News, reviews, features and podcast on theatre across the UK
The British Theatre Guide Newsletter
No 1289: 8 November 2026
Editorial
Well, that’s Hallowe’en and Bonfire Night over with, so it’s Christmas next, as you can tell by the shops. What do you mean it’s too soon? It’s only 47 days away. Some houses near me swap their indoor and outdoor Hallowe’en decorations for Christmas ones on 1 November every year.
Whatever your view on the timing (or even existence) of Christmas shopping, presents and decorations, theatres are getting themselves ready for their busiest part of the year—or so they hope, as in many cases their Christmas shows go a long way towards funding the rest of the year’s programme. I’ll be seeing my first Christmas show this coming week, possibly accompanied by my first Christmas dinner.
At a time in which there seem to be a lot of significant theatrical anniversaries—BTG’s own milestone birthday is in just over a week’s time—the Royal Exchange Theatre in Manchester has announced the follow-up to its 50th anniversary season, the New Vic in Staffordshire is concluding its 40th anniversary season and Storyhouse in Chester has announced a year-long programme to mark its tenth birthday.
Also in the news, the Society for Theatre Research paid a nice tribute to our late reviewer Howard Loxton at the ceremony for its prestigious Theatre Book Prize, which Howard chaired for many years. The prize was established in 1998 to mark the Society’s golden anniversary, so will also hit a significant birthday fairly soon, but this is the first time it has ever had joint winners, one of whom is the playwright Martin Sherman, who spoke to me about his winning book for the BTG podcast just over a year ago.
Philip Fisher has again looked at the cost of tickets on the West End, where ‘premium’ pricing was introduced to make a bit more out of those who could afford it with a few perks thrown in, but those high prices seem to have become normalised as the top of the price range. Philip mentions a top price for Cabaret of almost £400, although that was on a Saturday night with cocktails and canapés, but I just checked and it would cost you £201 for a front row seat on Monday night, with a minimum price of £93.
People might pay those prices for a show they’re pretty sure they’re going to like on a trip to London, but most wouldn’t be able to afford to take a chance on something they knew nothing about, at least not regularly.
But then that’s just the West End, which plays an important part in the UK’s theatre scene and tourist economy, but the vast majority of British theatre happens elsewhere. The play I reviewed this week is likely to make it onto my highlights of the year, but if I’d been paying for my ticket, I could have sat in one of the best seats for around a tenth of the cost of that cocktails and canapés ticket for Cabaret.
And of course, at this time of year, most theatres are programming Christmas shows of some kind, and those at the big commercial theatres can be pricey, even in the regions outside London, especially if you’re taking a family. But regional producing theatres are often far cheaper and at least as good, plus pantos spring up in civic halls and other non-theatre buildings, so there’s plenty of choice at all price levels.
If you are contemplating booking for a show in London, though, LOVEtheatre (of whose affiliate scheme we are a member so we get a small cut of sales through the links here or on our web site) launched its LOVEtheatre week on Friday with savings on all shows booked by next Sunday, 15 November.
Liverpool's Royal Court will present its Stocking Fillers short new plays in the Studio and is looking for new comedy writers in partnership with the BBC.
Manchester's Royal Exchange Theatre's 2027–28 season will feature four world premières, a UK première and the first productions in its Studio since before lockdown.
Newcastle-under-Lyme’s New Vic will present in its spring 2027 season “celebrated writing, inventive storytelling and distinctive theatrical experiences”.
Mean Girls (Lorne Michaels, Sonia Friedman Productions and David Ian for Crossroads Live) - The Crucible / Lyceum Theatre / Tanya Moiseiwitsch Playhouse, Sheffield, –
Donald (Theatre Royal Bath Productions and Sustainable Entertainment) - Theatre Royal Bath / Ustinov Studio / the egg, Bath, –
East is East (Octagon Theatre Bolton, Citizens Theatre Glasgow and Wiltshire Creative in association with Derby Theatre) - Salisbury Playhouse, Salisbury, –
The Gruffalo (Tall Stories) - The Elgiva Theatre, Chesham, –
Private Peaceful (Joshua Beaumont and Matthew Emeny for The Production Garden in association with Exeter Northcott Theatre) - Connaught Theatre, Worthing,
High Society (Howard Panter for Trafalgar Theatre Productions and Brian and Dayna Lee in association with the Barbican) - Congress Theatre, Eastbourne, –
Turandot (Scottish Opera) - Festival Theatre, Edinburgh, –
The Haunting of Hill House (Mark Puddle with Alexander “Sandy” Marshall and Patrick Myles present a Wiltshire Creative production in association with Theatr Clwyd) - Royal Lyceum Theatre, Edinburgh, –
Operation Mincemeat (Avalon in association with SpitLip) - Theatre Royal Glasgow, Glasgow, –
