Sheridan Smith returns to the stage in 'Woman in Mind'

4. WOMAN IN MIND. Sheridan Smith. Photography by Oliver Rosser. 1200x628

Sheridan Smith Sheridan was last seen on stage in the world premiere of John Cassavetes’ *Opening Night*.

The Menier Chocolate Factory announces shows in 2025/26 season

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The season will open with a major revival of Noël Coward’s *Fallen Angels*, directed by Christopher Luscombe.

Full cast announced for 'A Christmas Carol' at the Old Vic

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Adapted for the stage by Jack Thorne, *A Christmas Carol* tells the story of the miserly Ebenezer Scrooge, who changes his ways after four ghostly visits one Christmas.

Kate Fleetwood, Jo Foster, Jamie Parker, and more join cast of 'Into the Woods'

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The cast for Jordan Fein's production of *Into the Woods* includes several musical theatre names such as Katie Brayben, Chumisa Dornford-May, Jo Foster, and Jamie Parker.

'Titanique' tickets now available through June 2026

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Musical parody *Titanique* asks the question: what really happened to Jack and Rose the night the Titanic crashed into that iceberg?

Kiln Theatre announces two new shows in 2026 programming

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Olivier Award winner Maimuna Memon brings back her gig theatre piece *Manic Street Creature*, while Martina Laird's *Driftwood* makes its London premiere.

Everything you need to know about 'The Producers'

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Mel Brooks's much-loved musical comedy returns to the West End in a dazzling production by Patrick Marber.

Billy Crudup and Denise Gough to star in world premiere of 'High Noon'

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Directed by Olivier Award-winner Thea Sharrock, *High Noon* is based on the Academy Award-winning 1952 film by Carl Foreman and is hailed as one of the greatest westerns ever made.

'Operation Mincemeat' tickets available through May 2026

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Written and composed by David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts of SpitLip, *Operation Mincemeat* is based on a true story of the secret mission that helped win World War II. 

'Ride the Cyclone The Musical' reveals full cast

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Written by Jacob Richmond and Brooke Maxwell, the musical follows six teenagers who are offered one last shot at life after a freak rollercoaster accident.

Sheridan Smith will star in a new production of Alan Ayckbourn’s psychological comedy *Woman in Mind*, with performances beginning at the Duke of York’s Theatre from 9 December, running through 28 February 2026.

Smith, who was last seen on stage in the world premiere of John Cassavetes’ *Opening Night*, stars in Ayckbourn’s groundbreaking play, which explores identity, family, and mental escape. When Susan experiences a head injury, her world splits in two: one mundane reality, and the other vividly imagined. Michael Longhurst will direct.

The rest of the creative team includes set and costume design by Soutra Gilmour, lighting design by Lee Curran, and sound design by Paul Arditti.

Check back for *Woman in Mind* tickets on LondonTheatre.co.uk

*Photo credit: Woman in Mind artwork. (Photo by Oliver Rosser)*

Born in Epworth, Lincolnshire in 1981,&nbsp;Sheridan Smith&nbsp;has performed in numerous television shows and musicals, earning an OBE in 2015 for services to drama.&nbsp;With a keen interest in drama from a young age, Smith studied dance and performing arts at every opportunity, but did not attend drama school. Smith made her television debut at 18 years old, playing Emma in the BBC series&nbsp;The Royle Family. Three years after, she landed the role of Janet Keogh in&nbsp;Two Pints of Lager and a Packet of Crisps, starring in the programme from 2001 to 2009.

Outside of theatre, she is best known for her roles in television. She has had roles in comedy shows such as Benidorm and Gavin and Stacey, in which she played Rudi, the sister of Smithy played by James Corden. She has also appeared in a number of dramas such as Mrs Biggs, which won her a BAFTA award, and The 7.39 alongside&nbsp;David Morrissey.

Smith played Audrey in Little Shop of Horrors at the&nbsp;<a href="/theatres/menier-chocolate-factory">Menier Chocolate Factory</a>&nbsp;in 2006, transferring to the&nbsp;<a href="/theatres/ambassadors-theatre">Ambassadors Theatre</a>.&nbsp;In 2009, she took on the role of Elle Woods in&nbsp;Legally Blonde&nbsp;at the&nbsp;<a href="/theatres/savoy-theatre">Savoy Theatre</a>, earning an Olivier Award nomination for Best Actress in a Musical.&nbsp;

In 2012, she played the title role in&nbsp;Hedda Gabler&nbsp;at the&nbsp;<a href="/theatres/old-vic-theatre">Old Vic</a>, and was then in a revival of the Terence Rattigan play&nbsp;Flare Path at <a href="/theatres/theatre-royal-haymarket">Theatre Royal Haymarket</a>, winning an Olivier for Best Actress.&nbsp;The following year, she starred in&nbsp;A Midsummer Night’s Dream&nbsp;at the&nbsp;<a href="/theatres/noel-coward-theatre">Noël Coward Theatre</a>, alongside David Walliams.

In 2015, Smith went on to play the role of Fanny Brice in the musical&nbsp;Funny Girl, which initially ran at the&nbsp;Menier Chocolate Factory, before transferring to the&nbsp;Savoy Theatre and touring the UK. She was nominated for the Olivier Award for Best Actress in a Musical following the show’s West End transfer.

More recently, Smith has played Cilla Black in the ITV biographical drama&nbsp;Cilla, as well as releasing her debut album titled ‘Sheridan’ in 2017, with her second album ‘A Northern Soul’ a year later. She's recently starred in&nbsp;the West End revival of&nbsp;[Joseph and the Amazing Technicolor Dreamcoat](http://www.londontheatre.co.uk/show/joseph-and-the-amazing-technicolor-dreamcoat)&nbsp;as the Narrator, appearing alongside <a href="/actor-profile/jason-donovan">Jason Donovan</a>. 

In 2023, Smith will star in the one-woman play, *Shirley Valentine.*

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Opening Night - LON [36785]

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Opening Night

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The incomparable Sheridan Smith returns to musical theatre in the world premiere of Opening Night from the creative minds of Rufus Wainwright, one of the most acclaimed songwriters of his generation, and celebrated director Ivo van Hove. 


The Gielgud Theatre is an iconic heritage venue located in the heart of London's bustling West End. Showcasing a wide array of performances ranging from dramatic plays, to musicals, to stand-up comedy, the theatre has been a magical place of storytelling since its doors first opened in the late 1800s. Upon entering the theatre, patrons are greeted by a stunning interior complete with opulent gold leaf detailing, royal red plush seating and ornate carved plaster. The plush Royal Circle boasts excellent sightlines, while the intimate, yet spacious Dress Circle and Stalls ensure every audience member feels close to the action. With a seating capacity of 986 spread across three levels, the theatre boasts an intimate atmosphere making every show a unique experience. 

**How to get to the venue:** Located at Shaftesbury Avenue, one of the easiest methods of reaching is by Tube. The closest station is Piccadilly Circus on the Bakerloo and Piccadilly lines. There are also many bus routes which stop close to the theatre making it easily accessible from all parts of the city. For those driving, a nearby Q-Park Theatreland car parking facility is available, though the theatre encourages use of public transport due to high congestion in the area.

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Gielgud Theatre

The Gielgud Theatre is an iconic, intimate London theatre, featuring lavish interiors, located in West End accessible by Tube, bus or car.

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Shirley Valentine

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Watching [Sheridan Smith](https://www.londontheatre.co.uk/theatre-news/news/discover-sheridan-smith-theatre-roles-tv-performances-and-more) connect with an audience is truly mesmerising. Even while holding a West End stage, she makes every single person in attendance feel as if she’s sat at the kitchen table with them, chatting away like a lifelong friend. 

It’s a magic power ideally suited to Willy Russell’s 1986 one-woman play [*Shirley Valentine*](https://www.londontheatre.co.uk/show/27242-shirley-valentine), which relies on us investing heavily in his title character’s domestic troubles and modest, but ultimately cheer-worthy, ambitions.

Shirley is a working-class Liverpudlian housewife whose two children have left home. Her marriage barely exists; her belittling, semi-abusive husband only notices her when she makes him the wrong dinner (Smith actually cooks chips and egg live on stage). At 42, she’s completely lost her sense of self, and it takes a chance encounter with an old schoolmate to make her question: whatever happened to Shirley Valentine? 

Thankfully, her pal Jane (recently divorced, budding feminist) intervenes to give Shirley, who has never been abroad, a golden opportunity: a two-week holiday in Greece, without her family. Will Shirley find the nerve to go, and will the trip prove transformative? Well, suffice to say this isn’t a story that ever confounds expectations.

Russell’s piece operates like a direct-address monologue, although technically Shirley addresses her kitchen wall rather than us - indicative of her desperate loneliness. It’s an irritating but effective device, giving us a strong sense of how this relentless and isolating routine has ground her down over the years.

However, several elements of Russell’s script are inescapably dated. In particular, I felt bludgeoned by the endless old-school comic one-liners: “Marriage is like the Middle East - there’s no solution”; “Sex is like Sainsbury’s - overrated.” There’s also an interminable riff on the discovery of the clitoris, which feels hopelessly tame in a post-Fleabag world, and a nativity anecdote that would only really interest you if it was about your own child. 

But when Russell switches gear and has Shirley candidly, painfully expose her vulnerabilities - like recalling how a cruel headmistress damaged her confidence, making her feel that dreams were only for the clever or moneyed pupils - Smith (who has had her own struggles with mental health, famously during her run of *Funny Girl*) is in her element. She gradually dims Shirley’s determinedly sunny facade, conveying a wealth of emotion in just a wavering smile.

Annoyingly, Russell’s overwritten piece doesn’t trust her - or us. Just as we’ve inferred something obvious, like that Shirley pretended to hate everything in her teens because she hated herself, or that she hasn’t left her husband because she’s scared of the unknown, the script spells that out for us. It starts to conflict with the characterisation: if she’s so au fait with every feeling, as though she’s gone through years of intense therapy, why is she so paralysed? It would make more sense if she was telling this story in retrospect, but it’s meant to be played in the present. 

However, judging by the numerous chuckles and murmurs of recognition on my night, plenty of Russell’s observations still chime with people — including the suspicion when a woman is sitting on her own in a restaurant, or (groan) the embarrassing antics of Brits abroad. The tale’s brief use of a fantastical Greek lothario is rather wince-inducing, though, and I longed for more grit. With Smith’s chirpy telling lacking the acid moments of Pauline Collins’s original Oscar-nominated version, it risks descending into broad sitcom-meets-cloying wish fulfilment. 

But then perhaps that cosiness is a tonic right now — and there’s no doubting the kitsch charm of Matthew Dunster’s production. Paul Wills supplies a 1980s mint-green kitchen (matched by Shirley’s trousers) and later a dazzling splash of blue sky, melting into a pink sunset - shimmering in Lucy Carter’s luscious lighting design. It’s basically [*Mamma Mia!*](https://www.londontheatre.co.uk/show/304-mamma-mia-tickets) without the ABBA.

But, even if the lessons about learning to love yourself and how (gasp!) women, too, can enjoy sex feel rather hoary, the core message of not leaving any “unused life” resonates deeply after Covid. And it’s a pleasure to see Smith back centre stage, once more casting her spell.

*Shirley Valentine is at the Duke of York's Theatre through 3 June.*

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*Photo credit: Sheridan Smith in Shirley Valentine (Photo by John Wilson)*

'Shirley Valentine' review – Sheridan Smith casts a spell in this endearing, if dated, one-woman play

Read our three-star review of *Shirley Valentine* at the Duke of York's Theatre, starring Sheridan Smith, running through 3 June. Get *Shirley Valentine* tickets on London Theatre.

The **Duke of York's Theatre** is one of the most prestigious theatres in the bustling city of London. Nestled in the heart of St Martin's Lane, it boasts a rich history dating back to its opening in 1892. The theatre is named after King George V and since its establishment, it has featured an array of stunning performances and world-renowned plays. The auditorium is an impressive spectacle in its own right, designed in proscenium style, with the capacity to accommodate up to 640 spectators. Over the years, it has maintained its classic Edwardian decor, adding to the immersive theatre experience it provides. Furthermore, the theatre has state-of-the-art technical facilities and provides excellent acoustics, ensuring an awe-inspiring experience. 

**How to get to the venue:** 

Duke of York's Theatre is well-connected to public transportation. The closest tube stations include Charing Cross, Leicester Square, and Covent Garden. Alternatively, several buses stop near St Martin's Lane. For those driving, there are car parks nearby. However, due to London's congestion charge, public transport is the most convenient and often, the easiest way to reach the theatre.

**Additional Information** 

Venue opens 1hr 30min before showtime. 
Please arrive with plenty of time. Latecomers will be admitted at a suitable point, which may be the interval.

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Duke of York's Theatre

The Duke of York's Theatre is a prestigious historical venue in London, showcasing world-renowned plays with modern facilities. It's accessible via public transport.

Funny Girl [993]

Funny Girl

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London's Savoy Theatre is one of the most renowned theatre venues in the heart of the city. This cherished venue exhibits a rich history that dates back to 1881. The Savoy indulges its patrons with a variety of performances, including plays, musicals, ballet, and concerts. The attractive architecture and interior details give the attendees a sense of a grand theatrical experience. The Savoy Theatre prides itself on having introduced electric lights to the theatre world. Remarkable luminaries such as Gilbert and Sullivan have graced its stage. The theatre has a seating capacity of 1,158, split between the Stalls, Dress Circle, and Upper Circle. Dedicated to providing full accessibility, the venue offers services for those with mobility, hearing, and visual impairments.

## How to get to the Savoy Theatre 
The Savoy Theatre is centrally located in London and is easily accessible by both public and private transport. The theatre is easily reachable by bus, tube, and rail services. The nearest tube stations are Charing Cross (Bakerloo and Northern lines), Embankment (District, Circle, Bakerloo, and Northern lines), and Covent Garden (Piccadilly line). For those who prefer buses, services 6, 9, 11, 13, 15, 23, 87, 91, 139, and 176 stop near the theatre. For patrons driving private vehicles, the closest Q-Park car park is available at the nearby Chinatown. The theatre also participates in the Q-Park Theatreland Scheme, offering a 50% discount on parking.

## Additional Information 

Venue opens 1hr 30min before showtime.

Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

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Savoy Theatre

The Savoy Theatre is a historic London venue offering diverse performances. It's centrally accessible by tube, bus, and car.

The smash-hit musical is back with a dream cast including Jason Donovan

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Joseph and the Amazing Technicolor Dreamcoat [18933] Palladium - LON

Joseph and the Amazing Technicolor Dreamcoat

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Go go go Joseph! Andrew Lloyd Webber's latest work, <a href="https://www.londontheatre.co.uk/show/cinderella">Cinderella</a>, is still yet to open thanks to the pingdemic, but his very first is up and running again. Laurence Connor's buoyant revival of Lloyd Webber and Tim Rice's Biblical musical charmed audiences back in 2019, and remains an absolute winner. If we can't go to the ball quite yet, at least we've got this technicolour dream.Connor and choreographer JoAnn M Hunter, who also collaborated with Lloyd Webber on School of Rock and Cinderella, understand&nbsp;how to balance the heart and the sublime silliness of Joseph. Essentially a summer panto, it retains its DNA as a school show, with designer Morgan Large scaling up the classic nativity styling that transforms a child purely via a fake beard, a tea towel on their head, and the goodwill of the audience.The theatrical inventiveness is delightful - from the camel bike riding to the toy sheep on skateboards and acrobatic goat (new Olympic events?) - as is the integration of children into the cast, including, on the night I was there, scene-stealing moppet Ethan Sokontwe as a tiny imperious Potiphar. That fits beautifully with the accessible, hyper-efficient storytelling, courtesy of an agile pastiche score and Rice's witty lyrics. It's effortless fun.Yet the lead role requires an awful lot of effort. Connor's version substantially bulks up the Narrator; as well as guiding us through the story, she now plays several characters and leads the dance numbers. It was built around Sheridan Smith and her vaudevillian talents, but gets a very different spin from its new inhabitant, <a href="https://www.londontheatre.co.uk/actor-profile/alexandra-burke">Alexandra Burke</a>.While Smith did too much mugging for my taste, Burke is almost the opposite: she largely plays it straight, treating the drama seriously. When the brothers misbehave, she really takes them to task, and her Jacob is genuinely grief-stricken. The former Strictly finalist is also a dynamite dancer, sharp and grounded, and particularly at home in the hip-hop-fuelled Megamix.Yet there are also times where she's visibly battling the material. Rice's gags are a strain (lots of gesticulating with the hands, not enough enunciating), and there are some wobbly vocals in the fast sections. "A Pharaoh's Story" is more convincing, allowing Burke to let loose with vocal runs and big, belting notes, but that's a rare diva moment for the Narrator.Still, many will likely warm to her inviting and sincere performance, while Joseph purists can, on a few shows, catch Linzi Hateley, who last played the Narrator 30 years ago - and is somehow better than ever. It's a cheering sign that this role is now a boon to actresses of all ages, and I hope we see plenty of creative casting in future.Hateley's early 1990s Joseph was <a href="https://www.londontheatre.co.uk/actor-profile/jason-donovan">Jason Donovan</a>, who is back hamming it up as the Elvis-esque Pharaoh. It's a generously self-deprecating turn; he groans when he has to stand up, knees cracking. And <a href="https://www.londontheatre.co.uk/actor-profile/jac-yarrow">Jac Yarrow</a>, the drama graduate who, like the title character, became a star thanks to Joseph's dreams, returns with a more mature performance and superbly controlled vocals. His "Close Every Door" is just as emotive, but with added power.Steffan Lloyd Evans and Bobby Windebank are standouts as, respectively, brothers Reuben and Simeon, the athletic chorus excel during Hunter's high-voltage hoedown and can-can numbers, and John Cameron's orchestrations, jauntily delivered, are like a vibrant new lick of paint. A few problems remain, though: the calypso is simply irredeemable, and there's a dismaying tendency to use the female ensemble as sexy set dressing.However, from its opening minutes, in which the Narrator begins her fireside tale for the children, there's a lovely emphasis on the pleasures of collective storytelling. It's just the tonic after our long separation. That, and being part of a full-capacity theatre audience all up and dancing to the Megamix. Go go go join the party.<a href="/show/joseph-and-the-amazing-technicolor-dreamcoat">Joseph and the Amazing Technicolor Dreamcoat&nbsp;is at the London Palladium to 5 September. Book Joseph and the Amazing Technicolor Dreamcoat tickets on LondonTheatre now.</a>Photo credit: Jason Donovan and Jac Yarrow in Joseph and the Amazing Technicolor Dreamcoat (Photo by Tristram Kenton)

'Joseph and the Amazing Technicolor Dreamcoat' at the Palladium is a jubilant, joy-filled revival

Read our review of Joseph and the Amazing Technicolor Dreamcoat at the London Palladium on London Theatre.

Joseph and the Amazing Technicolor Dreamcoat at the London Palladium Review | London Theatre

The London Palladium is one of the most famous and prestigious theatres in the heart of London. Steeped in history, the venue first opened its doors in 1910 and has since welcomed millions of visitors. Boasting a grand architecture with a capacity of over 2,200 people, it has played host to a range of world-class performances, ranging from theatrical productions to musical concerts, ballets, and even popular TV shows, such as the 'Sunday Night at the London Palladium'. The interior of the theatre is known for its ornate design, featuring a beautiful proscenium arch and stunning ceiling décor. The venue also offers a glamourous and sophisticated atmosphere, perfect for a night out in the city. Notable past performers at the London Palladium include Sir Bruce Forsyth, Bing Crosby, and Sir Elton John.

 **How to Get to the London Palladium:**

The London Palladium is conveniently located in the West End of London. The closest tube station is Oxford Circus, which is only a short walk away from the venue. Oxford Circus station is served by the Bakerloo, Central, and Victoria lines. Alternatively, the theatre can also be reached by several bus routes that stop near Argyll Street. If you are traveling by car, the nearest car park is the Q-Park in Cavendish Square.

London Palladium - LON

London Palladium

The London Palladium is a historic and prestigious theatre in London's West End, known for hosting world-class performances. It's easily accessible via public transportation.

Read all about Sheridan Smith (Gavin and Stacey, Cilla, The C Word) and her latest appearances on stage at LondonTheatre.co.uk

Sheridan Smith returns to the stage in 'Woman in Mind'

Summary

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