the 20th anniversary UK touring production of hit West End comedy
Glorious!
Starring Wendi Peters and Matthew James Morrison
Coming to Ipswich’s New Wolsey Theatre 2 – 7 March 2026
Glorious!, the hit West End comedy about Florence Foster Jenkins, the ‘worst singer in the world’, will visit Ipswich’s New Wolsey Theatre from Monday 2 to Saturday 7 March, as part of a 20th anniversary UK tour.
Starring stage and screen legend Wendi Peters (Coronation Street, Doctors, Sister Act UK Tour) and EastEnders star Matthew James Morrison, Glorious! tells the true story of American socialite Florence Foster Jenkins, who was known for her flamboyant costumes, enigmatic performances, and decidedly off-key voice.
Mocked, for her flamboyant performance costumes and poor off key singing, she nonetheless became a cult-figure in New York City during the 1920s, 1930s, and 1940s, with celebrated composer and songwriter Cole Porter and classical conductor Sir Thomas Beecham among her dearest celebrity fans. Glorious! follows Florence’s journey as she prepares for her biggest ever sold-out recital at New York’s prestigious Carnegie Hall, building an unlikely friendship with her accompanist, Cosme McMoon, and defying her army of critics to follow her dreams.
Wendi Peters, who stars as Florence Foster Jenkins, is best known for her long-running role as Cilla Battersby in the hit ITV soap Coronation Street and most recently was a regular on the BBC show Doctors as Nina Bulsara. Her many other TV credits include Midsomer Murders, Hetty Feather, Hacker Time and Sadie J. Wendi has also competed on various shows including Soapstar Superstar, Celebrity Mastermind, Celebrity Masterchef and Celebrity Sewing Bee for Children in Need, which she won. Wendi was most recently seen as Mother Superior in the UK Tour of Sister Act. Her other theatre credits include: The Legend of Sleepy Hollow (UK Tour), You Are Here (Southwark Playhouse), BIG The Musical (West End), The Game (Northern Broadsides) and White Christmas (West End, Festival Theatre, Edinburgh, The Lowry, Salford).
Matthew James Morrison, who stars as Cosme McMoon, comes direct from EastEnders, after more than three years playing Felix Baker and his alter ego “Tara Misu” – the first drag queen to appear as a regular character in a British soap opera –
The cast also features West End leading ladies Caroline Gruber (Leopoldstadt, Agatha Christie’s Witness for the Prosecution – London County Hall, 2000 Years – National Theatre) as Florence’s long-suffering maid Maria and society busybody Mrs Verrinder-Gedge; and Sioned Jones (Thirteen, Women Beware Women, All’s Well That Ends Well – all National Theatre) as Florence’s best friend and biggest fan, Dorothy. Sioned will also cover the role of Florence Foster Jenkins, as she did 20 years ago alongside Dame Maureen Lipman in the original West End production.
Completing the cast are Ella-Maria Danson as ASM/Cover Maria/Dorothy and Mrs Verrinder-Gedge, and Ryan Hall as ASM/Cover Cosme McMoon.
Glorious! first wowed audiences in its original long-running West End production starring Dame Maureen Lipman in 2005, before coming to the silver screen in 2016 as Florence Foster Jenkins, starring Meryl Streep and Hugh Grant. The show has since been
seen by millions of people around the world, translated into 25 languages, and performed in 36 countries to date. The current production, directed by Kirk Jameson (Song From Far Away, Madagascar the Musical) premiered at Manchester’s Hope Mill Theatre.
Yes, the legendary rock ‘n’ roll musical, Richard O’Brien’s Rocky Horror Show is back on the Ipswich stage, to the delight of many.
Love it, hate it, have no idea what it is (where have you been?) this show remains one of the most curious things in the history of musical theatre. Originally a low-budget tribute to 1950s science fiction and B-movie horror, a niche in itself, the show has evolved into a global rite of passage for the inquisitive. The current UK tour proves that while the ‘shock value’ of its 1973 debut has softened into nostalgia, the production remains a masterclass in audience-driven immersive performance. In other words – this uniquely bonkers, sexy, sci-fi, suspender-wearing musical is still a strong favourite.
Directed by Christopher Luscombe, this iteration is a sleek, high-octane machine with a cinema-inspired set design to create a vibrant, comic-book aesthetic. The use of a static cut-out car and a vertical bed for the infamous seduction scenes are clever nods to the show’s low-budget origins, elevated by expect lighting, plenty of fog, and not forgetting the sparkly skimpy costumes.
Musically, the production is secured by a five-piece band who deliver the score with a loud intensity that prioritises rock-and-roll energy over lyrical subtlety. While brisk tempo can occasionally mute the sensuality of numbers like Touch-a, Touch-a, Touch Me, it ensures the show maintains a relentless momentum.
The success of any Rocky Horror production rests on the shoulders of its key characters. Dr Frank-N-Furter, (more usually played by Stephen Webb) was on this show night played by Ed Bullingham, and what a fabulous performance Ed gave. He offers a more conventionally seductive and athletic interpretation leaning into the character’s fierce authority and risqué physicality.
The Narrator, played with razor-sharp wit by Jackie Clune, must be the hardest role as the actor must act as a lightning rod for the audience’s scripted (and unscripted) heckles. Clune was excellent at weaving in timely political barbs – referencing everything from Donald Trump to local geography – ensuring the 50-year-old script feels current.
Brad and Janet: James Bisp and Haley Flaherty master the transition from ‘squeaky-clean squares’ to liberated participants. Flaherty, a veteran of the role, portrays Janet’s descent into ‘a creature of the night’ with a nuanced vocal performance that prevents the character from becoming a mere caricature.
It does feel as though the show is of two-halves, however. The first act is a relentless parade of hits (Science Fiction/Double Feature, Dammit Janet, The Time Warp, Sweet Transvestite). In contrast, the second act often struggles with its own ‘wafer-thin’ plot, and to be honest I was lost a few times. However it fits the Sci-Fi B-movie parody by giving way to a messy alien coup which no-one actually seems to mind due to the audience participation. it is the core architecture of the show. The fascination lies in how the production manages to be both a rigid ritual (where fans shout specific lines at specific times) and a spontaneous party.
The 2026 tour of The Rocky Horror Show is less a piece of traditional theatre and more a communal exorcism of social inhibition. It is fast, filthy, and unapologetically loud with a polished, professional joy that makes it impossible to dislike.
Photo credit – David Freeman
Rocky Horror Show is playing at Ipswich Regent Theatre until 31st January
Voting opens today in the annual EAFN Festival of the Year awards which covers festivals taking place in the East of England.
Each new year brings with it a flurry of awards ceremonies across the entertainment world. Soon, audiences will be anticipating the nominations for The Oscars, The Emmys, The Grammys, and The Tonys, among others. While these are internationally renowned, the East of England has its own significant accolades: The Golden Mike Awards, which may be less known globally but hold great importance regionally.
Every January, the East Anglian Festival Network (EAFN) compiles comprehensive data from the previous year’s festivals. This information is then presented county by county, giving the public the opportunity to vote for their favourite festival in the region.
What began as a light-hearted initiative a decade ago in Cambridgeshire and Suffolk has now grown to include all the counties in the East of England: Bedfordshire, Cambridgeshire, Essex, Hertfordshire, Norfolk, and Suffolk. The awards have become a staple in the region’s festival calendar, celebrating the diversity and vibrancy of local events.
Festival organisers, whether they oversee large-scale or more intimate events, see these awards as well-deserved recognition for the immense effort involved in delivering much-loved occasions. Over the next two weeks, organisers will be encouraging fans, volunteers, suppliers, and stall holders to support them by casting their votes.
Tony Bell, a freelance photographer covering entertainment in the Eastern region on behalf of the EAFN, shares his perspective: “I know first hand what it takes to put on an event. Most are run, or at least supported, by groups of volunteers without whom few of these events would happen at all. The Annual EAFN Awards is just a small recognition of the work involved in making events happen.”
The top festival in each county is awarded the prestigious ‘Golden Mike’ trophy. Mike Wilson, founder of the EAFN, will present this accolade at EAFN26—the annual East of England trade show and conference for the festival industry — set to take place in St Ives in October.
In Suffolk Weird & Wonderful Wood have been county winners for the last three years, can they make it four in a row? In addition to county winners, an overall award for the best festival in the region is also presented. For the past two years, the ALB Festival in Colchester, Essex, has held this distinction.
The results will be announced online on Monday 9th February 2026.
BY WILLIAM SHAKESPEARE THE MARLOWE SOCIETY WED 21 – SAT 24 JAN 2026 Cambridge University’s most prestigious theatre company The Marlowe Society return to The Arts Theatre with a brand-new retelling of Shakespeare’s romantic comedy Twelfth Night. Love, deception, gender and mistaken identity descend into chaos as Viola disguises herself as a man called Cesario. In the land of Illyria she starts working for Duke Orsina, falling in love with him in the process. Founded in 1907, The Marlowe Society is one of Cambridge University’s oldest drama societies and has launched the careers of some of Britain’s greatest actors. Previous members include Ian McKellen, Derek Jacobi, James Norton and Rachel Weisz. The Marlowe Society perform annually at The Arts Theatre Cambridge; recent productions include Romeo and Juliet (2024), A Midsummer Night’s Dream (2023) and Othello (2020). Twelfth Night is directed by Michael Oakley, whose most recent directorial credits include Playhouse Creatures by April De Angelis (Orange Tree Theatre/UK Tour), Infamous by April De Angelis (Jermyn Street Theatre) and The Third Man with Book & Lyrics by Don Black and Christopher Hampton, and music by George Fenton (Menier Chocolate Factory)
Venue: The Arts Theatre Cambridge, 6 St Edward’s Passage, Cambridge, CB2 3PJ Dates: Wednesday 21 – Saturday 24 January 2026
Performance schedule and ticket price: Wed – Sat 7.30pm Thu & Sat 2.30pm Post-show talk: Thu, 7.30pm Tickets from £20.50 Student tickets £15 Box Office: 01223 503333 / www.cambridgeartstheatre.com
Theatre Royal’s Rapunzel arrives with all the ingredients of a classic family pantomime, but what makes this production stand out is its generosity of spirit. From the moment the curtain rises, it’s clear the creative team is focused on giving audiences a warm, spirited show that feels handcrafted rather than corporate.
The design is instantly charming: bright colours, bold shapes and a storybook feel that makes even the simplest scene look magical. Rapunzel’s tower is especially effective — cosy and slightly whimsical, suggesting both safety and confinement without needing elaborate mechanics. The clever use of hair (inevitably!) becomes a running visual motif.
The cast throw themselves into the show with infectious energy. Lowri Jones who plays Rapunzel brings an appealing mix of sincerity and spark; her scenes avoid the overly sweet sentiment that some pantos fall into. She plays Rapunzel as curious, good-humoured and quietly determined.
The comic roles are a highlight, the Dame Rusty McBusty played by Alastair Buchan keeps the audience firmly on their toes with sharp ad-libs and well-pitched physical comedy, while the comic sidekick manages to balance chaos with charm. Their double-acts land consistently, helped by the audience’s enthusiastic participation. This production clearly understands that when children feel included, the whole room lifts.
The wicked witch, Gothel, played by Julie Stark, locked Rapunzel in the tower, using her tears to keep her youthful looks. While gleefully theatrical and had her fair share of boo’s. The performance is fun and appropriately over-the-top.
We also had a cat called Jinx played by Lizzie Buckingham, a dog called Lassie played by Ruby Ablett both showed the characteristics of the animals.
Sammy the Shepherd (Ewan Grant) and his adorable sheep, played by the young chorus added some comedy to the show.
There are obviously the panto essentials, audience participation, baking a panto must, who doesn’t love making a cake, what could go wrong?
Musically, the production is lively and confidently delivered with songs that the audience would recognise & sing-a-long with. The choreography is accessible for the younger ensemble performers yet still dynamic enough to keep the stage alive.
Where the show shines most is pacing. The action moves swiftly, jokes land cleanly and there’s never a sense of the production stretching for time, a common pitfall in family theatre. Children remain engaged throughout, and adults get enough winks and wordplay to feel looked after too.
In the end, Rapunzel is everything a Theatre Royal Pantomime should be with its boo’s, cheers, it’s behind you and it was colourful, big-hearted and made with genuine care. It may not reinvent the pantomime form, but it fully embraces what audiences come for — laughter, warmth and a bit of holiday magic.
A bright, cheerful pantomime that sends families home smiling.
The Eastern Angles Christmas show is a beloved local tradition, known for its irreverent humour and regional twist on classics. Their production of Robert Louis Stevenson’s classic Treasure Island is trading the Caribbean’s sun-drenched sands for the misty, legend-haunted coastline of Suffolk in a Voyage to the Lost Town of Dunwich.
As always, the production is not just a panto alternative; it’s a brilliant fusion of swashbuckling adventure and cheeky East Anglian charm, a treasure chest of inventiveness that genuinely captivates the whole family.
From the moment the lights dim, the small, intimate space transforms. With Eastern Angles’ trademark clever staging, in their tiny theatre is less a stage and more the deck of a rolling, creaking ship. I’m always blown away by the levels of creativity within such a small space, and it only adds to the magic.
The narrative thrust, the famous search for Captain Flint’s buried gold, is given a potent local anchor by setting the action near Dunwich, the lost town said to have been swallowed by the waves. This Suffolk twist elevates the adventure, lending a poignant, almost gothic mystery to the journey that most traditional pantos lack.
The four-strong cast are, as always, the engine room of the show. With the energy of a full crew, they multi-role with seamless, hilarious dexterity. One moment, the captivating Emma Zadow is Grandma and then the dastardly Long John Silver,delivering the villainous quips with a captivating, roguish twinkle.
The delightful Chileya Mwampulo as Jim Hawkins is perfectly played with a necessary mix of wide-eyed innocence and burgeoning courage, anchoring the show’s emotional heart amidst the chaos of mutinous pirates and talking parrots (in this case, a well-executed piece of puppetry).
The amazing Charlie Venables and Georgina Liley had three characters each to juggle, which they managed with ease, as well Georgina playing a few instruments. When I say there were no outstanding performances this is because they were all outstanding.
Alongside the main crew are the youngsters from the community theatre and youth workshops who have real parts and melt the hearts of the audience.
As always, what truly sets Eastern Angles apart is the music and humour. Forget generic pop; the original songs are catchy, cleverly woven into the plot, and full of regional references that drew the most appreciative chuckles from the Ipswich audience.
The production manages the difficult feat of feeling both epic and intimate. The innovative use of simple props and dynamic sound allows the audience to visualize everything. You’re not just watching the adventure; you’re practically sailing the high seas with them. You can see the expressions on their faces and the twinkle in their eye, it truly draws you in.
Treasure Island offers something far richer than a traditional shouty panto, it’s a festive adventure built on brilliant storytelling, exceptional multi-rolling, and a deep, infectious love for the East Anglian landscape.
Treasure Island is playing until 10th January with performances in both Ipswich and Woodbridge. For more information go here:
