Theatre Review - MIDSUMMER MURDERS - DARLINGTON HIPPODROME

 

The very first story—The Killing at Badger’s Drift, originally seen on television in 1997—has been brought to the stage in this new adaptation of the much-loved Midsomer Murders. The play introduces audiences to the seemingly quiet village of Badger’s Drift, where beneath its calm exterior lies a web of secrets, intrigue and murder.

The story follows DCI Tom Barnaby and Sergeant Troy as they investigate the suspicious death of an elderly villager. When concerns are raised that her death may not have been natural, the case unfolds through a series of clues, red herrings and further deaths. With its fair share of eccentric residents and unexpected turns, this classic whodunnit keeps the audience guessing throughout.

Daniel Casey, well known for his long association with the television series, leads the cast as Barnaby with quiet authority, while James Bradwell provides strong support as Sergeant Troy. The pair work well together and carry the investigation convincingly.

The remaining five cast members take on multiple roles, moving quickly between characters with skill and clarity. Their performances bring energy to the production and help create a lively picture of village life.

One of the more pleasant surprises of the evening is the humour, which adds lightness to the story and balances the darker moments without detracting from the mystery.

The set is well designed, with locations moving smoothly into place, and is supported by effective sound and lighting that help maintain the atmosphere throughout.

Overall, this stage adaptation makes for an enjoyable evening’s entertainment, successfully capturing the spirit of the much-loved series while offering something fresh for theatre audiences.

Midsomer Murders runs until Saturday 22 May at Darlington Hippodrome.

Theatre Review - GLORIOUS! - DARLINGTON HIPPODROME

 

Glorious! tells the true story of the flamboyant American socialite Florence Foster Jenkins, portrayed by Wendi Peters, who was dubbed as “the worst singer in the world.” Despite her lack of musical ability, Florence is completely devoted to her passion for singing and is determined to perform for audiences.

With her considerable wealth, she stages her own concerts and carefully fills the audience with supportive friends. Allowing her to remain unaware of how off-key she is and how remarkable her performances are.

At her side is her loyal accompanist, Cosme McMoon, played by Matthew James Morrison. Although he is painfully aware of Florence’s lack of talent, he stays with her out of both necessity and growing affection. Over time, the two develop an unlikely but touching friendship, built on trust, kindness, and shared experiences.

Wendi Peters delivers a perfect performance as Florence Foster Jenkins, an absolutely incredible showcase of her talent. She brings every nuance of the role to life, expertly using comedy, timing, and wonderfully expressive facial reactions to capture the character’s eccentric charm. Her voice is delightfully unique, reminiscent at times of a Hyacinth Bucket-style grandeur, adding an extra layer of humour and affection to the portrayal. Peters commands the stage with a striking physical presence, filling it with energy, warmth, and confidence, truly embodying Florence in every moment.

Cosme McMoon perfectly complements Wendi Peters’ performance as Florence. His portrayal subtly emphasises the comedy throughout, while also adding an extra layer of depth to the relationship between the characters. Through his reactions and understated delivery, he enhances the humour without overshadowing Florence, creating a balanced and engaging dynamic on stage.

You may never have heard of the American socialite Florence Foster Jenkins, but if you want to witness a masterclass performance from Wendi Peters, this is a must-see show.

Runs until Saturday 16^th May at Darlington Hippodrome.

Theatre Review - JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT - DARLINGTON HIPPODROME

 

Darlington Operatic Society delivered a bright, colourful and thoroughly entertaining production of Joseph and the Amazing Technicolor Dreamcoat, once again proving that feel‑good musical theatre is in very safe hands locally.

Although a familiar show to many, this production felt fresh and modern. Clever use of projection, mobile phones, social media posts and breaking‑news visuals brought new energy to the well‑loved story, updating it without losing its charm or humour.

From start to finish, the energy on stage was infectious, with a strong company performance and a clear sense that the cast were enjoying themselves as much as the audience. The modern touches enhanced the storytelling, making this much‑loved classic feel current and engaging.

Vocally, the production was particularly strong. Ben Connor impressed as Joseph, portraying the role with warmth and easy charisma. Alongside him, Katie Spencer stood out as the Narrator, combining clarity, charm and confident stage presence to guide the audience smoothly through the story.

Steven Dunn made a strong impression as the Pharaoh, delivering a larger‑than‑life performance full of swagger and confidence, which suited the show’s playful style perfectly.

The brothers brought clear individual characterisation, working effectively both as separate personalities and as a cohesive group. Julian Cound demonstrated his versatility in the dual roles of Jacob and Potiphar, moving effortlessly between them with authority and assured stage presence. The younger performers also played their part, adding vitality and infectious enthusiasm throughout the production.

Strong technical support underpinned the show. Bold, colourful costumes and effective lighting helped shape atmosphere and pace, while well‑crafted choreography kept the action dynamic. The band provided a confident musical foundation, driving the performance forward with assurance.

This was a polished and highly enjoyable production that left audiences smiling. Darlington Operatic Society can be proud of a Technicolor success that celebrated local talent, teamwork and the joy of live performance.

Joseph and his Amazing Technicolor Dreamcoat at Darlington Hippodrome until Saturday 2nd May.

Theatre Preview - A VERY EXPENSIVE POISON - PEOPLE'S THEATRE, NEWCASTLE

 

“The second you start telling a story, you start telling a lie”

 

London, 2006. A former Russian spy drinks a cup of tea in a luxury Mayfair hotel. Hours later, he becomes the victim of one of the most shocking assassinations in modern British history, poisoned with radioactive polonium in an act that stunned the world.

 

A VERY EXPENSIVE POISON at the People’s Theatre in Heaton next week plunges audiences into the shadowy world of international espionage, where power, propaganda, and political intrigue collide.

 

Adapted by acclaimed Succession writer and co-executive producer Lucy Prebble from journalist Luke Harding’s gripping book, the production transforms the real-life assassination of Alexander Litvinenko into a wildly theatrical spectacle.

 

Blending vaudeville, political thriller, and dark satire, the play presents a surreal and electrifying retelling of this extraordinary true story.  

 

Distortion and distraction abound as characters navigate misinformation, international tension, and covert operations.

 

The result is a bold and exciting theatrical experience that examines how truth becomes blurred in a world dominated by power struggles and propaganda.

Tickets are available from the People’s Theatre Box Office on 0191 265 5020 (option 2) and online at www.peoplestheatre.co.uk

 

LISTINGS INFORMATION

 

A VERY EXPENSIVE POISON by Lucy Prebble, adapted from the book by Luke Harding

Date:  Tuesday 24 – Saturday 28 March 2026

Time: 7.30pm

Tickets: £16.50/£14

Venue: People’s Theatre, Stephenson Road, Newcastle upon Tyne, NE6 5QF

Box Office: 0191 265 5020                    

Theatre Review - BUDDY, THE BUDDY HOLLY STORY - DARLINGTON HIPPODROME

 

Darlington Hippodrome has been alive with rock ’n’ roll this week as Buddy – The Buddy Holly Story brought its high‑energy production to the region. The show, powered by a talented cast of actor‑musicians, delivers the feel of an authentic 1950s concert.

The story opens with Buddy Holly and his band playing country music, the style expected by local radio stations at the time. But Buddy has other plans. Determined to follow his own musical instincts, he pushes forward with the rock ’n’ roll sound that would soon make him famous. The production charts his rise from early recording sessions to major appearances, including a standout performance at the renowned Apollo Theatre in Harlem, where he wins over an entirely new audience.

From there, the show builds towards the Clear Lake concert, the final performance featuring Buddy alongside Ritchie Valens, played by Miguel Angel, and The Big Bopper, portrayed by Joshua Barton. Their on‑stage chemistry brings plenty of energy and humour before their fateful flight.

At the centre of the production, A J Jenks gives a vibrant, confident performance as Buddy Holly. His vocals, guitar work and easy stage presence capture the spirit of the rock ’n’ roll pioneer, and he is strongly supported by the multi‑skilled ensemble who play every note live on stage.

Hits such as “Peggy Sue,” “That’ll Be the Day” and “Oh Boy” had the audience fully engaged throughout. By the end, many were on their feet, giving the Hippodrome the atmosphere of a true 1950s gig.

Overall, the production offers energy, nostalgia and strong musical performances, making it a standout week at the Darlington Hippodrome.

Buddy, The Buddy Holly Story runs until Saturday 21^st March at Darlington Hippodrome.

Theatre Review - THE LIGHTNING THIEF - THE PERCY JACKSON MUSICAL - DARLINGTON HIPPODROME

 

The Lightning Thief – The Percy Jackson Musical delivered a high‑voltage evening of theatre, blending mythological mayhem with modern teen angst in a way that kept the audience thoroughly entertained. Based on Rick Riordan’s bestselling novel, the show brings the story to life with a mix of humour, heart and clever staging.

The plot follows 16‑year‑old Percy Jackson, whose ordinary school problems suddenly pale in comparison when he discovers he is the half‑blood son of the Greek god Poseidon. From that moment, he is plunged into a world far bigger—and far more dangerous—than he ever imagined. With powers he can’t control, a destiny he doesn’t want and a string of mythical monsters on his trail, Percy is forced to find out what being a hero really means. The stakes couldn’t be higher, with the future of the world resting on the shoulders of Percy and his friends.

Percy is played with charisma and bold spirit by Vasco Emauz, whose confident performance anchors the adventure. He is joined by Kayna Montecillo, sharp and assured as Annabeth, and Cahir O’Neill, who brings warmth to the role of Grover. Together, the trio form a strong and likeable core that carries the show forward.

A particular highlight comes from Danny Beard, whose portrayal of Mr D bursts with personality. His razor‑sharp comic timing and theatrical flair consistently delighted the audience and added an extra spark to every scene he appeared in.

The music proves to be one of the production’s driving strengths. The punchy score keeps momentum high from start to finish, performed with an energy and tightness that brings the story’s more dramatic moments to life.

Visually, the show is equally impressive. The lighting design is exceptional, guiding each scene’s mood with clarity and creativity. Meanwhile, the staging is cleverly realised, helped by the presence of a small band positioned above the action.

All in all, The Lightning Thief – The Percy Jackson Musical offers an energetic and thoroughly enjoyable evening, packed with talent, creativity and youthful enthusiasm. It’s a lively retelling that fans of the books—and newcomers alike—can appreciate.

Darlington Hippodrome until Saturday 14th March.

Theatre Review - PICASSO AT THE LAPIN AGILE - PEOPLE'S THEATRE, NEWCASTLE

 

Written by Steve Martin, Picasso at the Lapin Agile tells the humorous and thought-provoking story that never was. Imagine Pablo Picasso and Albert Einstein are both in the same bar in Paris in 1904, both just about to show their true genius to the world. What would they discuss? The nature of art, science, beauty?  This show is filled with gentle musings of philosophy and humour, without ever tipping over into something that is overly intellectual.

The audience was welcomed into a warm auditorium that had a feeling of a French bar or café. Gentle music plays, the front row of seats are set in a cabaret style with tea lights glowing under the low ambient lighting and as we take our seats, the barman walks around filling up pretzels on each table. All of this leads to a very comfortable, inviting atmosphere. Director Kaila Moyers clearly wanted everyone to enjoy this play as much as they do. Tim Swinton, who designed the lights, sound and set took the vision and brought us all along for a delightful evening in Paris. Wardrobe, by Ailsa Anderson, showed each character’s personality. I particularly liked that artist Sarah Pavlov (Pavart) had provided some of her beautiful abstract pieces as set dressing. This did not just add the feel of the show but also gives you that rare opportunity to buy a piece of the set as all of the paintings are for sale.

The occasional breaking of the fourth wall, and audience interactions throughout, added to the fun feel of the show. Although some of the many accents did waver, or were a little inconsistent at times, this didn’t detract, and it is always difficult to maintain accents when so many different ones are jostling together on the same stage.

Now the cast in order of appearance (sort of…):

Freddy, played by Ian Willis, is perfect as the host, occasionally walking around tables to check for empty glasses, but always understanding what is said with nicely under-played wit and excellent timing. Jim Boylan was very entertaining as the drole Gaston. Rhiannon Wilson was fiercely funny as the sensual and clever waitress Germaine. Peter Dawson was excellent as the always eccentric and completely lovable Albert Einstein. Helen Doyle seemed to enjoy showing her powerful emotions as Suzanne, an admirer of Picasso. Matthew Shepherd took joy in performing the money-oriented Sagot. Jamie Cordes gave us a tremendously passionate, and yet also troubled, Pablo Picasso. Oli Pages brought a charming nervous energy to the overly-enthusiastic Charles Dabernow Schmendiman. Beth O’Doherty brought out two very different character as a Countess and a female admirer. However, it was Jonathan Goodman who brought the strings of thought together and tied the show up neatly with warmth and much mirth as ‘A Visitor’.

A thoughtful and thoroughly enjoyable night at the theatre.

Picasso at the Lapin Agile is showing at The People’s Theatre, until 7^th March 2026.