Innovative, exciting theatre that is shaped by the City and made just for you… your seat is awaiting!
There’s a particular kind of buzz that surrounds a theatre at the start of a new era, and right now, Leeds Playhouse is absolutely humming with it. I’ve probably been to more shows at the Playhouse than all the other theatres put together, but as I sit in the Quarry Theatre for their special launch event, it’s as if this familiar space has become reborn. Passion, energy and innovative thinking makes me proud to be living in Leeds and part of something truly special happening in the world of theatre right now.
With Tom Wright stepping into his first season as Artistic Director, the Playhouse isn’t just unveiling a programme…it’s making a statement. This is theatre that intends to entertain, challenge and speak directly to the world we’re living in now. And from the look of it, they mean business.
What’s striking about this upcoming season (Autumn 2026 – Summer 2027) is its sheer range and ambition. There’s a confident blend of bold new writing, reimagined classics and large-scale spectacle; eight major productions that together feel less like a schedule and more like an invitation. This is an invitation to experience stories that are urgent, diverse and deeply human.
You have the return of August Wilson’s Fences, promising emotional depth and powerhouse performances. There’s Peanut Butter & Blueberries, bringing a fresh, young Muslim voice to the stage. A brand-new UK production of Dr. Seuss’s How the Grinch Stole Christmas! The Musical adds that sense of scale and joy, while Romeo & Juliet reminds us that the Playhouse isn’t afraid to revisit the classics, but always with a fresh lens.
Then there’s the sense of discovery threaded throughout. I’m unsure as to where he’s found the time to write it, but a brand new production, Sirens, is written and directed by Artistic Director Tom Wright himself. This show, about the underground world of a Drag Show in World War Two England, is clearly a work of passion and highlights the inclusivity that the Playhouse strives for. Sitting alongside this are inventive new adaptations such as The Secret Garden and Frankenstein. Even the gloriously popular Little Shop of Horrors finds its place here, one that I know my students in particular will be excited to see, suggesting a season that refuses to be boxed into one tone or style.
Beyond the titles, what really stands out is the intention behind it all.
This is a programme rooted in Leeds, celebrating local talent and stories while opening its doors to some of the most exciting theatre-makers across the UK. It’s about firsts: first productions, first opportunities, first chances for audiences to encounter something new. It is also about creating a space where big conversations can happen, where creativity can take risks, and where stories reflect the scale and diversity of the City itself.
There’s also something refreshingly collaborative in the approach. Partnerships with theatres across the country, support for emerging artists, and a commitment to making work that has real impact all point to a Playhouse that isn’t just producing shows, but actively shaping the future of British theatre.
And that’s where you come in, because this isn’t just about what’s happening on stage; it’s about being part of it. Sitting in the audience as something unexpected unfolds. Discovering a new playwright. Seeing a familiar story in a completely different light. Feeling that collective spark that only live theatre can create.
If you’ve ever wondered where the most exciting, innovative and genuinely diverse theatre in the UK is happening right now, Leeds Playhouse is making a very strong case for itself.
This season, more than ever, it feels like the place to be.
Book your tickets now and be part of something special. Below, you’ll find more about each of the Playhouse’s own productions and that’s only part of the story. With visiting companies and community projects running throughout the year, there’s always something happening. With their community projects through Playhouse Connect and their Furnace project, which searches for new, emerging talent across Leeds, there are countless ways to become involved.
In the short term, there’s nothing easier than booking a ticket to one of their shows. Ticket sales keep theatres like Leeds Playhouse alive. More and more frequently, I’m buying theatre tickets as presents for family and friends…you’re not just giving a gift but an experience and an opportunity to spend time together. Whether you’re already a regular or stepping through the doors for the first time, this is your moment to get involved…so take a look, find what excites you, and secure your seat. Be part of something special…
Fences
Written by: August Wilson
Directed by: Daniel Bailey
Opening the Courtyard season is a major revival of Fences, one of the defining plays of the 20th century and part of Wilson’s extraordinary ten-play cycle charting Black American life across a century. Remarkably, this will be only the third major UK revival—making it a significant cultural moment as well as a powerful piece of theatre.
At its heart, this is an intense family drama centred on Troy Maxson, a former baseball player grappling with racial inequality and personal disappointment in post-war America. Daniel Bailey’s approach leans into both the private and political, drawing out how deeply systemic issues shape family life. His production places particular emphasis on the musicality of Wilson’s language, using rhythm and sound to heighten emotion and connection. Expect something intimate but expansive: a deeply human story that resonates far beyond its setting.
Peanut Butter & Blueberries
Written by: Suhaiymah Manzoor-Khan
Directed by: Sameena Hussain
This production feels like a true homecoming. Written by a Leeds-raised artist and directed by a former Playhouse associate, Peanut Butter & Blueberries brings a story back to the City that helped shape it.
The play follows Hafsat and Bilal, two young British Muslims navigating life, identity and an unexpected love story over the course of a year. Crucially, it shifts the narrative away from trauma-led storytelling, instead presenting Muslim characters whose faith is not a “problem” to overcome, but simply part of who they are. From there, richer, more nuanced conflicts emerge: political, personal, and emotional. Stylistically, it feels contemporary, intimate and quietly radical, offering audiences a perspective still far too rare on British stages.
Sirens
Written & Directed by: Tom Wright
Tom Wright’s own play Sirens gives a strong sense of the artistic voice shaping this new era. Set in 1942 beneath an East End pub, the story unfolds in a hidden queer world, where illegal drag performances take place under the watch of a police constable friend.
When an air raid forces a group of characters into the cellar (which doubles as a bomb shelter), the play becomes a pressure cooker of identity, secrecy and survival. Blending comedy with high-stakes drama, Sirens explores queer and Jewish lives during wartime, asking what happens when people are forced together, not knowing if they’ll survive the night. Stylistically, expect something bold, theatrical and emotionally charged, rooted in Wright’s passion for LGBTQ+ storytelling and stories that reveal unseen histories.
The Secret Garden
Adapted by: Linda Marshall Griffiths
Directed by: Amy Leach
This is not your traditional Secret Garden. Don’t go expecting the popular musical rendition currently making its round. This is something bolder and contemporary. Reimagined just for Leeds, the story centres on Maya, a young refugee arriving alone in the UK and navigating a new life in an unfamiliar city.
Through friendships with her foster sister and a deaf young man, Maya discovers connection, belonging and ultimately a hidden rooftop garden that becomes a symbol of healing and renewal. The production integrates multiple languages (English, BSL, SSE, and Arabic) making accessibility part of the storytelling itself, with translations projected throughout. With Amy Leach’s signature imaginative style, expect something visually inventive, deeply humane and quietly political, a story that speaks directly to modern Britain while holding onto the magic of the original.
Dr. Seuss’s How the Grinch Stole Christmas! The Musical
Directed by: Tom Wright
This major new UK production is set to transform the Quarry Theatre into a fully festive world. More than just a show, the aim is to create an immersive experience that spills out into the building and even the City itself.
Designed to bring together the widest possible audience, this Christmas production sits at the heart of the Playhouse’s civic role. Expect large-scale spectacle, bold design and a sense of joy and togetherness. Beyond the sparkle, there’s a clear intention: to make theatre feel welcoming, shared and accessible to everyone, whether it’s your first visit or (like me) a yearly tradition.
Romeo & Juliet
Written by: William Shakespeare
Directed by: (to be announced…! I mean – I can fit it around teaching if they want me 😂)
This production aims to radically reframe Romeo & Juliet for today’s young audiences. The concept has been described as “Romeo and Juliet meets modern adolescence,” grounding the story firmly in contemporary teenage life.
It will explore identity, first love and, crucially, the disturbing rise of misogyny among young men and how that shapes relationships. Rather than treating the play as a classic to preserve, this version interrogates what it means now, in this C. Expect a bold, modern aesthetic and a production that feels urgent, relatable and unafraid to ask difficult questions.
Frankenstein
Adapted & Directed by: Jeff James
Based on: Frankenstein
Jeff James’ adaptation takes Frankenstein far beyond its Gothic roots, turning it into a sweeping, time-spanning exploration of science and fear. Beginning in the near future (2035), the story traces technological breakthroughs gone wrong, before travelling back through the Atomic Age and into the origins of the creature itself in the late 1700’s.
The result is what James describes as a “history of the future”, a layered, ambitious piece that connects Shelley’s original themes to modern anxieties about science and innovation. Stylistically, expect something visually striking and intellectually bold, blending epic storytelling with a distinctly European theatrical influence.
Little Shop of Horrors
Directed by: Jamie Sophia Fletcher
Closing the season, Little Shop of Horrors brings energy, edge and a strong creative identity. Jamie Sophia Fletcher leans into the musical’s cult status, embracing its mix of horror, humour, and camp theatricality.
This production will also bring a distinctly queer lens, including a groundbreaking casting choice for Seymour. Alongside that, there’s a strong emphasis on visual storytelling and puppetry, showcasing the Playhouse’s in-house craftsmanship. Expect something bold, playful and visually unforgettable, where entertainment and identity-driven storytelling go hand-in-hand.
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