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Hamilton Lottery (UK)

Enter the Lottery for your chance to purchase exclusive £10 tickets to Hamilton.

Hamilton £10 Lottery

You can enter the Hamilton £10 Lottery through the TodayTix mobile app. Download the TodayTix app on your iOS or Android device and enter weekly to win the chance to purchase £10 Lottery tickets.

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I entered the Hamilton Lottery for £10 tickets on @TodayTix! Tap here to enter: https://www.todaytix.com/london/shows/20561?share=enter

Hamilton [20561] - LON

Reuben Joseph as Hamilton, Waylon Jacobs, Jake Halsey-Jones and Emile Ruddock and Company. Photo by Danny Kaan

Hamilton

Hamilton Poster - LON

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What's left to be said about <a href="/show/hamilton">Hamilton</a>&nbsp;that's not already been said? One of the central questions the show asks is precisely who the storytellers are of our personal and collective histories: "Who Lives, Who Dies, Who Tells Your Story", as the final number asks of the life story the show has just relayed and replayed of Alexander Hamilton, one of the key players in defining and refining the American constitution. By the same token, who is now telling the stories about the show it comes from? And can and should you believe them, as it has become probably the most hyped Broadway import of the century so far?<a href="https://www.londontheatre.co.uk/theatre-news/interviews/ben-brantley-chief-theatre-critic-of-the-new-york-times">Ben Brantley</a>, chief theatre critic of the New York Times, declared in the opening sentence <a href="https://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html" target="_blank">of his review when the show transferred to Broadway</a> from Off-Broadway's Public Theatre in the summer of 2015, "Yes, it really is that good." He added, "I am loath to tell people to mortgage their houses and lease their children to acquire tickets to a hit Broadway show. But <a href="/show/hamilton">Hamilton</a>&nbsp;might just about be worth it — at least to anyone who wants proof that the American musical is not only surviving but also evolving in ways that should allow it to thrive and transmogrify in years to come."And now the show has arrived in London - its first appearance on non-US territory - and it's even more thrilling than I - already an avid fan who has seen it four times in New York - could hope for. Just as <a href="/show/les-miserables">Les Miserables</a> has proved to be a universal story, stretching far beyond its deeply etched story of revenge, retribution and revolution to speak to a human need for healing and forgiveness, so <a href="/show/hamilton">Hamilton</a>&nbsp;captures the heartbeat and heartbreak of a nation trying to find itself - and relates it directly to a pursuit it is still engaged in trying to define anew today, maybe especially today, in the age of the 45th President Donald Trump. "Immigrants, we get the job done" is a line that gets the biggest cheer of the night - and it's just as relevant in Brexit England as it is in Trump's America right now.<img alt="Hamilton" height="242" src="https://images.ctfassets.net/6pezt69ih962/2U7dHaF9bQVbP4LPUzkUFC/50132f06eb581a00608e97cd39438dba/Jason_Pennycooke__Thomas_Jefferson__with_West_End_cast_of_Hamilton_-_Photo_Credit_Matthew_Murphy_preview.jpg" style="float:right" width="362" />"I'm just like my country, I'm young, scrappy and hungry, and I am not throwing away my shot," sings <a href="/show/hamilton">Hamilton</a>, and the show - composed and written by <a href="/theatre-news/interviews/interview-with-hamiltons-lin-manuel-miranda">Lin-Manuel Miranda</a>, who also originally played the title role - is equally young, scrappy and hungry, and determined not to throw away its shot.There's absolutely no chance of that happening in the dynamic, propulsive staging of director Thomas Kail and choreographer Andy Blankenbuehler, or the extraordinarily talented British cast assembled to perform it here.This show may be about history, but it also makes history itself: not just in the freshness and vivacity of its rap-based score that could come from the charts today, but also in the colour-blind diversity of its cast. Recent RADA graduate Jamael Westman is a riveting presence in the title role, with Rachelle Ann Go (most recently as star of Miss Saigon in the West End and on Broadway) vocally thrilling as Hamilton's wife Eliza. There are also scene-stealing, hilarious performances from Michael Jibson as King George and Jason Pennycooke as the Marquis de Lafayette, with robust performances, too, from Giles Terera as Aaron Burr, Tarinn Calendar as James Madison and Obioma Ugoala as George Washington.But it's also impossible to take your eyes off the amazing dance ensemble who move with utter fluidity.And if it's not enough to give the show a rave review, a separate one is also due to the <a href="/theatres/victoria-palace-theatre">Victoria Palace</a> - the theatre has been given a stunning make-over for <a href="/show/hamilton">Hamilton</a>'s arrival that has seen it almost entirely gutted and remodelled, with new box seating at the rear of the stalls and dress circles and extensive new public areas in a new extension that has added bars and toilets at every level.Both the show and the theatre are here to stay.<hr /><a href="/show/hamilton">Hamilton</a> is booking at the <a href="/theatres/victoria-palace-theatre">Victoria Palace Theatre</a>.<a href="/show/hamilton">Hamilton tickets</a> are available now.&nbsp;&nbsp;<hr /><h3>What the popular press said...</h3>"In the end, however, the power of Hamilton lies in its ability to make the past seem vividly present. It suggests its subject was an Icarus who flew too close to the sun. But it also shows that he was an outsider who believed in strong central government and an enlightened capitalism. Above all, Miranda has created an invigorating and original musical that, at a time of national crisis, celebrates America's overwhelming debt to the immigrant." Michael Billington, <a href="https://www.theguardian.com/stage/2017/dec/21/hamilton-review-musical-london-victoria-palace-lin-manuel-miranda?CMP=twt_gu">The Guardian</a>&nbsp;(five stars)"This musical is history in the re-making and I mean that quite literally." Ann&nbsp;Treneman, <a href="https://www.thetimes.co.uk/edition/news/theatre-review-hamilton-at-victoria-palace-sw1-xdshn0nhs">The Times</a> (five stars)"Whether or not Hamilton&nbsp;is the best musical of our generation - it clearly is, but whatever - it's been a hit for the only reason anything is a hit: because it is a great work of entertainment." Andrzej Łukowski, <a href="https://www.timeout.com/london/theatre/hamilton">Time Out</a> (five stars)"Reviewing it feels like sizing up the Mona Lisa or Beethoven's Fifth and, in truth, Hamilton&nbsp;lands on the London stage looking every inch the classic." Matt Trueman, <a href="http://variety.com/2017/legit/reviews/hamilton-review-london-west-end-1202647480/">Variety</a>&nbsp;""The Greatest Show on Earth", one paper declared the other day. C'mon! But seriously folks, there's going to be more where that came from, because - lock up your doubters: I have to report that it really is as good as we've been told." Dominic Cavendish, <a href="http://www.telegraph.co.uk/theatre/what-to-see/hamilton-west-end-review-believe-every-single-word-hype/?WT.mc_id=tmg_share_tw">The Telegraph</a> (five stars)"Hamilton is a touchstone. It's zeitgeist, youthquake, Momentum, it's woke, it's post-musical. From masculinity, power struggles and the small things on earth, it metastasises into a crying epic about legacy, principle, nations, all the incredible mongrel people within those nations, and how all those people - every single one - can change the world." Tim Bano, <a href="https://www.thestage.co.uk/reviews/2017/hamilton-review-victoria-palace-lin-manuel-miranda-theatre-london/">The Stage</a> (five stars)"Hamilton is a knockout, and its British cast is superb, with two star-making performances from Giles Terera and, in the title role, magnetic newcomer Jamael Westman." Henry Hitchings, <a href="https://www.standard.co.uk/go/london/theatre/hamilton-review-believe-the-hype-linmanuel-mirandas-musical-is-a-knockout-a3725301.html">Evening Standard</a> (five stars)"This has been the most frenziedly anticipated musical in London since The Book of Mormon and the implacable publicity blitz might lead even the most mildly rebellious soul to wonder if anything could possibly live up to this degree of hype. I'm delighted to report that, for the most part, Hamilton manages to do so - quite exhilaratingly..." Paul Taylor, <a href="http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/hamilton-victoria-palace-theatre-london-review-a-magnificent-achievement-thomas-kail-the-book-of-a8122091.html">the Independent</a> (five stars)

Review - Hamilton is 'here to stay' at the Victoria Palace Theatre

Read our five-star review of *Hamilton* at the Victoria Palace Theatre. This review refers to the original cast, including Jamael Westman and Giles Terera.

The multi award-winning West End production of HAMILTON is now playing at London’s Victoria Palace Theatre.

HAMILTON is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and helped shape the very foundations of the America we know today. The score blends hip-hop, jazz, blues, rap, R&B and Broadway – the story of America then, as told by America now.

HAMILTON is the winner of 11 Tony Awards including Best Musical, 7 Olivier Awards, the 2016 Pulitzer Prize for Drama and the 2016 Grammy Award for Best Musical Theater Album.

The Victoria Palace Theatre opened on 6 Nov. 1911. In 1934, a production of Rev. Walter Reynolds’ *Young England* played here and was so badly reviewed that it enjoyed a cult success, playing 278 performances to full houses. 

Lupino Lane starred in a production of *Me and My Girl* in 1937 which enjoyed success and led to Lane managing the theatre through the end of World War II, starting in early 1945 with a series of variety acts.

In the 1980s, the theatre began its association with musical theatre. Proving to be a long-runner for the venue, *Buddy – The Buddy Holly Story* opened in 1989 and later transferred to the [Novello Theatre](https://www.londontheatre.co.uk/theatres/novello-theatre) in 1995. 

Successful productions of *Jolson*, starring Brian Conley, *Annie* and *Kiss Me, Kate* have resided in the theatre since, but it was the 2005 arrival of a very British musical that saw the theatre packed for 11 years – *[Billy Elliot The Musical](https://www.londontheatre.co.uk/show/billy-elliot)*. The show opened to rave reviews in May 2005, winning four Olivier Awards, and went on to win 10 Tony Awards in its Broadway transfer in 2009.

It was announced in May 2014 that Sir Cameron Mackintosh would buy the theatre through his company Delfont Mackintosh Theatres. Mackintosh closed the theatre in 2016 for an extensive renovation, and the theatre re-opened a year later with [*Hamilton*](https://www.londontheatre.co.uk/show/hamilton).

## Where is *Hamilton* in London?

*Hamilton* is at the Victoria Palace Theatre in London. The Victoria Palace Theatre is located in Victoria. It's close to the Apollo Victoria Theatre and The Other Palace.

Victoria Palace Theatre - LON

Victoria Palace Theatre

The Book of Mormon Rush

Unlock Rush for a chance to purchase £25 tickets.

£25 Rush tickets

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Please note that in order to unlock and access the 'TodayTix Rush' section of the app, you will on each occasion first be invited (but not required) to post content about it to your registered account with Twitter or Facebook from within the app. Although such content will never involve your endorsement of a third party product or service (other than the then-current musical/theatrical performance featured on the locked screen of the 'TodayTix Rush' section of the app) please do not proceed to post such content unless you agree with all of it. Your decision to post content will not affect the ticket(s) available to you in the 'Rush' section of the app and/or their price. Regardless of whether or not you post content, the app will display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay to secure them.

Please note that the discounted price tickets sold through the 'TodayTix Rush' section of the app are for the stated performance time of the featured musical/theatrical performance which will always be later on the same date. The discounted price tickets are very limited in quantity and subject to availability sold on a 'first come first served basis'. If either there is:

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I unlocked £25 Rush tickets for Book Of Mormon on @TodayTixUK! https://www.todaytix.com/london/shows/287?share=unlock

The Book of Mormon [287] - LON

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The Book of Mormon 

The Book of Mormon new Poster

The Book of Mormon new Square

Note: Cast has changed since this reviewIf you follow proceedings in the entertainment arena, you may well know as much if not far more than I do about this much-anticipated show. '<a href="/show/the-book-of-mormon">The Book of Mormon</a>' has already been in residence on Broadway for the past two years, where it has been a huge success, and advance publicity for the show means there can't be many people in the UK who do not know about it already.Given the descriptive nature of the title, it is pretty clear that the show is about the religious group informally known as the Mormons, or more accurately the members of the Church of Jesus Christ of Latter-day Saints. The congregation of this church stretches across the globe thanks to missionary activities which form part of the required service of a male member of the church. So, many of us are accustomed to being hailed in the street or on our doorsteps by young men, mostly American, who are desperate to convert anyone and everyone to their faith.The show begins at a Mormon missionary training centre where a group of squeaky-clean young men in their late teens are preparing to head-off on their missions in various parts of the world. Elder Price (Gavin Creel) seems like the ideal young man to succeed in baptising more than any other missionary on his two-year endeavour. He is eagerly anticipating being sent to Orlando, Florida, which has been his dream-destination since childhood. Elder Price has pin-up good looks, and has all the attractive qualities to make him, well, popular. On the other hand another of the trainees is neither as charming or good-looking as Elder Price. Elder Cunningham (wonderfully played by Jared Gertner) is rather overweight for his diminutive stature, and with his spectacles and curly mop of hair, hardly meets the manicured image of the other missionaries who all seem to have inherited identical Mormon genetics. Elder Cunningham cannot remember the basic sales patter which the missionaries are trained to deliver, and moreover has issues with telling the truth. Since the missionaries are sent off on their work in pairs and must never leave each others' sides, you can see where this set-up is heading. Yes, the supremely confident and smooth-operating Price is twinned with the unreliable and gawky Cunningham. Disaster seems imminent as winner is teamed with loser, and is more or less assured when the ill-matched pair are sent, not to Orlando as Price yearned, but to Africa. The results are more or less predictable, though there are some surprises.<iframe align="right" frameborder="0" src="https://embed.spotify.com/?uri=http://open.spotify.com/track/4YfNmQKnrX5DrlAxSAnMoA" style="width: 330px; height: 80px;"></iframe>Given that this is a satire directed against a particular religious group - who are still very much alive and preaching - this show might have attracted a whole string of legal actions, or at least a heated public exchange between the production team and the Mormons. But apparently not from what I can gather. The Mormons seem to have taken the show in their stride - which implies they see no threat and have, in avoiding a public row, preserved their dignity. But I don't really think they have much to worry about anyway. Sure, the show pokes fun at them and their beliefs. In particular, the actual '<a href="/show/the-book-of-mormon">Book of Mormon</a>' is scoffed at because of the incredulous nature of its origins. However, we see Elders Price and Cunningham not just as Mormons, but as individual human beings who find themselves in an extraordinary situation. In a sense, we laugh with them almost as much, if not more, than laughing at them. The satirical nature of the show is certainly never vicious or unduly cruel, though I found the reference to everyone in Africa having AIDS just the wrong side of bad taste for my liking. But most of the audience laughed at that remark as well much else besides.On the evening I caught the show the cast were word-perfect, the action was flawless and the orchestra was in great form. There was an almost audible buzz from the audience almost as soon as they entered the theatre and they seemed ready and willing to laugh, and they did, and very frequently at that. There was an instant standing ovation at the end which in my experience is fairly rare even with long-running and much-loved shows. And when I say a standing ovation, I am referring to the entire audience and not a few ardent fans who have already seen the show. And speaking of fans, I noticed that a couple of people in the front stalls seemed to have already taken the show to their hearts as they were dressed in the missionary uniform of white shirt, black tie and trousers, as well as a name badge. If that does not signify a hit, I am not sure what does - unless, of course, they were Mormon missionaries.I had to fight my way through hoards of people trying to buy last-minute tickets and there were a few dubious characters outside the theatre trying to buy-up any spares. So, whatever I or any other critic might say about this musical, it seems like it will be hard to dislodge it for some considerable time. In fact, the show is very funny - not the funniest I have seen in the past few years, but certainly one of them and very near the top of the 'funniest' list. It is cleverly written and extremely well-produced, and the excellent, energetic performances give the impression that the cast are loving every minute of it. It is enormously enjoyable, and the laughs keep coming even when the story-line seems about to run out of steam. Like the contents of the <a href="/show/the-book-of-mormon">Book of Mormon</a> itself, this show could well end-up being the stuff of legend.Note: This Review is from a preview performance.<a href="/show/the-book-of-mormon">Book of Mormon Tickets</a> are now on sale."While acknowledging that it is often damnably clever and sharp, I find it hard to warm to the show...The Book of Mormon strikes me as a decadent and self-indulgent musical, and its mixture of satire and syrup ultimately proves repellent." Charles Spencer for Daily Telegraph"I absolutely loved it...songs, though not especially memorable, have bounce and bite and colour." Paul Taylor for The Independent"I'm not sure its crude yet clever package is roll-in-the-aisles funny but it's deliciously entertaining and there is certainly nothing like it in the West End." Julie Carpenter for The Daily Express"Its satire is insistently US college-campus adolescent. I tired of it after ten minutes...This is a cowardly, coarse, cynical show, worth avoiding. Quentin Letts for The Daily Mail" Indecently funny...The music...is generally jaunty and from time to time soars operatically, though only three or four of the tunes are really memorable. Henry Hitchings for Evening Standard"A mildly amusing musical, with some knowingly parodic songs, that takes a few pot shots at religious credulity without ever questioning the need for belief. I had a perfectly pleasant time, but the idea that the show, which won nine Tony awards, is either daringly offensive or a Broadway breakthrough is pure codswallop...For all its rude words, this is essentially a safe, conservative show for middle America." Michael Billington for The Guardian

The Book of Mormon London Review

*The Book of Mormon* comes from South Park creators__ Trey Parker__ and __Matt Stone__, and *Avenue Q* co-creator __Robert Lopez__. *The Book of Mormon*, winner of nine Tony Awards® and four Olivier Awards, including Best Musical for both, follows a pair of Mormon boys sent on a mission to a place that’s about as far away a from Salt Lake City as you can get.

The Prince of Wales Theatre opened on 27 Oct. 1937. The theatre was named for the current Prince at the time, the future Edward VII.

In the 1930s, the theatre hosted risqué Follies-style revues. Whilst controversial, the shows proved to be a huge success and the profits made funded the demolition of the theatre and the construction of the new building.

In 1941 the theatre played host to the UK premiere of *The Great Dictator*, Charlie Chaplin’s film that had been banned across most of Europe.

The Beatles also performed at the theatre in 1963 at the Royal Variety Performance for the Queen Mother. Barbra Streisand made her West End debut here in *Funny Girl* in 1966. *The Book of Mormon* opened in London in 2013, and it's played at the West End theatre ever since.

## Prince of Wales Theatre Seating Information

The auditorium has two levels - Stalls and Dress Circle.

The seating is very comfortable and offer good views of the stage due to a noticeable rake in the seating and offset seating, meaning no seat is placed directly behind another.

The Dress Circle offers excellent views of the stage due to the steep rake in the seating. 

## Where is *The Book of Mormon* in London?

*The Book of Mormon* is at the Prince of Wales Theatre in London. The Prince of Wales Theatre is located close to Leicester Square. It's near West End theatres including the Criterion Theatre and Theatre Royal Haymarket.

Prince of Wales Theatre - LON

Prince of Wales Theatre

Suitability: 6+. Under 4yo will not be admitted. Under 16s must be accompanied by an adult aged 18+.  Every customer must have their own ticket. To ensure everyone enjoys the show, little ones need to be able to sit in their own seat without any help.

Frozen Rush

Enter for a chance to purchase {display price} {show} tickets.

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I unlocked £29.50 Rush tickets for Frozen The Musical on @TodayTixUK! https://www.todaytix.com/london/shows/23585-frozen-the-musical?share=unlock

Frozen the Musical - LON [23585]

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Frozen the Musical 

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Elsa must feel at home in London, where the weather can turn faster than you can say "let it go." After a blustery and blue summer (Elsa, is that you?), the sun emerged for the first 30-degree day in months on the press night for <a href="/show/frozen">Frozen</a>, a winning sign for a bright new Disney musical in the West End.&nbsp;The legendary ice queen likely feels at home in the completely redone <a href="https://www.londontheatre.co.uk/theatres/theatre-royal-drury-lane">Theatre Royal Drury Lane</a>, which feels positively palatial with vaulted ceilings, detailed frescos, and golden accents. All it takes for a journey to the kingdom of Arendelle is a step inside its doors, or rather, gates.&nbsp;Add to that an expanded and updated story and additional music and magic, and Frozen seems to have found its ideal home in the West End, where it deserves to stay for many years to come.&nbsp;The Disney classic won the hearts of children all over the world for its story about two princesses torn apart by tragedy and yearning to reconnect, but the story's staying power rests with the adults in the room, who are drawn to the powerful message of sisterhood and embracing your true self. Spoiler alert: You don't need a prince to save the day.&nbsp;Director Michael Grandage's production leans more into the gravity of the story, and the stakes feel much higher. Whereas that tone felt somewhat limiting in the Broadway premiere, the musical has more room to breathe here and plays grander.&nbsp;Although very little in Jennifer Lee's tight book has been changed from her original screenplay, there's something about watching two young children separated by a terrible accident who then lose their parents and are forced to live in isolation that hits a little harder onstage, especially after the year we've had. &nbsp;Grandage's storied background in Shakespeare and opera have helped create a spectacle on a new level ​​— the effects are bigger, the jokes land harder, and the emotions are heightened. Along with choreographer Rob Ashford, Grandage has created a series of tableaus through dance and movement that keep the show pulsating and coursing.The entire affair is much bigger than its initial Broadway outing, which felt more intimate. While the production featured some gorgeous performances and interesting storytelling, Grandage has scaled up his initial work enormously, with the addition of new set pieces, songs, and of course, magic. (Jeremy Chernick's special effects and Finn Ross's projections are pure delight.) You truly feel like you're on an epic journey.All of Robert Lopez and Kristen Andersen-Lopez's songs from the film are here, along with an expanded catalogue that allow characters like Prince Hans (a smarmy Oliver Ormson) and Kristoff (a loveable Obioma Ugoala) a little more back story and development. The new music particularly benefits Elsa, who only really has one number (albeit the biggest one) in the film and spends most of her time off screen in an ice castle. Here, her internal struggle blossoms in two new ballads, one before her coronation and a second act belter. Elsa comes to life in a new way (and now parents have two new songs to add to the Frozen rotation.)There's also a new duet for the sisters, where they actually sing together instead of through a closed door about a snowman. Their connection is the central love story here, so it feels imperative to explore that relationship through song. This number, "I Can't Lose You," has been added since the show's Broadway premiere and really levels up the storytelling.&nbsp;And with Samantha Barks and Stephanie McKeon, that story is in excellent hands. Barks's Elsa is serious and scared, and you can see every emotion travel across her face and through her body as she seems to haunt the stage. And of course, she nails the prerequisite for the role by hitting every note and riff in "Let It Go," not to mention the expert magical costume change into one of designer Christopher Oram's fairytale fever dream gowns.&nbsp;McKeon possesses effervescent bubbly, goofball energy, and her Anna revels in physical comedy and one-liners, a fitting foil for Barks's more grounded Elsa. The yin and yang energy is what makes their familial chemistry sizzle. The other leads round out the company nicely, and Craig Gallivan's Olaf is a true crowd pleaser and Mikayla Jade and Ashley Birchall make puppetry magic, courtesy of designer Michael Curry, with Sven.&nbsp;There's even great dimension to secondary roles like the Duke of Weselton, courtesy of a comedic and lively Richard Frame. At the performance I attended, Asanda Abbie Masike and Tilly-Raye Bayer stole the show as Young Anna and Young Elsa.&nbsp;The weather certainly blessed London and Frozen's West End opening, and after what feels like a veritable ice storm of a year (or two), not unlike the "surprise summer blizzard" that overtakes Arendelle, it's nice to remember that the gates will open, the sun will shine on, and we'll stand in the light of day again.&nbsp;<a href="/show/frozen">Frozen is at Theatre Royal Drury Lane. Book Frozen tickets on LondonTheatre.co.uk.</a>Photo credit: Samantha Barks and Stephanie McKeon in Frozen (Photo by Johan Persson)

'Frozen' review - a magical spectacle full of humour and heart

The Theatre Royal Drury Lane opened on 10 Oct. 1812. However, this was not the first theatre on this site – there have been four theatres at this location since 1663. 

Rodgers and Hammerstein musicals played in succession from 1947 starting with *Oklahoma!*, *Carousel* in 1950, *South Pacific* in 1951 and *The King and I* closed the series with a three year run ending in 1956. 

The transfer of musicals from Broadway continued in 1958 with Lerner and Loewe’s *My Fair Lady*, starring Julie Andrews and Rex Harrison. The writing duo followed this up in 1964 with their next musical, *Camelot*.

Another three-year tPrize-winningransfer danced its way into Drury Lane in July 1976 - the Pulitzer Prize winning *A Chorus Line* came to London with its original Broadway cast and played for almost three years. Stephen Sondheim’s *Sweeney Todd – The Demon Barber of Fleet Street* also made the move across the pond in 1980.

It was the arrival of the tap-dance heavy *42nd Street* in 1984 that saw the theatre packed and reignited the flame for long-running shows. The show played for five years, before *Miss Saigon* moved in and played over 4,000 performances over a decade. 

Recent musicals at Theatre Royal Drury Lane include *[Charlie and the Chocolate Factory](https://www.londontheatre.co.uk/show/charlie-and-the-chocolate-factory)* and an acclaimed revival of *[42nd Street](https://www.londontheatre.co.uk/show/42nd-street)*. After two years of refurbishment, the Theatre Royal Drury Lane reopened in 2021 with the West End premiere of *[Frozen](https://www.londontheatre.co.uk/show/frozen)*.

## Theatre Royal Drury Lane Seating Information

The auditorium has four levels – Stalls, Royal Circle, Grand Circle and Balcony. 

The Stalls do offer great views of the stage and the legroom is very good.

In the Royal Circle, the view of the stage is affected from Row H onwards by the overhang of the Grand Circle. The seats do feel quite set back from the stage, but the view is generally very good.

The Upper Circle feels relatively close to the stage for its height and views from this level of the theatre are surprisingly good.

The Balcony is set very high up and although a strong rake helps to give good sightlines to the stage many people have suffered from vertigo at this level.

## Where is *Frozen* in London?

*Frozen* is at Theatre Royal Drury Lane in London. Theatre Royal Drury Lane is located in Covent Garden. It's close to West End theatres including the Fortune Theatre and the Novello Theatre.

Theatre Royal Drury Lane - LON

Theatre Royal Drury Lane

Contains scenes and language, which may be unsuitable for children under 14. Children under 5 are not admitted

Tina - The Tina Turner Musical Rush

I unlocked £25 Rush tickets for @TinaTheMusical with @TodayTixUK! Tap to unlock: https://www.todaytix.com/london/shows/8547?share=unlock

Tina - The Tina Turner Musical [8547] - LON

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TINA - The Tina Turner Musical

[Poster] Tina 8547

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If you drew up a list of everything you wanted from a <a href="/actor-profile/tina-turner">Tina Turner </a>musical, you wouldn't be disappointed by <a href="/show/tina-the-musical">Tina</a>, which gets its world premiere at the <a href="/theatres/aldwych-theatre">Aldwych Theatre</a>. It's got the anthems, it's got the moves, it's got the hair. But on a deep-dive into the life of one of the world's best-selling recording artists, we witness some of the moments of genuine turmoil she's had to endure on her way to stardom.Born Anna Mae Bullock, the young Turner grew up in the small Tennessee town of Nutbush, whose Black residents were expected to stick to picking cotton and keep to themselves. Her first experience of violence is over the kitchen table as her father beats her mother. It draws gasps from the audience who may have bought tickets solely expecting a jaunty musical, but also provides a harrowing insight into the life that lies ahead.Anna Mae was discovered by Ike Turner, who put her centre stage leading his band alongside him. He made her change her name to Tina Turner, and made her his wife. Tina became embroiled in Ike's life: he would beat her for seeing men before they were married, for not performing the music in his vision. And it's pretty brutal stuff.The second half focusses much more on Turner's music: working with Beatles producer Phil Spector; finding her rock 'n' roll mojo; facing record labels who would only have one Black woman on their books. It brings Turner's current husband, record executive Erwin Bach (Gerard McCarthy), into the frame, though his involvement in the story feels shoe-horned in.<div style="text-align:center"><figure class="image" style="display:inline-block"><img alt="" height="603" src="https://images.ctfassets.net/6pezt69ih962/1SERDLCaKw4ajWsd5DDCKQ/847292bf4c976386fc2a8a88501d44d5/10_2.jpg" width="904" /><figcaption>Adrienne Warren as Tina Turner. Photos by Manuel Harlan.</figcaption></figure></div>Making her West End debut, Adrienne Warren absolutely storms it in the title role. Her impersonations of Turner are pretty spot-on, from her low-smooth tones to iconic howls - best demonstrated in a scene in the recording studio where Ike pushes the singer to go higher and higher. She's got the moves too, imitating Turner's distinctive moves and during the finale, transporting us from the Aldwych to the 180,000 capacity Maracana Stadium; from a musical to a rock concert.&nbsp;As you would expect, Tina is constantly at the centre of this story. Katori Hall's book does tackle the issues head-on, it covers racism in the Deep South, adversity in the music industry, and relationships of domestic abuse - all very current issues too. The only respite comes in the music.&nbsp;The whole show has more of a rock musical vibe than I expected. Many scenes begin on stage or at a recording session, giving us full-power renditions of "River Deep. Mountain High" and "The Best" (which is a pretty high-octane finale that drew the audience to its feet). &nbsp;But a highlight could be act two opener "Private Dancer", as Tina struggles to cope after Ike uses copyright to stop her from performing any of the songs they worked on together.Phyllida Lloyd's staging includes the extensive use of video as a backdrop which works well to transport us from rainy London ("I Can't Stand the Rain") to trippy, colourful scenes like "Higher". The choreography is some of the most giddy and energetic in the West End (the faster the better) and while Warren's spot-on as Turner, the speed means it's noticeable if one dancer is a touch out of time.<a href="/theatre-news/interviews/kobna-holdbrook-smith-interview-work-hard-tina-ike-turner-musical">Kobna Holdbrook-Smith</a>, performing in a musical for the first time, plays the villainous Ike with ferocity, though it is slightly grating that the character can hardly go one song without grabbing a guitar.It's everything you expected, executed well and packs in a few surprises. Simply the Best? If you're a Tina fan, it'll definitely be pretty close.<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/e3GY4mTJF8E?rel=0&amp;controls=0&amp;showinfo=0;color=white" width="560"></iframe><hr /><a href="/show/tina-the-musical">Tina - The Tina Turner Musical</a> is booking at the <a href="/theatres/aldwych-theatre">Aldwych Theatre</a> until 20th October.&nbsp;<a href="/show/tina-the-musical">Tina - The Tina Turner Musical Tickets</a> are available now.&nbsp;<hr /><h3>What the popular press said...</h3>"Born in the USA, made in England. That's the thesis of this slickly choreographed, beautifully designed and roof-raisingly well-sung bio-musical about Tina Turner." Dominic Cavendish, <a href="https://www.telegraph.co.uk/theatre/what-to-see/tina-musical-aldwych-review-joyful-lungs-bursting-show-simply/" target="_blank">The </a><a href="https://www.telegraph.co.uk/theatre/what-to-see/tina-musical-aldwych-review-joyful-lungs-bursting-show-simply/" target="_blank">Telegraph</a> (five stars)"This is a great show that is going to be a hit and its star, Adrienne Warren, is, as someone once sang, simply the best." Ann Treneman, <a href="https://www.thetimes.co.uk/article/16432644-4288-11e8-9618-96ec7a8a2ce5" target="_blank">The Times</a>&nbsp;(four stars)"[<a href="/show/tina-the-musical">Tina</a>]&nbsp;offers a heady celebration of triumph over adversity and boasts a whirlwind performance by Adrienne Warren that left the audience, though not the star herself, breathless." Michael Billington, <a href="https://www.theguardian.com/stage/2018/apr/17/tina-review-turner-musical-aldwych-theatre-london?CMP=twt_a-stage_b-gdnstage" target="_blank">The </a><a href="https://www.theguardian.com/stage/2018/apr/17/tina-review-turner-musical-aldwych-theatre-london?CMP=twt_a-stage_b-gdnstage" target="_blank">Guardian</a> (four stars)"Two things make this new West End mega-musical incredible: one, her life story - the fact that the unwanted daughter of poor black sharecroppers in racist small-town Tennessee became Tina Turner; two, Adrienne Warren as Tina." Tim Bano, <a href="https://www.thestage.co.uk/reviews/2018/tina-turner-musical-review-aldwych-theatre-london/" target="_blank">The Stage</a> (four stars)"Phyllida Lloyd's production is a rollicking rollercoaster ride, delivered with stylistic verve and fireball energy by a high-caliber cast and crew." Stephen Dalton, <a href="https://www.hollywoodreporter.com/review/tina-theater-review-1103339" target="_blank">Hollywood Reporter</a>"Warren is a livewire performer with a belter of a voice and the hits, as well as that iconic clothing combination of leather and denim, are all present and correct." Fiona Mountford,&nbsp;<a href="https://www.standard.co.uk/go/london/theatre/tina-review-tina-turner-musical-is-not-quite-better-than-all-the-rest-a3816741.html" target="_blank">Evening Standard</a> (three stars)&nbsp;"From the second she takes over from the child actor playing her young self, Warren ignites the theater." David Benedict, <a href="http://variety.com/2018/legit/reviews/tina-review-tina-turner-musical-1202755932/" target="_blank">Variety</a>&nbsp;

Review - Tina - The Tina Turner Musical at the Aldwych Theatre

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race. 

The Aldwych Theatre was built in 1905, named after its street location. sits on. The Aldwych Theatre was built as a pair with the [Novello Theatre](https://www.londontheatre.co.uk/theatres/novello-theatre) by designer W. G. R. Sprague. 

*The Aldwych Farces* dominated early 20th-century programming, followed by Laurence Olivier directing Vivien Leigh in *A Streetcar Named Desire*. The Royal Shakespeare Company then moved in for a 21-year tenure from 1960.

The Nederlander Organisation currently own the Aldwych Theatre. Recent shows at the Aldwych Theatre include[*Beautiful – The Carole King Musical*](https://www.londontheatre.co.uk/show/beautiful-the-carole-king-musical) — the story of iconic songwriter Carole King, and [*Tina - The Tina Turner Musical*](https://www.londontheatre.co.uk/show/8547-tina-the-musical) — the story of Tina Turner.

## Aldwych Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle.

In the Stalls there is a good rake for the seating which allows for good visibility of the stage. The overhang of the Dress Circle blocks the top of the stage from Row L onwards.

The Dress Circle is on an excellent rake too and there isn’t a safety bar at the front meaning that there is a great view from most seats. The Grand Circle overhangs from Row B and affects the view from Row E.

The Grand Circle is very high in this theatre, and it should be noted that seats in Row D onwards do not have armrests and are fixed seats.

## Where is *Tina - The Tina Turner Musical* in London? 

*Tina - The Tina Turner Musical* is at the Aldwych Theatre. The Aldwych Theatre is located on Aldwych in the West End. It's near the Novello Theatre and Theatre Royal Drury Lane.

Aldwych Theatre - LON

Aldwych Theatre

6+ Children under 3 are not permitted to enter the theatre. Anyone under 16 must be accompanied by an adult and may not sit on their own. All persons entering the theatre, regardless of age, must have a ticket.

The Lion King [302] - LON

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The Lion King

TLK Poster

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It's been fifteen years almost to the week that I first saw Disney's<a href="/show/the-lion-king"> The Lion King</a> in what was its first year in the West End. I don't think even Disney could have predicted that sixteen years later the show would still be London's most popular musical, selling out performances eight times a week and playing to packed crowds.Judging the show against the current climate of the West End, I worried some of the magic may have faded, but Julie Taymor's staging and costume design remains some of the most innovative, impressive and breath-taking to ever be seen on stage - musical or otherwise.Disney Theatricals have grown in strength and statue since the production originally opened on Broadway in 1997, but <a href="/show/the-lion-king">The Lion King</a> remains the jewel in the crown for theatrical integrity and pure spectacle. Seeing the show again in context of Disney's more recent efforts 'The Little Mermaid', 'Newsies' and '<a href="/show/aladdin">Aladdin</a>', you realise how they pail in comparison in terms of creativity and kick yourself for taking Taymor's work for granted.Based on the 1994 animated film, one of the last in the period of the 'Disney Renaissance', the heart-warming tale follows the lion cub Simba as he learns to take his place in the great "circle of life" following the murder of his father Mufassa by his evil uncle Scar. The show combines low comedy (side-kicks Timon and Pumba) with shades of 'Hamlet', resulting in a near perfect and original story that delights both children and adults.The level of detail in the costumes, make up and puppetry is utterly staggering and Taymor creates a visual feast for the eyes aided by Garth Fagan's authentic and energetic choreography that makes you forget you are watching humans. This is blended with the subtlety of the direction that at its most powerful shows a waterhole drying up with just the simplest trick and binds together a fully immersive technical feat. There is simply nothing like this musical on a production level and the fact it stands the test of time and is yet to be bettered is proof alone of its success.The show has had some tightening up in recent years, with one song trimmed ("The Madness of King Scar") and one deleted all together ("The Morning Report") to keep the run time to a family friendly level. All of the set pieces are there - from the opening section where the animals come together to celebrate "The Circle of Life" to the Wildebeest stampede and the battle for Pride Rock. The ingenuity however comes from scenes such as "The Lioness Hunt" and "One By One" that bring a fresh authenticity to the score and showcase a universally talented, athletic and agile ensemble.<a href="/show/the-lion-king">The Lion King</a> is an outstanding creative and emotional musical and will no doubt remain the King of the West End for many years to come. As Disney Theatricals continue to grow their stock and with a Broadway production of 'Frozen' on the horizon, I hope the show isn't taken for granted, as theatre practitioners the world over can learn from Taymor's alchemy.

The Lion King Review

Set against the majesty of the Serengeti Plains and to the evocative rhythms of Africa, Disney's multi award-winning musical will redefine your expectations of theatre.

At its heart is the powerful and moving story of Simba - the epic adventure of his journey from wide-eyed cub to his destined role as King of the Pridelands. 

The Lyceum Theatre dates back to 1834, but the current theatre opened in 1904. The 1904 renovation saw the auditorium almost completely rebuilt. After 25 years of presenting variety acts, Christmas pantomimes and a series of melodramas presented by the Melville Brothers, the building was closed in 1939 facing demolition. 

Fortunately, it was rescued and reopened in 1951 as the Lyceum Ballroom, a Mecca Ballroom which saw many famous bands perform through the 1970s, including The Who, The Police, Led Zeppelin, U2, Bob Marley and the Wailers. It closed again in 1986 but was restored to theatrical use in 1996, including the addition of an orchestra pit.

## Lyceum Theatre Seating Information

The auditorium has three levels – Stalls, Royal Circle and Grand Circle. In the Stalls, the view of the stage is obstructed by the overhang of the Royal Circle from Row T onwards, but the Stalls generally offer a good view of the stage, with a rake from Row C.

In the Royal Circle, the view of the stage is slightly obstructed by the overhang of the Grand Circle from Row P onwards. The Royal Circle offers good views.

The Grand Circle is set very high in this theatre.

## Where is *The Lion King* in London?

*The Lion King* is at the Lyceum Theatre. *The Lion King* started its record-breaking run of performances at the Lyceum Theatre in 1999.

Lyceum Theatre - LON

Lyceum Theatre

Age 12+. No swearing, mild scenes of sexual nature, mild themes of violence. 

Bonnie & Clyde Rush

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I unlocked £25 Rush tickets for Bonnie & Clyde on @TodayTixUK! https://www.todaytix.com/london/shows/26695?share=unlock

Bonnie and Clyde - LON [26695]

030423 TOR1446 EMG Bonnie&Clyde PRODUCTION PRESS 007

Bonnie and Clyde

B&C 480x720

Bonnie Elizabeth Parker and Clyde Chestnut Barrow's vicious killing sprees and robberies earned them "public enemy" status. Even though they brutally murdered dozen of innocent people, a nation doted on the criminal sweethearts. 

So it's a shame that, in a show about their life on the run and putting their loved ones in jeopardy, the two famous lawbreakers are reduced to clean-cut caricatures.

Growing up, both eventual killers dream of becoming "famous": Bonnie idolises Clara Bow, while Clyde views himself as a budding Al Capone. Ivan Menchell's book comprehensively details their four-year relationship and the wider world around them: Model T’s, religious sermons, and the "American Dream" all get their many mentions.

Nick Winston's [*Bonnie & Clyde*](https://www.londontheatre.co.uk/show/26695-bonnie-and-clyde) suffers from telling too much, rather than showing its audience what happened, ruining any pace. We see little of their attacks, and what we do see is neutered to keep it all PG. Plus, their fateful end is shown within the first two minutes. Any sense of jeopardy is — ironically — killed.

Thankfully, our offenders’ onstage chemistry adds much-needed fire to otherwise ploddy scenes. Frances Mayli McCann delivers a tender, sultry Bonnie who never shies away from being vulnerable. McCann shines with Don Black and Frank Wildhorn’s gospel-infused (if repetitive) score, with “Dyin’ Ain’t So Bad” setting an example of performing an 11-o-clock number.

As Clyde, Jordan Luke Gage turns the dramatic tension up in all the musical moments, transforming into an otherworldly beast for "Raise a Little Hell." But it’s difficult to believe he’s so terrifying when he charms Bonnie in a way that in today’s society, would equate to a 3am “you up?” text.

There’s competent supporting work from Jodie Steele, who blends Blanche's brashy self with a whiney voice in a soft, emotional package. Steele and McCann steal the show with a soulful “You Love Who You Love” duet (musician Frank Wildhorn penned Whitney Houston’s “Where Do Broken Hearts Go,” with obvious similarities between the two.) 

A hard-working if underused ensemble, including Oliver-winner George Maguire as Buck, and Olivier-nominee Cleve September as Ted, do all they can to eke out any subplot.

Philip Whitcomb continues the soft touches with a minimalist set and pleasant period costumes, complemented by Zoe Spurr's sepia-toned lighting. Nina Dunn's video design and projections cleverly elevate the story and on-stage set. However, sitting towards the back of the auditorium, it's challenging to see everything when projections benefit storytelling. Perhaps it’s best to sit closer to the firing line. 

*Bonnie & Clyde* is the West End show that could. After two sell-out concerts, and a spring run at the Arts Theatre, it’s back for 11 weeks at the [Garrick Theatre](https://www.londontheatre.co.uk/theatres/garrick-theatre). All the audience needed to see was a smoking gun and that was enough for a night of whooping and hollering. But, for a show with so much potential, it's all too posed and predictable. 

*Bonnie & Clyde is at the Garrick Theatre through 20 May. Book Bonnie & Clyde tickets on London Theatre.*

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=26695&content_product_id=26695&venue_id=117)

*Photo credit: Jordan Luke Gage and Frances Mayli McCann (Photo by The Other Richard)*

'Bonnie & Clyde' review — a squeaky-clean portrayal of America's famous killers 

Read our three-star review of *Bonnie & Clyde* starring Jordan Luke Gage at the Garrick Theatre, running through 20 May. Get *Bonnie & Clyde* tickets on London Theatre.

The Garrick Theatre opened in 1889, and is named after actor David Garrick. When the theatre was built, architects discovered an underground river on the site!

The theatre became associated with comedy in 1982 with a four-year run of the farce *No Sex Please, We’re British*. This was the longest-running show at the Garrick, until J. B. Priestley’s *An Inspector Calls* transferred from the [Aldwych Theatre](https://www.londontheatre.co.uk/theatres/aldwych-theatre) in 1995 and resided for six years.

In recent years, a number of musicals have played here, including *A Little Night Music*, *Chicago*, and *The Scottsboro Boys*. In 2015, [Kenneth Branagh](https://www.londontheatre.co.uk/stars-on-stage/kenneth-branagh) took up residency at the Garrick for a year-long season of plays with his own theatre company. 

## Garrick Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle. In the Stalls, the view of the top of the stage is slightly obscured by the overhang of the Dress Circle from Row N onwards. 

In the Dress Circle, the view of the stage is not obscured by the overhang of the Upper Circle, but the ceiling can feeel low for those in the last row. The seats are designed in a horseshoe shape around the theatre and the Dress Circle offers good sightlines.

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Garrick Theatre

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Mrs. Doubtfire

DOUBTFIRE NOV22 BANNERS 33970SA 480x720

The Shaftesbury Theatre opened as the Princes Theatre on 26 Dec. 1911. The theatre changed its name to the Shaftesbury Theatre in 1962, reopening with the Broadway musical *How to Succeed in Business Without Really Trying* which became the theatre’s first long-running musical. 

The musical *Hair* opened in September 1968 when the ban on theatre censorship was lifted, and went on to a run of just under 2000 performances. The show and theatre were forced to close when parts of the ceiling fell in on 20 Jul. 1973. 

Reopening in 1974, the Shaftesbury's housed a line of musical productions, starting with *West Side Story*, *Rent* and *Hairspray.*

## Shaftesbury Theatre Seating Information

The auditorium has three levels – the Stalls, Royal Circle and Grand Circle.

The Stalls seats are on a very shallow rake which means that sightlines can be problematic

In the Royal Circle, the seats are gently raked which might impact on the sightlines depending on certain productions.

The Grand Circle does feel far away from the stage, but the central seats do offer good views of the stage.

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Shaftesbury Theatre

Age guidance: 6+. This production is not suitable for children under 4 years of age, including babes in arms. Younger children and babes in arms are welcome at our relaxed performances only.

My Neighbour Totoro - LON

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My Neighbour Totoro

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The best entrance you’ll see in a theatre this year belongs to the title character in this feverishly anticipated stage version of Studio Ghibli’s 1988 anime film. Behind the curtains, a giant silhouette gradually appears, and when those curtains swing open, we finally see him: a huge shaggy mass, so enormous, so peculiar and so utterly beguiling that the audience breaks into rapturous applause. It’s the moment that we know, behind doubt, that the RSC has got this exactly right: *[My Neighbour Totoro](https://www.londontheatre.co.uk/show/25389-my-neighbour-totoro-tickets)* is going to be a massive hit.

In fact, the production was a record-breaker before it even opened. It’s the fastest-selling ticket in Barbican history – beating the previous holder, Benedict Cumberbatch’s *Hamlet*. The Japanese [Studio Ghibli](https://www.londontheatre.co.uk/theatre-news/news/studio-ghibli-my-neighbour-totoro-on-stage-world-premiere) has a passionate international following thanks to work like the Oscar-winning *Spirited Away*, *Howl’s Moving Castle* and *My Neighbour Totoro*. But could the studio’s very specific aesthetic and tone really be translated to the stage? 

Absolutely. Tom Morton-Smith’s adaptation strikes a perfect balance of honouring Hayao Miyazaki’s creation and seeking a new theatrical language, brilliantly realised in Phelim McDermott’s exquisite production. The 1950s-set story is a fairly simple one: 10-year-old Satsuki and four-year-old Mei move with their father from Tokyo to the countryside, so they can be nearer to their hospitalised mother, who has tuberculosis. There they encounter the extraordinary spirits of the forest, like Totoro. That leaves plenty of room for flights of imagination, and for beautiful detail in the world-building and relationships.

Most effectively, the production keeps us in that child’s-eye view. McDermott plays cleverly with scale: the goat is larger than usual, because it’s being viewed by an alarmed – and petite – Mei. We only hear snippets of adult conversations, particularly about the mother’s health crisis. But we’re fully immersed in that childlike awe at each discovery: the city girls’ pleasure at collecting acorns, watching tomatoes ripen on the vine, seeing a clear moon, and then finding that extra wonder in the sprites. You could interpret it as animism or a modern climate change message, or just a love of nature.

Likewise, the show itself takes great delight in each creative solution to telling this wild and wonderful fairy tale. The black-clad ensemble of skilful puppeteers brings the soot sprites to life by dancing them around on wires, until they fly up into the sky on what looks like a nursery mobile. One side of a bus is whisked on – with the lead performer, holding up the driver, deliberately overshooting it to give the audience a knowing chuckle. They weave between being invisible and visible, filling that liminal space and suggesting that there are ever-present spirits supporting us: an extremely comforting notion right now.

Of course, the most important element here is the puppets representing Totoro and his clan. Designed by Basil Twist, and built by Jim Henson’s Creature Shop, they are simply spectacular. Totoro has to be big enough that Mei can clamber onto his belly – and he is. 

He’s also a mad mix of bunny, owl and fuzzy washcloth, with wiggling ears, a rubber tongue in his Muppet-like mouth and a gleaming Cheshire cat grin (Lewis Carroll is a definite comparison point here), who communicates in whale noises and the occasional roar. He’s ancient, unhurried, strange. His smaller pals have waddling chicken feet and googly eyes. And wait until you see the Catbus: lit like a beacon, gambolling on its improbable 12 legs.

Tom Pye’s set also has real wow factor. The family’s home, with distinctive sliding screens, comes apart and reforms in different configurations, in harmony with the giant trees with curling branches that glide into view. The band, who play film composer Joe Hisaishi’s evocative score live, are perched up on wooden platforms, part of the forest. The paddy farmers slide onto the stage, plants in rows attached to their feet like skis. Amidst the greenery, the girls’ dresses are pops of colour, pink and yellow. 

That lead pair are wonderfully played by Ami Okumura Jones, whose perceptive Satsuki lurks somewhere between innocence and adulthood, and Mei Mac, who hilariously embodies the fearless ball of energy that is Mei. Both have convincingly youthful physicality, bouncing up and down on their toes in excitement, pleating the front of their dresses when nervous, or puffing themselves up to look fierce. (Superb movement direction throughout from You-Ri Yamanaka.) There’s lovely support too from Nino Furuhata as local boy Kanta, who gets tongue-tied around girls, and Jacqueline Tate as the kindly Granny.

In fact kindness is all around in a tender piece that prizes generosity, community and patience; even Jessica Hung Han Yun’s ravishing lighting feels like a rush of warmth. The film’s most famous scene is an absolute stunner here: as the girls wait at the bus stop for their father, in the rain, Totoro slowly lumbers up to them. Satsuki lends him an umbrella, and this wise creature is utterly charmed by the sound of the raindrops pinging off his new covering. It’s a reminder to take time to savour our surroundings, and to find joy even in the toughest times. Theatre at its most magical.

*My Neighbour Totoro at the Barbican to 21 January 2023. Book tickets to My Neighbour Totoro on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=25389&content_product_id=25389&venue_id=788)

*Photo credit: The cast of My Neighbour Totoro at the Barbican. (Photo by Manuel Harlan)*

'My Neighbour Totoro' review – this Studio Ghibli adaptation is theatre at its most magical

Find your spirit with the return of the Royal Shakespeare Company and Executive Producer Joe Hisaishi’s “awe-inspiring” (Time Out) and “dazzling” (Guardian) production of Studio Ghibli’s My Neighbour Totoro, in collaboration with Improbable and Nippon TV. This five-star, Olivier Award-winning stage adaptation, written by Tom Moton-Smith (Oppenheimer) was the most anticipated theatrical event of 2022 and returns to London’s Barbican for a strictly limited 18-week season from 21 November 2023.

After the Barbican site was destroyed by the blitz in World War Two, Queen Elizabeth II officially opened the renovated Barbican Centre on 3 Mar. 1982. The Barbican Centre contains a concert hall, two theatres, three cinemas, two art galleries, a public lending library and conversatory.

The Barbican was voted "London's ugliest building" in 2003. But its stand-out architectural design makes it an integral part of London's skyline. The largest venue inside the Barbican Centre is the Barbican Hall. The Barbican Hall seats 1,943 people, followed by the Barbican Theatre which seats 1,156. 

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Barbican Centre

No under 12's are allowed in the standing ticket area. Children between the ages of 6 and 11 are welcome to watch the show but must watch from a seat. Children under 5 will not be admitted.

Guys & Dolls - Standing/Immersive - LON

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Guys & Dolls - Standing/Immersive

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Would luck be a lady for Nicholas Hytner? His much-hyped, immersive production of *[Guys & Dolls](https://www.londontheatre.co.uk/show/25504-guys-and-dolls-tickets)* is set to run for six months at the [Bridge Theatre](https://www.londontheatre.co.uk/theatres/the-bridge-theatre) — a significant gamble. Well, I’m delighted to report that he’s hit the jackpot with this jubilant revival, which somehow manages to be both the most exhilarating version of Frank Loesser’s musical I’ve seen, and also the most nuanced. 

That combination is thanks to an ingenious staging, building on the Bridge’s previous immersive Shakespeare productions. The audience is in the round, partly seated. The standing audience, gathered in the centre, gets thrillingly close to the action, with hydraulic platforms shooting out of the floor all over the place and neon signs descending from the ceiling.

Bunny Christie’s design basically dances more than the cast. It creates boundless staging opportunities for Hytner: whether it’s a central platform for a big Hot Box number, or a large zigzagging path across the auditorium, or several separate mini-stages acting as different locations. It matches the energy of this heightened, Damon Runyon-styled New York City, and allows for lightning-fast scene changes (occasionally the set-up for the next scene cuts into the current one, as ushers nudge the promenading audience around, but that can hopefully be ironed out over the run). 

It creates a dynamic audience experience, far removed from the previous rather tired West End outing for *Guys & Dolls*. There’s pre-show fun (you can get a rakish hat or a pretzel from a street seller), and immersive elements during the show itself: you might be handed a Save-a-Soul Mission leaflet, or a streamer to wave, or have your drink nicked by a cheeky gambler. It all climaxes with a euphoric dance party, with cast members sticking around to boogie and take selfies with fans. It’s an inspired way to make theatre feel relevant and accessible.

But, as with the similarly thoughtful revivals of *Cabaret* and *Oklahoma!*, this isn’t just audience pandering. Thanks to the intimacy and nimbleness of this set-up, Hytner can also mine the show for psychological detail. 

*Guys & Dolls* is that rare show in which the book is the equal of the score, and this production so joyfully lands all of Abe Burrows and Jo Swerling’s zingers and larger-than-life, deliciously named characters, while also giving them dimensionality.

Crucially, it addresses the inherent misogyny. [Marisha Wallace](https://www.londontheatre.co.uk/stars-on-stage/marisha-wallace)’s Adelaide is no ditzy, marriage-obsessed dupe, who eventually guilts reluctant long-time fiancé Nathan into settling down with her. Instead, this is a couple desperately, carnally in love with each other, however, it’s Nathan who has the mental block. Daniel Mays (mostly known for his screen work, but making a phenomenal musical theatre debut) emphasises how Nathan relishes his status as the ultimate fixer, always staying one step ahead of the law. What happens if he stops running? 

The pair of them bring impressive comic chops but also an inherent sadness to their big rows, especially the wonderfully absurd sequence in which Adelaide admits she’s invented a brood of children for her concerned mother (Mays’s pique that Nathan is just an assistant manager in this fiction is priceless). 

Duet “Sue Me” — often a throwaway gag — is a masterclass in acting through song, supported by the blocking: they grow more physically distanced with each bitter exchange, while still achingly emotionally attached.

Wallace also avoids the easy humorous route with “Adelaide’s Lament,” dropping the exaggerated pronunciations in favour of framing the number as a gentle confession, aimed at the audience right beside her — one friend speaking to another. But she’s just as capable of amping up her performance in the steamy Hot Box stripteases (no coyness here), in which she owns her power and sexuality. 

In contrast to these warring veterans of love are the newly met, opposites-attract pair: Celinde Schoenmaker’s robustly dedicated missionary Sarah and Andrew Richardson’s charmingly insincere gambler Sky. Again, this is framed as an equal journey, not just as a woman who needs to lighten up. 

If anything, the exquisitely clarion-voiced Schoenmaker is the driving force: in “If I Were a Bell” she seems as drunk on life as on rum, tearing open Sky’s shirt and, following some Gene Kelly lamppost swinging, falling into his arms and swimming through the air. When they meet in song, their harmonies intertwine like a warm embrace. 

The boyish Richardson, a smouldering, Clive Owen-esque presence, actually feels like the lost one of the pair. This mainly works nicely, although both performance and vocals need more projection. There’s also one bewildering misstep: the introduction of a stereotypical gay club in Havana. It gets around the tired trope of a feisty Latina starting a catfight, and a bisexual Sky is a fascinating idea, but it’s never actually developed.

I also would have liked more explosive choreography here (the Cuban sequence begins with dancers scattered in the crowd — less impactful at a distance), but Arlene Phillips and James Cousins’s grounded, organic movement is otherwise invigorating, and the visible band gives us a glorious version of Loesser’s peerless score. Plus there are numerous scene-stealing supporting turns: Cedric Neal’s Nicely-Nicely, lending gospel fervour to “Sit Down, You’re Rocking the Boat”; Mark Oxtoby’s fast-talking Benny; the perfect sight gag of Cameron Johnson’s giant Big Jule.

Most joyfully, the happy ending feels earned. Wallace and Schoenmaker’s “Marry the Man Today” isn’t an expression of dubious making-do, but a dawning realisation — by two shrewd women knocking back shots together; fabulous — that there’s nothing certain about life or love: “You’ve simply gotta gamble”. And when it pays off, as Hytner proves, the rewards are boundless. 

*Guys & Dolls at the Bridge Theatre through 2 September. Book Guys & Dolls tickets on London Theatre.*

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=25504&content_product_id=25504&venue_id=76)

*Photo credit: The cast of Guys & Dolls (Photo by Manuel Harlan)*

'Guys & Dolls' review – Nicholas Hytner hits the jackpot with this exhilarating immersive revival

Read our five-star review of *Guys & Dolls* starring Marisha Wallace at the Bridge Theatre, currently playing through 2 September. Get *Guys & Dolls* tickets on London Theatre.

Nicholas Hytner and Nick Starr spearhead the Bridge Theatre. Having worked together at the [National Theatre](https://www.londontheatre.co.uk/theatres/national-theatre) for over a decade as artistic and executive directors, Hytner and Starr formed the London Theatre Company as part of their efforts to open the largest Off-West End commercial theatre. The 900-seater auditorium is very adaptable and allows shows to be presented in end-on, thrust and promenade formats. 

Production aside, the theatre was praised for its abundance of ladies toilets and its on-site kitchen which, among other things, provides treats freshly baked on site during the interval. 

In 2017, the theatre's inaugural season included a new Richard Bean play *Young Marx*, starring [Rory Kinnear](https://www.londontheatre.co.uk/actor-profile/rory-kinnear) and Oliver Chris, *Julius Caesar* starring Ben [Whishaw](https://www.londontheatre.co.uk/actor-profile/ben-whishaw) and David Calder, and a new play by Nina Raine about the life of JS Bach starring [Simon Russell Beale](https://www.londontheatre.co.uk/actor-profile/simon-russell-beale).

Notable plays at the Bridge Theatre include *The Lion, the Witch and the Wardrobe,* as well as *My Name is Lucy Barton* and *Straight Line Crazy* — the latter two both transferring to New York.

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Bridge Theatre

Guys & Dolls Rush

Unlock Rush for a chance to purchase £25 Standing Rush tickets.

£25 Standing Rush tickets

I unlocked £25 Standing Rush tickets for Guys & Dolls on @TodayTixUK! https://www.todaytix.com/london/shows/25504?share=unlock

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Guys & Dolls

Guys and Dolls Poster

Step into iconic worlds from the screen with the ultimate immersive experience! Explore intricate locations, brush shoulders with legendary characters and decide where the story will take you. Don't just watch it, live it.

Here at Secret Cinema, we bring stories to life. With exclusive access to the minds behind the stories, we create unforgettable experiences with an unparalleled level of detail. Not only will fans be able to fall in love with their favourite fictional world all over again, but there's brand-new twists and turns along the way...				

All events are 18+ except Sundays Matinees which are 12+.  All bookings for 12+ events must include at least one adult.  Please be prepared to show valid ID for all guests 18+ if requested. Underage guests will not be admitted.

Secret Cinema Presents Grease: The Live Experience - LON 

Secret Cinema Presents Grease: The Live Experience

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Calling all T-Birds and Pink Ladies: it’s time to immerse yourself in the world of Grease like never before!

Secret Cinema bring your most loved stories to life through immersive experiences of unparalleled proportions. Expect an unforgettable evening as you get lost in the worlds of your favourite films. This outdoor Secret World will culminate in a grand screening of a film. We encourage you to simply lay down a blanket and enjoy the film beneath the stars. Some choose to study the film religiously to notice the finer details during the night. Others argue that this is the ultimate way to experience a film for the first time. We’ll leave it up to you.

You will be expected to dress for the event. Ticket holders will be given exclusive access to a secret web experience that will prepare you for the evening, giving you all the information you need. After registering, you’ll be given a bespoke character to dress as. This is your chance to get creative. It’s an impressive sight and you’ll want to be a part of it. Secret Cinema will send your ticket to you directly within 9 days of booking this offer. They will contact you nearer the time with details of the secret web experience and more event information.

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Secret Cinema - NEC, Birmingham

Recommend 6+. Children under 3 will not be allowed into the venue, those 16 or under must be accompanied by an adult and may not sit in the arena on their own. The Dance Floor area is not recommended for anyone younger than 16.

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ABBA Voyage

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No concert was anticipated quite like [*ABBA Voyage*](https://www.londontheatre.co.uk/show/25118-abba-voyage-tickets). The possibility to see the iconic Swedish band on stage once more, not only together again, but appearing as their younger selves, boggled everyone’s minds. But can these ABBA-tars (a colloquial way to describe the quartet’s holograms) entertain audiences as much as seeing the real deal in the flesh?

To put simply, yes. *ABBA Voyage* is a concert for the ages. Over five weeks, 1,000 animators immortalised Agnetha Fältskog, Anni-Frid Lyngstad, Benny Andersson, and Björn Ulvaeus into state-of-the-art digital forms. Add in visual effects from Industrial Light & Magic — the brains behind the Marvel Cinematic Universe — and the end result is sublime, defining the phrase "needs to be seen to be believed." 

ABBA are no longer four performers; they’re ethereal beings bounced in from another world, materialising on a 65-metre screen. These highly-rendered beings may not look and feel entirely human: glossy, vacant eyes; a constant beaming smile; and swishing hair can feel disorienting and take a few minutes to get used to. 

But it's impossible to take your eyes off them. When there’s a chance to see ABBA “live” and experience the musical euphoria of generations past, it’s easy to forgive any odd appearances. There’s no denying that the Swedish superstars are in the room. 

It’s a slow buildup, as the lesser-radio-played “The Visitors” and “Hole in Your Soul” kick off proceedings. Once the crowdpleasers start, the pop-fuelled rollercoaster begins and gets everyone up on their feet. Even the slower-paced songs like “Chiquitita” leave the audience waving, clapping, and stomping their feet. 

There’s a 10-piece live band too, including Britpop artists James Righton, of Klaxons fame, and the chart-topping DJ Little Boots (Victoria Hesketh) on keyboards, marrying ABBA and live music. By the time “The Winner Takes It All" hits its crescendo, the audience’s energy could solely power the ABBA Arena’s 291-speaker surround sound system. 

It’s not just the music we should thank ABBA for. Matthieu Debay’s futuristic lights and laser shows transform the arena into a disco rave, and when there’s a break to keep up the illusion ABBA are in the building, Shynola’s two short animations following a hero as they find the band’s legend lift the "Voyage" theme into the stratosphere.

There are a few glaring omissions in the setlist, but with producers confirming additional songs were filmed for the concert, it’s only a matter of time before *ABBA Voyage* changes its course.

Once again, the septuagenerians find themselves leading the music industry in a format that is surely beyond the band’s wildest dreams back when they won Eurovision in 1974. With the flat-pack, purpose-built ABBA Arena’s ability to move around the world, this is a concert that can live on forevermore. *ABBA Voyage* - douze points.

*ABBA Voyage* is at the ABBA Arena. Book *ABBA Voyage* tickets on London Theatre.

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=25118&content_product_id=25118&venue_id=846)

*Photo credit: ABBA Voyage (Photo courtesy of production)*


'ABBA Voyage' review — a multi-dimensional pop concert for the ages

ABBA Voyage is the long-awaited concert from one of the biggest pop acts of all time. Featuring a setlist of hit songs, see ABBA’s avatars accompanied by a 10-piece live band, at the custom-built ABBA Arena in London. The ABBA Arena holds 3,000 audience members per performance. 

## ABBA Arena Seating Information

The ABBA Arena boasts a dance floor, where audiences can stand throughout the ABBA Voyage performance. There are five blocks of seating and eight dance booths. Dance floor tickets allow audiences to be closer to the stage. Every seat in the ABBA Arena offers an excellent view of the performance. 

## Where is ABBA Voyage in London?

ABBA Voyage is at the ABBA Arena in London. The ABBA Arena is located at Queen Elizabeth Olympic Park. It's close to Westfield Stratford, as well as the Olympic Park. 

ABBA Arena, London

ABBA Arena

6+ (under 16s must be accompanied by an adult)

Musicals by Candlelight Rush

Unlock Rush for a chance to purchase £15 tickets.

£15 Rush tickets

Promotional terms for participants in the UK (any person who resides elsewhere is not eligible to participate in the 'TodayTix Rush' sales promotion).

The promoter of the 'TodayTix Rush' sales promotion is TodayTix, Ltd (the "Promoter"). This sales promotion is neither endorsed by nor in any way associated with: (i) Apple Inc.; (ii) Google Inc.; (iii) Facebook Inc.; (iv) Twitter Inc.; (v) any owner/licensor of any musical or theatrical performance for which tickets are available to purchase under the 'TodayTix Rush' sales promotion and/or (vi) the theatre in which it is performed.

By participating in the 'TodayTix Rush' sales promotion, a participant will be deemed to accept these promotional terms and the Promoter's UK Privacy Policy (which can be accessed here) and agrees that the decision of the Promoter is final and binding in all matters relating to the 'TodayTix Rush' sales promotion.

All references to "app" in these promotional terms refer to the "TodayTix – West End Tickets" mobile application which is compatible with iPhone, iPad and Android devices and can be downloaded from Apple's App Store (either iPhone or iPad version) or Google Play (Android version). Each participant must open a registered account via the app in order to participate in the 'TodayTix Rush' sales promotion – please see here [insert hyperlink] to open a registered account via the app.

Please note that in order to unlock and access the 'TodayTix Rush' section of the app, you will on each occasion first be invited (but not required) to post content about it to your registered account with Twitter or Facebook from within the app. Although such content will never involve your endorsement of a third party product or service (other than the then-current musical/theatrical performance featured on the locked screen of the 'TodayTix Rush' section of the app) please do not proceed to post such content unless you agree with all of it. Your decision to post content will not affect the ticket(s) available to you in the 'Rush' section of the app and/or their price. Regardless of whether or not you post content, the app will display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay to secure them.

Please note that the discounted price tickets sold through the 'TodayTix Rush' section of the app are for the stated performance time of the featured musical/theatrical performance which will always be later on the same date. The discounted price tickets are very limited in quantity and subject to availability sold on a 'first come first served basis'. If either there is:

less that 1 hour until the featured musical/theatrical performance; or all the discounted price tickets have been sold for it, then the 'TodayTix Rush' section of the app shall not be able to be unlocked from such point until the following date on which discounted price tickets are available for purchase through the 'TodayTix Rush' section of the app – either for the same or a different musical/theatrical performance.

PROMOTION PERIOD. You may purchase 2 discounted price tickets for the featured musical/theatrical performance from as soon as these are marketed within the 'TodayTix Rush' section of the app. The closing time/deadline for the purchase of such tickets is either: 1 hour until the featured musical/theatrical performance; or all the discounted price tickets have been sold. In either case the 'TodayTix Rush' section of the app shall not be able to be unlocked from such point until the following date on which discounted price tickets are available for purchase through the 'TodayTix Rush' section of the app.

Only 2 tickets may be purchased for any particular performance per person.

ELIGIBILITY. This sales promotion is open to anyone aged 18 years or over resident in the UK only, who selects the 'TodayTix Rush' section of the app, excluding employees of the Promoter and their families, the Promoter's service providers, agents and anyone professionally associated with this sales promotion.

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I unlocked £15 Rush tickets for Musicals by Candlelight on @TodayTixUK! https://www.todaytix.com/london/shows/25037?share=unlock

Musicals by Candlelight - LON [25037]

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Musicals by Candlelight

Musicals be Candlelight NEW Poster

St Paul's Covent Garden church is an Anglian Christian church. The church has a deep-rooted connection to the theatre, with many West End playhouses nearby: Theatre Royal Drury Lane, the Royal Opera House, and more.

The Actors' Church is the resting place for influential West End figures. There's also memorials to theatre personalities, including Charlie Chaplin, Noel Coward, Gracie Fields, Vivien Leigh, Ivor Novello, Barbara Windsor, Diana Rigg, and the *My Fair Lady* lyricist, Alan Jay Lerner.

The Actors' Church also boasts an in-hosue professional theatre company. Every summer, Iris Theatre present outdoor plays of Shakespeare classics. 

The Actors' Church

Everyone must have their own ticket to enter the theatre. Under 16s must be accompanied by and sat next to a ticketholder who is at least 18 years old. Under 3s will not be admitted. Latecomers may not be admitted until a suitable break in the performance

Ain't Too Proud - Rush

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Company may offer programs whereby the Company would make available certain features of the Services when you share information about the Services through an SNS or click on the “Unlock without sharing” button in the Application. When you are considering purchasing a ticket for a specific show or after you purchase a ticket, if you select the “Share” button in the Application, Company will make available to you a personalized link to a Digital Property with text stating, for example, “Check out {show} on TodayTix! I’m thinking of going…” or something similar, which you may choose to share with your friends via SNS. Once you have shared the personalized link through an SNS using the Application or selected the “Unlock without sharing” button in the Application, Company will make available to you the RUSH feature, which will provide you with otherwise unavailable offers for tickets to live events occurring in the next week. The opportunity to take advantage of these offers is only available to users who share a personalized link to an SNS through the Application or select the “Unlock without sharing” button in the Application.

I unlocked £30 Rush tickets for Ain't Too Proud on @TodayTixUK! https://www.todaytix.com/london/shows/26469?share=unlock

Ain’t Too Proud - LON [26469]

Ain't Too Proud - Header Image - LON

Ain’t Too Proud

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It’s *Jersey Boys* meets *Motown* via *The Drifters Girl* in this Broadway celebration of The Temptations. So yes, [*Ain’t Too Proud*](https://www.londontheatre.co.uk/show/26469-aint-too-proud) isn’t reinventing the wheel; it follows the expected jukebox musical beats, while packing in a staggering [number of the band’s hits](https://www.londontheatre.co.uk/theatre-news/news/a-complete-guide-to-all-the-temptations-songs-in-aint-too-proud). But, thanks to that tremendous back catalogue and some dynamite performances, it’s toe-tapping West End entertainment.

Like that Four Seasons bio-musical, we get a narrated rags-to-riches tale that sees the group rise from humble beginnings (in this case the mean streets of Detroit) to chart success, only to succumb to infighting and issues like addiction. *Ain’t Too Proud* also adds racial tension to the mix, whether it’s heated discussion around “crossover” appeal — aka wooing white listeners — or bigots shooting at the tour bus in the Deep South.

However, we have just one storyteller here, and it’s Otis Williams. The only surviving member of the original Temptations, he still tours with a revamped version of the band, aged 81, and he made a touching appearance during the curtain call on press night. Dominique Morisseau’s book is based on his memoir — with mixed results.

Given that the oft-repeated ethos of The Temptations is that the group is more important than any one member, it’s ironic to then have Otis’s perspective so elevated. Naturally, he presents himself as a saint: he’s the eternal peacemaker, and everything he does is for the good of others. He even says that this is a God-given mission — although touring constantly means abandoning (and occasionally cheating on) his wife, who has to raise their son alone.

It’s also puzzling that, given this first-person resource, the tale comes out in such clichéd terms — but that’s perhaps the format, which requires Morisseau to pack in so much material. The sheer (if brutal) efficiency of the episodic storytelling is effective enough, and there are some witty touches in Des McAnuff’s smooth production, like the handling of the band’s many personnel changes. “Sometimes temps also stood for temporary,” quips Otis, as each departing member is whisked off the stage on a rolling platform.

There’s clever use of the songs to capture the mood as well. “Runaway Child, Running Wild” underscores Otis’s criminal youth, “Since I Lost My Baby” accompanies the romantic travails of several band members, and “I Wish It Would Rain” powerfully evokes the grief around both a big personal loss and the assassination of Martin Luther King. 

Most importantly, the performance of these songs is utterly electrifying. The cast perfectly match The Temptations’ polished R&B harmonies, and Sergio Trujillo’s choreography is an inspired combination of the group’s authentic original moves, but with a contemporary update. So you get the synchronised finger snaps, step points, and head wobbles, but everything is faster, the levels are more extreme, and there’s extra swagger, groove, and sensuality. 

The minimal set allows for fast scene changes and keeps the focus on the performers and their fabulous costumes (courtesy of Paul Tazewell) — from The Temptations’ silver suits to the Supremes in slinky, figure-hugging red sequins. Projections add some context, like newsreel footage, and that black-and-white video adds to the sleek monochrome aesthetic. 

Sifiso Mazibuko anchors the show well as Otis, while Cameron Bernard Jones has fun with Melvin Franklin’s velvety bass, Kyle Cox is an endearing Paul Williams, and Mitchell Zhangazha brings firepower to Eddie Kendricks, plus a creamy falsetto. As Al Bryant, Michael James Stewart nails the familiar wail of “Shout”, and Akmed Junior Khemalai is a shrewd operator as Motown boss Berry Gordy.

But the clear standout here is Tosh Wanogho-Maud in a blistering turn as the ultra-talented but fatally screwed-up David Ruffin. From his first appearance, crooning “My Girl”, he’s the ultimate showman — Wanogho-Maud supplying explosive dance moves, soul-piercing vocals, and megawatt charisma. 

He also nails David’s darker side. His father was abusive, and David repeats the pattern by beating up his girlfriend, along with drug-taking and diva antics. It clearly stems from pain and insecurity, though; the tragedy is that he finally finds a family with The Temptations, only to destroy it.

However, Wanogho-Maud’s live-wire performance is so compelling that we miss him whenever he’s not on stage — a problem in the second half. His story doesn’t get enough space, but then nor do any of the issues raised here, including the intersection of art and protest (“Music is colour blind,” bleats their commercially minded white manager), or the spiritual element: interestingly, many of the Temps had gospel roots, and still use that language of faith.

Another issue is that, like *Jersey Boys*, women get short shrift. Otis’s wife is reduced to a nag, the Supremes are objects of desire, and domestic violence victim Tammi Terrell quickly disappears. It’s also hard not to sense the heavy hand of Motown branding: that giant “M” often appears on stage, and though there’s a brief reference to the label’s possibly exploitative contracts, it’s quickly hand-waved away.

So, that admirable attempt to add more heft to a jukebox show is only a partial success. But how can you resist phenomenal performances of “Papa Was a Rollin’ Stone”, “If You Don’t Know Me By Now”, the mighty title number, and many more? Plus get ready for Wanogho-Maud: he’s worth the ticket price alone.

*Ain't Too Proud is at the Prince Edward Theatre. Book Ain't Too Proud tickets on London Theatre.*

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)
](https://ticket.londontheatre.co.uk/booking/calendar?product_id=26469&content_product_id=26469&venue_id=156)

*Photo credit: Ain't Too Proud (Photo by Johan Persson)*

'Ain't Too Proud' review – this Temptations musical has electrifying performances and smooth moves

Get ready, cause here they come! Read our review of the Temptations musical, *Ain't Too Proud,* currently playing at the Prince Edward Theatre through 2023.

The Prince Edward Theatre opened in 1930, and was named after the then Prince of Wales, who went on to become Edward VIII. In 1978, Andrew Lloyd Webber and Tim Rice’s new musical, *Evita*, made a star of its leading lady, Elaine Paige. Paige then starred in *Chess* and *Anything Goes*, both at the Prince Edward Theatre.

The building was completely refurbished in 1992. Bernard Delfont and Cameron Mackintosh now owned the theatre, and spent over £3 million on remodelling the auditorium, improving the acoustics and increasing the size of the stage. The new Prince Edward Theatre was unveiled in March 1993 with the opening of *Crazy for You*, a Gershwin musical transferring from Broadway.

Delfont Mackintosh Theatres Ltd. continue to renovate the theatre between productions, making the faceight-yearemplary and one of the most desirable spaces in the West End.

## Prince Edward Theatre Seating Information

The auditorium has three levels – the Stalls, Dress Circle and Grand Circle. In the Stalls, patrons will find excellent legroom throughout, and a gentle rake throughout the auditorium allows for excellent views. 

The Dress Circle does not offer the same level of legroom, but again offers great views. The last five rows will have their view obstructed by the overhang of the, Grand Circle. 

The Dress Circle loges are a unique feature to this theatre — they take on the form of individual, tiered boxes but with a direct view of the stage rather than the side-on view usually associated with box seats. 

The Grand Circle offers excellent sightlines as the seats are fairly steeply raked.

Prince Edward Theatre - LON

Prince Edward Theatre

Newsies Rush

I unlocked £25 Rush tickets for Newsies on @TodayTixUK! https://www.todaytix.com/london/shows/24908?share=unlock

Newsies - LON [24908]

Newsies Header LON

Newsies

Newsies poster LON

Extra, extra! Read all about it! Disney musical *[Newsies](https://www.londontheatre.co.uk/show/24908-newsies-tickets)*, which began life as a notorious film flop starring Christian Bale and was miraculously reborn as a Tony-winning Broadway show, is finally making its UK premiere at the Troubadour Wembley Park Theatre. Based on the [real-life Newsboys’ Strike](https://www.londontheatre.co.uk/theatre-news/news/learn-about-the-real-newsboys-strike-that-inspired-the-newsies-musical) of 1899, its tale of unionising and campaigning for workers’ rights comes at a particularly apt time, as we see industrial action on multiple fronts.

That’s an added element to what is already a thrillingly immersive show, with the audience seated on three sides and the “newsies” (kids who sell newspapers) making great use of all the gangways and staircases. They’re constantly dashing into the crowd, either fleeing from the corrupt authorities or furthering their revolution - which kicks off when venal publisher Joseph Pulitzer unfairly raises the price of their bundles of papers in order to increase profits for himself.

Leading the strike is veteran newsie and natural leader Jack Kelly, played with a pitch-perfect combination of street-smart charisma and a vulnerable yearning to belong and be valued by rising star [Michael Ahomka-Lindsay](https://www.londontheatre.co.uk/theatre-news/interviews/newsies-star-michael-ahomka-lindsay-anything-is-possible) (also a standout in this summer’s *[Legally Blonde](https://www.londontheatre.co.uk/reviews/legally-blonde-review-regents-park-open-air-theatre)*). Jack voices his dreams in the show’s breakout ballad “Santa Fe”, which Ahomka-Lindsay delivers with spine-tingling conviction.

The score, by Disney’s beloved composer [Alan Menken](https://www.londontheatre.co.uk/theatre-news/news/a-complete-guide-to-alan-menken-musicals) and lyricist Jack Feldman, is otherwise on the generic side, but its many stirring anthems (like “Carrying the Banner”, “The World Will Know”, “Seize the Day”) do the job of conveying a gathering storm. It’s a bit like a junior *[Les Mis](https://www.londontheatre.co.uk/show/300-les-miserables-tickets)*. And while that musical was famously built on the barricades, Morgan Large’s monumental set revolves around a giant scaffolding structure that houses the newsies, evokes New York fire escapes, and opens out to reveal singer Medda’s club.

Not only that, but set pieces whoosh down from the ceiling or are whisked on by the dynamite ensemble, who turn every scene change into a mini dance number. As for the big numbers, director/choreographer Matt Cole (building on Mark Hummel’s original dance arrangements) has put together a simply jaw-dropping series of routines - the most propulsive, skilful and genuinely surprising that you’ll see anywhere this Christmas. 

Cole uses an astonishing mix of styles and vocabulary on top of a classical base (à la Jerome Robbins) to convey the toughness of the newsies, but also their youthful enthusiasm: they’re still just kids at heart. Jump rope and leapfrog meet one-handed cartwheels, split leaps, jetés, breakdance moves like whirling windmills, even cheerleading stunts. 

When they’re in the fight of their lives, they add kicks, stomps and punches too, and when they’re celebrating in the buoyant “King of New York”, we get glorious tap-dancing on tabletops and actual swinging from the light fixtures - aerial work to rival [Cirque du Soleil](https://www.londontheatre.co.uk/show/26120-cirque-du-soleil-kurios-tickets). When the whole ensemble moves as one, it’s a force to be reckoned with, and a fantastic physical expression of the show’s themes: we are stronger together.

But I must just pick out one individual to praise. Mark Samaras, who has worked with Matthew Bourne and Crystal Pite, supplies almost otherworldly pirouettes - turn after glorious turn without moving an inch. He leads the seriously impressive balletic sections, but, like the whole fantastic company, adds cheeky rambunctiousness as well.

The scale of Cole’s numbers make phenomenal use of the cavernous Wembley Park Troubadour. The more intimate moments of the show are less well served here, and the lyrics often fall victim to an uneven sound balance and the sheer exuberance of the accompanying movement. But then the musical itself is better on generalised feeling than nuance, with Harvey Fierstein’s book telling this David and Goliath tale in big, bold brushstrokes.

The romance between Jack and pioneering, quick-witted female reporter Katherine is rather undercooked, but Ahomka-Lindsay and Bronté Barbé add heft to it, making it a real meeting of minds as well as hearts. Barbé also makes her solo number, where she wrestles with how best to write this important story (obviously, I felt seen), a real highlight thanks to her thoughtful character work and pristine, clearly projected vocals.

There’s also good work from Moya Angela as the brassy Medda, Matthew Buckett as Jack’s plucky pal Crutchie, Ryan Kobel as thoughtful newcomer Davey, and Cameron Blakely as a sharkish, steely Pulitzer. Plus it’s heartening to see the female ensemble given more to do in the second half. 

Natalie Pryce’s striking period costumes should spark a rise in flat caps (if they ever went out of style post-*[Peaky Blinders](https://www.londontheatre.co.uk/show/25895-peaky-blinders-the-rise-tickets?utm_source=google&utm_medium=cpc&gclid=Cj0KCQiA1sucBhDgARIsAFoytUt8mnzR5m_ocOhC13TvzMPYbXbGpKkGOmEI61YXY-rhUd3odT6tMu8aAiMLEALw_wcB&utm_campaignid=11060757766&utm_adgroupid=140567314064&utm_adid=623318585033&utm_term=peaky%20blinders%20london&utm_matchtype=e&utm_campaign=TTG_LT_g_uk_acq_search_shows&utm_adgroup=Shows_Peaky_Blinders_All&gclid=Cj0KCQiA1sucBhDgARIsAFoytUt8mnzR5m_ocOhC13TvzMPYbXbGpKkGOmEI61YXY-rhUd3odT6tMu8aAiMLEALw_wcB)*), and Mark Henderson’s lighting directs our attention in this mighty arena and changes the mood superbly - from vast dramatic shafts of light to an evocative sequence with lanterns.

While this underdog tale doesn’t have the most sophisticated of narratives, I can absolutely see its themes resonating with audiences, particularly its inspiring message that the next generation of social justice warriors can change the world. We could do with that hope right now - and with a huge, spectacular show which proves, once and for all, that musical theatre is good for the soul. Seize the day and get your tickets while you can: *Newsies* is going to be hitting the headlines for all the right reasons.

*Newsies is at Troubadour Wembley Park Theatre through 16 April. Book Newsies tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=24908&content_product_id=24908&venue_id=15)

*Photo credit: Newsies at Troubadour Wembley Park Theatre (Photo by Johan Persson)*

'Newsies' review – the inspirational Disney musical has the most thrilling dancing in town

The Troubadour Wembley Park Theatre is an off-West End theatre that has a seating capacity of 2,000. The theatre is located on the former site of Fountain Studios. Fountain Studios formerly hosted *The X Factor* and *Pop Idol*. 

Troubadour Wembley Park Theatre - LON

Troubadour Wembley Park Theatre

A Strange Loop - LON

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A Strange Loop

A Strange Loop Poster

Moulin Rouge! The Musical [23350] - LON

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Moulin Rouge! The Musical 

Poster

Enter a world of splendour and romance, of eye-popping excess, of glitz, grandeur, and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Pop the champagne and prepare for the spectacular spectacular…

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