Mindgame by Anthony Horowitz returns to the West End

Mindgame by Anthony Horowitz
Mindgame by Anthony Horowitz

Mindgame by Anthony Horowitz


Following a critically acclaimed UK Tour Anthony Horowitz’s mind-bending psychological thriller comes to the Ambassadors theatre this May. Horowitz is well-known as the creator of Foyles War, the BBC’s New Blood, Alex Rider, the Sherlock Holmes novels House of Silk and Moriarty and the James Bond novel Trigger Mortis. His new James Bond novel, Forever and a Day, will be published on 31st May.


When Mark Styler, a writer of glossy ‘true crime’ paperbacks, tries to get an interview with Easterman, a notorious serial killer, he has no idea what he’s walking into. First he has to get past Dr Farquhar, the quixotic head of Fairfields – the asylum where Easterman is kept.

But soon he discovers that nothing is what it seems. Who is the mysterious Borson? Where did he get the meat in the fridge? And why isn’t the skeleton in the closet?


Anthony Horowitz is one of the most prolific and successful writers working in the UK – and is unique for working across so many media; juggling writing books, TV series, films, plays and journalism.

Anthony has written over 40 books including the bestselling teen spy series Alex Rider, which he adapted into a movie. The Alex Rider series is estimated to have sold 19 million copies worldwide. Anthony is also an acclaimed writer for adults and was commissioned by the Conan Doyle Estate and Orion Books to write two new Sherlock Holmes novels (The House of Silk and Moriarty). Most recently he was commissioned by the Ian Fleming Estate to write the James Bond novel Trigger Mortis. His latest works are The Word is Murder and Never Say Die (the latest in the Alex Rider series).

Anthony is also responsible for creating and writing some of the UK’s most beloved and successful television series, including Midsomer Murders and Foyle’s War. Anthony is on the board of the Old Vic Theatre and regularly contributes to a wide variety of national newspapers and magazines on subjects ranging from politics to education. He has been a patron to East Anglia Children’s Hospices and the anti-bullying charity, Kidscape, since 2008.

Anthony was awarded an OBE for his services to literature in January 2014.

On the 74th anniversary of D-Day intense World War II thriller Pressure written by and starring actor David Haig to transfer to the Ambassadors Theatre 

David Haig
David Haig

David Haig

Based on the remarkable true story of two warring Allied meteorologists tasked with predicting the weather conditions for the D-Day landings, David Haig’s critically acclaimed play Pressure will transfer to the West Ends’ Ambassador’s Theatre for a limited season from 6 June to 1 September 2018. The transfer follows a celebrated run at Chichester Festival Theatre (5 stars from the; Daily Telegraph, Observer & Evening Standard), a national tour (in association with Cambridge Arts Theatre and Touring Consortium Company) and a sold out run at the Park Theatre.

David Haig reprises his role as Group Captain James Stagg, alongside Malcolm Sinclair as General Eisenhower and Laura Rogers as Kay Summersbywith further casting to be announced in due course.

David Haig said “”I am absolutely thrilled that Pressure is transferring to the West End on 6 June. What sublime timing that my play about the weather forecaster for D-Day, will open on the 74th anniversary of the D-Day invasions. The play has been profoundly fulfilling to write and perform. It’s about one of the great unsung heroes of the 20th century and I’m so proud that his story will now be available to a West End audience. I couldn’t be more excited.”

Pressure is directed by John Dove, with design by Colin Richmond, lighting by Tim Mitchell, sound by Philip Pinsky, video by Andrzej Goulding and casting by Lisa Makin.

 72 hours prior to the D Day landings, Scottish meteorologist, Group Captain James Stagg, advises General Eisenhower on the weather conditions likely to prevail when 350,000 troops are to be sent across the Channel in Operation Overlord. With Stagg predicting severe storms and Irving P. Krick – Hollywood’s meteorological movie consultant – predicting beautiful weather, the future of Britain, Europe and the United States rests on one single forecast.

Pressure was originally commissioned by the Royal Lyceum Theatre Edinburgh as a co-production with Chichester Festival Theatre. The production premiered at the Royal Lyceum Theatre Edinburgh in 2014, followed by a run at Chichester Festival Theatre.

David Haig is a five-time nominee and Olivier Award-winning actor best known for his roles in the film Four Weddings and a Funeral, TV series The Thin Blue Line and stage production of The Madness of King George III (Tour and West End). He is also an award-winning playwright. He wrote and starred alongside Daniel Radcliffe in My Boy Jack – which was made into a TV drama for ITV in 2007.

Malcolm Sinclair will reprise his role as General Eisenhower. Sinclair has performed extensively in leading roles with theatre companies such as the National Theatre and the RSC. He has performed widely, both in Britain and internationally. In 2001 he won the Clarence Derwent Award for his role as Gavin Ryng-Maine in the National Theatre’s production of House/Garden and was also nominated for an Olivier Award for best supporting actor for his performance as Major Miles Flack in Privates on Parade.

 Laura Rogers will reprise the role of Kay Summersby. Her theatre credits include: An Ideal HusbandMasterpieces (Royal Court), Blue Remembered Hills (Chichester Festival Theatre), The Comedy of Errors (USA Tour and Shakespeare’s Globe), The 39 Steps (West End), Hay Fever (Chichester Festival Theatre), Macbeth, A Midsummer Night’s Dream, The Taming of the Shrew and Richard III (Shakespeare’s Globe) and Bad Girls – The Musical (Garrick Theatre and West Yorkshire Playhouse). Her television credits include: EastEnders, New Tricks, Dates, Twelfth Night, Doctor Who and Bad Girls.

Pressure at the Ambassadors Theatre is produced by Jonathan Church ProductionsJenny King Oliver Mackwood Ltd.







Press Night: TBC


Monday – Saturday at 7.30pm

Thursday & Saturday at 3.00pm

Ticket Prices: £15 to £55 (not including premiums)

Address: Ambassadors Theatre, West St, London WC2H 9ND

Box Office: 020 7395 5405


Facebook: @pressuretheplay

Twitter: @pressuretheplay

Instagram: @pressuretheplay


Danny Strong commissioned to write book for new Frank Sinatra musical

Frank Sinatra. Credit - Frank Sinatra Enterprises
Frank Sinatra. Credit - Frank Sinatra Enterprises

Frank Sinatra. Credit – Frank Sinatra Enterprises

The Ambassador Theatre Group, Stewart Till and Frank Sinatra Enterprises, along with Edward Walson, have announced that Emmy Award-winning writer Danny Strong has been commissioned to write the book for the highly anticipated new musical based on the life of the legendary singer and actor Frank Sinatra.

The show, which is planned to open in early 2020, will feature a number of timeless hit songs from Sinatra’s incredible catalogue recorded during his illustrious career.

Danny Strong said: “It is an honour to get to write a musical about one of the biggest icons of the 20th Century. Sinatra is one of the great talents of all time and his fascinating and powerful story will make for a terrific stage musical. I’m deeply honoured to get this opportunity.”

Alongside his prestigious acting and producing career, Danny Strong’s writing credits include ‘Game Change’ – for which he won an Emmy Award, a Producers Guild Award and a Writers Guild of America Award – The Butler, Recount and the  Hollywood blockbuster films ‘The Hunger Games: Mockingjay – Part 1’ & ‘The Hunger Games: Mockingjay – Part 2’. He is the co-creator of the American musical drama television series ‘Empire’ and recently wrote and directed the film ‘Rebel in the Rye’ that premiered at the 2017 Sundance Film Festival. He has just completed a reworking of Tim Rice’s and Abba’s Chess which opens at Washington’s Kennedy Center next month.

Adam Speers of Ambassador Theatre Group said: “To have Danny on board is amazing news. His previous work speaks for itself and it made perfect sense to have him write the book for what is set to be a unique musical about an all-time Hollywood legend and icon.”

Stewart Till added: “Danny Strong’s writing is always incredibly entertaining, smart and a huge magnet for audiences. That is why he was our absolute first choice.”

Frank Sinatra’s legacy and body of music is timeless and resonates with all generations. This announcement follows the news that Sinatra extended his record for the most top 40-charting albums on the Billboard 200 with the 2017 release of ‘Ultimate Christmas’, which became his 58th Top 40 hit.

Sinatra The Musical will be executive produced by Larry Manetti.


The National Theatre’s critically acclaimed production of Beginning will transfer to the Ambassadors Theatre in the West End for a limited 10-week season from 15 January 2018

BEGINNING by Eldridge, , Writer – David Eldridge, Director – Poly Findley, Designer – Fly Davis, The National Theatre, 2017, credit: Johan Persson/

The National Theatre’s critically acclaimed, sold-out production of BEGINNING‘the (anti) romance for 21st-century London life’ (Evening Standard), will transfer to the Ambassadors Theatre for a strictly limited 10-week run from 15 January 2018, with a press night on Tuesday 23 January.

BEGINNING is a tender and funny look at the first fragile moments of risking your heart and taking a chance. Reprising their highly praised roles as Laura and Danny, Justine Mitchell (Bodies, Royal Court; Mr Burns, Almeida Theatre) and Sam Troughton (King Lear, National Theatre; The Hollow Crown, BBC; and The Ritual), are directed by Polly Findlay (Limehouse, Donmar Warehouse; As You Like ItProtest Song and Antigone, National Theatre) in this season’s must-see hit by David Eldridge (Festen, Market BoyUnder the Blue SkyIn Basildon).

Every story starts somewhere. It’s the early hours of the morning and Danny’s the last straggler at Laura’s party. The flat’s in a mess. And so are they. One more drink? 

Acclaimed by critics and audiences during its sold-out run, BEGINNING received its world premiere on 12 October 2017 in the NT’s Dorfman Theatre.

With design by Fly Davis, lighting design by Jack Knowles, sound design by Paul Arditti and movement by Naomi SaidBEGINNING is produced in the West End by the National Theatre.

Tickets will go on sale to the public on Monday 20 November at 10am, with a priority booking period for NT members from Friday 10 November.

BEGINNING is supported by the NT’s Official Card Partner, American Express.

STOMP finished 2016 on a high with two consecutive record-breaking performances on Wednesday 28 and Thursday 29 December at Ambassador Theatre, London


Paul Roseby interview: “Stick to your bloody instincts. Whether you make the right or the wrong decisions, if you stick to your instincts then you can only do what you believe to be true.”

Paul Roseby
Paul Roseby

Paul Roseby

Paul Roseby is already in the restaurant when I arrive. I am quite nervous at the prospect of meeting the CEO and Artistic Director of the National Youth Theatre of Great Britain. I needn’t be.  Instantly recognisable, it’s the charisma and style. Roseby is quite happy to draw attention using his appearance to break the ice. He waves back at someone across the room from where we are sitting. “I have no idea who that was,” He smiles, “He probably thinks I’m TV personality Duncan Bannatyne, I get that a lot. I’ve had Shane Richie before.” We laugh… I see it.

So now we’re sitting in Soho House on Dean Street, a private members’ club for people in the creative industries about to discuss his career.

Story of Our Youth - Gala Celebrating 60 Years of National Youth Theatre

Story of Our Youth – Gala Celebrating 60 Years of National Youth Theatre © Mark Cocksedge

I start by commending his efforts on the recent one-off gala at the West End’s Shaftesbury Theatre that marked the 60th anniversary of the National Youth Theatre; a glitzy affair starring alumni including Matt Smith, Timothy Dalton, Hugh Bonneville, Daisy Lewis and more alongside 100 current members.  It was no small feat to get such a level of consistent high standard from a cast covering such an age range, it was pretty amazing. These are the hard things to achieve and showed the level of work and commitment of all concerned. I ask him how he thought it went. “It has to be the moment when an auditorium of 1,200 people stood up out of their seats tumultuously for a cast of one hundred young people up on stage.” he says. “It’s what they do if for. Don’t forget, it was very unusual circumstances, with only 3 hour technical time in one of the biggest theatres in the West End and the NYT members were consummate professionals. I originally came from a light entertainment background, so to see people who know our organisation and who don’t know the organisation being entertained,” he beams. “I was very proud of that.”

Paul Roseby in his Union Jack shoes

Paul Roseby in his Union Jack shoes

I compliment him on his choice of footwear for the NYT Gala: Union Jack shoes.  They were by all accounts ‘quite something’. He laughs: “I am an absolute lover of shoes.” He chuckles. “David Beckham has the same pair; they are ‘vintage’ by now! In all seriousness, the Union Jack shoes were a risk given what has happened in the aftermath of Brexit. We need to celebrate the flag in all its diversity and I believe in a union of many things, we are an international organisation.”

I ask him to fast forward sixty years and tell me how he would envisage the 120th Anniversary panning out. “Right, I think it needs to be a celebration like the Oscars as a global event,” he smiles. “A celebration of all youth and creativity rolled into one evening. The 120th Birthday Gala should be an event that is hugely supported by media with sponsorship; which means money and accreditation. Youth Theatre is absolutely a game changer and is a feeder to one of our greatest exports. I’d like it to have international status; we have worked internationally in some very challenging parts of the world: China and Saudi, for example. It should be a global belief system.”  It’s hard not to be swept up in his enthusiasm for the work. As I’ve mentioned at some length before, (blog about Open Court Festival ) there is currently a huge attention in important work being made and performed by young people for adult audiences.

I’m curious to know how he got the job. “It was hard because it was not something I’d done before. The people around the NYT and Arts Council interview panel rightly questioned why I’d want to lead the organisation. I outlined my vision and ambition through the application process not least by creating a digital response by vox popping punters on the Southbank and interviewing leading industry professionals to test the current climate,” he recalls. “To provide a wake up call to what the NYT needed to become in order to become more relevant. There was some stunned silence broken by the late Bryan Forbes with the line: ‘It’s all very well dear, but short of ‘going down’ on Greg Dyke, how are you going to pay for it?’ If only funding was that easy.  I was the outsider. In the end the decision was made that I and John Hogarth would do it together, it took a while for the panel to make up their minds so I and John had an off-the-record conversation and put it to the board that we both lead as a joint ticket. They got the best of both worlds.” Amazing.

Pigeon English at the Ambassador Theatre

Pigeon English at the Ambassador Theatre. Click on the image to book your tickets.

Let us take a moment to acknowledge that National Youth Theatre is not just where Helen Mirren learned to act… For many it is where they grow up, where they learn how to be an actor but, more vitally, how to be a member of a diverse society, judged solely on distinction. Does Roseby appreciate this, standing on the shoulders of giants?  “I recognise however small or great the generosity and goodwill from our alumni. What is great about Helen, for example, is in all honesty why should she care about the NYT today? Fifty years ago it changed her life, but so what? Life moves on.” He explains: “That’s the starting point with our alumni – how do we make it relevant for them today, it might have given them a platform and provided a life changing experience – but why should they continue to get behind our cause? What is worth its weight in gold is that people like Helen talk about our work and the importance of youth theatre, particularly for working class actors, on an international stage. That is invaluable. Inspired by the traditional repertory theatre model, our NYT REP Company course offers free, practical, industry-based talent development in drama and performance over nine months to 16 NYT members.”

Prior to meeting Paul I came from Young Vic, where I attended Act For Change: Diversity and Training for the Industry, the third annual event and panel discussion led by campaigners for better representation of diverse groups across the live and recorded arts. We talk about quotas. I ask how he makes sure NYT members are as rich and diverse as our population.  “Diversity is at the core of our work, without doubt, we all need to work harder. We strive to represent fairly what is out there in the wider world: people who look like us, sound like us and think like us. We are a talent based organisation and as creative leaders we need to create original content that questions the status quo, to tell stories that we’ve yet to see or hear. Be that about homophobia, racism or mental health, my responsibility is that.  That’s my reason for getting up in the morning. I think the diversity debate is a little old fashioned, how we get the real issues surrounding diversity to progress is by getting them in front of commercial drivers and going beyond the public sector.” He continues fervently. “At the next debate we need Cameron Mackintosh, Andrew Lloyd Webber, ATG, Working Title and individuals that stand to make commercial financial gain out of creativity there.” He’s got a point.

Before we part ways, I ask if he has any advice for young graduates. “Stick to your bloody instincts.” He says. “Whether you make the right or the wrong decisions, if you stick to your instincts then you can only do what you believe to be true.”


Paul Roseby and Carl Woodward


STOMP London Run Extends into 2018

2016 marks the 25th anniversary for STOMP, which has now extended its booking period at London’s Ambassadors Theatre until 7 January 2018. During this new booking period, the show will celebrate its 15th birthday in London and its 10th birthday at the Ambassadors Theatre, where it has broken all previous box office records.

Omari Carter and Simone Clarke in STOMP. Click the image to book your tickets.

Omari Carter and Simone Clarke in STOMP. Click the image to book your tickets.

STOMP was created by Luke Cresswell and Steve McNicholas and was first performed in 1991 in Edinburgh. The show played Sadler’s Wells Theatre in January 1994 and won the Olivier Award for Best Choreography, before opening in New York in February of the same year. The European company was created in 1997 and began the show’s London run at the Vaudeville Theatre on 25 September 2002, transferring to the Ambassadors Theatre on 27 September 2007.

One of Britain’s greatest exports, STOMP has toured the globe for 25 years, playing to more than 12 million people in 53 countries across 6 continents. There are currently four STOMP companies performing worldwide, including New York, where the show has been running for over 22 years, London, now in its 15th year, a world tour and a North American tour. STOMP has just completed a very successful 10-week season in Beijing and will play India for the first time this year.

 STOMP is presented in London by Yes/No Productions and Glynis Henderson Productions Limited.


 Ambassadors Theatre

West Street

London WC2H 9ND

 Box Office: 020 7395 5405

 Tickets from £26 + a £2.50 transaction fee

Performances: Monday, Thursday, Friday & Saturday at 8pm, Sunday at 6pm, with matinees Thursday, Saturday and Sunday at 3pm

Extra Performances at 3pm & 8pm on Wednesday 15 February, Wednesday 12 April, Wednesday 5 & 12 July, Wednesday 2 & 9 August, Wednesday 18 & 25 October 2017

N.B. No 3pm matinee on Thursday 7 & 14 September 2017

See website for Christmas/New Year booking period

 Running Time: 100 minutes with no interval

 Current Booking Period: to 7 January 2018