The Car Man fires on all cylinders

I think this is my favourite Matthew Bourne so far and I have seen a few. I mean, I know I say that almost every time I see one that is new to me but this, there is just something about this story, how it is told, where it is set, the music, the moves and the feel that is just my vibe.

I love Bizet’s Carmen, seen it twice, listened to it many times but you don’t need words to tell this version of the story. I have seen, performed in and loved West Side Story, I have seen Grease that many times I know most of the dialogue, not just the songs and there are any number of other similar shows/films like Singing in the Rain that came to mind when watching The Car Man, and it encapsulates them all. It doesn’t hold back on detail, is performed superbly and is the perfect mix of passion, power, sex (quite a lot of sex) and some laughs.

It isn’t Bizet’s Carmen story, there are flavours of it, but this one is set in a 1950s garage-diner in the small American town of Harmony. The story begins as the audience enter with performers on stage and things are happening, you get glances of the characters that are expanded on later. Everything is ticking over, the pecking order is set, the cool kids and the not so cool kids know their place, there is the typical bullying you get when egos and testosterone are in the mix but then along comes a very, very cool stranger – very Wild West – his presence turns their world upside down and with mixed consequences.

With dance, particularly ballet, audiences might expect the whole company to be willowy and wiry but there are some real muscles on stage. We were delighted last night to see that the role of Dirk was played by Tim Hodges who trained at the Woollard Tiffin School of Performing Arts in Stony Stratford, he also trained at Tring Park as did a few others in the company – we love a local link. I am not going to name any other performers because they are all fab.

Directed and choreographed by Matthew Bourne, The Car Man has music by Terry Davies and Rodion Shchedrin’s Carmen Suite (after Bizet’s Carmen), with sound by Paul Groothuis, lighting by Chris Davey and design by Lez Brotherston. I have particular love for the lighting design, which was at times cinematic and blew my mind, just how did they achieve what they did – don’t tell me, I don’t want to lose the magic but wow!

This is a show that everyone should see, I’d love teenagers to see this, in part because it is the human body at its best showing what we can achieve if we work at it and for the lessons in the story. I urge you to get the programme because it not only outlines this show, but it also tells you so much about the hugely important work that Matthew Bourne and New Adventures do in the world of dance. https://www.new-adventures.net/

Maximum torque, full acceleration and the brakes on when needed - often seemingly when the performers are in midair!

Tue 7 – Sat 11 Jul 2026

Matinees Thursday and Saturday

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+ The Car Man contains scenes of a sexual nature, brief male nudity, strobe lighting and gunshots.

Facebook, X & Instagram: @MKTheatre

To hear more about the show and some tunes inspired by seeing  it

https://www.mixcloud.com/stonyradiouk/weds-8726-stony-sunrise

 Mind bogglingly brilliant dancing

Lord of the Dance, the global phenomenon that redefined Irish dance, is celebrating its 30th Anniversary. Flatley’s show is a mix of dance, music, live singing and storytelling.

I have wanted to see Lord of the Dance since it started in 1996 but never managed to until last night. The show features over 150,000 taps per performance, and I LOVE tap. The dancing is brilliant and at times, mind boggling – how do these superb athletes manage to do those steps, that quickly and HOW flexible are those ankles? The stamina, the precision and the power shine thorough every piece.

Flatley retired from performing during his final tour in 2016 but is still part of the show with video performances at the beginning and end.

The costumes are stunning and the dancers amazing. The company dances are wrapped around a mythical story of good and evil with The Little Spirit at the heart of it, she plays the theme tune on her whistle which is broken by The Dark Lord, The Lord of the Dance comes to help her but is captured, partly through the temptation of Morrighan (and in that outfit I can understand why he was tempted), as I said above, the costumes are stunning. Of course, good wins over evil, The Lord of the Dance escapes and the whistle is mended.

A solo singer appears throughout the show, in part I presume to enable the company to have their many costume changes, two superb fiddlers are woven into it and the live fiddle playing really worked for me. I didn’t get a programme so can’t name the performers.

I would recommend people see this show because the Irish dancing is utterly brilliant and awe inspiring.  

Flatley says "The magic of Lord of the Dance lives on in the hearts of our audience, and I am thrilled to bring this iconic show back to the UK in 2026. This 30th Anniversary Tour is a celebration of the incredible journey we've shared with fans over the years. It’s a testament to the enduring power of dreams and the spirit of dance. … a love letter to our fans and a reminder of the magic that dance can bring to the world.”

The dance does bring magic, but I have a few niggles; the music was too loud, the lighting blinding at times, the fight scenes could have been extraordinary but were not and it could lose 20 minutes without losing any content. The ‘Flatley character’ whooping up the audience is unnecessary, I feel The Lord of the Dance should be about the dancing, now Flatley is no longer part of the live performance, they could simply tell the story with the character in it, the dancing is so good, the ‘whooping up’ isn’t needed.

Despite my niggles, I really would recommend it because Irish dancing is something to behold.

Please note it runs to Sunday!

https://www.atgtickets.com/shows/lord-of-the-dance-30th-anniversary/milton-keynes-theatre/

Performances run at Milton Keynes Theatre from Mon 22 - Sun 28 June.

Tickets are available now via ATGTICKETS.COM/MiltonKeynes

Performances: Mon 22 - Sun 28 Jun

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 for Stony Radio

From the moment you arrive and are presented with your ticket to Thebes, it’s clear that you’re in for an experience like you’ve never had before. 

The set was dark and minimal, and successfully evoked the feeling of a Utopian Dystopia, with the lighting and incidental music adding to this. The intimate performance space and the skill of the cast will help immerse you in this ancient Greek tragedy, making you feel almost subversive for being there, as “no public gatherings will be tolerated". 

The movements by the cast were phenomenal, from the fight scenes to the dance sequences, and particularly the movements of the Guardians of the Chord (I’m still not 100% convinced that they all aren’t at least part bird), they all seemed to be both complex and effortless at the same time. 

This play is visually stunning, no matter where you look on stage, there is something good to see, if you’re not looking directly at the action in front of you, your eyes will land on action elsewhere. The make-up and costumes are eye catchingly clever, the thought and little details, such as opposite pinstripe trousers for opposing characters, captures your attention and the superb storytelling keeps you transfixed. 

The music, both the original songs and original arrangements of existing songs were well written and superbly performed, they added another layer to the show, and helped solidify the narrative importance of the Guardians of the Chord.

I urge you to book your tickets now https://www.ticketsource.com/carabosse-theatreantigone2084

Trigger Warning- contains depictions of violence, death, swearing and scenes of a sexual nature. 

Minimum age 14 years old 

Swinfen Harris Hall, London Road, Stony Stratford

Runs to Thursday June 25th

Nadia John

The Karate Kid: The Musical delivers a nostalgic, feel-good evening that packs a punch for audiences of all ages. Rooted in the iconic 1980s film, refreshed by the 2010 movie and given new life through the recent, popular Cobra Kai television series, it’s a show that bridges generations and appeals to the whole family. As a millennial with an older brother born in the 80s, I found myself recognising why this story continues to resonate as it did back then—especially with today's pre-teen audiences.

The production begins with a lone bonsai tree stood in the middle of the stage, foreshadowing the themes of balance, patience and dedication that Mr Miyagi seeks to instil in our Karate Kid (Daniel). Like a bonsai itself, adolescence requires care, attention and guidance to flourish—an apt metaphor for the show's target audience.

Visually, the production embraces a wonderfully minimalist aesthetic, perfectly reflecting the Asian philosophy of "less is more". Sliding screens, sparse furniture and inventive lighting create scenes with remarkable efficiency, allowing the storytelling to take centre stage. The bold use of red during Cobra Kai's appearances instantly signalled danger and aggression, while contrasting army greens subtly referenced the military influences underpinning the story. It was simple, smart and symbolic—a design choice that this theatre student particularly admired.

Musically, The Karate Kid offers something refreshingly different from many shows currently on stage. The score is unapologetically steeped in 80s influences, from its power ballads to its synth symphonies. At times, the vocal styling felt wonderfully Mariah-Carey-esque, with performers demonstrating vocal agility every bit as impressive as their agility on the mat. High kicks were matched by equally high notes and the cast consistently struck a chord with the audience with their sound performances. The well-choreographed stage combat took things to the next level, blending theatrical storytelling with martial arts precision. Whether belting out the tunes or kicking it on stage, the cast maintained energy and focus from start to finish.

Sharon Sexton's heartfelt Lucille LaRusso provided the show's emotional, power-ballad knock-out moment, while Adrian Pang brought warmth and wisdom to Mr Miyagi. Gino Ochello proved a winning Daniel and Matt Mills showed ‘no mercy’ as rival Cobra Kai sensei John Kreese. Like a perfectly curated 80s mixtape, each performance hit exactly the right note. Special mention must go to understudy Elena Breschi, who stepped into the role of Ali Mills for tonight's show and delivered a confident, charismatic performance. What I found particularly touching was the curtain call, during which fellow cast members openly applauded and praised her achievement. It was a lovely moment that spoke volumes about the camaraderie within the company—a cast who clearly embody the show's own messages about family, friendship and supporting one another.

The finale landed its final blow with confidence. After the rivalries, victories and hard-fought lessons, everything returned to the show's calm centrepiece: the bonsai tree. A simple yet powerful reminder that true strength lies in balance, patience and growth. A sensei-ational ending to a show that proves The Karate Kid still has plenty of fight left in it.

Emma Belam for Stony Radio

4/5

Performances: Tue 16 - Sat 20 Jun  

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 

Mission Accomplished

If ever there was a show that proves the British can find humour and heart in the most unlikely of places, it's Operation Mincemeat.

Opening at Milton Keynes Theatre last night, this touring production arrived with some rather sizeable shoes to fill. After all, this is the little fringe musical that could — a show that over the years has collected Olivier Awards, rave reviews and an army of devoted fans (myself being one of them!)

From the moment the curtain rose, everything felt as slick as a well-buttered crumpet. Ben Stones' deceptively simple set whirred into life like a finely tuned wartime machine, with desks, doors, staircases and props appearing exactly where they needed to be at exactly the right moment. Not a beat was wasted. Not a button out of place. It was organised chaos at its finest. The whole thing rattled along at such a pace that if you blinked, you'd have missed three costume changes, four accents and at least six different characters!

And that's where this cast truly earns its stripes.

Watching five performers seamlessly transform into dozens of wildly different characters is enough to make your head spin. One minute they're upper-class military officers, the next they're Spanish fishermen, secretaries, Nazis or spies. It takes serious talent to achieve what they did and every cast member made it look ridiculously easy. Sean Carey was brilliant as Charles, delivering impeccable comic timing and never losing sight of the character's charm. Another notable performance was from Holly Sumpton who brought real heart to her character Montagu, combining steely determination with warmth and humour.

But a special mention must go to Christian Andrews, whose portrayal of Hester was an absolute delight. Equal parts hilarious and heartfelt, he commanded every scene he was in. And then came Dear Bill - good heavens! For a show packed with wonderfully daft British humour and enough wordplay to make your average dad proud, Dear Bill lands like a perfectly aimed emotional torpedo. It was beautifully sung, utterly moving and enough to leave even the stiffest upper lip wobbling.

Overall, the vocal talent across the cast was exceptional. The harmonies were glorious, the energy infectious and every performer brought bucket loads of charisma to the stage.

Clever, heartfelt, brilliantly performed and perfectly polished it's a production executed with military precision.

Operation Mincemeat is the absolute bee's knees, the full monty, the dog's you-know-what! It's laugh-out-loud funny, wonderfully eccentric, quintessentially British and yet unexpectedly poignant. Just when you think it's all silly hats and secret agents, it quietly reminds you of the very real people at the heart of the story.

5/5

Performances: Mon 8 Jun - Sat 13 Jun 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

Emma Belam for Stony Radio

Yes, its ballet, yes, it is of the highest quality and yes, it is really funny!

Before the red curtain rises the amusement begins with the announcement for replacement dancers, Araf Legupski, Maya Thickenthighya and Boris Dumbkopf to name a few.

The Trocks are on their 50th anniversary UK tour, combining some of their previous pieces with newly commissioned work.

They take classics and satirise them; the layers of fun are woven in, be it a well-choreographed stumble or facial expression or an occasional vocalisation. They take great ballet and mess about with it whilst maintaining the excellence of the dance. As the programme states, ‘what makes this company extraordinarily special is their immaculate technique and daring physicality, surpassed only but their impeccable comic timing’. When I spoke to the Artistic Director, Tory Dobrin recently, he emphasised the importance of the comedy in what they do. See the Stony Radio website, reviews page.

When there are a several dancers in the piece, there will be a little moment of mirth and often that little moment ripples and grows.

The costumes and make-up are exquisite.

This is a male company where the men dance the female roles, they are not parodies, they dance the roles beautifully and so much of it is pointe work. There also comes a point where one doesn’t think about the gender, one simply loves the performance.

Part of the comedy comes from the way the stories are told, perhaps the someone’s inner exhaustion emerges in the extreme, personal vexations with others on stage come to the fore, someone tumbles and make contact when they shouldn’t... I was reminded at times of children in their early dance shows when they get cross or excited and see a family member in the audience or are dancing well only to rush part of the dance to the next bit they like.

There was one short piece where I was remined of Peter Brook’s line ‘A man walks across this empty space, whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.’ The dancer entered, is in place and waits… nothing… he then moves forward and waits… and so on… right across the stage. The audience begin to giggle then the laughter rises, genius in simplicity.

The piece where the follow spot became a performer was great too.

We are given more than one pas de deux and they range from serious, to serious but falling into disrepair or serious with little moments of the character’s character emerging from within to tell a different story to the one they should be telling.

Judith Brooker said ‘Technically brilliant. Comedy timing - brilliant! Never seen anything like it!!’

If you like ballet and fancy a laugh then this is for you, if you like a laugh and fancy ballet then this is for you, if you like a laugh and aren't sure about ballet then this is for you.

Only this evening to go – don’t miss it

https://www.atgtickets.com/shows/les-ballets-trockadero-de-monte-carlo/milton-keynes-theatre/tickets/040410F8-0D7D-43A9-9F2A-B1EE9B85B16F

My chat with Tory Dobrin is on this link, about one hour 15 in

https://www.mixcloud.com/stonyradiouk/monday-1626-stony-sunrise

As soon as you enter the auditorium - you know this isn’t going to be a musical in the traditional sense of ‘sit back and listen’ – the vibe is instantly friendly, high energy and inclusive where the set (designed by Oli Townsend) is an impressive fully working bar called ‘The Jungle’ allowing audience to buy a drink on stage and interact with cast members. 

Those not drinking on stage didn’t feel left out! – cast members also mingled with the audience in the Stalls, chatting and gave out free beer!

As the show starts, audience members are encouraged back to their seats and then the real fun begins! The nine characters are introduced briefly by ‘The Poet’ (played this evening by Lewis Dragisic) who provides the reflective spoken word monologues throughout the show touching on emotional vulnerability and grief and emphasising acceptance, community and friendship.

An extraordinary cast of nine multi-talented guys combine beautiful and powerful 9 part harmonies and amazing musicianship to provide a heart-warming high energy experience to show stopping hits from Queen, Bon Jovi, The Kinks, The Proclaimers, Luther Vandross, Paul Simon and Sia to name just a few! 

For me the choreography (directed by Freddie Huddleston) was outstanding – clever non-stop movement around the stage and interaction with each other – along with foot-stomping high energy performances – the singalongs were encouraged and immediately taken up by the audience.  My personal favourites were the inventive tap dancing routines brilliantly performed by Jack Skelton and the routines using beer glasses performed by all the cast. 

The main show ended with Fun’s ‘Some Nights’ – after which there was a surprise of two local choirs in the audience (The Buskerteers and The Collaboration Choir) who sang powerfully and beautifully along with the cast Sia’s ‘Chandelier.

The Cast then finally said goodbye with the folk song ‘The Parting Glass’ traditionally sung at the end of a gathering of friends.

The applause and standing ovation at the end echoed just how well this show had been received and enjoyed. 

All in all, an uplifting celebration of community and friendship which I would highly recommend you see.

5/5

The Choir of Man Performances:

Tue 26 May - Sat 30 May 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

Like many I read the book when I was a teenager and have seen the film a couple of times, but you can’t beat live theatre, especially when telling a story like this.

To have 1400 people sit in silence, being held in the tension of the moment together, witnessing the horrendous injustice of the time and the foolishness of the well-meaning but naïve Atticus Finch is special indeed.

Directed by Bartlett Sher, the book has been adapted for the stage by Aaron Sorkin. They bring the story to life and give black characters, who are largely silent in the book, a voice, particularly the wonderful Calpurnia (Andrea Davy) who pulsates her emotions whilst largely holding back from saying exactly what she thinks and feels, but the audience sense it. Calpurnia draws the audience into her heart and the horrendous struggles of the black people in the story.

The era is subtly indicated by the design of the safety curtain as the audience enter, the set design by Miriam Buether creates the world of the 1930s American South. The evenings on the Finch front porch are enhanced by Scott Lehrer’s sound design. I would have preferred a smaller, less cumbersome Finch family porch but that is a small niggle, the scene changes from location to location do work well.

Having some characters talk directly to the audience is important, it pulls us in, but it also makes us complicit, we sit by and witness these attacks and injustices. There were moments, even as an experienced theatre maker, I wanted to shout out, to challenge and to tear into the obscene racism, manipulation and betrayals portrayed.

Scout Finch, her brother Jem and their pal Dill (Anna Munden, Gabriel Scott and Dylan Malyn respectively) take the audience through the story, they provide much of the essential comic relief needed and are the conscience of the tale. They challenge Atticus at his insistence on trying to find the good in everyone, when in some people there simply isn’t any. Scout’s verbal and then literal unmasking of one of the KKK men through her simple, innocent questioning after recognising their neighbour by his voice, is beautiful, emotive, simple and was wonderfully done.  

In the courtroom, layers are peeled back revealing the raw misery and abuse inflicted on some by others and on themselves. Judge Taylor’s (Stephen Boxer) increasing frustration with how things unfold and then his insistence that every jury member (who are of course all white) individually state their judgement on Tom Robinson (Aaron Shosanya), suggests that he doesn’t agree with the verdict. He forces them, as individuals, to publicly say out loud, in their own voices, what they have decided. The jury members have a voice they can use; the black people of the town do not have a voice; for example, when the hateful Mrs Dubose (Sarah Finigan) spouts vile racist comments in front of her black maid, the woman must stand there and take it.

The conversation towards the end of the play regarding the death of Bob Ewell who, ‘fell on his knife’, reminded me of Cell Block Tango from Chicago where June’s husband, the violent and enraged Wilbur, ran into her knife, ‘he ran into my knife ten times’… justice served.

This is in some ways, the story of a small town and its residents, how they interact, how they behave and why, the various prejudices from the racial to the social (the demonisation of the mysterious Boo Radley, the ‘drinking problem’ of one of the witnesses in the court) and how the people try to negotiate their way through life, some with far more freedom to do so than others. The play shines a light on how easy it can be for people to be sucked into judging or hating others for no reason at all or due to their own fears, stupidity, inadequacies, how they have been raised or that they are simply abhorrent to the core.

For me, there is no excuse ever for racism, we, as a society and individuals must challenge it at every opportunity, the arts help us to do that, and this play is a powerful way of enabling audience members to reflect on what they think or feel or witness.

It’s okay for me though, I am a white woman, I have never been on the receiving end of racism. I am only immediately affected by racism when my friends or family experience it.

The rise of open racism since the Brexit vote, the rise of the Reform Party and their ilk have given some the space to believe that they can spout their poisonous and misguided views, trying to undermine the unity and harmony that we all desperately need. A perfect example of why To Kill A Mockingbird is as important now as it was when it was published and when it was set.

The arts are there to entertain and educate, to enable us to bring the negative and unacceptable into focus, to discuss and to challenge the wrongs in society. This production does exactly that and every young person should be brought to see this play.

The fact that racism is still an issue in 2026 is enraging, heartbreaking, bewildering and must be challenged at every opportunity.

Performances: Tue 19 - Sat 23 May 2026 – Matinees 20, 21, 23.

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

https://www.atgtickets.com/shows/to-kill-a-mockingbird/milton-keynes-theatre/

Caz Tricks

Stony Sunrise – Stony Radio

19.5.26

WNO returned to Milton Keynes Theatre, again bringing high quality, powerful drama and operatic raw emotion to our city.

On Friday 15th we had Wagner’s The Flying Dutchman and Saturday 16th, Blaze of Glory. Only two shows and only one chance to see each of them. If you missed them then I urge you to get your tickets when WNO return to MK, or if you get the chance, see them elsewhere.

The WNO website tells us that Blaze! ‘is set in a 1950s Welsh Valleys community. After a devastating mining disaster, a small group of Welsh miners decide to reform their Male Voice Choir to lift spirits and raise the roof. A jubilant celebration of the Land of Song and a tribute to how community spirit can triumph over adversity. Traditional Welsh harmonies blend with the a cappella sounds of the 1950s, operetta, gospel and big band as our intrepid band of gleemen Lindy Hop their way to glory. Join our men in blazers, for a feel-good performance which will make your heart sing.’

From the curtain up we are transported to a small town community like Llareggub with the ‘tidy wives’ Dylan Thomas describes in Under Milk Wood. Madeline Boyd’s design is superb with the mine in the background as a constant to their lives. The location changes from the front doors of the terrace houses to the bar in the social club, the charabanc, the showers, the men going down the pit - a particular favourite of mine using close contact, slight movement and lit pit helmets epitomising the claustrophobia and danger of the mines.  

The music by David Hackbridge Johnson (who was at the show) and libretto by Emma Jenkins is firmly rooted in Wales weaving a musical tapestry of opera, male voice choirs, Beverley sister singing and a nod or two to Gavin and Stacey - tidy. Directed and choreographed by Caroline Glegg, it is utterly wonderful, funny throughout (the shower scene is just brilliant), a heartwarming insight into a small community that has global appeal – when the chips are down, the arts, in this case singing together, unites and gives us strength. Did you know Glee singing isn’t ‘a new thing’? Glee isn’t a Disney creation - look it up!

The programme is of course bilingual and detailed, not only does it give the usual information one expects from a programme, but it also details the creation of Blaze! Reading the programme clarifies why Blaze! is so complete - the director, composer and librettist worked closely together to create it. ‘Written for Welsh National Opera and its remarkable Chorus and Orchestra, Blaze! is a celebration of the wonderful Welsh community spirit and Land of Song’.

The solidarity of communities devastated by disaster, be it an accident underground or the threat of the closure of their mine is key to this story as is the demonstration of strength - the men’s physical strength in the work they do and the women’s emotional strength in keeping all their worlds turning. Paul Robeson features too, his links to Wales and mining is super important, he addressed the National Eisteddfod in 1958. The village matriarch is Miss Price (Rebecca Evans), she ensures the male voice choir is reformed after the disaster, the gals keep the wheels of the town turning and enable their men and therefore, their community, to shine.

I could write pages in praise of Blaze! and WNO. It is ideal for anyone who is new to opera or not sure if opera is for them. Blaze! is accessible, of the highest quality and a joyous celebration of how essential singing (in fact all arts) is to a whole community. I will close by saying – go and see it wherever and whenever you can.

As a Welsh learner and lover of popeth Cymraeg, it made me want to go home to Aber

Mae hiraeth arna i!

WNO returns to Milton Keynes Theatre, again bringing high quality, powerful drama and operatic raw emotion to our city.

This weekend we have The Flying Dutchman which I saw last night, and tonight is Blaze of Glory. Only two shows, if you missed last night then I urge you to get your tickets for this evening.

They are very different pieces; The Flying Dutchman was written by Wagner in 1840 when he was only 27 and a year after he and his wife Minna experienced a violent storm off the Norwegian coast. You can hear and feel that experience in the music, as per the programme notes, the ‘towering waves, howling winds, eerie atmosphere of the sea’ is transformed by Wagner from life to stage.

It is a simple tale based on a ghost story. The Dutchman (Simon Bailey) is destined to roam the seas for eternity unless and until he finds the faithful love of a woman. Senta (Rachel Nicholls) is that woman and, rightly not sitting well with modern sensibilities, her father, Daland (James Cresswell) offers her in marriage to the Dutchman in exchange for the riches he offers. There are of course complications as Senta’s childhood love (who is not wealthy) Erik (Leonardo Caimi) tries to dissuade her. Love, heartbreak, mystery and thrills – all played out through the music.

I like Mozart, Puccini, Verdi and had not seen a live Wagner before so was a little apprehensive in case it was going to be ‘too much’. Whilst I had heard the overture and had played excerpts on Stony Sunrise, Stony Radio leading up to the production of the Dutchman, I hoped it wouldn’t be all ‘Sturm und Drang’, it wasn’t and has left me wanting to explore more Wagner.

The design lends itself to this modern interpretation, Designer Elin Steele has achieved her intention stated in the programme, creating a ‘space that could feel vast, both bleak and beautiful in equal measure, stripping everything away’.  I loved the seemingly basic design which in fact allowed so much to be achieved with no fuss and didn’t distract.

The only small niggle for me was the over long birth scene during the overture and the women of the village ‘weaving’, I wanted them to either do nothing or do something more with the fabrics/frocks than fold or flap them around. There was no definition to those movements, no plan or legitimacy. It is a shame because the moment where they then dressed in the frocks to prepare for the dance was a great idea. I could see the idea behind it, but it wasn’t realised.

However, a huge company and a full, fabulous orchestra is what its all about and that was wonderful. Everyone was superb of course but a special mention for Tenor Trystan Llŷr Griffiths, The Steersman who really shone for me.

To this evening and Blaze of Glory, ‘Cymru, coal and choral singing’ – da iawn!

The WNO website tells us that Blaze ‘is set in a 1950s Welsh Valleys community. After a devastating mining disaster, a small group of Welsh miners decide to reform their Male Voice Choir to lift spirits and raise the roof. A jubilant celebration of the Land of Song and a tribute to how community spirit can triumph over adversity. Traditional Welsh harmonies blend with the a cappella sounds of the 1950s, operetta, gospel and big band as our intrepid band of gleemen Lindy Hop their way to glory. Join our men in blazers, for a feel-good performance which will make your heart sing.’ Don’t wait for me to tell you how good it was, come!

As a Welsh learner and lover of popeth Cymraeg, I am SO looking forward to this.

https://www.atgtickets.com/shows/welsh-national-opera-blaze-of-glory/milton-keynes-theatre/tickets/D9BA9501-BB7E-491F-BA13-CC2E2BA3D713

Caz Tricks

Stony Radio

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

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

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

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

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 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.

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

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

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

 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

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/ 

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/ 

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

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