Fawlty Towers

Original Fawlty Towers genius is intact - this show is absolutely BRILLIANT!

Being of a certain age, I grew up with the original TV series and we as a family loved it. When seeing a stage adaptation of a much loved TV series one can be disappointed if the story isn’t told well or the characters aren’t who we remember and have loved, but not in this case.

I can’t tell you how many times I have watched Fawlty Towers on TV, only 12 episodes were ever made and the genius of those shows has been condensed perfectly into this stage show by John Cleese himself. Yes, genius, according to the Cambridge online dictionary, genius is ‘very great and rare natural ability or skill, especially in a particular area such as science or art’. That is the writing of Fawlty Towers to a tee and Cleese has woven the essence of the whole series (originally written by him and Connie Booth) into a show that in total is just over an hour and a half with an interval of 20 minutes on top. The time flew and it was filled with laughter.

The casting is spot on, Basil (Danny Bayne), Sybil (Mia Austen), Polly (Joanne Clifton) and Manuel (Hemi Yeroham) are played wonderfully, those characters are on stage and are not impressions, they are not caricatures, they are real and alive and no matter how insane the situation, they are believable.

The whole company is great, and I have to give an extra shout to Jemma Churchill as the unbearable Mrs Richards and Joanne Clifton as the adorable and reliable Polly (particularly the accent). The choreography is smooth and timing precise which it needs to be with the physical moments be it the doors from the dining room into the kitchen or the violence.

The set is designed well, you see the whole place in front of you, so the show runs smoothly. Look out for any changes to the classic Fawlty Towers sign when you enter after the interval.

I sat with friends and the whole row was rocking with us laughing, that is what is needed now, we need to laugh because there is so much in the world to feel down about, Fawlty Towers is the perfect medicine to give us a break from reality.

You can hear the chat I had with Danny Bayne and Mia Austen on Stony Sunrise, Stony Radio here - about 40 mins in

https://www.mixcloud.com/stonyradiouk/28426-stony-sunrise/

5/5 – get your tickets and treat yourself to something truly laugh out loud hilarious.

Fawlty Towers - The Play

Performances: Tue 28 Apr - Sat 2 May (evenings @ 7:30pm, matinees (Weds, Thurs, Sat) @ 2:30pm)

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre

Single White Female

A slow-burn spiral into obsession that shows how sharing your life online could mean losing it altogether

There’s something quite surreal about watching Single White Female at Milton Keynes Theatre and thinking, “Hang on… is that Kim Marsh from Hear’Say?” As a single, white female myself, I did briefly wonder if I should be taking notes or making a quiet exit? Thankfully, no one tried to steal my identity – only the spotlight, with Kim Marsh proving she’s certainly no one-hit wonder.

For fans of the original film, this stage adaptation feels familiar but far from identical. Rebecca Reid has updated the story for a modern audience, bringing in themes of social media, blurred boundaries, and the risks of letting people too far into your personal world. It’s less 90s thriller, more a cautionary tale that feels uncomfortably close to home.

At the centre of it all is Hedy—one of the lead roles—and Marsh is genuinely impressive. No need to “pure and simple” this: she’s natural, controlled and quietly menacing, even when the storyline occasionally stretches credibility. There’s a confidence to her performance that feels part pop-star polish, part soap-opera steel—she knows exactly how to land the drama when it counts.

Opposite her, understudy Anna Ruben stepped in as Allie. While solid, her performance felt a little stiff in places, lacking the emotional depth you’d want as things start to unravel. It did make me wonder what Lisa Faulkner might have brought to the role, particularly in those more vulnerable moments.

The production itself does much of the storytelling. The apartment set remains unchanged throughout, but its hidden rooms and shadowy corners create an ongoing sense of secrecy—like something (or someone) is always lurking just out of sight. The subtle disrepair of the space mirrors the unravelling relationships at its core, hinting at the darker turns still to come. Even a simple moment, like a picture slipping from the wall, feels loaded with meaning—a quiet warning that nothing is as stable as it first appears. The artwork too seems deliberately chosen, resembling inkblot-style psychiatric tests - subtly reinforcing the idea of Hedy’s increasingly unstable state of mind.

Visually, there’s a striking contrast: soft, neutral interiors – sage green sofa, natural wood tones – framed by harsh red and bright LED lighting. It’s a clever metaphor. Everything looks calm and “Instagram perfect” on the surface, but it’s literally surrounded by warning signs. Add in the unsettling use of music and bursts of sound and flashing strobe lights that almost announce trouble before it arrives, and the tension is constantly simmering beneath the surface, keeping you on edge.

There are some standout touches too. The baby cot suspended above the stage is particularly effective—a constant, slightly haunting reminder of Hedy’s motivation. Amy Sudden brings warmth and credibility as Bella (Allie’s teenage daughter) grounding the piece nicely as everything else begins to unravel.

The first half is slow, but deliberately so. It takes time to build relationships and establish the dynamics, making the second half’s escalation feel more earned. And when it does ramp up, the themes hit hard—highlighting the risks of oversharing, substance misuse, and how seemingly ordinary relationships can spiral into something far more dangerous.

It’s not quite the slick, psychological punch of the original film, but it offers a more contemporary, layered take on the story. And at the heart of it, Kim Marsh proves she’s come a long way from her Hear’Say days—and delivers a performance that anchors a tense, slow-burn thriller which steadily tightens its grip and keeps you watching.

3/5

Emma Belam

Performances:

Tue 21 - Sat 25 Apr 2026

Access bookings: 0333 009 5399 Group bookings: 0207 206 1174 Online Booking: ATGTICKETS.COM/MiltonKeynes* *Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge Facebook, X & Instagram: @MKTheatre

Mean Girls The Musical

Performances: Tue 14 - Sat 18 Apr 2026

I went to see Mean Girls the Musical at Milton Keynes Theatre tonight, and as a 30-something who practically grew up worshipping the original cult film, I can confidently say: this show is so fetch!

First things first - the staging. The classic red theatre curtains are swapped out for a high-school auditorium vibe, which instantly pulls you into Cady’s world. The staging is refreshingly clever and deceptively simple, using digital screens and fluid set pieces to whisk us from the plains of the savannah to the school corridors of North Shore High in seconds. The transitions are so slick they almost become part of the choreography themselves, keeping the pace punchy and the energy sky-high!

And speaking of energy - the cast brought it in absolute bucketloads! The ensemble was brilliant and there wasn’t a single weak link. The leads playing Cady, Regina, and Damien were standouts - each one capturing the essence of the original characters while making the roles their own. Cady’s vocals, delivered by Emily Lane, were a knockout - powerful, polished, and packed with emotion. Max Gill was phenomenal as Damien and had the audience in stitches, while Vivian Panka ruled as Regina, delivering just the right amount of bite and brilliance.

A special shoutout has to go to Faye Tozer, who proves her pop royalty status from Steps is still firmly intact - playing three roles and pulling off a lightning-fast on-stage quick change without missing a beat. Just another example of how slick and well-executed the whole production is.

What I loved most though, was how the musical gives space for the supporting characters to really step into the spotlight. Characters who felt more like side notes in the film are given depth, backstory, and proper musical moments. It’s not just Cady’s world anymore. That shift adds a surprising emotional richness and reinforces the story’s core message about identity, belonging, and the pressure to fit in. It feels more inclusive, more modern and more generous in how it treats every character—which, in turn, makes the message land even more powerfully.

The audience absolutely understood the assignment - so much pink, so much enthusiasm and a well-deserved standing ovation at the end. The show plays with the fourth wall in really fun ways, and the moments of audience participation just added to the electric atmosphere. It felt immersive without ever being cringey (a fine line, and they nailed it).

And that curtain call? Pure joy. The cast looked like they were having the time of their lives, and honestly, so were we. High-energy, feel-good, and bursting with personality, this is far from a “high-school performance” - it’s a top-tier production with heart, humour, and a seriously talented, wonderfully diverse cast that makes everyone feel included.

If you’re a fan of the original film - or just in need of a fun night out - this production delivers on every level. So go “fetch” yourself some tickets before they sell out… because trust me, you’ll regret it if you don’t!

5/5 stars

Emma Belam for Stony Radio

Performances: Tue 14 - Sat 18 Apr 2026

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre

Here & Now - The Steps Musical

Here & Now – The Steps Musical

Milton Keynes Theatre

A brand-new musical based on the songs of Steps is here and you should go and see it now!

A Joyful high-energy celebration of friendship set to iconic Steps hits.

We’ve all had jobs where your work colleagues are more like family and everyone knows everyone else’s business; you support each other through the ups and downs and in-between times but above all else you know you can always count on each other. Imagine that…… interspersed with hit songs by Steps and you’re halfway to Here & Now. From the moment I booked the tickets and was allocated seats (cc) 5,6,7,8, the anticipation was real, I wouldn’t call myself a Steps superfan, but I was really, REALLY looking forward to watching this show, it was everything I’d dreamed of and so much more.

Here & Now follows a group of four friends during their ‘Summer of Love’ whilst working at Better Best Buys supermarket. The intergenerational friendship between the four central characters is one that’s familiar to me and made me feel like I had worked with each of them at different stages of my life. Caz, Vel, Robbie and Neeta are friendly, likeable and oh so relatable. The show tackles deep subjects in a light-hearted way that somehow doesn’t diminish the seriousness of the subject.

The sets are bright and fun and full of Steps related easter eggs for the keen-eyed Steps fans, The costumes are nostalgic and modern at the same time and so detailed, they really add to the overall campness of the show. Every single song had the audience clapping along and at some points people (and by people, I mean me) were doing the original Steps dance routines. Speaking of dance routines, if that’s your thing, then you won’t be disappointed, perfectly performed by the entire cast the multiple routines featured all kinds of props from checkouts to trolleys to inflatable flamingos and unicorns and kitchen appliances. With cast members from TV shows such as Coronation Street, Hollyoaks, Emmerdale, Eastenders and RuPaul’s Drag Race UK, this show is a big sparkly bundle of tow tapping fun, it’s definitely not a ‘tragedy’.

Nadia John

Stony Sunrise, Stony Radio

Two reviews folks!

This week’s special offer - POP TARTS!!

Welcome to the world of Better Best Bargains. A supermarket straight out of the 2000’s. The show follows 4 friends who are set a challenge to find love before the summer ends.

Just as Steps never set out to redefine pop music, so this show doesn’t wish to redefine the jukebox musical. But just like the music of Steps, the show is bright, camp, catchy and lovable.

The cast are great, the dancing energetic and the whole night is so entertaining.

Fans of Drag Race UK will be thrilled with the addition of iconic queen ‘River Medway’ in the cast (minus trademark traffic cone!! Seriously google it!!).

The first half sets the scene and gets the story going. The second half goes full on camp party. You’ll hear all the hits you love. The Hoedown and Chain Reaction were two highlights for me.

Would definitely recommend this show for a great Easter treat. Bopping along to these pop belters is way less calories than an Easter Egg.

Would say 5 Stars but it’s has to be 5…..6…..7…..8!!!

Sean Calvert

Saturday Sunrise

Stony Radio

Here & Now - The Steps Musical

Performances: Tue 31 Mar - Sat 4 Apr 2026

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre

Sunny Afternoon - The Kinks

Milton Keynes Theatre

24.3.26

EVERYTHING a rock n roll story should be!

There is everything to love about this show, brilliant music of course, laughs, high emotions, awesome harmonies, fab costumes, a few punch ups, an inventive use of a typewriter and a great drum solo.

I was a 60s baby so know the music well and, like all the cool kids, I went through a mod phase, I also ended up a punk and watching Sunny Afternoon, I realised that Dave Davies was the original punk rocker. Music has always been an important part of my life and hearing the songs of The Kinks performed live with the story behind them, gave me a deeper understanding. There isn’t a backing track, this is live music all the way and the production is enriched for it.

This is a strong cast of actor/musicians, several actors play several roles, the casting is superb, as is the set and oh, the costumes, particularly the girl’s dresses and boots, I neeeeeed them! The transitions from scene to scene, chapter to chapter, location to location - seamless.

There is some cracking choreography throughout, I really enjoyed the segment on the aeroplane, very witty. The violent moments are brilliantly choreographed too and so realistic.

Before the show starts proper, members of the company are milling around on stage, just like musicians do in a studio or before a gig. The actor playing ‘guitar tec’ is on stage doing their thing (clever move), the set is fab – walls of speakers creating the core performance space as a background to the world of The Kinks with token items of furniture creating smaller scenes that do just enough to tell you where they are, perfect example - dad’s armchair.

We are taken through the beginnings of the band, the ups and downs, the stresses and strains and it is brilliant storytelling from Ray Davies and Joe Penhall, directed by Edward Hall. The exploration and then explosion of the guitar riff for You Really Got Me, is such a buzz and if you’ve ever been in a band rehearsal or a gig where that kind of revelation happens, you will totally get it, if you haven’t, then seeing this, you will.

The Kinks songs have been covered by many artists, I knew I Go to Sleep by The Pretenders was originally a Kinks’ song but not Stop Your Sobbing, I got an insight of that when reading Ed Tudor Pole’s autobiography last year (definitely worth a read) and having seen Sunny Afternoon I have just ordered the autobiographies of both Ray and Dave Davies.

Sonia Friedman Productions and ATG Productions have done it again, no wonder this is a multi-award winning show, it’s not a play with songs, it’s not loads of songs with a bit of dialogue thrown in, this is so much more, it is a class, rock & roll opera and a must see for any music fan or musician.

Runs to Saturday 28th with matinees today, Friday and Saturday

Performances: Tue 24 Mar - Sat 28 Mar

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Age guidance: 12+ due to strong language. Children under 5 years and babies in arms will strictly not be admitted.

Caz Tricks

Stony Radio

Sunny Afternoon - The Kinks

Milton Keynes Theatre

24.3.26

EVERYTHING a rock n roll story should be!

There is some cracking choreography throughout, I really enjoyed the segment on the aeroplane, very witty. The violent moments are brilliantly choreographed too and so realistic.

We are taken through the beginnings of the band, the up and downs, the stresses and strains and it is brilliant storytelling from Ray Davies and Joe Penhall, directed by Edward Hall. The exploration and then explosion of the guitar riff for You Really Got Me, is such a buzz and if you’ve ever been in a band rehearsal or a gig where that kind of revelation happens, you will totally get it, if you haven’t, then seeing this, you will.

Runs to Saturday 28th with matinees today, Friday and Saturday

Performances: Tue 24 Mar - Sat 28 Mar

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Age guidance: 12+ due to strong language. Children under 5 years and babies in arms will strictly not be admitted.

Caz Tricks

Stony Radio

Inspector Morse: The House of Ghosts

Milton Keynes Theatre

17.3.26

The show opens with a bang—or rather, a heartbeat. Lights down, music swells, then cuts to a ticking clock and a pulsing thud. Subtle? Not exactly. Effective? Absolutely. It sets the tone nicely for a murder mystery that knows it’s playing a game—and invites us in from the start.

The “play within a play” concept is the real hook here. Actors spill into the audience, blurring the line between stage and seats, and it works brilliantly. It feels immersive without being gimmicky and makes the leap from TV detective drama to theatre feel justified rather than forced.

Tom Chambers takes on Morse with gusto, leaning hard into the character’s quirks—hesitations, habits, and general social awkwardness. At times it feels like Morse turned up to full volume; intriguing in theory but occasionally distracting in practice. It doesn’t quite gel with the more natural performances around him, which only highlights the contrast.

That said, the supporting cast does a lot of the heavy lifting. The standouts - Tachia Newall as Lewis and Teresa Banham as Ellen - bring an ease and believability that ground the production, giving it moments that feel genuinely engaging rather than overly performed. James Glaston as Freddy and Robert Mountford as Lawrence were also notably good.

Visually, it’s a strong production. The set is clever and atmospheric, with enough 80s detail to set the scene without hitting you over the head with a Rubik’s Cube. Costumes mostly follow suit—though a few questionable funeral fashion choices felt more accidental than intentional (denim at a funeral? Bold move).

There are some niggles. Sound levels and diction weren’t always clear, which is less than ideal when you’re trying to piece together a murder. And one wavering American accent proved more distracting than mysterious—arguably the only thing less consistent than the suspect alibis.

The plot itself delivers; twists, red herrings, and a satisfying reveal that rewards your attention. It keeps you guessing, even if you occasionally miss a clue thanks to the acoustics.

Overall, this House of Ghosts doesn’t quite crack the case perfectly, but it’s still an enjoyable night out. A few rough edges, a slightly overcooked central performance—but enough intrigue, style, and theatrical flair to keep you entertained.

Not flawless, but certainly not a crime either.

Emma Belam for Stony Radio

Performances: Tue 17 Mar - Sat 21 Mar

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre

Legally Blonde is a high energy, bright pink spectacle to behold, shows this fun should be legal!

Legally Blonde

Milton Keynes Theatre

10.3.26

Picture the scene: you’ve been going steady with the perfect guy, and you think, no, you KNOW, he’s about to propose, your sorority sisters help you to pick out the perfect outfit for the most perfect date and then……. Spoiler alert, he dumps you! What’s the best way to get him back? Study hard, get in to Harvard Law School, accidentally bump into him on campus and show him that you can be the woman he wants you to be, simple, that’s like four things…… right?

The huge hot pink neon Legally Blonde sign hanging mid-stage really sets the tone for what’s to come. Based on the 2001 (2001!!!!) film of the same name, Legally Blonde, The Musical shows us that (Girl) Power can also be pretty and pink. The story itself is one we’ve seen before, a book being judged by its cover, constantly having to prove that they’re more than people think they are, the underdog showing everyone exactly what they’re made of: Legally Blonde The Musical does all of this with pristine hair and make-up, phenomenal dance routines, foot-tapping songs, eye-catching sets, and costumes that tell you a million things about the characters wearing them without you even realising.

When I say the hair and make-up was pristine, I’m not exaggerating, every character was coifed to perfection and the make-up, subtle on some characters and bold on others, was top class and helped to cement the traits of each character.

After her stint on Strictly Come Dancing, it’s clear that Amber Davies, who played Elle Woods, knows her way around a dancefloor and so do the rest of the cast, the routines were flawless and every single cast member held their own. None of the songs felt shoehorned into the show, each one played a purpose and carried the storyline along. The vocals were all great, to be able to sing the way they did whilst dancing the routines takes real stamina, and don’t even get me started about the routine with the skipping ropes…. whilst singing, I’m out of breath just thinking about it!

The sets were both simple and detailed at the same time, whether it was Dewey’s Trailer Park, Paulette’s Salon, Elle’s dorm room or any of the other scenes, they were well thought out and visually impressive. The costumes really spoke volumes about each character and their personality, the juxtaposition between Elle and her sorority sisters bright and colourful neon outfits and the Harvard Law students black and white and shades of grey was a subtly obvious and clever distinguishing tool.

The whole cast looked like they were having the best time even the four-legged ones Sprout who played Bruiser Woods and Milo who played Rufus. If you’re looking for a good fun, bright pink underdog story, with singing and dancing, a Greek Chorus and very cute dogs, then this is the show for you.

Nadia John

Stony Sunrise

Stony Radio

The Red Shoes

One of my most used phrases is ‘the arts are essential to life,’ and it is true.

If you have been moved by a poem or piece of music, admired a garden, been amazed at a photograph, or painting, laughed at a comedian or a comedy show on television or experienced the excitement of live theatre, been transported by a book or short story you’ve read, been entranced by a building you have been to, eaten an exquisite meal, smiled at a child’s drawing, loved an item of clothing or jewellery or someone’s hair style… you see where I am going with this – the arts are in everything we experience to a lesser or greater degree. In The Red Shoes, dancing is essential to life, but the desperate need to dance and to be the best dancer ever takes Victoria Page to the ultimate sacrifice having been torn between the man she loves and the man who enables her to dance, no matter the price.

This production is beautiful on so many levels and very cinematic. The costumes locate the story in place and time and define characters too. The stage design is brilliant and whilst there are so many examples I could give, the huge set of stage curtains which take the audience from location to location, from backstage to on stage to being in the audience, drawing us into the story, is wonderful. Superb work by Lez Brotherston (set and costumes), Paule Constable (lighting) and Paul Groothuis (sound).

There are many, varied distinctive styles of dance in this piece, from the pure ballet, especially the stunning point work, some Bob Fossee flavoured moments, an essence of Singing in the Rain and An American in Paris and they flow well from one to another.

I enjoyed this show, I thought I would from the first moment where a single dancer walks onto the stage, you can hear the steps he takes. He stops right at the front of the stage and, taking his time, looking out at the audience, as if he is looking at every single person present, he is commanding, and controlling - what an opening.

The show is visually stunning, there are some great comedy moments and several ‘wow’ moments. However, it is too ‘busy’ in places and some sections could have been trimmed without losing anything, for example the segment on the beach seemed a tad too long and overall, I wasn’t emotionally moved by the piece.

I also didn’t see the point of some characters smoking, I understand it was ‘of the time’ but the costumes and dance styles cover that, it doesn’t really add anything to the piece and for me it was a distraction.

However, as always with Matthew Bourne and New Adventures, The Red Shoes is worth seeing, in fact, I would suggest you see it this week then catch Diversity next week, two totally different styles of dance performed to the highest standards.

I came to this cold, I didn’t know the story of The Red Shoes and hadn’t seen the Powell and Pressburger 1948 film, you don’t need to in order to enjoy this piece, you don’t even to follow exactly what happens on stage (and there is an awful lot happening on stage, almost all the time) to enjoy it. You can simply sit back and soak up the spectacle. As with all the arts – it is for everyone.

Tickets are on sale now and are available at ATGTICKETS.COM/MiltonKeynes

Performances: Tue 10 Feb – Sat 14 Feb

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Caz Tricks

TINA: The Tina Turner Musical

Milton Keynes Theatre

28.1.26

I don’t think that I’ve ever considered myself to be a Tina Turner fan, but I definitely am now! Last night in Milton Keynes, a packed Theatre had the absolute pleasure of experiencing Tina: The Tina Turner Musical.

This show is nothing short of a masterpiece, it covers the life of the iconic star from her humble beginnings in Nutbush, Tennessee to her re-emergence as a global superstar and beyond. The story itself spans over six decades and the costumes, hairstyles, make-up and set for each era absolutely let you know when you are.

Milton Keynes is the final venue on the almost yearlong tour of this show, but entire cast performed with opening night energy, I believed that every single member of that cast was who they were portraying in that moment. The were points in the show where the audience reacted collectively with an audible gasp or chuckle, reinforcing the realness of the scenes being played out. Every single song was amazing and had me either tapping my feet, clapping my hands or nodding along (sometimes all three) apart from maybe the first rendition of What’s Love Got to do with it in act 2, but you’ll have to watch the show to understand why.

The whole story draws you in and keeps you rooting for Tina from start to finish, it tackles the unpleasant truths of racism and domestic violence, which were both a huge part of Tina Turner’s journey, in an honest and upfront way and makes you respect that journey even more.

The vocal abilities of the cast were as good as any I’ve ever heard, the accents were authentic and the singing blew me away, the final scenes had the entire audience on their feet, and the live band were phenomenal. The show is on at Milton Keynes theatre until 7th February, and I’ve already checked the website to get tickets to see it again. Even if you’re not a tina Turner fan, like me, I would urge you to go and see this show, it’s, and I promised myself I wouldn’t do this…… simply the best!

Nadia John

Stony Radio

Performances: Tue 27 Jan - Sat 7 Feb 2026

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre

Dear England

Milton Keynes Theatre

20.1.26

Made me love football again

If you know me as a theatre maker, you know I like a clear stage. If the script and the company are good enough then the play can shine with just that. This show is a perfect example of my kind of theatre but enhanced with a stylish yet minimal set, great tec and music, classy choreography and on point voice work. Everyone maintains the voices and accents, especially when one actor is portraying several different characters. There are some particularly enjoyable caricatures which are spot on, poking fun at some real ejits in the public domain. The costumes and wigs alongside the actor’s skills tell you much about the character portrayed, big up the dressers as there are some super-fast changes in this show.

James Graham’s script is extremely funny, very moving and is about so much more than the beautiful game. Using the dreaded penalty taking for the individual player and dreadful penalty record of the England team, the story explores how Gareth Southgate changed the dressing room vibe by creating a whole team with a more balanced, collaborative and kinder ethos, something the great Arsene Wenger did at Arsenal. This democracy was continued in the programme where the performers were listed in alphabetical order rather than to a ‘star system’, I like that a lot. Small yet significant moments in the text added depth, for example when the players learn what the three lions on the shirt represent historically. This England team of young men with varied cultural backgrounds gaining an understanding of the wider impact of the crusades added an important layer to the story.

There were many moments where the audience were silent and still, no mean feat when there were school groups in, this demonstrates how gripping the play is, everyone holding their breath as one.

I really liked the way the fourth wall was broken, drawing the audience in and making us part of it, the mentions of our fab city of MK were entertaining too.

The choreography is stunning; on the pitch, in the dressing room, at training sessions, using slo-mo and freezes producing some brilliant stage images and using rhythms enabling transitions from scene to scene, moment to moment.

As an aside the Director Rupert Goold, also directed one of my favourite Shakespeare films, Macbeth (with Patrick Stuart and Goold’s wife Kate Fleetwood in the lead roles) I recommend you check it out.

Being a football manager is like being a theatre director, you can do all the prep but once they are on the pitch/stage, it is out of your hands. All the work can fall apart if the team aren’t there for each other, if an individual loses focus and/or stops believing in themselves or they get sloppy.

Dear England is a show for everyone because its about human beings coming together and negotiating their way through huge national and very public scrutiny, it’s about team building, mental health awareness, individuals coming to terms with personal and collective failure but learning that ultimately, unity and belief are the way forward.

The media and the sports fans have a job to do alongside the players, rather than slagging them off when they don’t achieve their potential, be there for your team through the good times and the bad because we are in this together and that is how the England men’s team could one day shine and win big. As the play notes, the England women’s team have achieved this so there is hope boys. This play reminded me what watching one’s team can do, it made me want to watch football again and to believe…

If you are a football fan who isn’t into theatre, then this is ideal for you.

If you are theatre fan who isn’t interested in football, then this is ideal for you.

Dear England

Performances: Tue 20 Jan - Sat 24 Jan 2026

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre

Age Recommendation: 10+ It is a bit sweary.

To hear Lee Scriven and I chat about the show...

https://www.mixcloud.com/stonyradiouk/21126-caz-tricks-in-conversation-with-lee-scriven-dear-england-mk-theatre/

FRIENDS! The Musical Parody

Review Nadia John

Full disclosure, I’m a FRIENDS superfan and I went into this with high expectations which I didn’t think would be met. To paraphrase my favourite Friend “Could I BE more wrong?!”

Like many sitcoms of that era and before it, FRIENDS was filmed in front of a live studio audience, and you instantly get that vibe on entering the theatre. The warmup guy draws you in, and you feel like you’re part of the show. The set changes were smoothly done by the “TV studio crew” and each individual set had details which made them recognisable locations from the show.

Iconic characters Janice, Marcel, and (ahem) Tom Selleck made appearances, along with the much-loved Hugsy, Chick and Duck and Mrs Whiskerson. The ensemble cast absolutely nailed each of their characters, Daniel Parkinson as Chandler and Eva Hope as Rachel particularly stood out for me, the nuances, mannerisms, and vocal inflections of their performances had me doing double takes more than once.

It was clear that Jennie Quirk, costume designer, did her research the costumes were absolutely on point, and I was suddenly reminiscing about the fashions of the 90’s.

The original songs shone a light on subject areas that fans pondered when watching the show such as: The Only Coffee Shop in New York City, 45 Grove Street – How Can We Afford This Place? , Will They or Won’t They?, and of course We were on a Break! – having songs interspersed throughout the show didn’t seem at all out of place, the entire cast held their own vocally, special shout out to Edward Leigh as Gunther for his performance of Part of Their Gang, we feel you buddy.

The hair and make-up also helped draw you in to the “Friendsiverse” and regardless of whether you‘ve watched all 10 series on repeat since the 90’s or if you’ve never seen a single episode (or anything in between) this show is an upbeat, good fun jaunt through the lives of six firm friends and I guarantee you will come out of the theatre with a smile on your face, and feeling better than you did when you went in.

Book your tickets now!

Please note that the Friday matinee is a late one at 5.30pm and the evening show is 8.30pm, Saturday matinee is 2.30pm, all other evening shows start at 7.30pm

Performances: Tue 13 - Sat 17 Jan 2026

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre

Roll Up, Roll Up, Panto is upon us
Oh Yes it IS!

Goldilocks and the Three Bears

Milton Keynes Theatre

10.12.25

Fabulous Festive Fun DELIVERED!

This spectacular panto isn’t just happening in Milton Keynes, our fab city is celebrated in the show, from the opening number to some gags in the script.

The running time is 2 hours 20 including the interval and they get SO much in - storytelling, songs, dances, hilarity, the terrific Timbukto Tumblers, mind blowing illusions from Phil Hitchcock, the uber glamour of Dame Betty Barnum played by David Robbins (who also makes all his own costumes and wigs), the dastardly Baron Von Blackheart (love his theme music) played by Gary Milner who is revelling in the baddie roll and properly cracks the whip, the adorable Goldilocks played by Lucy Conley and of course, the ringmaster and Lord of the Laugh, Brian Conley as Billy Barnum.

They all work so well together and its great watching the daughter/dad relationship on stage with Lucy and Brian. Not forgetting the three bears with their wobbly bellies (they must be SO hot in those costumes), the orchestra (hurrah for live musicians) and the ensemble, all directed by the brilliant, award-winning Kathryn Rooney.

Brian absolutely knows how to play the audience with his perfect balance of inclusion and teasing, he is old school entertainment, and it is essential that those skills are not lost for future performers and audiences. Lucy has it and I know will continue the tradition, as will Max Fulham who was in the MKT panto last season as Smee, Max is a ventriloquist of extraordinary talent – thank goodness they will be keeping traditional panto alive in the future.

The set and costumes are as always superb, SO many sparkles and sequins. This is, as always, a 10 out of 10 and I will be going again in the new year. Hurrah for Crossroads Pantomimes, they really have it sussed.

Performances: Sat 6 Dec 2025 - Sun 11 Jan 2026

Relaxed performance January 6th - typically, they are for people who have autism or have sensory communication disorders or learning difficulties and some theatres also occasionally run them for people with dementia.

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X and Instagram: @MKTheatre #MKPanto

https://www.atgtickets.com/venues/milton-keynes-theatre

Shiny Hussain and I had the pleasure of chatting to Brian and Lucy Conley, David Robbins and Gary Milner a couple of months ago, Brian and Lucy both said how much they like MK. They were all a delight to chat to, you can hear them on the our listen again tab.

https://www.mixcloud.com/stonyradiouk/101225-stony-sunrise-brian-and-lucy-conley-mk-theatre-panto/

https://www.mixcloud.com/stonyradiouk/101225-stony-sunrise-gary-milner-mk-theatre-panto/

https://www.mixcloud.com/stonyradiouk/21225-stony-sunrise-david-robbins-mk-theatre-panto/

Mary Poppins - Milton Keynes Theatre

31.10.25

Totally Perfect in Every Way

Just wow, where do I start? Cameron Mackintosh’s spectacular, funny, magical, moving show hits every target, the cast, set, costumes, illusions, lighting, projections and a live orchestra deliver a dazzling show resulting in a very happy audience. Look at who else is behind it; book by Julian Fellows, music by Richard M. and Robert B. Sherman with new songs and additional music from George Stiles and Anthony Drewe, choreographed by Matthew Bourne and Stephen Mear, and directed by Richard Eyre, it is genuinely one of the best shows I have ever seen and is in my top five favourites.

Like the film, this stage show of Mary Poppins is of course perfect for the whole family (although please note there is age guidance of 7+ and under 5 year olds will not be admitted) but the vast majority of the audience were adults, and everyone loved it! The exquisite set design has so many layers with, for me, the truly magical reveal of the Banks house reminded me of a pop-up book which is genius. There are lots of laughs, some creepy moments too and the illusions are mind blowing.

Over 20 great songs and dances, including tap dancing with a specific tap section you may never have seen and might struggle to work out just how Jack Chambers (the adorable Bert) did it, but my goodness its spectacular. The physical work of the company creating tableaus that then morph into dances is stunning, the classic songs are there and gave goosebumps as do the songs that aren't in the film.

The whole company are brilliant; of course, the leads are wonderful, Stefanie Jones is Mary Poppins, Lucie-Mae Sumner as Winifred Banks (check out the chat I had with her on Stony Sunrise, Stony Radio next week) and Michael D. Xavier as George Banks are fab but I have to give a shout out to Connie Jones who played Jane Banks and Oli Manning who played Michael Banks, these young actors were, like the rest of the company, superb and I know they are professionals, but they are still children and were equal to the adults as well as being on stage for much of the show, keep your eyes open for them in the future.

There is so much to love about this show, a multiple level of brilliance that leftme in wonder, admiration, joy and with a face that aches from grinning and a heart full.

Absolute 10 out of 10 – do not miss it and don’t forget, group bookings get a discount.

Performances: Wednesday 29 Oct – Saturday 22 Nov 2025 (Evenings @ 7:30pm, Wed, Thu & Sat matinees @ 2:30pm, Sun matinees @ 2pm)

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre
Caz Tricks

2:22 A Ghost Story - Milton Keynes Theatre

15.9.25

“THERE’S SOMETHING IN OUR HOUSE. I HEAR IT EVERY NIGHT, AT THE SAME TIME."

A young woman is alone in an old house that is clearly undergoing renovation. It is late, she is decorating, there’s a baby monitor on the coffee table, the baby is asleep in the bedroom upstairs, nobody else is in the house, her husband is away, she is a new, first time mum. The security light comes on outside, the urban foxes screech, the tension builds, the clock says 2:22am and there are footsteps on the floorboards above…

This clever script by Danny Robins locates us in the here and now, four young adults are having supper and it emerges that the house the hosts have recently moved into might be haunted, weird stuff is happening, it doesn’t make sense, is there a ghost or is there a rational explanation?

In 2:22 the audience are taken through a night where Jenny, Stacey Dooley, tries to convince her husband, the ever rational and never wrong Sam, Kevin Clifton, that the new home they are making by ripping the heart out of the old one is haunted, Sam has been away and is having none of it. Sam’s uni pal, Lauren, Shvorne Marks, and her fella Ben, Grant Kilburn, are the guests, Ben is open to the idea of a ghost, very open and he is understanding of Jenny, Lauren swings from one to the other and sways increasingly as the copious amounts of alcohol she consumes take over, but throughout it, Sam, a committed atheist, rejects the idea totally, he does not believe in ghosts. The clock ticks towards 2:22am the time when Jenny has heard the ghost, she has insisted they all stay up until then to prove she isn’t making it up and she isn’t mad. The reveal at the end is a good one, the evidence is there throughout but subtly done and no spoilers from me.

It's a witty play, a good balance of really funny and super creepy, the debates between the four characters are engaging, it’s technically challenging and the timing must be precise. The set, the cast, lighting and soundscape means this could be a 5 star show and, unlike the last time I saw it, it absolutely is, it works beautifully. A mention too for company members Rochelle Harvey and Paul Sockett, an audience might wonder why they have such small (yet essential) roles but remember, they are understudies so deserving of a notice and thanks.

Last time I saw this show, the woman on my left, a total stranger, jumped an awful lot, screamed a couple of times and grabbed me a few times too which was amusing. At least this time the woman on my left who jumped, grabbed and at one point elbowed me was my friend! Despite not liking scary stuff, Judith Brooker really did enjoy it!

2:22 A Ghost Story gets a 5 out of 5 from me as this time it completely succeeded in telling the story brilliantly, thanks to a superb cast, spot on timing, great writing, design and directing.

Even though I have seen it before, even though I knew what was going on and going to happen I got the tingles.

Caz Tricks

Joseph And The Amazing Technicolor Dreamcoat

Milton Keynes Theatre

7.8.25

Fab songs, fab cast and so funny!

When I was about 8 or 9, we did Joseph at school, I was in the chorus and have loved the songs ever since, but I have never seen the show so didn’t know what to expect. I certainly didn’t expect to remember all the words to all the songs we sang in our production, but that just demonstrates the importance of the arts in education, all these many (many…many) years later, the words are still with me, which never happened with my times tables!

I also didn’t expect it to be so funny or quite as bonkers but then it was written as a school show by Tim Rice and Andrew Lloyd Webber, so that does make sense. Get the programme to find out more.

A children’s show needs light and shade, lots of laughs and silliness whilst telling a story of hope, survival and forgiveness. Joseph’s brothers get sick of him, take his flash coat and dump him in a well but pull him back out and sell him into slavery (great camels and of course they spit) then they tell their dad he is dead. I mean, I know he was annoying swishing his coat around and sharing his dreams of dominance over his siblings and parents shouldn’t have favourites but… I suppose that’s brothers for you. Of course, there is a happy ending, the show is jam packed with songs and only a little dialogue linking it all.

It's a perfect ensemble piece, so everyone gets a chance to shine, lots of different musical genres included and frankly, for me, anything that has tap dancing in it, is a winner! A huge cast, stunning set, costumes, choreography and lighting and with a live orchestra. A big shout out to Conductor/Musical Director John Rigby who was a joy and owned the audience!

So many fab performances but my goodness, Adam Filipe is amazing as Joseph and what a gorgeous voice. Loved it when some of the child actors took on older roles for example, as men with beards or when one was the goat sacrifice and a girl as Pharaoh’s Butler - no spoilers but many great moments and the youth owned it. Respect to the dressers who were super busy with so many costume changes.

I understand this is an updated/modernised version but there were a few things that irked. I didn’t get why the Narrator (Christina Bianco) was dressed so glamorously when telling the children the story at the beginning as the children were all in casual clothes or see the need for the mobile phone and as superbly talented as Bianco is, I felt she was overused. Why does The Narrator play Joseph’s father and Potiphar’s wife when there are other actors who could play those roles? I also had a moment of reflection which took me out of the production when listening to Close Every Door, it’s in the lyrics.

However, from performers to the design and the 24 songs in about 2 hours is a great night out, it is a lovely show to take children to and how lucky are we to have Milton Keynes Theatre?

Runs to Sunday August 10th August – yes, SUNDAY!

2 shows Saturday and 2 shows Sunday – check the Sunday times, half an hour earlier.

Performances: Wed 6 Aug - Sun 10 Aug 2025

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre

Caz Tricks

Top Hat - Milton Keynes Theatre

23.9.25

TOTALLY TAPTASTIC!

How often is it that the whole audience leave the theatre smiling, chatting to total strangers and feeling that the world simply better place? Well, with Top Hat they certainly do. What a show, from the opening moment to the Conductor, Stephen Ridley, downing his baton as the audience were leaving, it was a spectacular, uplifting, laughter filled, carnival of Hollywood glamour.

This stage adaptation of the 1935 Fred Astaire and Ginger Rogers film, with music by Irving Berlin, begins with a full-on tap routine to Puttin’ on the Ritz, which delighted me and everyone in the auditorium. The grin only left my face when I was laughing, this show is hilarious, it is a proper feel-good night out.

When chatting to a woman and her daughter in the interval, the mother and I knew all the songs as we’d grown up watching the films when we were children and her daughter knew a couple of songs as they have been used in ads!

Almost 100 years on, the Hollywood heritage shines through and, in the programme, director and choreographer Kathleen Marshall tells how she assisted her brother Rob (film/theatre director and choreographer) on his first Broadway show; he had assisted Graciela Daniele who assisted Bob Fosse who was supervised on his first show by Jerome Robbins – what a legacy!

It is a very simple story of mistaken identity, strong women, daft but often well-meaning men and that is all you need with the music and dance numbers, the glitz and the glam.

When I spoke on Stony Sunrise (www.stonyradio.com) to Jeremy Batt who is in the company, one of the things we discussed was the number of people involved in the show, check the programme for the long list but when you go to see it (and I really urge you do to so), note the costume changes, the often very quick and full costume changes. Then consider all those who are backstage dressing, helping the performers in and out of their costumes and that is just part of what goes on behind the scenes. This helps us understand just what is involved in staging a huge show like this.

The set (Peter McIntosh) is just genius, a part revolve stage which changes the location cleanly and magically taking us to where we need to be, it’s a huge cast, a huge show and hugely enjoyable.

While there's moonlight, and music, and love, and romance on stage, you just need to sit back and enjoy it all in Top Hat.

Performances: Tue 23 – Sat 27 Sep 2025

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Caz Tricks

Page updated

Google Sites

Report abuse

Mean Girls The Musical

Here & Now - The Steps Musical

Sunny Afternoon - The Kinks

Milton Keynes Theatre

Sunny Afternoon - The Kinks

Milton Keynes Theatre

The Red Shoes

TINA: The Tina Turner Musical

Dear England

Review Nadia John

Roll Up, Roll Up, Panto is upon us Oh Yes it IS!

Mary Poppins - Milton Keynes Theatre

2:22 A Ghost Story - Milton Keynes Theatre

Top Hat - Milton Keynes Theatre

Roll Up, Roll Up, Panto is upon us
Oh Yes it IS!