes of popularity, bullying, and suicide with a sharp, satirical edge.

From the moment we entered the theatre, the tone was set. The set, a simple two-level high school environment was already on display, immediately grounding us in the world of Westerberg High. When the show began, the audience energy was electric. The raucous cheers and applause for each principal cast member created an atmosphere that carried through the entire performance.

Coming in with no prior knowledge of the songs or story was refreshing. I found myself completely absorbed as the narrative unfolded, growing darker and more gripping all the way to its dramatic conclusion.

The cast were exceptional across the board. Emma Caporaso’s Veronica was a standout, her vocal power is astonishing, and her Stage Presence effortlessly anchors the show. Among the Heathers, Calista Nelmes shone as the icy and commanding Heather Chandler, delivering both the attitude and the vocals with precision. Amelia Rojas and Aimee Jones were equally strong, rounding out the trio with confident, well-balanced performances.

Connor Beaumont’s JD struck the perfect balance between charm and menace. His introduction, particularly the stylised slow-motion fight sequence, was a highlight of the evening, staged with impressive precision and control.

The supporting cast added plenty of humour and heart. Nic Van Lits and David Cuny as the jocks were hilarious, their tightly synchronised choreography enhancing the comedy. Jocelyn Scott also impressed as Martha Dunnstock, bringing warmth and vulnerability to the role of the bullied outsider. The ensemble as a whole maintained an excellent standard throughout.

Technically, the production excels. The lighting design was a standout, creating striking tableaux, especially in a moment where the Heathers were lit in their signature colours. The sound design was equally effective, with deep, resonant bass punctuating key moments and heightening the impact of the show’s climax.

Choreography was sharp and polished, as expected from a touring production, and the costuming was spot-on. There’s even a much-talked-about quick change that I somehow missed, though judging by the audience reaction, it alone might be worth a return visit.

This production arrives as part of an exceptional year for theatre in Wellington, following & Juliet and with Matilda and Jesus Christ Superstar still to come. It’s a strong reminder of the calibre of performances currently on offer.

Heathers is confronting, funny, and packed with talent. While it may not feature widely recognisable songs, its compelling story and bold execution more than make up for it. If you have the chance, go and see it, you’re unlikely to be disappointed.

Review: THE OTHER BOLEYN GIRL by Wellington Repertory

Wed, 27 May 2026 18:35:22 PST

The Other Boleyn Girl is originally a 2001 historical novel by Philippa Gregory, not a traditional play. It was later adapted into films (notably in 2008) and stage versions by various theatre companies. The story is based on real events in the court of King Henry VIII of England during the early 16th century, focusing on the Boleyn sisters, Mary and Anne.

The story follows Mary Boleyn, who is sent by her ambitious family to become the mistress of King Henry VIII. She initially wins the king’s affection and bears his child, but her older sister Anne gradually enters the court and strategically captures Henry’s attention. Anne refuses to be his mistress and instead pushes him toward marriage, contributing to Henry’s break from the Catholic Church. The rivalry between the sisters intensifies, ultimately leading to Anne becoming queen.

As you enter the theatre, the scent of incense immediately sets the tone, transporting you from the outside world into another time and place. It’s a thoughtful touch that enhances the atmosphere, much like music can guide an audience into the director’s vision.

The set design (Ewen Coleman and Vince Jennings) is relatively simple yet highly effective. A series of arches serve as entrances and exits, each framed with strip lighting that illuminates to signal different locations. This clever device works well and adds a subtle layer of storytelling to the production.

With a large cast, director Ewen Coleman deserves recognition for his community-focused approach to casting. While many performers do not have speaking roles, their inclusion provides valuable stage experience and the opportunity to work alongside more seasoned actors.

The Boleyn sisters (Ava Wiszniewska as Mary and Yasmine Alani as Anne) are at the heart of the production. Both deliver emotional performances, convincingly navigating the complex relationship between the two women. Their confrontation after Anne becomes Queen is the standout moment of the evening: gripping, intense, and the point at which I felt most invested during the two-and-a-half-hour running time.

Joseph Corbett, as the Boleyn brother, also plays an integral role and acquits himself well within the ensemble.

Helen Mackenzie’s portrayal of Queen Katherine is dignified and understated, effectively conveying the resilience of a woman enduring her husband’s many affairs (Henry VIII, played by Lennex Drummond). My only criticism is that her projection could be stronger; even from the front row, some dialogue was difficult to catch, which may be more pronounced for those seated further back.

Kevin Hastings (Thomas Howard), Catherine McMechan (Lady Elizabeth), and Mark Wilton (Thomas Boleyn) form an interesting trio. While Howard and Elizabeth are deliciously menacing, Wilton’s portrayal of Thomas Boleyn as somewhat simplistic provides a contrast that creates both humour and moments of tension throughout the performance.

Costuming (Anne De Geus, assisted by Jay Whipps and Carol Walter) is a standout feature of the production. The Boleyn sisters, in particular, have numerous costume changes, all well realised and period-appropriate. Some of the gowns are truly striking, and the entire cast is consistently well presented, a significant achievement for the costume team.

Lighting design by Devon Heaphy is unobtrusive and effective, while the sound design (Alan Burden, operated by Shelby Allan) is used sparingly. At times, the music underscoring entrances and exits slightly overpowers the opening lines of dialogue and could be faded earlier, but overall it supports the action appropriately.

There are a few scenes that feel unnecessary and could potentially be trimmed to create a tighter, more audience-friendly production. That said, the final scene of Act One is particularly chilling and highly effective.

This is a long, text-heavy play with numerous scene changes, most of which are handled smoothly. The cast delivers a competent and committed performance, clearly relishing their time on stage. During the bows, it’s evident just how proud they are of both the production and one another.

For audiences who enjoy period theatre, this is a production well worth seeing.

Previews: CONSTELLATIONS at Q THEATRE., Auckland

Tue, 26 May 2026 10:16:32 PST

CONSTELLATIONS

By Nick Payne | Adapted for Aotearoa by Nī Dekkers-Reihana

We’re a few sleeps away from the dawn of rehearsals for Constellations. Set under the stars of Matariki, this Aotearoa adaptation reimagines the award-winning play through a te ao Māori lens. Be sure to grab your earlybird tickets (15% off) – available only this week!

At 5.37am, an astrophysicist and a beekeeper meet on Maungawhau Mount Eden for Matariki. Maarire and Rowley. Two strangers. There is a spark. And there isn’t. They fall in love. And they don’t. Both. Everything. Te katoa. But if every moment contains another possibility – which version do we end up living?

Starring Renaye Tamati (Murder on the Orient Express, Deep Water) and Jarod Rawiri (UPU, The Brokenwood Mysteries), Constellations is grounded in Aotearoa and alive with the spirit of renewal. This is a love story scattered across the multiverse with limitless possibilities and theoreticals.

Constellations

By Nick Payne | Adapted for Aotearoa by Nī Dekkers-Reihana

2 – 19 July

Q Theatre

All Tickets: $35 – $70

Review: TELL ME THE TRUTH ABOUT LOVE at Wellington Comic Opera

Sun, 24 May 2026 22:09:02 PST

Wellington Comic Opera continues its tradition of bringing live performance to venues across the greater Wellington region, and I was pleased to attend their latest production, Tell Me the Truth About Love.

This cabaret-style show features 24 songs presented over two hours (including a 15-minute interval). It is semi-staged, with minimal lighting and set dressing, allowing the focus to rest squarely on the performers. Costuming is thoughtfully handled and adds visual appeal, helping make the show accessible and enjoyable for the largely older audience I joined at the Khandallah performance.

The cast of 16 includes director Malinda Groves, Musical Director William McElwee, and accompanist Heather Easting, who provides excellent support throughout.

The show opens with Benjamin Britten’s Tell Me the Truth About Love, performed with the cast dispersed among the audience, a creative and engaging choice that immediately draws viewers in. From the outset, it was clear that there are some truly strong voices in this ensemble.

That said, not all of the humour landed for me. While there were clear attempts to inject lightness and wit throughout, some moments didn’t quite achieve their intended effect. Personally, I found the more serious numbers far more compelling, as they allowed the performers’ vocal abilities to truly shine.

There were several standout performers. Patrick Coelho impressed with his rich, resonant tone, while Rebecca Murphy-Woodmore brought both excellent vocal control and a sharp sense of comic timing. Malinda Groves also performed strongly while balancing her role as director. However, the voice of the afternoon undoubtedly belonged to Alex Buchanan, simply stunning. It was a pity we didn’t hear more from her.

Among the musical highlights, The Masochism Tango provided genuine humour, and The Flower Fishers Quartet was beautifully executed. One of the most touching moments came with David Cox and Rebecca Murphy-Woodmore’s rendition of Do You Love Me? from Fiddler on the Roof, which drew warm reactions from the audience.

Alex Buchanan’s performance of O Mio Babbino Caro was nothing short of a masterclass; poised, expressive, and vocally superb. It comes as no surprise that she has been accepted to study at the Guildhall School of Music and Drama in London. Anyone who appreciates fine singing would do well to catch her before she departs our shores.

The final encore was, for me, the highlight of the show, richly harmonised and beautifully blended. It left me wishing there had been more of this style of ensemble work and slightly fewer of the lighter numbers, to better showcase the company’s vocal strengths.

Overall, Tell Me the Truth About Love offers an enjoyable afternoon of music, with some excellent talent on display. For audiences seeking live performance and strong vocal work, this production is well worth attending.

Review: THE QUEEN'S NANNY at Pumphouse Theatre

Sun, 17 May 2026 18:59:30 PST

Currently playing at The Pumphouse Theatre from May 14 to 24, Tadpole Theatre Productions’ New Zealand premiere of The Queen’s Nanny is an intelligent, elegant and deeply engaging piece of theatre.

Written by acclaimed Australian playwright Melanie Tait, this sharply observed comedy-drama offers a rare and often uncomfortable glimpse inside the House of Windsor through the eyes of Marion Crawford, the governess who helped raise Princess Elizabeth and Princess Margaret, only to be cast aside when she later told her story.

Tait is a writer of notable stage works and her experience and talent shows in every beat of this script. The Queen’s Nanny is witty, and emotionally astute. It balances satire with compassion, and what could easily have become a piece of royal caricature instead becomes something far more layered: a story about loyalty, class, sacrifice, affection and betrayal.

Under Simon Prast’s experienced and clever direction, the production leans into the simplicity of the storytelling in ways that feel both assured and inventive. The nuances are superbly clever, and it takes a special combination of performer discipline and directorial precision to allow characters, tone and status to shift so fluidly without ever losing clarity. That is one of the great strengths of this production. Prast trusts the material, trusts the audience, and shapes the action with a light but confident hand.

The opening tableau is especially striking. It draws the audience in immediately, creating intrigue and establishing a visual language that prepares us for a world where image, ritual and repression matter enormously. From that first moment, there is a sense that every detail has purpose.

The set is excellent and is beautifully integrated. Rather than existing merely as background, it becomes part of the narrative architecture of the evening, supporting the transitions, reinforcing mood, and helping the production move seamlessly between public façade and private tension. It is elegant without becoming distracting, and thoughtfully serves the play throughout. The movement of two chairs by a few centimetres creates a whole new scene in time and place.

Performance-wise, this is a strong cast. Anna Jullienne is excellent as Marion. She gives the character warmth, intelligence and emotional depth, allowing us to see both the capable professional and the woman whose devotion comes at enormous personal cost. There is real humanity in this portrayal, and Jullienne ensures that Marion never becomes simply a victim of history, but remains vividly alive, compassionate and quietly heartbreaking.

Laura Hill is also excellent as Elizabeth, delivering a sharp, controlled and highly watchable. performance. She is also hilarious, her timing of her comedic lines is excellent.

A particular delight is Jack Buchanan, who plays a range of roles with remarkable agility. It takes a special actor to move in and out of multiple characters with such ease, and Buchanan does so with theatrical intelligence. His transformations are a pleasure to watch, particularly when shifting into roles such as young Lilibet, a butler, King George VI and the narrator-like figures that help frame the action. What is impressive is how distinctly each character lands. Voice, posture, rhythm and energy all shift with precision, and the result is theatrically rich.

This production aligns well with Melanie Taits gift for finding the personal story inside a public myth. She examines monarchy not just as institution, but as something that shapes, uses and ultimately discards people. That perspective gives The Queen’s Nanny its bite, but it is Tait’s compassion for Marion Crawford that gives it heart.

Tadpole Theatre Productions has delivered a finely crafted and absorbing season of a play that deserves attention. This New Zealand premiere feels timely, entertaining and quietly devastating. With excellent performances, clever direction from Simon Prast, an integrated and effective set, and a script of real quality from Melanie Tait, The Queen’s Nanny is a thoroughly worthwhile night at the theatre. Go see it.

The Queen's Nanny
Pumhouse Theatre
Season Concludes 24th May
Bookings here

Review: FUQ BOIZ: The Greatest Showboiz at Bats Theatre

Thu, 14 May 2026 19:59:52 PST

Fuq Boiz: The Greatest Showboiz starring Fuq Boiz (Hamish Parkinson & Ryan
Richards) at BATS Theatre as part of the New Zealand International Comedy
Festival, packed a punch from the opening moment.
This fast-paced, punchy, surrealist sketch show barely lets you catch your breath
before the next joke lands. Featuring caricatures of themselves and a whole bunch
of unhinged personas the duo ricochet between absurdity, physical comedy, chaos
and razor-sharp timing.
A particular fave character and highlight of the night was ‘Digby’ though I may be
predisposed to enjoying anyone named Digby, as my own son shares the same
name, though hopefully not the same murderous tendencies.
The show is gloriously chaotic: physical theatre at its most energetic, with the
audience firmly in the palm of their hands throughout. Even when faced with some
persistent and deeply irritating front-row heckling, Parkinson and Richards never lost
control for a second. If anything, it only sharpened the mayhem.
By the end, the stage was carpeted with the debris of punchlines, props, chickens
and visual gags scattered like the aftermath of a comedy explosion. I could easily
watch this show again, partly because it was so relentlessly fast-paced that
sometimes the next joke arrived before I’d fully digested from the last one.
Go and see it preferably before the Fuq Boiz leave nothing standing but props and
emotional whiplash and certainly before they piss off to Auckland.
On 14-16 th May at The BATS Theatre.

StageMag Launches Programmable PDF Editor for Digital Theater Programs

Thu, 21 May 2026 10:04:02 PST

StageMag, the digital show program platform from BroadwayWorld, today launched its new PDF Editor to all producers and stage managers using the service. The tool gives editors granular, real-time control over how their digital program renders as a downloadable or printable PDF - the format most often used in lobby printouts, accessibility packets, and press kits.

Until now, the StageMag-to-PDF path was a one-shot export: whatever fit, fit. The new editor turns the export into a configurable surface. Each section of a program including the cast list, song list, director's note, bios, advertisements, sponsor pages, articles, listings and more — can be individually told how to paginate. Editors choose between three strategies per section:

Flow: natural pagination, sections may split across pages.
Own page: start the section on a fresh page.
Fit one page: start fresh and scale the section to occupy the whole page.

A live preview pane re-renders the PDF on every change, so editors see the final printed result as they work rather than guessing and re-exporting.Beyond the strategy picker, the editor exposes a set of advanced controls familiar to anyone who has hand-tuned a long-form print document: hide-element selectors (drop sponsor strips or vestigial nav from the print version), forced page breaks before or after named elements, a draggable section-order list, custom header/footer/watermark text, and a custom-CSS escape hatch for theaters whose programs follow a house style.

The release also includes paper-level controls including US Letter or A4, portrait or landscape, three margin presets, three type scales, and a "booklet" mode that adds a binding gutter for stapled lobby printouts.

The PDF Editor is available now to all StageMag-enabled productions at no additional cost, under the Share PDF tab in the program editor. Existing programs render with sensible defaults; the new controls are opt-in and per-production.

About StageMag

StageMag is BroadwayWorld's digital playbill platform, used by Broadway, Off-Broadway, regional, university, and community theater productions to publish interactive programs that audiences open on their phones from a QR code in the lobby. StageMag is offered as a free service to participating productions.

About BroadwayWorld

Founded in 2003, BroadwayWorld is the largest theater website in the world, covering Broadway, the West End, and theater news, reviews, interviews, and resources across all 50 US states and 45 countries.

Review: ONCE ON CHUNUK BAIR at Company Theatre At The Rose Centre, Belmont

Fri, 08 May 2026 13:37:12 PST

by Maurice Shadbolt

“Only one word for them – heroes”

Award winning director Paul Rouckchan is clearly invested in bringing out the human elements of a battle remembered as one of bloodiest moments in NZ military history. The direction is skilfully focused and the management of the stage space was perfect. On the five day offensive at Chunuk Bair, New Zealand suffered 880-900 deaths and over 2,500 wounded. The Wellington battalion, who are so superbly portrayed in this play, were specifically decimated on the morning of August 8, 1915. This is a slice of history that should not be forgotten, and the precisely executed direction of this play ensures that we will become invested in the lives of these thirteen men, and we will mourn their loss. We will remember.

As the director comments, this is a “deeply human story about identity, sacrifice, and a moment when a young nation began to understand itself. It was the first time New Zealand entered global conflicts, at a time when the old Empire, “tradition and inherited military thinking was suddenly forced to confront the brutal realities of modern warfare.”

The curtain opens on a superbly executed sandbagged set (Scott Thomas) that successfully captures the Sari Bar Range, the crucial summit that overlooked the Dardanelles and the Turkish lines. Immediately we are drawn into the pathos. Dead bodies, dysentery and a determined optimism. Smiler (Hamish Davies) and Porky the smart-ass (Jared Abel) create an immediate credibility.

Despite the grim reality of their situation, the soldiers rely on a sharp, ironic wit and moments of cynical humor to keep their spirits from sinking. Even as they face the relentless brutality of trench life, including lice, dehydration and hunger, their banter and jokes help to momentarily outflank despair. These flashes of dark humor are a way to cope but also highlight the resilience and camaraderie that bind the men together amid the chaos of war.

Throughout the play, the cast are entirely credible. They meet the challenge of creating war's demands and chaotic moments, jammed machine guns, horrific betrayals by their own military hierachy. We are there with them. Each of the soldiers is superbly crafted through little nuances and superbly detailed characterisation: Connor Charlesworth is Mac, staunch but fragile; Scott Cutler is Holy, the man of faith who finds himself enormously challenged by inhumanity and injustice; Daniel Rundle is young Fred, desperate to be allowed to do more; Sam Cutler is young, naïve, eager Scruffy who dreams of home, the simple kiwi things like fishing in Lake Taupo. These with Lofty (Jonathan Dunn), and Nobby/Dusty (Jack Hanrahan) represent the collective effort and tragic loss of young life. His cries for “water” genuinely capture the pathos of dying of thirst. Otaki George (Jordan Wallace-Leaf) reminds us that the Maori were integral to the NZ Forces of that time. The programme notes that Jordan is portraying his own great-great-uncle Harding Waipuke Leaf – "a powerful reminder that history is not as distant as we imagine."

Of note in this historical regard is the signals man Bassett (Chris McRae) . Cyril Bassett, who died in Stanley Bay in 1983 aged 91, was the only soldier serving with the NZEF to be awarded the Victoria Cross in the Gallipoli Campaign.

Exceptionally powerful performances from Michael Hallows as Sergeant Frank who is battle hardened, the obvious backbone of the battalion; from Francis Mountjoy as Lieutenant Harkness, the idealistic military man who matures through the sheer terror and courage he needs to find on the real battlefield! And, of course, from Karl Buckley as Colonel Connelly. He is the tough, fair leader trying hard to hold his men together against impossible odds and leaders who keep calling the battalion brave Australians!

This is a conflict of real men put into survival mode, a mode in which they must learn to trust and support each other. They play cards, they listen, they write to home, they help each other believe in an alternative ending, they encourage, they sit and wait in silence, they take responsibility. As we watch this play unfold, we can not help but be invested in their lives and this terrible predicament. We know, as they did, it is just a matter of time. It’s not “orders for men to attack, it’s orders for men to die.”

Excellent work from the creative team. The props (Vettina Ross) and wardrobe (Suzy Sampson, Kathy Gent) has been painstakingly resourced. The playing cards are from 1915! Lighting and sound (Stephen Hood), Makeup and special effects, managed by Cody Cope, further solidify the authenticity of the experience, bringing a visceral quality to the scenes of conflict and loss. Together, these elements cement the emotional resonance and overall impact, ensuring the audience feel the depth of the story being told. Several in the audience found themselves with tight throats and tears. The final minutes of the play are intensely dramatic and will stay with you long after the curtain call.

The world of live theatre is always engaging. This is a superbly directed, expertly performed, atmospherically rich and powerful production that shouldn’t be missed – by anyone. Lest We Forget.

On until May 23 at the Rose Centre, Belmont.

Review: WAR HERO at Stagecraft Theatre

Wed, 06 May 2026 20:41:49 PST

This is a play that will linger in the mind long after the curtain falls.

War Hero is a stage play by New Zealand playwright and actor Michael Galvin, based on the life of Archibald Baxter, one of New Zealand’s most significant conscientious objectors during the First World War. Adapted from Baxter’s 1939 memoir We Will Not Cease, the play documents his uncompromising pacifism and the extreme punishments he endured for refusing military service.

Set primarily between 1916 and 1918, the drama follows Baxter’s refusal to comply with New Zealand’s conscription laws during the Great War. Unlike some objectors who accepted non‑combatant roles, Baxter rejects all participation in the war, believing that any cooperation legitimises violence. As a result, he is subjected to imprisonment, physical abuse, and ultimately forced transportation to the European front.

This production marked the world premiere of War Hero, and we were privileged to see the play for the first time. I suspect it will remain relevant for many years to come. As society has shifted, and as more people today question the morality of participating in conflicts on the other side of the world, the story feels increasingly resonant. Parallels with current global events are impossible to ignore.

The set (designed by Murray Lynch) is deliberately sparse: a few black boxes, two black poles, and bench seating positioned on either side of the stage. Once the actors enter, they rarely leave, instead sitting on the benches when not actively playing a scene. This choice keeps the performers, and the ideas of the play, constantly present.

The production is confidently directed, with Murray Lynch drawing excellent performances from his cast while trusting the audience to use their imagination to fill in locations and transitions. Only the actor playing Baxter, Daniel McClymont, remains in character throughout. The other four actors, Zachary Klein, Tom Kereama, Phil Peleton, and Martin Tidy take on multiple roles, shifting physicality and vocal quality so each character is distinct. It is expertly executed.

This is not an easy story to watch. The depiction of Baxter enduring Field Punishment No. 1 is harrowing; the scene is so carefully built by the director that it becomes genuinely uncomfortable to witness. Equally confronting is the beating Baxter receives in the second act, administered by Phil Peleton’s character. From the front row, it was clear that punches and kicks were making physical contact, lending a shocking realism to the moment. Full credit must go to fight choreographer James Kiesel for staging this safely while retaining its visceral impact.

While the acting was strong across the board, three performers stood out for me: Martin Tidy, Phil Peleton, and Zachary Klein. Wellington is fortunate to have community theatre performers of this calibre.

Lighting design by Mike Slater was very effective, particularly the final fade which silhouetted the characters in a memorable image. The sound design by Chris Ward was equally assured, with clean execution and no missed cues.

The show felt remarkably tight for a first outing. It played like a production that had already been running for several weeks. Although much of the material is difficult to watch, moments of levity were thoughtfully placed and warmly received by the audience.

This is an important story, and it has been told with care and integrity. Galvin’s script is excellent, and it is delivered with conviction by a more than capable cast. This is a play that will linger in the mind long after the curtain falls.

Lest we forget.

Review: MURDER ON THE NILE at Dolphin Theatre

Wed, 29 Apr 2026 13:40:18 PST

Opening this Friday at the Dolphin theatre, is another classic mystery thriller from Agatha Christie. The Queen of the Whodunnit would be extremely delighted with this beautifully executed entrancing vision of the classic crime of passion.

Director Emma Love has made the most of Christie’s wise and witty dialogue that needs to be realistically delivered to draw us in. Congratulations to all the cast, and the director, for the natural delivery, and realistically paced, well-modulated 1930s dialogue. Vocally contrasted characters and detailed physicalisation create skilful variations of diction, accents, movement and delivery. Especially outstanding characterisastion and resonant vocal delivery from seasoned and consummate professionals David Charteris as Canon Pennefather and Susan Hargraves as extremely self-centred, self-indulgent, elegant, wealthy and snobbish Lady Helen ffoliot-ffoulkes.

Canon Ambrose Pennefather is a key character in Agatha Christie’s stage play. This is an extremely challenging role superbly handled by Charteris. Not only does Pennefather manage Kay's financial affairs, but when Agatha Christie adapted her 1937 novel Death on the Nile into a play in 1942–1944, she removed Hercule Poirot entirely; as she was "tired of him" at the time. She replaced him with Canon Pennefather, a character specifically created for the stage version to act as the primary detective. Canon Pennefather is the uncle and much loved guardian of the wealthy and entitled heiress Kay Mostyn (Jorja Stevens). He is a wily, sometimes manipulative clergyman who admits to following Kay to Egypt to oversee her marriage and honeymoon, claiming it was for her own good.

Despite its classic “static” nature, and heavy reliance on dialogue to develop characters and provide clues, the play’s narrative moves quickly (thanks to a superbly designed set) and the numerous characters serve a range of purposes: most of them to provide possible suspects. Those conversational scenes highlight suspicion rather than physical action. Who could be responsible for the murder? Simon Mostyn (James Calverley) the charming but oh so weak-willed and very recent husband? Kay’s devoted Best Friend, beautiful and passionate Jacqueline de Severac, (Viola Ember ) scorned and rejected, and now a jealous stalker? The obviously envious, somewhat defensive and flirty French maid, Louise (Donna Verey)? Sweetly naïve and innocent Christina Grant, Helen’s niece, (Steph McIntyre) a nice girl who seems to exist only to be of service to her unreasonable aunt, but still attracts the attention of “Mr Smith” (Jonathan Gabriel),much more worldly and confident than his common name presumes.

There’s the accented foreigner Dr Bessner (Arthur Young)… Despite all innocent appearances, he is more than possibly the criminal! Xenophobia was prolific in these war torn years! I started doubting even the least likely – McNaught, the ship’s captain (Ollie Baker) and the ship’s steward (Aldar Batomunkuev). Each and every role were precisely executed, every little detail and nuance contributing to the play’s mystery, authenticity and truth.

The setting on the bow of a cruise ship on the Nile is more than effectively captured. Entrances and exits are effortless and varied and the action flows with energy, pace and intention. Absolutely outstanding lighting design and execution (George Everts) convinces us we are not only travelling along the Nile, basking in its blue skies, but also witnessing glorious sunsets and evening beauty. Both shadows and focused highlights cement the tension. After all, everyone is trapped and no one can escape. And people keep getting shot! And - surprisingly, wonderfully witty touches of humour provided by the extreme vanity of Lady Helen ffoliot-ffoulkes (Susan Hargraves) contrast delightfully to the tightly-winding tension and conflict.

Consistently superb performances from experienced actors, attractively costumed, with imaginative set design, precision staging and well-lit, this is a show well worth viewing. So many twists unfold in this love enriched tale . We are kept guessing – right to the final closing scene. No spoilers here!!

Do get along and be entertained!

The play runs May 1 – 16.

Book online at https://nz.patronbase.com/_DolphinTheatre/Productions/2601/Perfromances

Glenda Pearce.

Play Broadway Games Every Day in May and Win a Merch Prize Pack

Wed, 29 Apr 2026 08:30:20 PST

Broadway fans, your daily warm-up just got a whole lot more rewarding. BroadwayWorld is launching the May 2026 Games Challenge - a month-long streak competition open to fans across the U.S., with a $250 merch prize pack featuring merchandise from popular Broadway shows up for grabs.

The challenge runs all 31 days of May 2026 (Eastern Time), and all you need to enter is a free BroadwayWorld account.

How It Works

The rules are simple: play at least one BroadwayWorld game every day in May. That's it. Complete all 31 days and you'll earn one entry to win the prize pack. Tracking is automatic once you're logged in - your progress populates on the challenge page as you play, no manual check-ins required.

Any of these six games count toward your daily credit:

Make-Up Days: Because Life Happens

Miss a day? You're not out of the running. Play all six games in a single day and you'll earn a make-up credit, which automatically forgives your earliest missed day. You can bank up to three make-up credits over the course of the month - so a skipped Tuesday or a busy weekend doesn't have to end your streak. Credits are applied to your missed days in order, oldest first.

Ready to Start Your Streak?

The May 2026 BroadwayWorld Games Challenge runs May 1-31 (Eastern Time) and is open to U.S. residents only.

Click here to get started. Sign in with your free BroadwayWorld account and your tracking begins automatically - no registration beyond that required.

See full rules and regulations here.

Review: BEAUTY AND THE BEAST at Harlequin Musical Theatre

Mon, 27 Apr 2026 09:30:26 PST

This production is one of obvious beauty - and much more. Congratulations to Harlequin for providing spectacular family entertainment of such high quality. Collaboratively directed by Charlotte West with musical direction by Courtney Noble, choreography by Hayz Pincheira Rowe, and assistant director Samyson Robinson, It’s a lively fun-filled show told with pace and animated action, deft touches of humour, superb choreography, outstanding creative design, vocal skill and characterisation that keeps you thoroughly entertained and engaged. The creative team bring this production to beautiful life. Lighting (Paul Richardson, Blake Ingram) and sound (Blake Elliot, Blake Ingram) and those outstanding costumes – over 300 original and truly beautiful garments were created by Rebecca Ceballos and her huge wardrobe army team led by Sonya Arden and herself – were showcased throughout. An incredible undertaking!

There are many sound moral messages to find in this fairy tale. The plot line stems from a young person who makes a foolish mistake. Having lived a life in selfishness, young Prince Adam is cursed by a mysterious enchantress to having the appearance of a monstrous beast. His only hope is to learn to love a young woman and earn her love in return in order to redeem himself. Diego Santos as the Beast brings out the pathos and the regret in this tragic mistake. His characterisation captures the Beast’s tortured frustration, and his appearance is truly bestial and scary! Superb work from the makeup team (Maryanne Rushton, Chloe Jones, Donna Rae, Tyler Frost).

The challenge of the role of the Beast is met well. It’s a full ten years before the chance to redeem himself happens. By now, the staff of his enchanted castle are getting desperate as well. We feel the Beast’s despair and pain and want him to succeed when the beautiful (inside and out) Belle (Maci Bates/Melody Lui-Webster)trades places with her imprisoned father Maurice (Horst Feldhauser). The profound compassion and willingness to see the beauty within, while her desire for "something more" drives Belle to break conventional norms, is conveyed with truth by these two performers (alternating shows). Beautifully moved, and emotionally delivered vocals.

With the help of those enchanted (and enchanting) staff members, Belle learns to appreciate her captor. Beauty is within. A show is always as good as the sum of the talent involved. It’s a fairy tale with magical and fantastical elements. Absolutely hilarious French accented Lumiere (Jordan Leary), quick-witted Cogsworth (Allan Howie) and Mrs Potts (Sharon Fogarty) are crowd favourites. Sharon Fogarty is delightfully warm and maternal and as the voice of reason, she fosters romance between Belle and the Beast, notably singing “beautifully” the title song. Another highlight is the “Be Our Guest” number in which Lumiere tangos with the sexy feather duster Babette (Abbie Parsons). The ensemble bring this song to vivid visually spectacular life.

Back in the village however, unscrupulous “he man” hunter Gaston (Nick Lloyd) has his own plans for Belle.Male chauvinist, he can’t believe she doesn’t want to marry him! Superbly and skillfully supported by Joel Bird as Le Fou, Nick Lloyd brings out the arrogant, self-obsessed braggart and the cruel, twisted and ruthless villain, especially he discovers that Belle's love is not for him, but for a Beast. True love wins out.

Although filled with darker moments, the romantic Disney-originated tale leaves you with a “feel-good” feeling and a smile after the final song. Many of the songs in this show are familiar, but it's the “a tale as old as time” lyrics from the theme song that seems to be the one you’re humming as you leave the theatre – and driving home!

Do get along to see it – a fantastic and fabulous family show not to be missed. It's on until May 9th.

The enchanted and enchanting castle servants!

NEWSIES Unseats LES MISÉRABLES to Win BroadwayWorld's 2026 Ultimate Movie Musical Bracket

Wed, 22 Apr 2026 13:26:32 PST

After six weeks of voting, BroadwayWorld readers have crowned Newsies the Ultimate Best Movie Musical in the 2026 edition of BroadwayWorld's Annual Bracket. The 1992 Disney film, directed by Kenny Ortega and featuring music by Alan Menken and lyrics by Jack Feldman, defeated Les Misérables in the final round, ending the Tom Hooper-directed film's two-year winning streak.

In both 2024 and 2025, Les Misérables was voted as the Ultimate Best Musical of all time, making it the title to beat heading into this year's competition. Newsies, a perennial fan favorite that developed a devoted following after its theatrical release and has since been adapted for the Broadway stage, advanced through six rounds of head-to-head matchups before claiming the title.

Now in its third year, BroadwayWorld's Bracket invites readers to debate, defend, and ultimately crown the greatest movie musical of all time from a field selected by BroadwayWorld editors. Voting in the 2026 edition opened on Tuesday, February 24 and concluded on Sunday, April 12, with new matchups released each week.

Bobby Lee Will Bring THE FINALLY TOUR to Australia and New Zealand

Mon, 20 Apr 2026 05:21:26 PST

Bobby Lee is best known for his numerous years as a cast member on MAD TV and his hit podcasts, BAD FRIENDS and TIGER BELLY. Bobby Lee will return to Australia for his first solo tour which will start in Perth on August 13 before heading to Melbourne, Adelaide, Sydney and Brisbane

Bobby's long most anticipated hour-long comedy special can be seen on Hulu and can also be seen in Sony's animated sports movie, GOAT. Other film credits include THE THROWBACK, DRUGSTORE JUNE, DEATH AND RAMEN, THE WRONG MISSY, THE DICTATOR, PINEAPPLE EXPRESS and HAROLD & KUMAR GO TO WHITE CASTLE. Previous TV credits include AND JUST LIKE THAT, MAGNUM PI, RESERVATION DOGS, and Netflix's LOVE. Additionally, Bobby was a series regular on SPLITTING UP TOGETHER and ANIMAL PRACTICE along with appearances on CURB YOUR ENTHUSIASM and THE TONIGHT SHOW. He also voiced Tim/Sumo in THE AWESOMES, Dr. Andre in INSIDE JOB and Tall Goon in WISH DRAGON.

Well respected amongst his peers, Bobby frequently appears on podcasts hosted by fellow comedians including: YOUR MOM'S HOUSE with Tom Segura and Christina Pazsitsky, THIS PAST WEEKEND with Theo Von, THE Joe Rogan EXPERIENCE, FLAGRANT with Andrew Schulz, TWO BEARS ONE CAVE with Bert Kreischer and Tom Segura.

Bobby is selling out shows across North America and internationally year-round with his hilariously unpredictable stand-up. With many projects currently in development, Bobby continues to thrill audiences with his immense talent.

Tour Dates

Perth – Riverside Theatre @ PCED – Thursday August 13

Melbourne – Plenary @ MCEC – Friday August 14

Adelaide – The Thebarton Theatre – Sunday August 16

Sydney – Tik Tok Entertainment Centre – Thursday August 20

Brisbane – Great Hall @ BCEC – Saturday August 22

Auckland – Bruce Mason Centre – Sunday August 23

Toby Jones and David Harewood-Led OTHELLO Will Stream on Marquee TV

Thu, 16 Apr 2026 07:51:16 PST

David Harewood, Caitlin Fitzgerald, and Toby Jones’ new production of Othello will stream exclusively in the UK, US, Australia, New Zealand, Canada, and South Korea on Marquee TV from 1 May 2026.

In 1997, David Harewood made history as the ﬁrst Black actor to play Othello at The National Theatre, London. In this new, landmark production of Othello, David Harewood reprises his historic role three decades on in an acclaimed performance ﬁlmed live at Theatre Royal Haymarket in London.

Olivier, BAFTA Award-winning actor Toby Jones OBE stars as Iago. One of Britain’s best- loved character actors, Jones is best-known for his roles as Lance stater in DETECTORISTS, Alan Bates in MR BATES VS THE POST OFFICE, Dobby in the HARRY POTTER ﬁlms, Claudius Templesmith in THE HUNGER GAMES, and Arnim Zola in the CAPTAIN AMERICA ﬁlms.

Othello is Shakespeare’s only play with a black lead, but for centuries directors cast white actors in blackface for the role. On his historic 1997 performance Harewood reﬂects, “I was trying to de-blackface the whole character.”

Othello is directed by Tom Morris OBE, the Tony Award-winning director behind War Horse, and features music from alternative music icon PJ Harvey.

Also starring are American actor Caitlin Fitzgerald (MASTERS OF SEX, SUCCESSION) as Desdemona, British Independent Film Award-winner Vinette Robinson (BOILING POINT, BLACK MIRROR, DOCTOR WHO) who plays Amelia in her West End debut, and Olivier Award-winner Luke Treadaway (A STREET CAT NAMED BOB) as Cassio.

David Harewood said, “I got a phone call from my agent, ‘would David have any desire to play Othello again?’ As soon as she mentioned it, a lightbulb went on. I was so young when I played it before, so I thought let me give it another crack. I was just far more familiar than when I was younger with the emotional toll of the pain and loss of love. As an older man, I found that so much more painful.”

Caitlin Fitzgerald said, “Shakespeare gives Amelia in this play some really proto- feminist language that is so extraordinary.”

Vinette Robinson, who plays Amelia, adds, “The speech Amelia has in the willow scene is one of the most incredible feminist speeches Shakespeare wrote, however many hundreds of years ago, that is still relevant today. So, what Shakespeare is incredible at is understanding human nature which is why we’re still performing him now.”

Toby Jones said, “It’s a Shakespeare play, so every single time we perform the play I hear something that I haven’t heard before. It’s the extraordinary thing of working on a poem e]ectivelythat you’re surprised, delighted, and slightly shocked by the nuance of phrases you haven’t taken in before.”

Luke Treadaway said, “These stories are universal. They’re about jealousy, love, and betrayal, and things that happen to all of us in modern times. I think they’re all just amazing worlds to break open and go into.”

Cecilia Bacon, VP of Content & Engagement at Marquee TV said, “This is a major moment for bringing world-class theatre to streaming audiences at scale. David Harewood’s return to Othello is both historically signiﬁcant and artistically powerful, and we’re proud to introduce this production to viewers as part of our growing slate.”

Othello, starring David Harewood and Toby Jones, is streaming exclusively on Marquee TV from 1 May 2026.

Natasha MacAller, Wife of Michael Crawford, Releases New Book 'The Apothecary Chef'

Thu, 16 Apr 2026 07:48:31 PST

Former ballerina and acclaimed author Natasha MacAller, wife of Michael Crawford, has released her third culinary work, The Apothecary Chef. Chapters include Good for the Gut, Everyday Joy, A Sense of Calm, Immunity Boosters, Longevity & Resilience and Breath & Balance, with recipes ranging from rosemary calendula polenta cakes, a moreish allium & wild mushroom galette to peppermint pannacotta and a delectable persimmon pudding topped with homemade maple whip.

A dancer, chef, and storyteller, MacAller invites readers to rediscover the kitchen as an apothecary where creativity, connection and healing are the focus. The guiding principle behind The Apothecary Chef means that rather than treating food merely as sustenance, MacAller restores it to its ancient medicinal role. Through mindful cooking and seasonal living, she translates herbalism’s gentle science into elegant, attainable dishes for modern life.

“Dance taught me how to listen - to my body, to rhythm, to silence,” she reflects. “Cooking, in its own way, is choreography. Every dish has flow and grace, every ingredient its part to play.”

The Apothecary Chef mirrors that philosophy. Structured like a dance, its chapters move through moods and energies — Restorative, Uplifting, Vital, Joyful, Calm, and Radiant — each celebrating the synergy between taste and wellbeing.

“The garden is the source of many ingredients,” MacAller says. “Michael is both my biggest fan and my top gardener! When I was a dancer, eating disorders were rife and we used to obsess about food. As a chef I studied to discover the benefits of food at source, fresh and seasonal. Real food. Wellness begins with physical benefit and should bring emotional delight.”

With her lyrical tone and meticulous research, she explores longevity botanicals - turmeric, holy basil, seagreens, yuzu, and echinacea; women’s wellness - nutrition aligned with hormonal balance, mental clarity, and graceful strength; and the alchemy of everyday ingredients – lemon, thyme, rosemary and ginger transformed into tonics for both body and spirit.

“The book suits all cookery levels,” she says. “From simple dishes to multi-ingredients, including ingredients such as teaspoon of basil, thyme, ginger, chili, sesame oil and salt. It may look like a long list, but it isn’t.”

As a colleague of many seasoned professionals and a regular collaborator with others, MacAller has included 39 contributing chefs and lauded culinary medical doctors such as Allan Altschul of The Newt, Nyesha Arrington, April Bloomfield, Pierre Koffmann, David Lebovitz, Peter Gordon, Olia Hercules, Sarah Johnson, Sean Sherman (The Sioux Chef), Ben Shewry, Itamar Srulovich & Sarit Packer of Honey & Co, and Lee Wescott.

The book is published by Kyle Books, part of the Octopus publishing group. The Apothecary Chef is available to purchase at leading bookstores, including Foyles , Hatchards Waterstones and at Amazon. To purchase on Amazon UK click here. To purchase on Amazon US click here.

Previews: BEAUTY AND THE BEAST at Harlequin Theatre, Howick

Wed, 15 Apr 2026 10:07:46 PST

Community Spirit Takes Centre Stage as Harlequin Musical Theatre Brings Beauty and the Beast to Life

In the true spirit of community theatre, Harlequin Musical Theatre is preparing to lift the curtain on its upcoming production of Beauty and the Beast—and behind the scenes, an extraordinary volunteer effort is stealing the show.

This much‑loved musical has become a true labour of love for the Harlequin team, with many local volunteers donating countless hours to create a dazzling theatrical experience. At the centre of the production is an ambitious costume project involving more than 300 individual costume pieces, each handcrafted, altered or restored by a dedicated group of helpers.

Such a large‑scale creative endeavour has been made possible thanks to a generous grant from the Freemasons, whose support has allowed the theatre company to dream big and deliver professional‑quality standards while remaining firmly rooted in community values. The funding has covered materials, and resources, empowering volunteers to fully realise the magical world of Beauty and the Beast.

Costume Designer Rebecca Ceballos says the project has been as rewarding as it has been ambitious.

“I’m really excited to be part of such an awesome project,” Ceballos said. “There’s been a huge focus on sustainability, with most of the materials sourced from thrift shops or repurposed from existing costumes. It’s incredible to see what this community can create together.”

The costume team have transformed duvets, curtains, sheets and recycled textiles to construct everything from villagers’ outfits to the elaborate gowns and character costumes that audiences expect from this classic tale. The result is not only visually stunning but also environmentally conscious proving that creativity and sustainability can go hand in hand.

Harlequin Musical Theatre has long been known for its inclusive and welcoming approach, and Beauty and the Beast is no exception. Volunteers of all ages and skill levels have come together, sharing sewing machines, creative ideas and plenty of laughter along the way.

With opening night just over a month away, excitement is building not only for the show on stage, but for the story behind it—a story of generosity, ingenuity and community collaboration. With its sparkling costumes, sustainable ethos and heartfelt volunteer effort, Harlequin Musical Theatre’s Beauty and the Beast promises to be a reminder that when a community works together, a little bit of magic is always possible.

Suitable for all ages. Tickets available now from iticket.co.nz for a strictly limited season.

Beauty and the Beast

24 April - 9 May 2026

Evening shows - 7.30pm / Saturday/Sunday matinees - 2:00pm
Harlequin Musical Theatre
563r Pakuranga Rd, Howick

Review: A VIEW FROM THE BRIDGE (ARTHUR MILLER) at Silo, At Q Theatre, Auckland

Wed, 15 Apr 2026 10:08:06 PST

Riveting. Universal. Authentic, Physical. Raw. Relevant.

And incredibly powerful – as powerful as any Greek tragedy might be. And the roots of the script itself bring out the typical themes of the Greek playwrights. What happens when love becomes obsessive and jealous, what happens when personal desire escalates to challenge community loyalty, and what happens when justice and law conflict. The ending of the play stems from the code of honour where "informing" (reporting people to authority) is seen as a betrayal, even if the person being reported has broken the law. The Greek structure extends to the use of a chorus and narrator, in the character of the Italian Alfieri. (Mata’afa Semu Filipo). Now an American lawyer, he bridges the cultural divide between the two cultures. From the outset, he acts not only as a resonant storyteller, but as a wise commentator, as a Greek chorus would. But don’t think of this play as an old “classic’. This is a very contemporary take on the classic.

Set simply but effectively on a bare stage, but acted in the round, the audience looks into the living room of the Carbone family, poor Italians in 1950s living near the Brooklyn Bridge in New York. The Italian Sicilian community value loyalty and trust. “immigration, belonging, threats of deportataion as an illegal immigrant, trying to build a life in another country – this is not distant from us” . Universal. Relevant. Deftly and imaginatively directed by Anapela Poiatai’Ivao, the open stage creates an open space effectively crafted to “show the people” as they are, their dreams, their desires, their struggles. The action moves with flow, and the simplicity of the set allows for well-positioned action, its perspective and space employed to create tension, delight, power, intimacy and distance between the characters. It’s riveting.

Throughout the performance, the audience is perfectly positioned to observe both action and emotions from the perspectives of the characters, almost as if they are looking over the actors’ shoulders. This approach draws the viewers deeply into the story, allowing them to see and feel situations exactly as the characters do. As a result, the audience becomes emotionally invested, experiencing the drama as though they themselves are part of the unfolding narrative. At times you just want to yell out! This is the genius of theatrical artistic direction.

For those not familiar with the plot, Eddie Carbone (Beulah Koale) is a good, hardworking longshoreman. Koale is authentic, with passions and emotions that are raw, real and challenging. His performance is physically and psychologically commanding, emotionally charged, intensely truthful, a powerhouse attempting to balance honour and a growing, possibly unnatural love for Catherine. He manages to appear both noble and unaware of how his feelings are changing. “For that character, I didn’t bring her up.”

Eddie is very protective of his orphaned niece Catherine (Hanah Tayeb) , who is approaching her 18th birthday. Eddie’s wife, Beatrice (Stacey Leilua) is the voice of reason and family loyalty. Things haven’t been great in the bedroom with Eddie recently, and she’s aware that Catherine is growing up. She tells Catherine she must think about how she dresses and behaves because: “you’re a grown up woman in a house with a grown up man.” The audience sense her frustration, beautifully nuanced in the 1950’s moral and social code. Compelling character portrayal by Stacey Lailua, who sees the truth and is watching the tragedy unfold.

Anapeta Polata’Ivao skillfully focuses Catherine’s coming-of-age, especially in the opening sequence where she is excited about her first pair of heels. This moment not only marks a milestone in Catherine’s change from “a baby… don’t understand these things” but also sets the tone for her journey throughout the narrative. She’s not only going to grow up and get a job. She’s going to fall in love. Hanah Tayeb skillfully transitions from the awkwardness of adolescence to expressing the determined passion of a woman in love. Her genuine tears, visible as she struggles with the conflict of love, add depth to her performance.

In love with… Rodolpho (Arlo Green) . Beatrice’s Italian cousins Marco (Jesme Fa’auuga) and Rodolpho, are smuggled in as illegal immigrants to Brooklyn. Green and Fa’aunga deliver entirely credible performances, portraying a wide range of emotions: cautiousness, loyalty, eager desire to please, moral strength, and even wit. Above all, they make it clear that they are there for work. In Italy, Rodolpho tells Catherine: “There's nothing! Nothing, nothing, nothing.about. How can 1 bring you from a rich country to suffer in a poor country? 1 would be a criminal stealing your face. In two years you wouId have an old, hungry face. When my brother’s babies cry they give them water, water that’s boiIed from a bone.” Catherine’s relationship with Eddie contrasts starkly with the relationship she develops with Rodolpho, and in the closing moments of the play, we are entirely enmeshed, into the challenges each of the characters are experiencing.

Precisely and perfectly directed, superbly characterised with authenticity and truth, and with outstanding collaboration from everyone in the production’s creative team, the production masterfully crafts a plot filled with tension and suspense, establishing dramatic conflict that keeps the audience riveted. The atmospherically driven lighting design by Filament Eleven 11 – Rachel Marlow and Bradley Gledhill and the evocative sound by Evoke Audio -Matt Eller are concentrated and intense, carefully balancing and cementing visual and auditory elements to cement the dramatic conflict.

This is an exciting and polished production. This is brilliant theatre of an interntional standard that cannot fail to resonate with us all. I have never seen space so superbly crafted. As Stacey Lailua notes, it “showcases the depth possible for brown productions.” It champions diversity, and the acting is beyond superb. You will be disappointed if you don't go and see it. DON'T MISS IT.

Glenda Pearce

BroadwayWorld My Shows is Now Part of the New & Improved App

Mon, 13 Apr 2026 10:34:45 PST

Since launching last fall, BroadwayWorld My Shows has been the place where theatre fans log every production they've seen, rate performances, write reviews, and document their theatre experiences. Today, we're thrilled to announce that the complete My Shows experience - rebuilt from the ground up - is now available inside the BroadwayWorld app for iPhone and iPad.

Whether you're a Broadway regular, a West End devotee, a tour-chaser, or someone who just caught their very first show last weekend, My Shows in the app lets you track it all, connect with friends who love theatre as much as you do, and carry your entire theatregoing history with you wherever you go.

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The complete My Shows experience - rebuilt from the ground up - is now available inside the BroadwayWorld app for iPhone and iPad. Get started now!
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What's New in My Shows

A Social Feed Built for Theatre Fans- See what your friends are watching in real time: new logs, star ratings, and reviews in a scrollable activity stream. Like, comment, and discover what your community is raving about.

Your Complete Theatregoing Stats - The redesigned Profile turns your history into beautiful statistics: Shows Seen, Total Attendances, Repeat Visits, a Broadway / West End / Tour / Off-Broadway / Regional breakdown, and a Musicals vs. Plays split.

Smart, Grouped Show History - Seen Wicked four times? Record repeart attendances with individual visits, ratings, and reviews.

Find Friends - Search members, send and accept requests, and build your theatre community. A friend-requests banner at the top of your feed means you never miss a new connection.

The Quick Start Wizard - Catching up on years of theatregoing? Rapidly rate and log shows across Broadway, West End, Touring, Off-Broadway, and a curated popular list of the longest-running Broadway productions of all time.

Theatres You've Visited - Browse every theatre on Broadway, and beyond. See where you've been, what's still on your list, and every production that's ever played there.

Wishlist - Keep track of the shows you're dying to see, now front and center in the app's tab bar.

Built for iPhone and iPad — The entire experience is fully optimized for both, with layouts that adapt to bigger screens.

Getting Started

If you already have a BroadwayWorld account, just open the app, tap My Shows, and sign in. Everything you've ever logged on the website will be right there waiting for you.

New to BroadwayWorld? Create a free account in seconds and start building your theatregoing history today.

Download the BroadwayWorld app - free on the App Store - and take your theatre life with you.

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Review: & JULIET by G&T PRODUCTIONS at The Civic

Fri, 10 Apr 2026 11:18:41 PST

& Juliet is a jukebox musical that premiered in Manchester in 2019 before opening in London’s West End later that year. Created by writer David West Read, with a score made up of pop hits by Max Martin, it reimagines Shakespeare’s Romeo and Juliet through a modern, feminist lens. The show later transferred to Broadway in 2022.

The musical poses one irresistible question: What if Juliet didn’t die at the end of Romeo and Juliet? Instead, Juliet chooses life, leaves Verona, and embarks on a journey of self‑discovery, friendship, and love. Running parallel to this is a playful “battle of authorship” between Shakespeare and his wife, Anne Hathaway, all set to high-energy contemporary pop anthems.

Audience members were encouraged to be in their seats ten minutes before showtime to experience pre‑show warm-ups and dancing that morphed into the opening number. It proved a clever and highly effective way to ensure everyone settled early while immediately creating excitement in the theatre.

With the curtain already open as we entered the auditorium, we were greeted by a striking set of approximately ten arches, with the words Romeo (flickering) & Juliet illuminated above. From the moment the lights went down and the cast launched into Larger Than Life, we were treated to tight harmonies and impeccable dance moves. It was an exhilarating opening before we met Shakespeare (wonderfully played by Matu Ngaropo) and Anne Hathaway (Awhimai Fraser), who set out the foundations of the story to come.

I won’t spoil the joy of discovery here. The core premise is intriguing enough, and the story is best experienced as it unfolds. Unless you’ve travelled overseas to see the show previously, this New Zealand premiere will be a first-time experience, and a memorable one.

Kristin Paulse, recently seen as Tina Turner in Simply the Best – The Tina Turner Show, delivers a commanding performance as Juliet. She brings a strong stage presence and a clear, confident singing voice to one half of the star‑crossed lovers. Juliet is joined on her voyage of discovery by Angelique (Lavinia Williams) and May (Jared Pallesen), who encounter François (Josh Johnson) and his father Lance (Andrew Grainger) along the way. And without revealing too much, Romeo (Andrew Papas) is also very much part of this reimagined tale.

The choreography is quite simply breathtaking, with precisely synchronised movements delivered at an eye‑popping pace. The standard of performance across the company is extraordinary, many of these singers would comfortably slot into professional productions anywhere in the world. That they are all proud New Zealanders makes it even more impressive.

While the entire cast shines, two standout vocal performances came from Lavinia Williams and Awhimai Fraser. Both possess pure, powerful voices and seized their moments to deliver true powerhouse performances. Special mention also goes to Jared Pallesen and Andrew Grainger for their excellent contributions.

Lighting and sound were exactly what you’d expect from a top‑tier production, enhancing the action on stage. The stunning set and costumes, both designed by Tracy Grant Lord, were visually striking and served the story beautifully.

Musically, the show was everything I hoped it would be: loud, bold, and unapologetic. Zac Johns has assembled a fine band that delivered these iconic pop numbers with ease. Direction by Hamish Mouat and choreography by Destiny Anderson were first‑class throughout.

There was little to fault in a production the audience clearly adored, dancing and remaining on their feet through the curtain call.

Do yourself a favour and go and see it. You may well want to see it more than once—I know I do, and I’m already in line to book again.

Review: RIDE THE CYCLONE BY WITCH Music Theatre at Circa Theatre. Reviewed by Lottie Butcher

Sat, 11 Apr 2026 16:34:52 PST

There’s something wonderfully thrilling about stepping into a night of theatre knowing almost nothing, just a tantalising blurb from the Circa website and the whisper that it had gone viral with the Gen Z crowd on TikTok. I may have known nothing walking into Ride the Cyclone, written by Jacob Richmond and Brooke Maxwell, but I left pondering a quietly haunting question: is it better to yearn for a life you’ve lost, or to yearn for a life that you cannot even remember?

The six members of the St. Cassian High School Chamber Choir ride The Cyclone, a faulty rollercoaster only to meet their untimely deaths when the ride malfunctions.The mechanical coin operated fortune-teller, The Amazing Karnak, not only narrates the story, but offers the students a second chance at life. And so the game begins: a strange and engrossing contest in which each teenager must plead their case, all vying for the same prize, one final return to life.

The set, designed by Scott Maxim, an eerie, abandoned fairground, beautifully frames the rotating circular stage with a spiralling, helter-skelter-esque ramp. Use of flickering lights, ghostly sound FX and a sinister fortune-telling machine add to an unsettling atmosphere, kudos to Joshua Tucker-Emerson as Technical Director. There’s a lingering sense of faded grandeur, glimmering with traces of a once vibrant life… now lost. Seated far to the left, my husband and I found ourselves with a noticeable blind spot, which felt at moments disappointing as we didn’t want to miss one moment of the action- Top Tip: If you get to choose your seating I’d recommend centre or right for better visibility.

Each of the six victims of the crash are given their moment in turn, as secrets are revealed, loved ones are longed for, and themes of self-doubt, self-discovery, hope, and ambition come to the surface. Each character brings a distinct flavour and as each story unravels, the question keeps tumbling through my head: who would I save?

Ocean O’Connell Rosenberg takes the lead, competitive, confident, and unapologetically self-serving. Yet in Lane Corby’s hands, she is far more than a caricature; there’s a delightful sharpness to her judgement, played with real zest, but also glimmers of vulnerability that soften her edges just enough to make her curiously, compellingly and likeable.

Brash and angry Mischa Bachinski, portrayed by Jackson Burling, showcases his alter ego rap “YouTube star” Bad Egg with such relish and comedy timing but it is in the quieter moments that Burling truly captivates. As Mischa’s bravado slips, a deeply touching sincerity emerges, his eyes glistening as he longs for the woman he’ll never see again.

Noel Gruber, played by Logan Tahiwi, sashays into the spotlight with a song that delivers a stunning transformation. Flamboyant and deliciously dramatic, allowing Noel, at last, to inhabit the life he so desperately dreams of. The audience is utterly invested in his hopes and dreams, making the moment he returns to his school uniform all the more poignant, a subtle, heartbreaking reminder of how he has had to mask his true, authentic self within the confines of his community.

"The nicest girl at school" Constance Blackwood, is played with a tender, childlike and endearingly awkward presence by Jade Merematira, the loyal cutesy Best Friend often overshadowed and overlooked by the dominant force of Ocean. Merematira delivers a powerhouse moment, peeling back Constance’s innocence and to reveal something far more raw and honest.

Ricky Potts, a mute boy with an imagination bursting with colour, adventure, and possibility, finally finds his voice in the afterlife. Henry Ashby brings an explosion of glitter and personality to the stage, effervescent, magnetic, and utterly joyous, delivering a performance that is as playful as it is moving.

Jane Doe, a decapitated corpse discovered in the wreckage of the crash and still dressed in a school uniform, arrives as a haunting enigma, unsure even of her own identity. She might be presented as a creepy, lifeless doll, but Maya Handa Naff brings a captivating, sparkling performance with striking physicality and sadness, crafting a presence that is equal parts beautiful and terrifying.

The Amazing Karnak, voiced and operated by Jthan Morgan, brings a fabulous mix of authority and humour to the narration, underneath the wit, lies an unsettling, ominous undertone that adds to the edge of unease. Morgan’s performance is alluring, chilling, and assured, effortlessly balancing charm with something far more sinister beneath the surface.

So back to the question: Who would I save?

Any choice would be impossible and unjust, which is a true testament to the actors that each character felt so distinct and compelling. The show is hlariously funny in parts and moving in others; Credit must also go to Ben Tucker-Emerson as Director who steered the production with clarity, pace and imagination drawing out both the humour and the heart of the piece. The music fizzes and sings, literally and figuratively, genius Musical Direction from Hayden Taylor, it had me clapping and foot-tapping to songs I’d never heard before, while effortlessly heightening the pathos and emotional pull of the piece. Choreography is a skill that both terrifies and fascinates me in equal measure, but throw in a revolving stage, a rap artist, and a dancing doll, and it becomes nothing short of extraordinary. Amazing work from Emily McDermott, who shapes it all into something sharp, inventive, and utterly captivating.

Ride The Cyclone is a night of sizzling, quirky, macabre theatre, showcasing some of Poneke’s finest performers, and led by a fire cracker of a creative team — If this is the after-life then count me in.

Around The BroadwayWorld: Top News, Reviews, Interviews & More from March 2026

Wed, 08 Apr 2026 11:54:50 PST

Around the BroadwayWorld is our monthly snapshot of the biggest stories making waves across the global theatre community. In this March 2026 edition, we're bringing you a fresh batch of standout reviews from regional stages across the country - from the world premiere of Mrs. Christie at Cincinnati Playhouse In The Park to touring productions of The Great Gatsby in Houston, Water for Elephants in Minneapolis, and Wicked in Providence.

Tony-winning Stereophonic lands at DPAC in Raleigh, The Hunchback of Notre Dame takes the stage at Hale Centre Theatre in Utah, and Safety Not Guaranteed makes its way to Signature Theatre in DC. Plus, get a first look at exciting new productions through performance videos and photos, including White Rooster at Lookingglass Theatre, the new tour of Kinky Boots, Romeo and Juliet at Arden Theatre Company, The Crucible at Washington National Opera, and the Manila cast of A Chorus Line - and so much more from across the BroadwayWorld.

Interview: Matthew Lombardo and Beth Leavel Tell the Tale of WHEN PLAYWRIGHTS KILL

R. Scott Reedy | Boston

After the headline-making 2019 run of his “Tea at Five,” which starred Faye Dunaway, playwright Matthew Lombardo returns to Boston’s Huntington Theatre April 3–18 with his latest effort, “When Playwrights Kill,” a behind-the scenes comedy about an up-and-coming playwright whose Broadway dreams are dashed when his female lead, a famously difficult diva, derails his play’s out-of-town tryout in Boston.

Interviews

Interview: Adam Grant Morrison, Albus Potter in HARRY POTTER AND THE CURSED CHILD at The Fox Theatre

Joseph Harrison | Atlanta

The magic of HARRY POTTER AND THE CURSED CHILD has officially arrived in Atlanta, with the first-ever touring production now playing at the Fox Theatre as part of the 2025/2026 Regions Bank Broadway in Atlanta season, running through March 15. To celebrate this landmark engagement, I caught up with Adam Grant Morrison, who stars as Albus Potter, Harry’s son, in this theatrical continuation of the beloved wizarding world. In our conversation, Morrison reflects on growing up in Atlanta, discovering theatre unexpectedly, stepping into an iconic role he once only dreamed of, and what it means to bring this magical story home to the Fox Theatre stage.

Interview: Eymard Cabling of MISS SAIGON at Short North Stage

Paul Batterson | Columbus

Growing up in Rockville, Md., Eymard Cabling’s fields of study were somewhat limited. Cabling, who will be playing the role of The Engineer in Short North Stage’s upcoming production of the epic MISS SAIGON, thought he had three career choices.

Interview: SoCal's Leianna Weaver Talks Lydia, Ghosts, and BEETLEJUICE

Melissa Heckscher | Los Angeles

Southern California native Leianna Weaver speaks with BroadwayWorld about what it felt like to land the role of Lydia Deetz in BEETLEJUICE, how she relates to the character, and some onstage mishaps (that may or may not have involved fire).

Interview: Theatre Life with David Andrews Rogers

Elliot Lanes | Washington, DC

Today’s subject David Andrews Rogers Is currently living his theatre life and a lifelong dream on the conductor’s podium as the Musical Director and Conductor of the new touring production of Disney’s Beauty and The Beast. The show begins performances here in DC on March 18th and will play through April 5th at The National Theatre.

Interview: Theatre Life with Suzy Eddie Izzard

Elliot Lanes | Washington, DC

Today’s subject Suzy Eddie Izzard is an award-winning performer, marathon runner, and author. Her tour de force solo show The Tragedy of Hamlet will be seen right here in DC at Shakespeare Theatre Company (STC) from March 27th to April 11th. The show will be performed in STC’s Klein Theatre.

Reviews

Review: MRS. CHRISTIE at Cincinnati Playhouse In The Park

Caroline Conard | Cincinnati

It’s very seldom these days that an original play check sall the boxes, yet Mrs. Christie manages to do exactly that. A fantastical show with mystery, quirky characters, and deeper themes, Mrs. Christie is sure to have something for everyone!

Review: THE GREAT GATSBY at Broadway at The Hobby Center

Brett Cullum | Houston

The book is full of mysteries, unspoken judgements, and a vicious sense of classism mixed with ruthless self-preservation, and there is not a lot of this present in this interpretation, brought to life by Kait Kerrigan's book, Jason Howland's music, and Fitzgerald-inspired lyrics by Nathan Tysen.

Review: WATER FOR ELEPHANTS at Orpheum Theatre Minneapolis

Jared Fessler | Minneapolis / St. Paul

Water for Elephants has officially set up shop at the Orpheum Theatre, and it honestly doesn’t take long to get swept up in it. From the start, it feels less like you’re sitting in a theatre seat and more like you’ve wandered backstage at a traveling circus that just happens to break into song.

Review: STEREOPHONIC at DPAC

April Sigler | Raleigh

Stereophonic, the most Tony-nominated play of all time and winner of 5 Tony Awards including Best Play, offers a compelling fly-on-the-wall look at a 1970s rock band recording their next album. With strong performances and music that feels like a character of its own, the show immerses you in the creative process, even if its scale and runtime occasionally soften the intimacy.

Review: WICKED at Providence Performing Arts Center

Andria Tieman | Rhode Island

One could be forgiven for feeling a little burned out on Wicked these days. After two super-sized movies and a press tour that seemed to last a decade, Wicked-mania feels a bit on the wane. However, there is no substitute for seeing this show live on stage. This show is more relevant than ever, and the current touring cast are exceptional.

Review: THE HUNCHBACK OF NOTRE DAME at Hale Centre Theatre

Sydney Naegle | Utah

Review: THE HUNCHBACK OF NOTRE DAME at Hale Centre Theatre Mesmerizing and a true Top of the World experience.

Review: SAFETY NOT GUARANTEED at Signature Theatre

Aidan O'Connor | Washington, DC

Nostalgia is a funny thing. It catapults the ordinarily rational into webs of what-ifs and immobilizes presence in the now. But what if you could turn back time to fix that one regret or evaluate outcomes of disparate decisions. Would you do it, or would you choose to accept your past as part of you. Safety Not Guaranteed at Signature Theatre takes that exact journey and winds up in an alt-indie-rock concert with a semblance of sci-fi and human connection. Much like most time machines however, it’s transcendent in theory but lacks flawless execution in reality.

Videos

Photos & Video: First Look at WHITE ROOSTER at Lookingglass Theatre

Chloe Rabinowitz | Chicago

You can now get a first look at photos and video of the world premiere of White Rooster, written and directed by Ensemble Member Matthew C. Yee. The production has revealed an extension of its run.

Video: First Look at 'I Can Hear The Bells' from HAIRSPRAY at Casa Mañana Theatre

Joshua Wright | Dallas

Casa Mañana Theatre is currently presenting HAIRSPRAY, running through March 8. Check out a first look at “I Can Hear the Bells” in the video below.

Video: First Look at THE BODYGUARD at The John W. Engeman Theater

Joshua Wright | Long Island

Watch a first look video of The Bodyguard at The John W. Engeman Theater, running March 12 through April 26, 2026 in Northport, NY.

Photos/Video: First Look at ROMEO AND JULIET at Arden Theatre Company

Nicole Rosky | Philadelphia

Arden Theatre Company has released production photos and video from its staging of ROMEO AND JULIET, William Shakespeare’s tragedy directed by Barrymore Award–winning director Amina Robinson.

Video: KINKY BOOTS Tour First Look

Joshua Wright | Philadelphia

Get a first look at the new non-equity North American Tour of Kinky Boots. Leading the tour is Omari Collins as Lola, Noah Silverman as Charlie Price, Sophia Gunter as Lauren, Jason Daniel Chacon as Don, Emma Dean as Nicola, and John Anker Bow as George

Video: Hale Centre Theatre's THE HUNCHBACK OF NOTRE DAME

Joshua Wright | Utah

Watch a first look video of THE HUNCHBACK OF NOTRE DAME at Hale Centre Theatre, running March 9 to April 25, 2026, with full cast details and performance schedule.

Video: Watch 'One Man Wrecking Machine' From Signature Theatre's SAFETY NOT GUARANTEED

Michael Major | Washington, DC

Signature Theatre has shared an exclusive look at the cast of Safety Not Guaranteed performing 'One Man Wrecking Machine.' Watch the video from Ryan Miller and Nick Blaemire's musical now!

Video: First Look at THE CRUCIBLE at Washington National Opera

Joshua Wright | Washington, DC

Watch a first look video of THE CRUCIBLE at Washington National Opera, running March 21–29, 2026, with full cast and creative team details.

Photos

Photos: The Cast of WHEN PLAYWRIGHTS KILL Meets the Press

Bruce Glikas | Boston

The World Premiere production of WHEN PLAYWRIGHTS KILL, a new backstage comedy by Matthew Lombardo and directed by Noah Himmelstein, will be performed in Boston. The cast recently met the press and BroadwayWorld was there. Check out photos here!

Photos: CINDERELLA: A SALSA FAIRY TALE at South Coast Rep

Joshua Wright | Los Angeles

South Coast Repertory presents CINDERELLA: A SALSA FAIRY TALE, a bilingual musical by Karen Zacarias and Deborah Wicks La Puma, running February 20–March 8.

PHOTOS: A CHORUS LINE Manila Cast Meets the Press

Oliver Oliveros | Philippines

See photos from A Chorus Line Manila's press meet! Conrad Ricamora & Lissa deGuzman lead the all-Filipino cast at Samsung Performing Arts Theater, March 2026.

Review: CATCH ME IF YOU CAN by Kauri Theatre

Wed, 08 Apr 2026 16:48:04 PST

A high quality, high energy, feel good show at a time when we need it.

Catch Me If You Can is a stage musical based on the real-life story of master con artist Frank Abagnale Jr. With a book by Terrence McNally and music and lyrics by Marc Shaiman and Scott Wittman, the show premiered in 2009 before opening on Broadway in 2011, earning multiple Tony Award nominations. It is celebrated for its slick storytelling and its infectious, 1960s-inspired score.

Set against the optimism and excess of the 1960s, the story follows teenage runaway Frank Abagnale Jr., who successfully cons his way across the United States by posing as a Pan Am pilot, a doctor, and a lawyer, all while forging millions of dollars in cheques. As Frank revels in the thrill of his double life, he is relentlessly pursued by determined FBI agent Carl Hanratty. Beneath the glamour and comedy lies a touching exploration of family, identity, and a deep longing for belonging.

From the moment of arrival, the experience is immersive. The Gryphon Theatre foyer has been transformed into an airport, complete with clever details such as check-in and boarding passes. Once inside, the doors open to reveal a raised stage with an additional rear level, enhancing sightlines and visual interest. The set itself is minimal, apart from the stairs, allowing for seamless, fast-paced movement and slick transitions. Suitcases are ingeniously repurposed as desks and props, assembled and dismantled by the cast with impressive precision and flow, ensuring there are never lulls in the action.

There are many highlights in this production, but none more impressive than the cast, whose dedication and energy clearly reflect hard work in rehearsal. Jackson Stone shines in the lead role of Frank Abagnale Jr., commanding the stage with ease and demonstrating an impressive vocal range. Alex Rabina is equally strong as the dogged and laser-focused Carl Hanratty; his relentless pursuit of Frank also opens the door to some excellent comedic moments at his expense.

Carl Johnstone delivers a standout performance as Frank Abagnale Sr., singing and acting with heartfelt vulnerability. His portrayal makes him the most flawed yet deeply endearing character on stage. Lily Tyler Moore is great as Brenda Strong, Frank’s love interest, delivering confident acting and several memorable moments throughout the show.

One musical highlight is “Little Boy, Be a Man,” performed by Hanratty and Frank Sr., poignantly contrasting their strict upbringings and how those experiences shaped who they became.

The remainder of the cast is consistently strong. Particular enjoyment came from the bumbling FBI agents who trail Hanratty everywhere, providing much of the show’s humour. The ensemble works tirelessly throughout, maintaining energy, precision, and commitment from beginning to end.

While the music is undeniably catchy, it is perhaps less than fully memorable. After the curtain call, I found myself remembering how certain numbers made me feel rather than the melodies themselves. This is certainly no fault of the performers, nor the excellent on-stage band, which is cleverly revealed early in the show and remains visible for most of the evening. Musical direction by Emma Salzano is evident throughout, with chorus and solo performances sounding polished and vocally strong.

First-time director Alistair Davies should be extremely proud of this production. Thoughtful touches, strong attention to detail, and seamless scene transitions are evident throughout. Having previously discussed his collaborative rehearsal approach, it is clear that this method has paid off handsomely.

A major highlight of the evening is the choreography by Stacey Neale. The movement is precise, energetic, and perfectly aligned with both the music and the tone of the show. Many audience members singled this out as a standout element, and rightly so. Stacey’s infectious personality shines through her choreography, and the cast executes it brilliantly.

Costuming is another triumph, with an extensive range of period-appropriate outfits that never feel out of place. It is clearly the result of a massive team effort, led by Anne De Geus and Caitlin Fitt-Simpson

Sound design by Alexander Quinn is largely effective, though there were minor balance issues and occasional microphone problems. Unfortunately, this meant some dialogue may have been missed by audience members seated toward the back of the theatre. Lighting by Tom Smith is solid, enhancing the mood without drawing unnecessary attention to itself.

This production ranks among the very best musicals staged at the Gryphon, firmly placing it in the top tier. Tickets are selling fast, so if you want to get along to see it, catch them while you can. You’ll be treated to a high-quality, high-energy show packed with laughs, drama, and outstanding work from a talented cast and creative team.

Highest of recommendations. Congratulations to all involved and thank you, Kauri Theatre, for another memorable night of theatre.

Review: CHICAGO by Porirua Little Theatre

Tue, 07 Apr 2026 09:43:42 PST

Slick, sexy, and hugely entertaining

Chicago is a musical with music by John Kander, lyrics by Fred Ebb, and a book by Ebb and Bob Fosse. It premiered on Broadway in 1975, inspired by real-life 1920s murder cases reported by journalist Maurine Dallas Watkins. Initially overshadowed by A Chorus Line, the show achieved iconic status following its 1996 Broadway revival, which went on to become one of the longest‑running productions in Broadway history.

Set in 1920s Chicago, the story follows Roxie Hart and Velma Kelly, two vaudeville performers who commit murder and then transform their trials into glittering media spectacles. With the help of slick lawyer Billy Flynn, they manipulate the press and public opinion in a sharp satire of celebrity, corruption, and justice.

I was immediately intrigued upon entering the unfamiliar theatre space, where a raised stage resembling a fashion‑show runway dominated the room. I had been told that this would be a production 'in the round' and was initially wary about how well that concept would suit a show like Chicago.

I needn’t have worried. The skilful direction of Julie O’Brien, combined with Meg Leadbeater’s choreography, ensured there was always something engaging to watch. Large ensemble numbers were cleverly split, with half the cast positioned on either side of the space, often mirroring one another’s movement, making excellent use of the unusual staging.

The stage was bare on arrival, with minimal props used throughout the production. This stripped‑back approach allowed the action to flow without interruption, proving both simple and highly effective.

The cast were universally strong. Serena Daysh was the epitome of a scorned diva as Velma Kelly, perfectly capturing her jealousy at the attention lavished on the sassy yet likeable Roxie Hart, played with charm by Ruth Bishop. Both performers sang, acted, and moved with confidence and polish. Sandy Leadbeater clearly relished the role of attention‑seeking, ruthless lawyer Billy Flynn, while Peter Quinn provided a grounded and endearing performance as Amos Hart, playing the role with restraint and heart (see what I did there?).

Elizabeth Marshall was a strong Mama Morton and, together with Serena Daysh, delivered what was, for me, the song of the night: Class. Lizzie Summers completed the principals with an excellent turn as Mary Sunshine.

The five murderesses (Molly Weaver, Allie Falkner, Maya Roche, Elodie Craig, and Lauren Loghry) clearly revelled in 'He Had It Coming', with the use of ribbons to denote guilt (or lack thereof) a particularly inspired visual touch.

The music was largely delivered via backing tracks, with additional live elements provided by musical director Saar Cohen‑Ronen, who made a 'pitch invasion' at one point in the evening. I’m sure the audience will enjoy his unexpected moment in the spotlight.

Lighting for a production like this must have been extremely challenging, yet it worked surprisingly well throughout. Congratulations to the technical team for navigating the space so successfully.

Costumes were strong, with excellent attention to period detail, adding to the overall polish of the show.

This Chicago was slick, sexy, and hugely entertaining.

Chicago? It truly was my kinda town.

I’d say get a ticket, but the season is completely sold out, with the exception of an additional show being added. A fantastic sign of local support. Bravo

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