Greg Stewart

Paddington The Musical is not content to be glossy family entertainment. It is a work of sincerity and craft, a production that captures the spirit of the books without leaning on nostalgia. It speaks to values that feel urgently needed in a fractured world: kindness, community, resilience. It makes you laugh, it makes you proud of London, and it leaves you craving a marmalade sandwich. Children sit transfixed, adults leave charmed, and everyone feels a little better about humanity.

This Evita is not without its flaws — it’s rushed, flashy, and sometimes narratively thin — but it’s also thrilling, stylish, and full of theatrical bravado. Jamie Lloyd’s vision may divide opinion, but it’s never dull.

Luke Brady leads the cast with a commanding performance as Hercules, combining vocal prowess with emotional nuance. His rendition of “Go the Distance” is a clear highlight—soaring, heartfelt, and met with rapturous applause. He is ably supported by Mae Ann Jorolan as Meg, who brings a sharp wit and smoky vocal tone to the role, capturing the character’s complexity with ease. Disney’s wonder boy is wonderful.

By the gods, Disney has done it again. With thunderous flair and lightning-fast wit, Hercules storms the stage at Theatre Royal Drury Lane in a heavenly display of theatrical might... this production proves that Disney Theatrical Group knows exactly how to flex its musical muscles.

Stephen Schwartz’s score, with its blend of wistful ballads and uptempo numbers sounds divine under Stuart Morley’s musical supervision and Dustin Conrad’s musical direction. This revival of The Baker’s Wife is a delicious treat; sweet without being cloying. It also features a dream ensemble cast, the kind you don’t see coming together every day.

Starlight Express is infamous for its roller-skating cast, and while the skates return, the cast zips through the audience at what feels like a slower pace than before. The Troubadour Wembley Park Theatre has been transformed into a playground for this show. Tim Hatley’s spectacular set design, featuring intricate tracks and immersive elements, honours the original while incorporating modern updates. LED screens and projection mapping enhance the vibrant world of racing trains.

This West End transfer of Next to Normal proves that the show’s power to move and enlighten audiences has not diminished. It remains a landmark piece of musical theatre, combining raw emotion with musical excellence. For those who missed it at the Donmar, this limited West End run is an unmissable opportunity to experience a truly exceptional production that pushes the boundaries of what musical theatre can achieve.

This is a fine production of Long Day’s Journey Into Night, and Herrin’s direction keeps it feeling relatively fresh. Perhaps it’s because of just how close to the bone O’Neill’s writing is that audiences still flock to see it, just as the Tyrone family always return to whisky and disappointment.

But it is a musical, and one where everyone is angry, characters shout at each other constantly and it very quickly becomes irritating. Sarah Goode, played by Nicola Hughes is in a permanent state of bad temper, so much so, that by the act one finale the character comes across more like an embittered villain in a Disney movie, ‘is it supposed to be like pantomime? Should we be booing?’ asked the lady sitting next to me when the interval eventually arrived.

It is in reality, a concert, pulling together some 40 odd of Sondheim’s greatest songs, but it is remarkably well put together, easily transitioning from soaring ballads (Loving You) to fast paced comedy numbers (Getting Married Today) with barely a beat in between. And while we might go from Company to Sunday in the Park With George without any form of link, other segments of the show linger longer on particular shows, such as Into The Woods and Sweeney Todd.

This English language debut of Rebecca is an admirably ambitious production that needs a bigger space to really ignite the story’s passion. The cast are truly wonderful, but it feels like they’re being held back by the production’s inability to live up to the scale it’s trying to achieve.