Annie captures that magic feel good charm perfectly. It’s filled with energy, humour and heart, an uplifting evening from start to finish. The standout feature is the exceptional young cast. The performers bring confidence, enthusiasm and plenty of personality to every scene, making classics such as Hard Knock Life and Tomorrow a genuine delight. The principal cast provide strong support throughout, helping to create a polished and engaging production. Special praise must also go to the band, whose lively and accomplished accompaniment brings Charles Strouse's much-loved score to life. Their performance provides the perfect foundation for the singers on stage and adds greatly to the show's energy and warmth. And then there's Sandy. The lovable dog steals more than a few scenes, earning smiles and applause whenever he appears. It's impossible not to be won over by this four-legged star. With outstanding young talent, memorable songs, an excellent live band and a scene-stealing canine companion, this is a charming production that leaves audiences with that warm fuzzy feeling.

John le Carré's timeless Cold War masterpiece The Spy Who Came in from the Cold has been brought thrillingly to life on stage at Milton Keynes Theatre in a production that delivers an engrossing, emotional and thoroughly enjoyable evening of espionage drama. More than sixty years after its original publication, this gripping tale of deception, divided loyalties and moral compromise remains every bit as compelling, proving why John le Carré is still regarded as one of the greatest espionage writers of all time. Set during the height of the Cold War, the story follows weary British intelligence officer Alec Leamas, who is drawn into one final dangerous assignment against East German intelligence. As the operation unfolds, Leamas discovers that the greatest threats often come not from the enemy, but from the secrets and sacrifices demanded by his own side. David Eldridge's superb stage adaptation captures the original novel's tension and emotional weight while cleverly reshaping it for the theatre. Compressing such a layered and complex story into a stage production is no easy task, yet Eldridge succeeds Director Jeremy Herrin also deserves enormous credit for his stylish and understated approach. Rather than relying on theatrical gimmicks, Herrin allows the drama to unfold naturally, trusting both the writing and the performances to generate suspense. Casting director Matilda James-Coggin assembled a thoroughly convincing ensemble whose chemistry is evident throughout. Every relationship feels authentic, from the tense exchanges between intelligence officers to the quieter, more personal moments that reveal the emotional cost of espionage. Elizabeth Purnell's sound design is another considerable strength. Never intrusive or overpowering, it subtly enhances the drama, quietly reinforcing the tension and emotional undercurrents without ever distracting from the performances. Equally impressive is Azusa Ono's production and lighting design, which vividly evokes the dark, uncertain world of Cold War Europe within the practical confines of the theatre stage. The entire cast delivers performances of exceptional quality, demonstrating excellent timing and remarkable ensemble work throughout. The dialogue flows effortlessly, while the emotional beats land with genuine impact, ensuring the audience remains fully invested from beginning to end. Leading the cast is Ralf Little, who gives a superb performance as Alec Leamas. He perfectly captures the character's emotional exhaustion, inner conflict and simmering anger, portraying a man trapped between duty, morality and survival. Tony Turner is equally impressive as the legendary George Smiley. Calm, measured and quietly authoritative, he embodies the intelligence and restraint that define one of literature's most iconic spies. This production succeeds not only as a faithful adaptation of a literary classic but also as a gripping piece of theatre in its own right. It combines compelling performances, thoughtful direction and accomplished technical design to create an absorbing evening that lingers long after the final curtain. If you enjoy classic tales of espionage, double-crosses and Cold War intrigue, then The Spy Who Came in from the Cold is a production not to be missed.

Mathew Bourne’s The Car Man 2026 Touring Theatre show is invigorating, imaginative and immersive. Few choreographers possess the remarkable ability to make dance theatre as accessible, thrilling and emotionally engaging as Matthew Bourne, and The Car Man once again proves why he remains one of Britain's most celebrated creative talents. Arriving at Milton Keynes Theatre as part of its 2026 tour, this bold reimagining of Carmen captivated audiences from its opening moments, delivering a production filled with passion, suspense and breathtaking choreography. Set in a small-town American garage and diner during the 1960s, The Car Man transforms the familiar tale of Carmeninto a gripping psychological thriller. When the mysterious drifter Luca arrives in town, his irresistible charm ignites a web of desire, jealousy, betrayal and murder that slowly engulfs the community. As relationships fracture and hidden passions emerge, the story unfolds with unexpected twists, creating a tense and emotionally charged narrative that keeps the audience invested until its dramatic conclusion. One of the production's enduring strengths is its willingness to explore sexuality with honesty and confidence. Since its original premiere, The Car Man has been significant for presenting homosexuality as an integral part of its storytelling rather than as a peripheral subplot. At a time when LGBTQ+ representation in mainstream dance theatre was far less common, Bourne challenged convention by portraying same-sex relationships with authenticity and emotional depth. Even today, the work remains an important reminder of how theatre can reflect the diversity of human experience while encouraging understanding, empathy and acceptance. Lez Brotherson's outstanding set and costume design beautifully transports the audience into this dusty American world. Every detail, from the weathered garage to the bustling diner, creates an immersive environment that makes spectators feel almost as though they are part of the unfolding drama. The carefully crafted costumes perfectly capture the era while enhancing each character's personality and status, adding another layer of storytelling without the need for words. Equally magnificent is the musical score. Terry Davies' masterful arrangement of Rodion Shchedrin's Carmen Suite provides a thrilling soundtrack that seamlessly blends drama, romance and menace. The music drives every emotional beat of the production, heightening moments of tenderness, humour and suspense while providing the perfect companion to Bourne's dynamic choreography. Matthew Bourne's choreography is, as ever, extraordinary. Elaborate, emotional and endlessly entertaining, every movement serves a dramatic purpose. Whether action unfolds at the rear of the stage, centre stage or across the entire performance space, every gesture, lift and ensemble sequence contributes to the storytelling with remarkable precision. The entire company deserves immense praise for delivering a performance of exceptional quality. Their flawless synchronization, striking symmetry and expressive performances combine technical excellence with genuine emotional commitment. Every dancer fully inhabits their character, ensuring that each scene resonates with intensity, humour and heartfelt humanity. Indeed, The Car Man has everything an audience could hope for—emotion, comedy and a tangible depth that enriches every scene. It is visually stunning, musically exhilarating and dramatically compelling from beginning to end. Matthew Bourne has once again demonstrated his unique gift for creating dance theatre that speaks to audiences of all backgrounds. The Car Man is more than a ballet; it is an unforgettable theatrical experience that is invigorating, imaginative and immersive, reaffirming Bourne's place as one of the great storytellers of modern theatre.

There is something wonderfully reassuring about this production. It embraces the simplicity, warmth and charm of traditional theatre, providing a thoroughly enjoyable evening that never feels the need to overcomplicate its storytelling. Instead, it relies on sharp writing, exceptional performances and perfectly judged comic timing to entertain from beginning to end. One of the production's greatest strengths is the superb symmetry between the cast. Every exchange is delivered with impeccable comic timing, with each performer complementing the next to create a seamless ensemble performance. The rhythm of the dialogue is beautifully maintained throughout, allowing Jonathan Lynn's trademark wit to land effortlessly. Lynn's script remains as perceptive as ever, offering a subtle yet enlightening and highly entertaining reflection on recent political turmoil. While never becoming heavy-handed, it cleverly satirises modern politics through familiar characters, with the addition of former Prime Minister Jim Hacker's care worker, Sophie, providing an inspired contemporary twist. Her observations inject a fresh satirical slant into the proceedings, bridging the gap between the political world of Yes, Prime Minister and today's headlines. At the heart of the production are two outstanding performances. Robert Kitson is superb as the retired Prime Minister Jim Hacker, while Clive Francis once again demonstrates why Sir Humphrey Appleby remains one of British comedy's greatest creations. Their emotional exchanges, reflecting on their shared history while debating modern-day "woke" culture, provide some of the evening's most thoughtful moments without ever sacrificing the humour. Both actors display remarkable skill in delivering Jonathan Lynn's lengthy, dialogue-heavy scenes with such apparent ease and precision that they are deservedly rewarded with spontaneous applause from an appreciative audience. William Chubb is thoroughly convincing as Sir David, bringing authority and understated humour to the role, while Princess Donnough impresses as Sophie, whose contemporary perspective adds freshness and biting satire without ever feeling out of place. If you were a fan of the classic television series, this production is sure to delight. It captures everything that made Yes, Prime Minister so enduringly popular while gently updating its themes for today's audience. Warm, witty and brilliantly performed, it is a thoroughly satisfying evening of traditional theatre that proves great writing and outstanding performances never go out of style.

Karate Kid: The Musical arrived at MK Theatre with all the heart, humour and uplifting spirit that made the original story such a beloved classic, and this touring production delivers a wonderfully engaging evening of musical theatre. From the opening moments, the show radiates a gentle warmth that draws the audience into its world, balancing emotional sincerity with crowd-pleasing entertainment. A major contributor to the production's success is John Clacey's superb musical direction. His live orchestra creates a perfectly judged acoustic ambience throughout the evening, supporting every emotional beat while giving the score richness, depth and energy. Whether underscoring moments of reflection or driving the show's larger musical numbers, the orchestra becomes an essential storyteller in its own right. Visually, the production is equally impressive. Dereck McLane's brilliant set designs effortlessly transport the audience between locations, creating a fluid and cinematic theatrical experience. The staging is imaginative without ever overwhelming the story, allowing the characters and their journeys to remain firmly at the centre of the action. Complementing this beautifully, is the lighting design which consistently sets the tone for each scene, enhancing both the intimate moments and the more dramatic sequences with precision and artistry. Special praise must also go to Casting Director Olivia Laydon, who has assembled an exceptionally credible cast. Every performer feels perfectly suited to their role, creating an ensemble that is believable, engaging and completely committed to telling the story. The songs themselves prove to be one of the production's greatest strengths. The score is filled with memorable melodies and emotionally resonant lyrics, and the cast delivers each number with remarkable clarity and feeling. Every song advances the narrative while revealing deeper layers of character, and the performers communicate the emotional truth of the material with confidence and conviction. At the heart of the show is the outstanding partnership between Adrian Pang as the lovable Mr Miyagi and the Karate Kid, Gino Ochello as Daniel LaRusso. Their chemistry is superb, bringing warmth, comedy and genuine affection to every scene they share. Together they create a relationship that feels authentic and at times deeply moving. Their comic timing is impeccable, generating some of the evening's biggest laughs, yet they never lose sight of the emotional core of the story. It is this balance of humour and heartfelt sincerity that makes their performances so compelling and ensures that audiences become fully invested in their journey. Ultimately, Karate Kid: The Musical succeeds because it understands exactly what audiences love about the story: friendship, perseverance, mentorship and the courage to believe in yourself. Combined with a strong score, excellent performances, stunning production values and an abundance of heart, it makes for a thoroughly enjoyable theatrical experience. To sum up, this musical provides a night at the theatre full of high drama and high enjoyment, in a word: Hi Karate! https://www.atgtickets.com/shows/the-karate-kid-the-musical/milton-keynes-theatre/

Keep calm and carry on - down to MK Theatre to witness the highly acclaimed and award-winning Operation Mincemeat musical. Operation Mincemeat is a brilliantly entertaining touring production that combines sharp wit with outstanding theatrical craftsmanship. The stage set is cleverly designed, making imaginative use of space and seamlessly transporting the audience between locations. The lighting is equally impressive, creating atmosphere and enhancing both the dramatic and comical moments throughout the show. Most of all, the cast's impeccable timing keeps the audience laughing from start to finish. Their energy, precision, and chemistry make this production so engaging and enjoyable. However, be warned, if you are expecting a live theatre tribute to the brilliant original film, you will be disappointed. This is a musical with the plot delivered with narrative led songs and scenes that defy logic at times. It’s a show Mel Brooks and Monty Pyhton’s Flying Circus would have approved of, as it's quite simply bonkers. So, if you are fan of a Mel Brooks Spring Time Hitler, you will love David Cumming’s, summer time for Churchill!

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/