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The Choir of Man arrived at MK Theatre and provided a night of pure joy, charm and excuse the pun; it’s probably the best jukebox musical in the world! The best traits of this musical are the aforementioned ingredient of charm and simplicity; I’ve never witnessed a live production that engaged with the audience so quickly as the Choir of Man. Even before the show started there was a tangible ambience of collectiveness. This was helped, as before the show even started, the bar on stage was open. It is an actual working bar and people are invited up to get a drink. The cast are already there, moving between the stage and the audience, chatting, singing, handing drinks out. With total ease an array of nine talented actors and supporting cast then sing, dance while sharing stories about friendship, community, and everyday life. The soundtrack blends familiar rock, pop, and folk songs with moments of spoken word and choreography, creating something that feels far more like a night out with friends than a traditional musical. As a result, the show is warm, funny, slightly rowdy, deeply sincere, yet so entertaining right up until last orders. The entire cast were superb, no weak links and a sense of collective spirit is emotionally evident. The vocals are clear and strong, the harmonies are tight and they are all playing a wide range of instruments as well. That’s impressive. The tempo cleverly moves with stunning tap-dancing routines, impressive solos and hilarious ad lib audience participation. Plus, the thought-provoking narrative between the live tunes is seamless throughout the production. I could go on, and on, but all I need to say is, if every pub was as welcoming and charming as The Choir of Man the world would be a lovely place. Order a round of tickets now as The Choir on Man, refreshes the parts other musicals cannot reach and is a show well worthy of raising a glass to. https://www.atgtickets.com/shows/the-choir-of-man/milton-keynes-theatre/

To Kill a Mockingbird arrived at MK Theatre with an engrossing production that provided a riveting night of top-class theatre. The story revolves around the fictional trial of Tom Robinson, a black cotton picker accused of the rape and beating of a white teenager in 1930s Alabama, and defended in court by idealist lawyer Atticus Finch. His patience is tested when he realises that the community all around him are hiding the truth behind a hideous crime. He remains calm throughout the trial, but he’s forever questioning the collective small-minded racist mentality of his neighbours. The content of this show is heavy, but the brilliance of this current production is the morally unnerving plot is superbly enlightened by some very comical moments. The staging perfectly reflects the narrative and cleverly makes set changes with ease that ensures the tempo of the play never wanes. This combined with atmospheric lighting design by Jennifer Tipton adapts the space for the many environments and varying levels of tension in the story. The entire cast were excellent, their timing, empathy and stage presence kept you engaged throughout this long play. Overall, armed with such a talented cast, a timeless script To Kill a Mockingbird is sadly more relevant today than it was when the acclaimed Harper Lee’s novel was published back in the early 1960s. Plays of this quality are rarely seen outside the West End, so don’t miss the opportunity to watch this engaging adaptation of a literary classic. https://www.atgtickets.com/shows/to-kill-a-mockingbird/milton-keynes-theatre/

Brilliant night of racing at Northampton Speedway, great track, great atmosphere for all ages to enjoy. Give it go, just 20 minutes from MK.

Rebecca Reid’s stage adaptation of the 1992 film cult classic arrived at MK Theatre this week. Updated for the modern millennial world, it provides the audience with an enjoyable and engaging production full of suspense. Single White Female tells the story of Allie, a software designer. Recently divorced, she’s busy trying to start a new life with a new business and is struggling to pay her bills. She decides to take in a roommate and quickly chooses Hedy. The two women connect initially, but over time, some of Hedy’s actions seem a little unusual. Tensions and suspicions build up as Allie starts to realise Hedy might not be the perfect roommate she first appeared to be. Sadly, no Lisa Faulkner for tonight’s performance, but her understudy (Anna Ruben) was superb throughout the play. Her timing, tone and genuine expressions were spot on, especially when paired with her vegan gay best friend called Graham (Andro). Add the brilliant Kym Marsh, who carried the show from start to finish as Hedy.  Forever hiding a calculated cunning plan beneath her cheesy curling charm, she takes personal joy distorting the truth for her own personal gain. The excellent father Sam (Jonny McGarrity) gave the play gravitas plus the tenacious teenage daughter Bella (Amy Snudden) was brilliant and provided most of the play’s comical moments. The set design by Morgan Large is simple yet very effective. Plus, a big shout goes to the sound designer Max Pappenheim. His skill on providing an atmospheric ambient soundscape was key to the production’s enjoyment. The lighting design by Jason Taylor is similarly impactful, with clever contrasts between light and shadow that amplify the emotional and psychological tension. The credible cast ensured the production possessed great tempo and collectively raised tensions for the somewhat bizarre but befitting ending. To sum up: Single White Female  is a psycho thriller! https://www.atgtickets.com/shows/single-white-female/milton-keynes-theatre/

Walking into Mean Girls: The Musical, you already know what you’re getting… or at least you think you do. Pink overload, high school drama and enough attitude to fill the Burn Book twice over. Based on the iconic 2004 film, Mean Girls: The Musical takes the familiar story of Cady Heron — home‑schooled in Africa and suddenly dropped into the wild world of North Shore High — and cranks up the energy with punchy musical numbers and slick choreography. It’s clear this show isn’t trying to reinvent the story; instead, it leans wholeheartedly into what fans already love with a few broadway twists.  The cast are universally strong, with standout performances that perfectly capture the essence of these now‑legendary characters. Janis and Damian quickly become the heart of the show, delivering big laughs, strong vocals and genuine warmth. What really makes Mean Girls: The Musical work is its self‑awareness. The show knows it’s being cheeky. It knows it’s dramatic. And it absolutely knows it’s fetch. Rather than take itself too seriously, it invites the audience in on the joke, rewarding fans of the film with the iconic one liners, while still offering enough heart and humour to win over musical theatre lovers who might be new to the story. It’s the kind of show that doesn’t pretend to be anything other than brilliantly entertaining. Sharp, sassy and packed with standout performances that hit with the impact of that infamous bus moment. Sally Scriven

If you’re the kind of person who loves a night out filled with glitter, giggles, and the kind of tunes that instantly transport you back to simpler times, then Here and Now: The Steps Musical is about to become your new favourite obsession. Honestly, it’s like someone bottled the pure joy of a Saturday morning music show from 2001, sprinkled in some seaside soap opera drama, and set it loose on stage.  From the second the lights come up, you’re hit with a riot of colour so bold it practically high‑fives you. Costumes shimmer, lights pulse, and the whole stage feels like a time capsule cracked open with delightful chaos. It’s pop with a capital P — loud, proud, and absolutely unapologetic. And speaking of nostalgia — oh, it’s here. It’s loud. It’s leaning all the way in. We’re talking full‑blown noughties nostalgia, the kind that has you mentally checking whether you still have your butterfly hair clips tucked in an old drawer somewhere, or whether your mum ever donated those pedal pushers with floral embroidery you swore were the height of fashion. The show knows exactly what it’s doing. Every song, dance break, and cheeky wink feels like a love letter to a decade that lived loudly, colourfully, and rhythmically. The vocals? Absolutely stellar. The cast sings like they’ve been training for a pop‑powered Olympic. Whether it’s a big, belty ballad or a sugar‑rush dance track, the performers treat each number like it’s the finale of a sold‑out arena tour. You can practically feel the audience trying not to leap up for a key‑change singalong. What really gives this musical its charm, though, is the way it weaves all the high energy into a story that actually has heart. Amidst the sparkle and the shoulder shimmies, there are threads of friendship, love, mischief, and those big life‑moments that stick with you long after the glitter has settled. It’s sweet without being sappy, silly without being shallow — the kind of storytelling that makes you smile without even realising you’re doing it. And ultimately? It’s just fun. Pure, simple, infectious fun. The kind that leaves you buzzing as you spill out into the night, chatting excitedly with your friends about your favourite number or the costume you secretly want to wear to your next staff party. Sally Scriven https://www.atgtickets.com/shows/here-and-now-the-steps-musical/milton-keynes-theatre/

Sunny Afternoon pulled up at Milton Keynes Theatre and provided a brilliant and befitting tribute to the legendary Kinks. Armed with some of the greatest pop anthems of the 20 th century the show charted the rise of one of Britain’s most cherished rock bands. Miriam Buether’s superb stage design set the tone of the the swinging ’60s, with the stage walls littered with speakers and amplifiers, taking you right into the world of the band. As the show started it quickly became apparent, the cast were playing their instruments live! Trust me, that’s rare, very rare.   Plus, the tempo of the play was spot on, with continuous movement from a large cast that ensured all the scene changes were smooth and never distracted you from the plot. I was relieved the show’s portrayal of the Kinks story wasn’t overtly twee and the script wasn’t just written to fill the gaps between well-known songs. Sadly, a trait that I’ve often endured many times before when watching other rock music legends musicals. Technically, a live show, with a live band playing and performers singing on and off mics is demanding. And yes, there were times when the vocals drifted, but I would prefer that any day over backing tracks and computerized vocal enhancement. Sunny Afternoon narrates the story from Ray Davies’s perspective, the lead singer and the songwriter behind the music, lyrics and the band’s musical ethos.   In doing so, it presents the true story of The Kinks and how four young boys from London’s outskirts rose to become a famous part of rock history. As I said, Sunny Afternoon details their upbringing and downfalls as a group in a very respectful and highly enjoyable manner. The four band members Pete Quaife (Harry Curley), Mick Avory (Zakarie Stokes), Dave Davies (Oliver Hoare) and Ray Davies (Danny Horn) all brilliantly portray their alter egos and are very convincing as a British pop group of the 1960’s. But it wouldn’t be fair or right to lavish praise on just the band, as the entire cast were superb. Many taking on lots of different parts and roles, while also musically contributing to the live performances. Ray Davies’s songs possess a strong sense of storytelling, infused with his unique sharpness, humor, and a touch of melancholy and nostalgia. Bringing them to life live on stage is a heavy responsibility, but for me this production passed the test with aplomb. All in all, this was one of the best musicals I’ve seen for a very long time. To sum up, Sunny Afternoon: ‘You Really Got Me! https://www.atgtickets.com/shows/sunny-afternoon/milton-keynes-theatre/

Inspector Morse: House of Ghosts arrived at MK Theatre and provided an enjoyable and engaging murder mystery. For fans of the original Inspector Morse TV series, this new outing, written for the stage by Alma Cullen, is a welcome arrival. It’s been nigh on 25 years since the final episode of the iconic ITV series (1987–2000) starring John Thaw as Detective Inspector Morse and Kevin Whately as Sergeant Lewis. Alma Cullen’s take on the great Colin Dexter’s grumpy detective forces Morse to confront the highs and the lows of his Oxford student days. With Tom Chambers leading as Morse and the excellent supporting cast the play allows fans to experience a fresh take on Morse, with everything you would expect from a classic whodunnit.  However, if you are seeking a live replication of Thaw’s original Morse persona you will be disappointed, House of Ghosts, is not a tribute show to the iconic duo of Lewis and Morse.   To be fair, much of the spirit of the TV series endures. Barrington Pheloung’s haunting Morse Code theme tune opens proceedings and the stage is set, quite literally: it is 1987 and a production of  Hamlet  is in full flow when the actress playing Ophelia dies suddenly on stage. It is up to Morse to examine the play-within-a-play's cast, Chambers approaches the legendary role with his own style but there is tangible respect for Thaw’s original interpretation. An interesting mystery then unfolds over two acts with many twists and turns as Detective Chief Inspector Morse embarks on a gripping investigation and a surprising conclusion. I really liked the stage set and set changes: Very simple, very good and very Edinburgh Fringe if you get my drift and the stage lights helped create the correct ambience for each scene. All in all, Inspector Morse: House of Ghosts is a befitting tribute to the legendary TV show and if you like traditional theatrical mysteries of murder, you should catch this production.   MK Theatre – 17/21 March – https://www.atgtickets.com/shows/inspector-morse-house-of-ghosts/milton-keynes-theatre/

The Broadway musical, Legally Blonde arrived at Milton Keynes Theatre and proved Blondes do have more fun! Some 25 years on since the hugely popular cinematic hit and 20 years since it was turned into a Broadway musical, Legally Blonde hasn’t lost its ability to charm audiences. The theatre show  has previously enjoyed a West End run, UK tours and regional productions Now it’s back for another UK tour in a new colourful and energetic production suited to modern times. Based on the aforementioned much-loved Reese Witherspoon film this musical theatre version of Legally Blonde features music and lyrics by Laurence O’Keefe and Nell Benjamin and a book by Heather Hach. The plot follows Elle Woods, as she works to get into Harvard Law School to follow the love of her life Warner. In doing so she surprises herself and those around her by becoming a great lawyer, full of integrity, and realising Warner may not be all that she really wants in life. As I mentioned this new production has been given some updates to bring it in line with 2026 culture and the story has been tweaked to make it work for the stage. Be warned, this is a full-on musical, i.e. the story is mostly told via narrative songs, something I personally found difficult. The barrage of tunes were caught between trying to tell a story while endeavoring to be musically melodic.   However, in Act 2, the pace and use of narrative songs was much better and as a result the show was more enjoyable and easier to follow.   The large cast were superb with powerful voices and strong, tight, choreography. The leading actors, especially Elle played by Amber Davies delivered their performances with engaging warmth. Set wise, the staging was very cool, very bright and seamless with an abundance of pink that Barbie would fully approve of. For many though, the two on stage scene-stealers were the live hounds Sprout and Milo as Bruiser and Rufus. To sum up, if you loved the film, you will enjoy this thoroughly modern musical.   Legally Blonde The Musical – MK Theatre 10/4 March https://www.dowhatinmk.co.uk/event-details/legally-blonde

The moving and mesmeric production of  The Red Shoes arrived at MK Theatre and proved you can believe the hype. The critically acclaimed Matthew Bourne’s rendition of  The Red Shoes  is based on Michael Powell and Emeric Pressburger’s 1948 film, which in turn was based on the classic fairytale by Hans Christian Andersen. The tragic tale of a love triangle with a difference is beautifully moving with playful comic sections plus classic forties costumes and lush scenery. Red Shoes is the story of Victoria Page, a rising star in the world of ballet. When fate decrees that Page replace an unexpectedly injured Prima Ballerina, her good fortune comes at a cost, leaving her torn between her lover, composer Julian Craster, and manipulative ballet company manager, Boris Lermontov. There is something magical when watching a professional ballet in full flight in a packed and appreciative theatre. You are gripped as the story travels from Covent Garden to Monte Carlo and from Paris to the East End. The ballet dancers were all collectively talented the dancing and acting throughout is expressive and exceptional from the entire cast. Matthew Bourne has the golden touch of making ballet accessible and enjoyable to a wider range of audience (like me) who would never believe such an art form would be for them. His varying styles of dance and use of facial expressions and body language that tell the true story behind how the characters are feeling is a wonderful trait. The show’s set design is impressive with a dynamic and moveable stage which transforms constantly throughout the production, the set adds pace and energy to the story and is almost a character in itself.  Clever use of lighting invites the audience to emotionally engage with the many twists of fate being expressed in this beautiful ballet. It’s not often you get the chance to see such an esteemed ballet production with such class outside the West End, thanks to Mathew Bourne and MK Theatre you can.  So do yourself a favour and see Red Shoes, you will not regret it. https://www.atgtickets.com/shows/matthew-bournes-production-of-the-red-shoes/milton-keynes-theatre/

There are some tribute bands that look the part, some that only sound the part, some even combine both, but few, very few ever evoke the emotion felt when remembering the original artist. I can only think of the Bootleg Beatles, Abba’s Bjorn Again that manage to capture the spirit of such treasured bands. Well on tonight’s evidence, I would now also include T Rextasy into the tribute hall of fame. Led by the dazzling Danielz as Bolan and his kick ass band, punters were treated to an act that somehow has the music, persona and ambience of the legendary T Rex. Some of the audience may have been lucky enough to witness Marc Bolan play live in his prime, some like me unfortunately didn’t. Something I deeply regret. But from what I’ve seen via films, TV and documentaries T Rextasy do provide a brilliant representation of those halcyon days. The beauty of Bolan’s anthems is their light touch, it’s an easy trait to play faster and louder in an effort to appease the audience. T Rextasy possessed the confidence not to do so. Yes, there were wonderful full on rock moments that Bolan was renowned for, but it was Danielz and his band’s desire to leave space and let those melodies and hooks do their work. It was lovely to see the band again, as I first come across them way back in the 1990s at Dukes, they were brilliant then and they were brilliant at the Stable Theatre last night. The standing ovation given proved that class never fades, only shines.