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.