Mamma Mia! – A Feel-Good Triumph at MK Theatre Mamma Mia! has been winning hearts since it first opened in London’s West End in 1999, becoming one of the world’s most successful jukebox musicals. Its winning formula inspired the hugely popular 2008 film, starring Meryl Streep, Pierce Brosnan and Amanda Seyfried, followed by the 2018 sequel. Yet, for all the film’s star power, this 2026 UK touring production at Milton Keynes Theatre proves that nothing quite compares with the magic of live theatre. Written by Catherine Johnson, the story follows Sophie, a young woman on a Greek island who, on the eve of her wedding, secretly invites three men from her mother Donna’s past in the hope of discovering which one is her father. What unfolds is a sun-soaked tale of love, friendship, family secrets and second chances, propelled by the irresistible music of ABBA. Johnson’s book deserves particular praise. It is a clever piece of theatrical writing, weaving ABBA’s extraordinary back catalogue of classic pop into the narrative with remarkable ingenuity. Songs that might otherwise feel like a collection of greatest hits become integral to the storytelling, advancing the plot, revealing character and delivering both emotional depth and laugh-out-loud comedy. Mark Thompson’s production design is equally impressive. His minimalist approach provides an elegant, effective backdrop, allowing scenes to flow effortlessly without cumbersome transitions. The result is a production that feels fluid, focused and refreshingly uncluttered. Director Phyllida Lloyd understands precisely what audiences want from Mamma Mia! and delivers it in abundance, without allowing the show to descend into a pop pantomime. There is plenty of exuberance, humour and feel-good spectacle, but it is grounded in convincing performances and genuine emotion. This touring production has tangible theatrical credibility, making the story feel considerably more believable — and ultimately more entertaining — than the rather twee film adaptation. The entire cast is of West End quality, combining superb singing, accomplished dancing and impeccable comic timing. The performances capture the show’s infectious spirit while giving its characters warmth and humanity. Add a full live band, and the experience becomes all the more special. Under the musical direction of Carlton Lewis, ABBA’s brilliant songs receive a warm, engaging and affectionate treatment that celebrates their enduring brilliance without losing their theatrical purpose. The house was full, the atmosphere electric and the audience thoroughly delighted. The richly deserved standing ovation was a fitting response to a production that delivers everything a great musical should: laughter, romance, memorable melodies and an overwhelming sense of joy. Ultimately, this Mamma Mia! is a sparkling reminder that great songs, clever writing and confident direction can create something far more substantial than a nostalgic singalong. Mamma Mia! I do, I do, I do, I do, I do — love you!

Mark Haddon’s The Curious Incident of the Dog in the Night-Time, adapted for the stage by Simon Stephens, is one of those rare pieces of theatre that manages to be both profoundly moving and wonderfully entertaining. Now touring the UK in 2026, this production remains as fresh, inventive and thought-provoking as ever. Haddon’s original novel, published in 2003, tells the story of Chris Boone, a mathematically gifted teenager who sets out to investigate the mysterious death of his neighbour’s dog. What begins as a detective story gradually becomes something much bigger: an exploration of family, truth, trust, independence and the difficulties of navigating a world that can often seem confusing and overwhelming. The ethos of the piece is perhaps its greatest strength. It invites us to see the world differently, challenging assumptions about difference, communication and what it means to understand another person. The director has created an exceptionally engaging and enlightening production, maintaining a remarkable balance between humour, tenderness, tension and emotional intensity. There is a wonderfully maverick quality to the staging, with theatrical conventions being challenged and reinvented in ways that continually surprise. It keeps the audience alert and involved throughout this thought-provoking night of theatre. Elenor Bull’s set design is a particular triumph. Imaginative, colourful and deliberately minimalistic, it provides an endlessly adaptable theatrical playground in which Christopher’s journey can unfold. Giles Thomas’ composition and sound design, combined with the lighting design, subtly enhance the action without ever overwhelming it. The entire cast is superb. Most, if not all, take on multiple roles as the story progresses, demonstrating extraordinary versatility and commitment. At the centre of it all is Alex Keen, who delivers a brilliant performance in an extraordinarily demanding leading role. Keen brings Chris Boone to life with intelligence, sensitivity and remarkable focus, but most importantly with a tangible empathy that is genuinely heartwarming. To achieve such emotional connection from the stage, while portraying a character whose experience and communication are so distinctive, is no small achievement. This is theatre that refuses to behave quite as expected — and that is precisely what makes it so compelling. Its inventive staging, superb ensemble, imaginative design and outstanding central performance combine to create something that is at once accessible, challenging and deeply human. The Curious Incident of the Dog in the Night-Time is an enlightening and entertaining show that stays with you long after the final curtain. https://www.atgtickets.com/shows/the-curious-incident-of-the-dog-in-the-night-time/milton-keynes-theatre/

Riveting, Unnerving and brilliantly theatrical Some stories become so iconic that bringing them to the stage might seem an almost impossible challenge. Thomas Harris’s The Silence of the Lambs is certainly one of them. First published as Harris’s 1988 novel, it was transformed into Jonathan Demme’s celebrated 1991 film, and now, in 2026, it receives a new theatrical adaptation by Gina Gionfriddo. The ethos of this production is not simply to recreate the familiar film, but to return to the psychological heart of Harris’s story: the disturbing cat-and-mouse relationship between FBI trainee Clarice Starling and the brilliant, imprisoned psychiatrist and murderer Dr Hannibal Lecter, while Clarice races to help capture the serial killer known as Buffalo Bill. The result is a tense, intelligent and deeply unsettling piece of theatre. Gina Gionfriddo’s adaptation deserves particular praise. Translating such a richly detailed novel—and one so firmly embedded in popular culture—into a stage play is no easy task. Yet the adaptation retains the essential psychological tension while allowing the story to breathe as theatre. It understands that the real horror lies not simply in what we see, but in what we imagine. Director Nikolai Foster deserves equal credit. Rather than taking the easy route of shock and sensationalism, Foster allows the tension to build naturally. The tempo is carefully controlled, giving the audience time to absorb the characters, their motives and the increasingly disturbing world in which they find themselves. One of the production’s greatest achievements is Michael Taylor’s innovative set design. From the opening curtain, the design seems to engulf the audience, drawing us into a remarkably believable world. Its greatest brilliance, however, lies in its flexibility. The set shifts effortlessly from one location to another, often almost before we have registered the change, cleverly ensuring that the visual transitions never interrupt the play’s fast-paced narrative. The lighting by Howard Hudson and sound design by Carolyn Downing work beautifully alongside the set. Together they create an atmosphere that is at times oppressive, mysterious and genuinely unnerving. Sound and lighting become part of the storytelling, subtly manipulating the audience’s sense of space and anticipation and creating the perfect ambience for this dark psychological thriller. The entire company is superb, delivering performances of a standard that would not look out of place on the West End. At its centre are John Partridge as Dr Hannibal Lecter, Mollie Gallagher as Clarice Starling and Sam Jackson as Buffalo Bill. Partridge brings a chilling intelligence and composure to Lecter, while Gallagher gives Clarice a determination and vulnerability that make her journey compelling. Jackson’s Buffalo Bill is deeply unsettling. What makes this production work so well is its confidence. It does not constantly demand that the audience be shocked. Instead, it draws us in, allows the tension to accumulate and then leaves us to confront the consequences. The result is a production that respects both Harris’s original work and the audience’s imagination. Like the iconic book and film before it, this new stage adaptation grips, startles and stays with you long after the final curtain has fallen. In a word: RIVETING. https://www.dowhatinmk.co.uk/event-details/the-silence-of-the-lambs

Photo : Johan Persson Paranormal Activity has arrived at Milton Keynes Theatre with a production that proves horror can be every bit as effective — and perhaps even more unnerving — when experienced live. Inspired by the iconic film franchise, this is not simply a stage recreation of the movies, but an entirely original story written specifically for the theatre. The production follows newlyweds James and Lou, who move from Chicago to London hoping for a fresh start, only to discover that something deeply disturbing has followed them into their new home. James is the sceptic; Lou believes there is something very wrong — and as events escalate, the distinction between the explainable and the supernatural begins to disappear. The show's ethos is beautifully simple: make the audience believe that anything could happen. And it succeeds brilliantly. From its origins at Leeds Playhouse in 2024, through its acclaimed West End and international runs, Paranormal Activity has developed into something remarkably original — a horror story that understands the power of live theatre and the shared experience of being frightened together. A huge part of that success is Fly Davis's superb set design. The two-storey house becomes a character in its own right, providing an extraordinary playground for the action and allowing the audience to see events unfold in ways that would be impossible on screen. Gareth Fry's sound design is equally outstanding. His eerie, atmospheric soundscape constantly keeps the audience on edge, creating that wonderfully uncomfortable feeling that something is lurking just beyond what we can see. The slightest sound becomes suspicious — and silence itself becomes terrifying. Then there are Chris Fisher's spine-chilling illusions. They are simply superb. Without revealing any of the show's secrets, some of the on-stage effects are genuinely jaw-dropping. Felix Barrett's direction deserves enormous credit for maintaining exactly the right tempo. The tension is allowed to build rather than being relentlessly thrown at the audience, making the scares considerably more effective. And, much to the audience's relief, the production also knows when to let us laugh. The comedy arrives at precisely the right moments, providing welcome relief before the next terrifying turn of events. At the heart of it all are James Bye as James and Hannah Sinclair Robinson as Lou. Their on-stage chemistry is one of the production's greatest strengths. Their relationship feels convincing and human, giving the horror genuine emotional stakes. The entire supporting cast are equally impressive — a wonderfully accomplished ensemble who deliver performances of genuine West End quality. What makes Paranormal Activity so effective is the combination of everything: the originality of the story, the extraordinary set, the atmospheric sound, the ingenious illusions, impeccable timing and a cast who completely inhabit the world of the play. Terrific and terrifying in equal measure, Paranormal Activity is a theatrical experience that will have you laughing, screaming and checking the shadows long after you've left the theatre.

Barnum — Roll Up, Roll Up for a Celebration of Circus, Theatre and Musical Storytelling. Barnum has a fascinating history, having become one of the most distinctive musicals to celebrate the extraordinary life and ambitions of showman P. T. Barnum. This latest production embraces that history while giving the story a fresh and engaging identity of its own, creating a production that feels both traditional and refreshingly original. The current touring production successfully captures the spirit of Barnum's world, telling its story through a lively combination of musical theatre, circus, songs and spectacle. What makes this production particularly enjoyable is its originality and the clever way it brings traditional circus skills together with traditional live theatre. Rather than simply using circus as decoration, the skills become an important part of the storytelling, giving the production an energy and sense of danger that conventional musical theatre rarely achieves. Another real strength is the live music. A wide range of live instruments is used throughout the show, adding warmth, character and an exciting sense of spontaneity to the musical numbers. The musicians are very much part of the theatrical experience, helping to create the atmosphere of a travelling show and reinforcing the production's authentic theatrical spirit. One of the production's most memorable achievements is the remarkable life-size elephant brought to the stage. Puppet designers Meryn Millar and Tracey Waller, together with Director Helen Foan, deserve enormous praise for creating an elephant that feels remarkably believable and alive. It is a wonderful example of theatrical imagination, craftsmanship and performance coming together to create something genuinely magical on stage. The live circus skills are another highlight. Performed directly in front of the audience, they can take your breath away at times, bringing a real sense of excitement and anticipation to the performance. There is something particularly special about seeing these skills performed live, where the audience can appreciate both the talent involved and the element of genuine risk. The entire cast deserves praise for their professionalism, enthusiasm and commitment. They work together to create a production that is energetic, entertaining and thoroughly enjoyable, maintaining the spirit of the show from beginning to end. Overall, Barnum provides a lovely evening of traditional musical theatre, while adding the excitement, skill and spectacle of live circus. It is a warm, entertaining and imaginative production that celebrates the magic of the theatre and reminds us just how effective the combination of music, storytelling, live performance and theatrical illusion can be. https://www.atgtickets.com/shows/barnum/milton-keynes-theatre/

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/