In this retelling of the classic novel by H. G. Wells, the team behind Imitating the Dog (ITD) has done far more than merely a restage of the 1898 seminal science-fiction story. They have interrogated it.
This adaptation transforms the Victorian invasion narrative into a fractured, live-cinema experiment that challenges the audience’s perception of truth and human empathy.
The hallmark of an ITD production is its transparency of craft, and War of the Worlds is a clever and ambitious technical feat. The stage is a meticulously organised ‘film studio’ where four actor-technicians (Bonnie Baddoo, Morgan Bailey, Gareth Cassidy, and Amy Dunn) construct a film in real-time.
While a large central screen displays the ‘finished’ cinematic product, the stage below is a flurry of frantic, choreographed activity. Performers pivot between characters and camera operators, manipulating miniature sets and cardboard cut-outs to simulate the scale of the Martian devastation. The use of forced perspective and green-screen integration allows a single performer to appear as though they are standing amidst the smoldering ruins of a model-city. This dual-focus: watching both the illusion and its construction, creates a unique effect that prevents the audience from ever sinking into the comfort of passive spectatorship.
This production opens with Will Travers (played with a compelling, twitchy intensity by Gareth Cassidy) waking up from hospital with no-one about and with, what looks like, complete destruction of the world as he knew it. Obviously he is confused, for a lot of the time, as he tries to figure out what is going on and try to get home to his wife. Along the way he meets the odd human being who has survived the Martian invasion and he starts piecing together what’s happened. Although between his (possible) hallucinations from his hospital stay/injury, and the mentally disturbed humans he comes across, it’s a difficult fearful journey. He finds a car, finds his wife and head to Dover to escape to France. Does he get there? We’re not sure, we’re not quite sure if it was all real in the first place.
The portrayal of the story leaves many questions for the audience to ponder. If I were more intelligent, I am sure I would be questioning the socio-political subtext of social collapse, prejudice and paranoia and what happens when society turns on itself? But I’m not, I was thinking how much time and effort it must have taken to work out the ‘chorographical execution’ to create the film in real time.
The technical element of this show is amazing, however I would say the reliance on the screens did sometimes create a barrier to the emotional intimacy as the actors often perform breathily to camera lenses rather than to each other, maybe emphasising a world of isolation that mirrors our own digital silos. Though some may find the technical complexity distracting, the production remains a vital example of how digital technology can be used not just to decorate a stage, but to fundamentally redefine the theatre.
War of the Worlds is on at the New Wolsey Theatre until Saturday 14th March – more information here: https://www.wolseytheatre.co.uk/events/war-of-the-worlds/
WRITTEN BY DAVID PHIPPS DAVIS DIRECTED BY NATASHA RICKMAN
A Mercury Original
Sat 21 Nov 2026 – Sun 17 Jan 2027
As Spring approaches and the days grow longer, thoughts turn to Christmas and today The Mercury Theatre Colchester announce their 2026 pantomime. It’s the one you’ve all BEAN waiting for – Jack and the Beanstalk!
Colchester panto legends Antony Stuart-Hicks and Dale Superville are back and ready to cause more mischief and mayhem in this GIANT adventure! This year, they are reunited with Dale as Jack, and Antony as his Mum, Tilly.
Join Jack, Trevor (Superville) and their Mum, Tilly (Stuart-Hicks) at Trott’s farm. Money is running low and when the ruthless landowner Augusta Bigbucks buys the farm for a steal, things get even more precarious. Down to their last few pennies, the family make the difficult decision to sell their beloved cow Pat at Culver Square market. Overnight, a giant beanstalk appears! And the town fears the ferocious giant will return to cause havoc. Will Jack be brave enough to climb up to Cloudland, defeat the giant and save Colchester before it’s too late?
Expect jokes galore, marvellous music, spellbinding choreography and jaw-dropping sets in this unmissable festive extravaganza that promises fee-fi-fo-FUN for everyone!
This year, winner of the UK Pantomime Awards 2025 Best Dame, Antony Stuart Hicks, celebrates 31 years in pantomime and 11 years as the Mercury’s resident dame. Dale Superville’s previous Mercury Theatre panto credits include Smee in The New Adventures of Peter Pan, Spud in Sleeping Beauty, Almondé in Beauty and the Beast and Humphrey the Camel in Aladdin. He also appeared in Fawlty Towers and Witness For The Prosecution in The West End. Anthony and Dale together won Best Ugly Sisters in the 2020 UK Pantomime Awards for Mercury’s 2019 production of Cinderella,
Jack and The Beanstalk is written by David Phipps-Davis, who has a host of pantomime writing credits to his name and was last year nominated for the UK Pantomime Award for Best Script for The Mercury’s production of The New Adventures of Peter Pan. It will be directed by Mercury Theatre Artistic Director Natasha Rickman. Full cast and creatives to be announced.
Senior Producer and Resident Dame, Antony Stuart Hicks says
“I am beyond delighted to be spending another festive season as the Mercury’s resident Dame! Each year our team go above and beyond to ensure that whether it’s someone’s 1st or 51st time attending the Mercury pantomime, they have the most memorable experience and it’s such a joy for both Dale and I to be part of that.”
Can you believe it’s been over 50 years since Fawlty Towers was aired? It first appeared on our screens in 1975 and then only two series, each of six episodes. Twelve episodes of comedy which has spanned multiple generations and is generally hailed as the best comedy series of all time. How on earth do you replicate something that has been part of our comedy history, particularly where expectations are going to be at the highest, on the stage?
Well, they have and they’ve done a most excellent job of it too!
Let’s start with the set. Considering the programme was a TV set, it’s pretty logical to assume it can be easily duplicated for the stage. It was, and it was near perfect. The curtains were open and the set was on display while we were taking our seats and we’re filled with comfort as we feel we’re part of the actual studio audience. This keeps our expectations high.
The show starts. All the characters are there and look spot on. Of course, these are different human beings therefore our expectations are dented ever so slightly, however we do quickly warm up as we put ourselves in check and remember we’re not watching the TV show.
Photo Credit – Hugo Glendinning
The actors, an 18-strong cast, have the hardest job with such a show. However, they smashed it out of the park. The mannerisms, tones of voice, the laugh, they characterised the personalities and charms perfectly, whilst making them their own versions and I don’t mean they were adapting the characters, as you certainly cannot do that here, however their natural charismas came through. They were brilliant and how wonderful to see Paul Nicholas.
Now, how do you put twelve episodes into a stage show? This adaptation was smart. They have taken, now I can’t say the ‘best’ storylines as they were all good, but they have taken three of the main stories and seamlessly blended them with classic moments into the shenanigans that happen at the hotel over two days.
We had the storylines from The Hotel Inspectors, The Germans, and the Communication Problems episodes which are filled with iconic jokes. From the moose head, the fire drill, the horse racing win, the deaf guest….so so many. The show was able to blend the wonderful humour and stories into a build up into the chaotic, awkwardness which Basil Fawlty seems to create.
It was funny, even when you know what was going to happen next, it was still funny. It was brilliant when Danny Bayne did the iconic Basil humour and we laughed hard. Many times. I even said out loud ‘I know nothing’ to match Manuel. It did however seem to end seemingly abruptly in the shorter second half and they really missed a trick with the ‘Farty Towels’
It’s a great show, it provides a level of warm nostalgic familiarity, it brings back many memories of where we were the first time we saw it (and maybe the second and fifth times too). It hits nearly every point on the list and truly is a super fun night out.
Main Cast:
Danny Bayne – Basil
Mia Austin – Sybil
Hemi Yeroham – Manuel
Joanne Clifton – Polly
Paul Nicholas – The Major
The show is playing at The Ipswich Regent until 14th March
Coming to prominence as the frontman and driving force of the eclectic American rap/rock outfit Fun Lovin’ Criminals, Huey Morgan led the band from 1993 – 2021. Best known for the hit record ‘Scooby Snacks’, Fun Lovin’ Criminals released six albums and sold over 10 million records.
As host of The Huey Show on BBC Radio 6 since 2008, Morgan plays a mix of hip hop, soul, punk, funk, rock and just about anything else.
With a backstory unlike any other – the mean streets of New York, an early life of crime, serving in the US Marines, jail terms and platinum records – Huey Morgan has experienced every twist and turn during his remarkable rock’n’roll life story.
And now, the charismatic and popular renegade is heading back out on a solo tour that mixes entertaining stories with acoustic versions of classic songs.
Huey said: “I had such an awesome time with this tour last autumn that when the chance to go back out again came up, I couldn’t resist.”
Huey sang about crime gang bosses and stick-up jobs – because that’s the life he’d led. A judge had told him “son, you better make a decision”’, so he chose the military rather than a lifetime in prison. “My youth growing up in NYC shaped me. Growing up on the Lower East Side of Manhattan was wild, it was one of the craziest neighbourhoods. It was about survival.”
His musical skills stemmed back to childhood. He’d got undiagnosed ADHD and immersed himself in the minutiae of music. “When I was 12, my mother brought me a port-a-studio, with 4-tracks. I think my mum realised I really loved music. She made me jump through some hoops, you know. But one of the coolest things my mother ever did for me was support my dreams.”
In 1993, he’d left the Marines with an honourable discharge, started DJ’ing in New York clubs and formed Fun Lovin’ Criminals. “After I got out of the Marines I wanted to get back into music and had this idea of a three-piece, with me on guitars and vocals, a drummer, and a bass player or keyboard player – but I got lucky and found a guy who could do both.”
Morgan’s band were in the right place at the right time; their debut became a top ten hit and secured a platinum disc. Morgan’s poetic lyrics and laconic drawl set them aside from their peers. Using samples of Pulp Fiction and blues-jazz riffs and funky rap rhythms, Morgan told stories in his songs, “I liked to deliver those stories with a little bit of prose. Some words rhymed, but even those elicited more imagery than ‘hit me baby one more time’.”
This intimate show will give him the chance to chat about what’s gone before, take questions from the crowd and play acoustic songs.
Huey Morgan isat The Apex on Friday 3 April at 7.30pm.See www.theapex.co.uk or ring 01284 758000 for more details and to book tickets.
Anna is a multi-faceted person: musician, storyteller, philanthropist and actress. Born in Zimbabwe and now a staple of the British world music scene, she brings a vibrant, infections energy to everything she touches: from ancient Shona fables to modern-day activism. Anna will be performing at The Cut as part of the Sonic Waves series on 14th March. I get to ask some questions to get a glimpse into the world of the woman who refuses to let the word ‘bored’ enter her vocabulary.
HC: What was the very first instrument you picked up as a child, and do you still play it today?
Anna: Yes it was the Mbira [ed: Zimbabwean thumb piano] and I still play it.
HC: Is there a specific song from your childhood in Zimbabwe that always makes you feel at home?
Anna: There was a teacher at school who used to sing a song called Mweya Mustvene and I still get goose bumps when I think about her singing it.
HC: You wear so many hats (singer, dancer, educator); which one feels most like you’ on any given day?
Anna: Wow tricky question, I guess I have to say educator because the ripples of inspiring and uplifting each other can also be found through dance and singing.
HC: What is the best piece of advice you’ve ever received about staying creative?
Anna: Don’t be a one trick pony, always add strings to your bow.
HC: Through your charity work, what is one small moment or story that has stayed with you over the years?
Anna: Meeting a year 5 student at a Norfolk school years ago who was inspired to study International Development and now works for some of the UK’s big charities. Also many of our students in Zimbabwe realising about giving back to someone in need for the future.
HC: The title of your new album, Ruvimbo, means ‘Hope’ in Shona. Why did you feel that ‘hope’ was the most important theme to share with the world right now?
Anna: We are living in a dark place at the moment but our focus must always be about hope for a better future. Instead of concentrating on the dark, we must all strive to find joy and things that make us smile and Ruvimbo is very much part of the legacy.
HC: This album blends your childhood memories in Zimbabwe with your life now in the UK. Is there one particular track on Ruvimbo that feels like the ultimate ‘bridge’ between your two homes?
Anna: I guess Jenga Jenga connects my two worlds, inspired by Wells Beach in Norfolk where I have often taken myself to connect with my ancestors.
HC: The audience at The Cut will be among the first to hear tracks from your new album, performed live. Which song are you most looking forward to seeing the crowd react to?
Anna: I guess ‘I Have A Name’ is self-explanatory as it will give the audience a bit about who I am, my story of migration and diaspora. It’s a little insight into my rich heritage.
HC: This gig is a double bill with the Jesse Barrett Trio. How do you think your Zimbabwean sounds will weave together with their ‘expanding jazz’ style to create the atmosphere for the night? Anna: Mbira music is a great compliment to Jazz music and there is so much vocal improvisation with mbira as in Jazz. The common factor of Mbira and Jazz is each performance is totally unique, the identity of the music is clear, yet the performance is fresh, new and unexpected.
HC: What is your favourite part about performing for a live audience – is it the music or the storytelling? Anna: For me it has to be interaction, because you see in Zimbabwe the artist and the audience become one within the first song. So my performances will always have elements of audience participation cause I would love to think when you get home you can be humming along while loading the dishwasher or cooking. And that connection is priceless for me.
HC: When you aren’t busy with music or charity, what is your favourite way to relax and ‘recharge’? Anna: You will most likely find me in my garden, planting onions, garlic, cucumbers, cabbage, I just love eating what I grow and feeding my family from the garden.
