TT Category - Musicals - LON

Best Musicals in London

musical

TT - All Shows - London

From discount theatre tickets for tonight to front-row availability at West End shows next month and beyond, we have a seat for everyone.

Last-minute theatre tickets for London shows

Book last-minute theatre tickets for London Shows at the best prices, and get exclusive access to our Lottery and Rush tickets.

Last-Minute Theatre Tickets | London & West End Shows | TodayTix

London All Shows

Last-Minute Theatre Tickets | London Shows | West End Shows | TodayTix

London Shows

Explore West End shows, book last minute theatre tickets, and more

Discover London

TodayTix App Home - LON

London All Shows Image

Latest London Insider Posts

London Theatre is the oldest and first site dedicated to West End theatre and Off-West End shows. Catch up on the latest West End news and London theatre reviews, and book London theatre tickets today. 

London Theatre Home Page - London

London Theatre - Musicals, Plays, Drama, and Fringe

The ultimate London Theatre Guide. Book theatre tickets for the top musicals and plays in the West End, together with theatre in London news and show reviews. 

London Theatre Tickets | West End News | LondonTheatre.co.uk

London

Empty Search Results Page (to stop search errors)

Search Results

London Tile Image

London Home Page (TT Home)

Get the best prices on theatre tickets today in New York, London and more. Read reviews. Win exclusive lottery or rush tickets. Download our app.

TodayTix | Theatre Tickets to Musicals, Plays, Broadway, More

London Nav Links [NEW]

More shows

Venues in London

London Home Page (WL)

WL LON Home Newsletter Image

WL UK Nav

Category - Musicals - LON

Newsies Rush

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

{display price} Lottery tickets

If selected, you will have [CLAIM LENGTH] to purchase [PRICE] [SHOW TITLE] tickets.

Enter for a chance to purchase {display price} {show} tickets, only in the TodayTix app.

I entered the [SHOW] Lottery for [DISPLAY_PRICE] tickets on @TodayTix! Tap here to enter: https://www.todaytix.com/[LOCATION]/shows/[ID]?share=enter

Unlock Rush for a chance to purchase £25 tickets.

£25 Rush tickets

Download the TodayTix app and unlock Rush for a chance to access last-minute tickets at exclusive, great prices.

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.

HOW TO PARTICIPATE IN THIS SALES PROMOTION. To participate, please select the 'TodayTix Rush' section of the app and post the proposed content about this sales promotion to your registered account with Twitter or Facebook from within the app. If you decide to proceed and post such content then the app will then display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay and always within 1 hour of the relevant performance to secure them (otherwise you will lose the opportunity to purchase them).

All instructions within the 'TodayTix Rush' section of the app will form part of these promotional terms.

THE PROMOTER'S LIABILITY. Except that the Promoter does not exclude or limit its liability for personal injury or death caused by its negligence or for fraudulent misrepresentation or any other liability that may not, by law, be limited or excluded, the Promoter accepts no liability in relation to a participant's participation (or inability to participate) in this sales promotion, including without limitation any use made by a participant of (or inability to use) the purchased ticket(s).

If this sales promotion cannot be executed as planned due to technical problems or circumstances beyond the Promoter's control, the Promoter shall not incur any liability and no payment or ticket(s) of any kind will be awarded.

The Promoter's determination and decision on all matters will be final and no correspondence will be entered into. Any dispute or situation not covered by these promotional terms will be resolved by the Promoter's management in a manner it deems to be the fairest to all concerned and, subject to the following section, that decision will be binding on all participants.

APPLICABLE LAWS AND JURISDICTION. This sales promotion and these promotional terms shall be governed by English law, and a participant agrees that any dispute between him/her and the Promoter regarding this sales promotion or these promotional terms will only be dealt with by the English courts, provided that, if a participant lives in a part of the United Kingdom other than England, the applicable law of that part of the United Kingdom will govern and any dispute will only be dealt with by the courts there.

If any part of these promotional terms is found to be unenforceable as a matter of law, all other parts of these promotional terms shall be unaffected and shall remain in force.

Any queries and comments concerning this sales promotion should be directed in writing to "TodayTix Rush", TodayTix Ltd, UK Limited, 5 New Street Square, London, EC4A 3TW United Kingdom

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

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

the-lion-king-lead-09-10-17

The Lion King

TLK Poster

1001-1631897535-lkmar21encore280x280

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

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

Unlock Rush for a chance to purchase £29.50 tickets.

£29.50 Rush tickets

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]

frozen_jul21_todaytix_1500x900.jpg

Frozen the Musical 

23585-1627376721-frozenjul21todaytix600x900px.jpg

23585-1627376742-frozenjul21todaytix280x280

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

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 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

Guys & Dolls - Seated - LON

G&D Header Image LON

Guys & Dolls

Guys and Dolls Poster

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.

Bridge Theatre - LON

Bridge Theatre

Recommended 14+ - there are scenes of partial nudity and the storyline addresses the topic of abortion. Children under the age of 5 cannot be admitted to the auditorium.  All patrons, regardless of age must have a valid ticket.

Dirty Dancing Rush

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.
HOW TO PARTICIPATE IN THIS SALES PROMOTION. To participate, please select the 'TodayTix Rush' section of the app and post the proposed content about this sales promotion to your registered account with Twitter or Facebook from within the app. If you decide to proceed and post such content then the app will then display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay and always within 1 hour of the relevant performance to secure them (otherwise you will lose the opportunity to purchase them).
All instructions within the 'TodayTix Rush' section of the app will form part of these promotional terms.
THE PROMOTER'S LIABILITY. Except that the Promoter does not exclude or limit its liability for personal injury or death caused by its negligence or for fraudulent misrepresentation or any other liability that may not, by law, be limited or excluded, the Promoter accepts no liability in relation to a participant's participation (or inability to participate) in this sales promotion, including without limitation any use made by a participant of (or inability to use) the purchased ticket(s).
If this sales promotion cannot be executed as planned due to technical problems or circumstances beyond the Promoter's control, the Promoter shall not incur any liability and no payment or ticket(s) of any kind will be awarded.
The Promoter's determination and decision on all matters will be final and no correspondence will be entered into. Any dispute or situation not covered by these promotional terms will be resolved by the Promoter's management in a manner it deems to be the fairest to all concerned and, subject to the following section, that decision will be binding on all participants.
APPLICABLE LAWS AND JURISDICTION. This sales promotion and these promotional terms shall be governed by English law, and a participant agrees that any dispute between him/her and the Promoter regarding this sales promotion or these promotional terms will only be dealt with by the English courts, provided that, if a participant lives in a part of the United Kingdom other than England, the applicable law of that part of the United Kingdom will govern and any dispute will only be dealt with by the courts there.
If any part of these promotional terms is found to be unenforceable as a matter of law, all other parts of these promotional terms shall be unaffected and shall remain in force.
Any queries and comments concerning this sales promotion should be directed in writing to "TodayTix Rush", TodayTix Ltd, UK Limited, 5 New Street Square, London, EC4A 3TW United Kingdom

I unlocked £25 Rush tickets for Dirty Dancing on @TodayTixUK! https://www.todaytix.com/london/shows/24338?share=unlocked

Dirty Dancing - The Classic Story on Stage - LON [24338]

Kira Malou, Michael O Reilly (c) Mark Senior

Dirty Dancing - The Classic Story on Stage

Dirty Dancing 2023

With its infectious mix of chart-topping tracks, explosive dance routines, and *that* lift, [*Dirty Dancing*](https://www.londontheatre.co.uk/show/24338-dirty-dancing---the-classic-story-on-stage-tickets) at the [Dominion Theatre](https://www.londontheatre.co.uk/theatres/dominion-theatre) is a joyous musical tonic. You’ll wish you could book a one-way trip to Kellerman’s.

At its heart, *Dirty Dancing* is about the endearing summer romance between holidaymaker Frances “Baby” Houseman, and the resident dance instructor Johnny Castle. Jennifer Grey and Patrick Swayze put the Catskills lovers on the Hollywood map, and their spirits resonate in the stage adaptation.

Kira Malou and Michael O’Reilly play the romantic duo; their undeniable chemistry sizzles throughout, dancing into each other’s hearts with a tender, yet fiery, touch. 

Malou embodies the baby-faced teenager, playing the innocent, doe-eyed goofball in all the physical moments. Meanwhile, O’Reilly oozes sex appeal, making a 2000-strong audience swoon in unison — both for his killer dance routines and his sculpted torso.

There’s great supporting work too, notably from Charlotte Gooch as Johnny’s dance partner Penny — Gooch and O’Reilly’s show-stopping moves bring the house down. Georgina Castle delivers a refreshing comedic turn as Lisa Houseman, especially in a raucous version of “Lisa’s Hula”. Plus, there’s soulful vocals from the show’s lead vocalists Colin Charles (as Tito Suarez) and Lydia Sterling (as Elizabeth).

The musical incorporates all the classic hits from the film like “Hungry Eyes,” “She’s Like the Wind,” and “Cry To Me.” While the show relies on recordings, it’s also exciting to see the six-piece Kellerman’s Band take centre stage too, adding a brassy flair to the pop hits. 

But what is *Dirty Dancing* without... dancing? Thankfully, there’s plenty of it, as a hardworking ensemble power through dozens of choreographer Austin Wilk’s non-stop dance routines. They salsa, rumba, and merengue their way across the vast Dominion stage, doing their best to fill the space and cover a sparse set. If there’s ever a slow turn, the ensemble energises their audience and lifts the show to new heights.

There’s a lot of additional material infused in the stage show too, allowing audiences to understand the Houseman’s family dynamic, as well as more scenes between Baby, Johnny, and Penny. It’s a shame then that the important abortion subplot feels rushed, given the recent overturning of Roe v. Wade in the United States. Constant references to Martin Luther King's politics aren't explored in full detail either, and static scenes end mid-sentence, with actors freezing on stage in a blackout to convey the end of the conversation. 

Federico Bellone’s faithful direction stays so true to the film that at times, the musical struggles to breathe. But by the time Johnny struts in, whisks Baby onto the dancefloor and utters “Nobody puts Baby in the corner,” all concerns melt away. Everyone screams "Yes!" This is the big hitter. If you’re here for those final moments alone, you’ll be giddy with dance fever. 

*Dirty Dancing - The Classic Story on Stage is at the Dominion Theatre through 29 April. Book Dirty Dancing 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=24338&content_product_id=24338&venue_id=139)

*Photo credit: Michael O’Reilly & the ensemble of Dirty Dancing (Photo by Mark Senior)*

'Dirty Dancing' review — have the time of your life at the musical classic

Read our review of Dirty Dancing at the Dominion Theatre at London Theatre.

Dirty Dancing at the Dominion Theatre Review | London Theatre

The Dominion Theatre opened on 3 Oct. 1929. The theatre is located on the site of the former Horse Shoe Brewery, site of the 1814 London Beer Flood.

The theatre screened the premiere of Charlie Chaplin’s film, *City Lights* (with Chaplin himself attending). During its history, the Dominion Theatre hosted movies such as *South Pacific* and *The Sound of Music*, whilst interspersed with live performances, most famously the *Judy Garland Show*. In the 1980s, music stars played at the Dominion Theatre, including Dolly Parton, Duran Duran, Bon Jovi, David Bowie and U2.  

In the early 1990s, plans were set to convert the theatre into a car park, but this was not followed through. Now, the Dominion Theatre is home to large musicals, including *Grease,* a 12-year run of *We Will Rock You,* and *The Prince of Egypt.*

## Dominion Theatre Seating Information

The auditorium has two levels – the Stalls and Circle. It is a very large space and offers excellent views of the stage wherever you sit.

In the Stalls, the rake of the seating is very good, offering excellent views from most seats and the legroom is excellent too. 

In the Circle, the seats are strongly raked which offers a great view.

Dominion Theatre - LON

Dominion Theatre

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

Bonnie & Clyde Rush

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 up 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.

HOW TO PARTICIPATE IN THIS SALES PROMOTION. To participate, please select the 'TodayTix Rush' section of the app and post the proposed content about this sales promotion to your registered account with Twitter or Facebook from within the app. If you decide to proceed and post such content then the app will then display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay and always within 1 hour of the relevant performance to secure them (otherwise you will lose the opportunity to purchase them).

All instructions within the 'TodayTix Rush' section of the app will form part of these promotional terms.

THE PROMOTER'S LIABILITY. Except that the Promoter does not exclude or limit its liability for personal injury or death caused by its negligence or for fraudulent misrepresentation or any other liability that may not, by law, be limited or excluded, the Promoter accepts no liability in relation to a participant's participation (or inability to participate) in this sales promotion, including without limitation any use made by a participant of (or inability to use) the purchased ticket(s).

If this sales promotion cannot be executed as planned due to technical problems or circumstances beyond the Promoter's control, the Promoter shall not incur any liability and no payment or ticket(s) of any kind will be awarded.

The Promoter's determination and decision on all matters will be final and no correspondence will be entered into. Any dispute or situation not covered by these promotional terms will be resolved by the Promoter's management in a manner it deems to be the fairest to all concerned and, subject to the following section, that decision will be binding on all participants.

APPLICABLE LAWS AND JURISDICTION. This sales promotion and these promotional terms shall be governed by English law, and a participant agrees that any dispute between him/her and the Promoter regarding this sales promotion or these promotional terms will only be dealt with by the English courts, provided that, if a participant lives in a part of the United Kingdom other than England, the applicable law of that part of the United Kingdom will govern and any dispute will only be dealt with by the courts there.

If any part of these promotional terms is found to be unenforceable as a matter of law, all other parts of these promotional terms shall be unaffected and shall remain in force.

Any queries and comments concerning this sales promotion should be directed in writing to "TodayTix Rush", TodayTix Ltd, UK Limited, 5 New Street Square, London, EC4A 3TW United Kingdom

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.

Garrick Theatre - LON

Garrick Theatre

6+. Anyone under the age of 16 has to be accompanied by an adult aged 18+. Under 4s will not be admitted

Back To The Future Rush

I unlocked £29.50 Rush tickets for Back To The Future @TodayTixUK!  https://www.todaytix.com/london/shows/22396-back-to-the-future?share=unlock

Back to the Future: The Musical - LON

Back to the Future LON

Back to the Future: The Musical 

BTTF poster

BTTF Poster Image LON

​​Great Scott! <a href="/actor-profile/roger-bart">Roger Bart</a>, whose positive Covid test kept him from opening night earlier this month, is once again bringing his 1.21 gigawatts of zany energy to Doc Brown. I went back to <a href="/show/back-to-the-future">Back to the Future</a> to see Bart in action (<a href="/theatre-news/west-end-features/mark-oxtoby-back-to-the-future-doc-brown-opening-night">after catching his understudy Mark Oxtoby</a>), and, in both versions of the time-space-actor continuum, enjoyed a show that is, indisputably, a fantastic night out.This West End musical incarnation of the 1985 movie is over a decade in the making, following lengthy development and, of course, a global pandemic, which created a big gap between its Manchester Opera House debut in March 2020 and the London transfer.Yet if any show can manage a time lag, it's surely this one. Film fans should be reassured that this is a faithful adaptation, with the movie's Robert Zemeckis, Bob Gale, and Alan Silvestri all returning for the musical - joined by co-composer Glen Ballard and director John Rando.Small tweaks make it more palatable for 2021. The Libyan terrorists are gone, and Lorraine is given slightly more agency, although it's best not to examine the gender relations too closely. (Is&nbsp;beating people up really the only way to prove your masculinity and your worth as a partner?)And, in truth, it's not exactly a musical in the traditional sense. After two viewings, I'd be hard pressed to reproduce much of the original score; the songs that stick are the pop hits used in the movie and triumphantly reprised here, "Johnny B Goode" and "The Power of Love."Likewise, Chris Bailey's choreography includes explosive tricks, along with a shift from breakdancing to swing, but the numbers never build to a climax. Yet both music and movement do enough to serve the story, and this toe-tapping retro-pastiche fun (Grease meets Footloose) slips down as easily as chocolate milk.Most effectively, there's a balance of wit and sincerity. When Marty arrives in 1955, he's greeted by an irony-laden number about the wonders of smoking, asbestos, and white men having their cake and eating it too. Doc Brown later dreams of a utopian 21st-century future with no war or disease (hoho). The show trades on nostalgia, while slyly deconstructing it.The same with the form. A superbly deployed ensemble provides continual backup, but at one point a fourth-wall-breaking Doc Brown suddenly "sees" the dancers and wordlessly ushers them out the door. That goofiness is endearing, and feels like a proper embrace of this new medium.But there's still a rollicking adventure in here, too, anchored by the Michael J Fox-evoking <a href="/actor-profile/olly-dobson">Olly Dobson</a>. He and Courtney-Mae Briggs are instantly believable as the loved-up teens, providing Marty with added motivation to return home, and Dobson reacts brilliantly to the madness around him - particularly his Oedipal nightmare.As Doc Brown, Bart goes full vaudeville. With his lightning-fast changes of mood, voices and physical tics, plus snappy ad-libs, he's like Robin Williams at his most playful. But he also finds stillness for a wistful ballad dedicated to the dreamers. It links up these two worlds of sci-fi and theatre.Rosanna Hyland is an assured, sweet-voiced Lorraine, Hugh Coles a comically awkward and endearing George, Aidan Cutler a satisfying boo-hiss villain, and Cedric Neal provides the musical highlight with the aspirational, gospel-tinged "Gotta Start Somewhere."And yes, the car is a star too: that iconic DeLorean roaring onto the stage and accelerating to 88 miles per hour to blast through time (if petrol is a bust, perhaps we should all switch to plutonium). The audience is totally immersed in that thrilling ride thanks to a crack creative team (Tim Hatley, Tim Lutkin, Gareth Owen, Finn Ross, and Chris Fisher) and it even extends into the auditorium, with strips of LED lights creating a giant fizzing circuit board. There's also a climactic trick that I genuinely can't explain. Theatre magic: how I've missed it.Booking has already extended to July next year. Clearly, this time-hopping spectacle with a heart is also the show of the moment.<div><a href="/show/back-to-the-future">Back to the Future is at the Adelphi Theatre. Book Back to the Future tickets on LondonTheatre.co.uk.</a></div><div>&nbsp;</div><div>Photo credit: Roger Bart and Olly Dobson (Photo by Sean Ebsworth Barnes)</div>

'Back to the Future' review - sci-fi and theatre blend to create genuine magic

When Marty McFly is transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the past and send himself... back to the future.

The Adelphi Theatre that exists today is the fourth theatre on the site. The Adelphi Theatre opened in December 1930 with Lorenz Hart and Richard Rodgers' *Evergreen*. 

The Adelphi Theatre is heavily associated with musical theatre: shows include *A Little Night Music* in 1975, Cameron Mackintosh’s first production of *My Fair Lady* in 1982, Andrew Lloyd Webber’s *Sunset Boulevard*, and *Chicago* from 1997 - 2006. 

Recent shows at the Adelphi Theatre include the Olivier Award-winning production of [*Kinky Boots*](https://www.londontheatre.co.uk/show/kinky-boots), set at a Northamptonshire shoe factory where the owner taps into the world of drag to improve business. The Broadway production of [*Waitress*](https://www.londontheatre.co.uk/show/waitress) also ran at the Adelphi for two years. [*Back to the Future*](https://www.londontheatre.co.uk/show/back-to-the-future) made its West End premiere at the Adelphi Theatre in 2021.

## Adelphi Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Upper Circle. The raking of the seats is not particularly substantial in any part of the theatre.

In the Stalls, the overhang of the Dress Circle affects the view of the top of the stage from the seats in Row P and onwards. 

In the Dress Circle, patrons may miss action at the top and front of the stage in Row N due to the shallow rake of the seats in front and the overhang of the Upper Circle.

The Upper Circle is set fairly high in this theatre, though is not as far from the stage as in other theatres.

## Where is *Back to the Future* in London?

*Back to the Future* is at the Adelphi Theatre in London. The Adelphi Theatre is located on the Strand. It's close to West End theatres including the Savoy Theatre and the Vaudeville Theatre.

Adelphi Theatre - LON

Adelphi Theatre

Recommended 7+. Under 16 must be accompanied by an adult (18+) and may not sit on their own. Children under 5 years will not be admitted. Please aim to arrive 60-90 minutes prior to the event. Latecomers will be admitted at a suitable point.

Wicked Rush

Unlock the Daily Dozen for a chance to purchase £29.50 tickets.

£29.50 Daily Dozen tickets

I unlocked The Daily Dozen for tickets to see @WickedUK on @TodayTixUK! Tap to unlock: https://www.todaytix.com/london/shows/313?share=unlock

Wicked [313] - LON

Wicked Header LON

Wicked

Wicked Poster LON

As Glinda descends from the rafters in her bubble, the audience cheers immediately. As Elphaba defies gravity as she flies over the stage, the audience gasps with disbelief. It’s impossible not to be swept away in *Wicked*’s pure theatricality. More than 15 years after Wicked flew into the West End, the Olivier Award-winning musical is still an evening of sheer musical theatre bliss. 

Over 11 million people have visited the land of Oz across 6,000 performances and counting. The musical has won 13 awards, including the Olivier Award for Most Popular Show, and *Wicked* has become one of the most successful musicals of all time. Often when a show has been playing for a long time, it can lose some of the initial magic, but *Wicked* is still as lively and dynamic as ever.

Based on Gregory Maguire’s prequel novel of the same name, *Wicked* imagines an Oz before Dorothy followed the yellow brick road, one in which the “Wicked Witch” Elphaba and the “Good Witch” Galinda are roommates at school. *Wicked* is a story of an unlikely friendship and how the truth isn’t always what meets the eye. Add spine-tingling ballads, a dragon, and stage magic into the mix, and Wicked sets the bar for what musical theatre can be.

Winnie Holzman’s multilayered book peels back L. Frank Baum’s *The Wizard of Oz* to shine more light on what happens along the way. Every time you watch Wicked, you’ll hear a new line, or see a new character approach that uncovers more information; it’s no wonder that Wicked fans — Ozians — visit the land of Oz dozens of times to unpick the hidden truths about the lion, the scarecrow, and the tin man.

*Wicked* wouldn’t be complete without [Stephen Schwartz’s influential score](https://www.londontheatre.co.uk/theatre-news/news/stephen-schwartz-musicals); and songs like “For Good” now transcend popular culture as pop stars, like Leann Rimes and Delta Goodrem, cover the iconic duet. But there’s no place like home, and that’s hearing Schwartz’s anthemic songs live, complete with a 23-piece orchestra. Pair Schwartz’s music with Wayne Cilento’s explosive choreography, especially in the show-stopping “Dancing Through Life” when the students go to their first dance, and Wicked is poetry in motion.

Eugene Lee’s intricate and moody scenic design extends into the auditorium, thanks to a giant smoking dragon and flying monkeys climbing up the walls. Kenneth Posner’s lighting design and Tony Meola’s sound design amplify the tension, especially when the animated wizard mask comes alive and the wizard’s booming voice reverberates around the auditorium. But there’s plenty of brightness too, especially in Susan Hilferty’s viridescent Ozian costumes and Galinda’s kaleidoscopic wardrobe.

Elphaba has become a coveted role for thousands of performers. From Idina Menzel winning the Tony Award for originating the role on Broadway to Kerry Ellis, Rachel Tucker, and Louise Dearman, each performer has put their own spin on the role and the iconic ballads: “The Wizard and I,” I’m Not That Girl,” “Defying Gravity,” and “No Good Deed”. Lucie Jones comes into her own as the green witch, deftly moving from frustration to sweetness to fury, as Elphaba navigates the world around her and quickly learns that not everyone means what they say. Helen Woolf is bubbly perfection as Glinda, with her sweet soprano and dry wit.

There’s something in *Wicked* for everyone. From the childlike wonder at the magical world of Oz to the political undertones about our leaders’ role in society to the universal message that true beauty lies within, *Wicked* leaves the audience with food for thought and also, wanting more. It’s no wonder that the musical has captured the hearts of so many over the years and will continue to do so for many years to come. *Wicked* is certainly here to stay in the West End for good. 

*Wicked is at the Apollo Victoria Theatre. Book Wicked 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=1587&content_product_id=1587&venue_id=138)

‘Wicked’ review — the West End hit flies high at the Apollo Victoria Theatre 

Read our five-star review of *Wicked,* the Stephen Schwartz musical starring Lucie Jones and Helen Woolf, at the Apollo Victoria Theatre. Get *Wicked* tickets now.

“London’s No.1 show” (LBC) is back! Celebrating 16 triumphant years at the Apollo Victoria Theatre 

The Apollo Victoria Theatre first opened as the New Victoria Cinema in 1930, and housed films, variety acts, and big bands. Closing at the start of World War II, the theatre reopened in May 1941 and shows continued to entertain audiences until it closed in 1976. 

The theatre reopened in 1981 with a Shirley Bassey concert. Since then, musicals at the Apollo Victoria Theatre include *The Sound of Music* starring Petula Clark, and an 18-year run of *Starlight Express* boasting a redesigned auditorium to allow for race tracks to go through the audience. *Wicked* opened at the Apollo Victoria Theatre in September 2006.

## Apollo Victoria Theatre Seating Information

The auditorium has two levels - Stalls and Dress Circle. This is a very wide auditorium. The overhang of the Dress Circle affects the view of the top of the stage from seats in Row Y and onwards.

The Dress Circle in this theatre is very deep, though the view is still excellent and the spectacle of the current production is still very much apparent from these seats. 

## Where is *Wicked* in London?

*Wicked* is at the Apollo Victoria Theatre in London. The Apollo Victoria Theatre is located on Wilton Road. It's close to West End theatres including the Victoria Palace Theatre, and The Other Palace.


Apollo Victoria Theatre - LON

Apollo Victoria Theatre

Recommended 6+. No children under the age of 4 will be admitted and every customer must have their own ticket. To make sure everyone enjoys the show, little ones need to be able to sit in their own seat without any assistance.

Matilda The Musical [305] - LON

326661 Matilda the Musical March 2022 cast Team 1 2022 RT

Matilda The Musical

Matilda Poster LON

2906-1634727473-matencore500x500

Note: There has been cast changes since this review!We are rapidly drifting into that peculiarly English time of year when even the sanest of actors and production companies seem to take leave of their senses. Men dress up as women, women dress up as men and well-worn jokes that never ought to have seen the light of day in the first place are resurrected with abandon.Yes, panto season is with us once again. But '<a href="/show/matilda-the-musical">Matilda The Musical</a>', even though it is being aired during this silliest of seasons, isn't really a panto, even if it has some hallmarks of that genre.Based on Roald Dahl's novel 'Matilda' (first published in 1988 and turned into a film directed by Danny DeVito in 1996) the musical was commissioned by the Royal Shakespeare Company and has book by Dennis Kelly and music and lyrics by Tim Minchin. It is the story of an unwanted daughter who turns out to be something of a prodigy. Mr Wormwood is a dodgy second-hand car salesman who rather foolishly sells clapped-out bangers to the Russian Mafia. Mrs Wormwood has a penchant for Latin American dancing and dresses in garish costumes. The Wormwoods dislike their daughter Matilda intensely. They do not understand her interest in books and encourage her to be like her older brother and fall comatose in front of the 'telly'. And Mr Wormwood even goes so far as to refer to Matilda as 'boy' even though she repeatedly corrects him. When Matilda heads off to school she surprises her teacher Miss Honey with her mathematical skills and intelligence. But she falls foul of the child-hating headmistress, the former hammer-thrower Miss Trunchbull.A small army of children tackle the numerous roles, with multiple child actors rotating the parts at different performances - a nightmare I would think for the production staff, having to rehearse so many actors. But a quick glance through the biogs in the programme tells you that many of the small actors in this cast have more experience than a lot of actors get in a lifetime. They've done it all from The Sound of Music through Peter Pan and Oliver!, covering Macbeth along the way. And this wealth of talent and experience shines through all the performances, including those actors making their professional débuts. There's terrific support from the bigger actors too. In particular, Bertie Carvel makes the most of the plumb role of Miss Trunchbull making her a controlled, but incredibly sadistic head who delights in putting children into the 'chokey' cupboard. Melanie La Barrie is a wonderfully mumsy, story-loving librarian, and Paul Kaye is equally well-cast as the pushy, second-hand car dealer.On the occasion I saw the show, Cleo Demetriou took the lead as Matilda. Ms Demetriou is an enormously talented young actor with a charming singing voice to match. She combines in the role intelligent confidence with a certain intellectual aloofness, but finally shows she is just a child who needs a cuddle now and then too.One mum sitting near to me declared the show 'brilliant' and her offspring sat wide-eyed and transfixed throughout as if ET had just landed in person on the stage. In fact, all the children in the audience seemed totally mesmerised even though some of them were barely of school age. Not only that, but many seemed surprisingly clued-in to some of the more adult jokes which are sensibly injected at various points to keep the adults as happy as the smaller members of the audience. However, if my ears served me correctly, there were a couple of lewd comments from Mrs Wormwood which seemed unnecessarily gratuitous given the audience composition.The second half does not quite match up to the first in terms of the humour and tends towards the sentimental even if the final message about there not always being happy endings has much to commend it. So, I would not go quite as far as my neighbour in describing it as 'brilliant', but <a href="/show/matilda-the-musical">Matilda the Musical</a>&nbsp;is nevertheless hugely enjoyable and cracking Christmas fun. <a href="/show/matilda-the-musical">Matilda Tickets</a> are now on sale. &nbsp;"It is the best new British musical since <a href="/show/billy-elliot">Billy Elliot</a>." Charles Spencer for The Telegraph"It's an evening of unadulterated bliss." Lyn Gardner for The Guardian"A beasty baddie and stonking songs" Quentin Letts for The Daily MailExternal links to full reviews from popular press <a href="http://www.telegraph.co.uk/culture/theatre/london-shows/8913998/Matilda-Cambridge-Theatre-review.html" target="Top">Telegraph</a> - <a href="http://www.guardian.co.uk/stage/2011/nov/25/matilda-review" target="Top">Guardian</a>

Matilda The Musical Review

Matilda The Musical is the multi award-winning musical from the Royal Shakespeare Company, inspired by the beloved book by the incomparable Roald Dahl.

The Cambridge Theatre opened in 1930. The theatre occupies a triangular site on Seven Dials. 

The Cambridge Theatre opened with a production of *Masquerade*, a revue type show by André Charlot. In 1984, the theatre was renamed "the magic castle of Seven Dials" in the hopes of bringing magic shows to the West End — the scheme ended after a year. 

In 1999, the building became part of the Really Useful Group Ltd portfolio of theatres. Andrew Lloyd Webber premiered *The Beautiful Game* in 2000, with musicals including *Chicago* and *Jerry Springer – The Opera*. [*Matilda*](https://www.londontheatre.co.uk/show/matilda-the-musical) opened at the Cambridge Theatre in November 2011.

## Cambridge Theatre Seating Information

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

Stalls seating is not affected by the overhang from the Royal Circle.

The Royal Circle is set far back, and with a shallow rake in the seats the audience seated here may feel detached from the action. 

The Grand Circle is steeply raked which offers good sightlines.

## Where is *Matilda The Musical* in London?

*Matilda The Musical* is at the Cambridge Theatre Theatre in London. The Cambridge Theatre is located in Seven Dials. It's close to the Shaftesbury Theatre, the Gillian Lynne Theatre, and the Theatre Royal Drury Lane.

Cambridge Theatre - LON

Cambridge Theatre

Mamma Mia! Rush 

I unlocked £29.50 Rush tickets for Mamma Mia! on @TodayTixUK! https://www.todaytix.com/london/shows/304?share=unlock

MAMMA MIA! [304] - LON

mm-lead-21-09-21

Mamma Mia!

prod 1637581993272 MM JAN20 Today-Tix 480x720

MM JAN20 Encore 1080x1080

The show features Abba songs which are cleverly integrated into the story written by Catherine Johnson. Young Sophie who lives with her mother on a small Greek island is about to be married to Sky and wishes for her father to walk her down the aisle. However, she has a problem, who is her father? Her mother does not want to tell her and so Sophie reads her mother's diary and discovers the name of three men who could possibly be her dad. Sophie secretly invites all three men to the wedding. The fun starts when the three men arrive on the island and discover why they have been invited.The show bounds along with endless energy and enthusiasm. The mixture of Abba songs, camp dance routines, platform boots and Lycra costumes based around a soppy romance comedy script creates a delightful evening of sheer fun and pleasure. This is pop music set to pop culture, pure unapologetic seventies tackiness that makes for a great evening's entertainment.<a href="/show/mamma-mia">Mamma Mia!</a> is energetic, funny and entertaining and appeals to all ages. No doubt one of the reasons the show is a success is because it does not try to be anything other than popular entertainment, and the production has the confidence to recognise this fact and does not take itself too seriously. For example, songs, such as "Chiquitita", "Take A Chance On Me", "Does Your Mother Know" are ingeniously slipped into the story line, and the audience bursts into favourable applause each time it happens.Vivien Parry who plays Donna is the indubitable star of the show, her powerful singing voice is superb for the Abba songs that she belts out. Her co-stars Lara Mulcahy and Kim Ismay, who play Donna's old friends Rosie &amp; Tanya , both give great comic performances, as well as having strong singing voices. These three women create a great comic trio and completely dominate the show.Choreographer Anthony van Laast's dance arrangement for Sophie's dream sequence is both daring and ridiculous and as a result is an hilarious success.<a href="/show/mamma-mia">Mamma Mia!</a> is no longer just a West End hit, it is now playing in many countries making it a worldwide success. It seems that <a href="/show/mamma-mia">Mamma Mia!</a> just goes on and on, and deservedly so. At long last, a musical based on ABBA's songs! That's what I thought as soon as I heard the show was opening. Being a teenager in the 70s I grew up with ABBA, and I had all their records in my collection. So I will try and give an unbalanced view of the show as best I can!!The show opened yesterday, 6th April, exactly 25 years to the day that ABBA won the Eurovision Song contest in 1974 with 'Waterloo', which strangely enough, is one of the few songs that does not feature in the show. The songs were written by the male members of ABBA, Benny Andersson and Bjorn Ulvaeus, and in fact Bjorn helped to produce this musical. The story is by Catherine Johnson, who had the most difficult task of writing a script to compliment over 20 of ABBA's songs.The story concerns Donna, who owns a small hotel on a tiny Greek Island. It is the eve of her daughter's wedding and unbeknown to Donna, Sophie her daughter has invited three of her mother's former lovers to the wedding, all of whom had an affair with her mother 21 years ago. Sophie is trying to find out who her dad is, so she secretly invited these men because she had read in her mother's diary that her mother had slept with each of them over a period of 15 days One of these men is Sophie's father, but which one? This basic story is all that is needed for the songs to be slotted in at the opportune moments.This show is extremely tacky and anyone who completely detests ABBA should stay well away! However, fans of ABBA will be blown away and taken on a nostalgic trip down memory lane with a breathtaking rollercoaster ride of their favourite ABBA songs. This is held together with a sugary story that makes the evening exactly what it is, a lot of fun, fun, fun! This is not attempting to be a Sondheim musical, or anything of the sort, it is just a vehicle in which to celebrate all those superb ABBA songs and in this the musical works perfectly.Siobhan McCarthy as the mother 'Donna', is outstanding. She has a powerful voice that belts out the ABBA songs in true ABBA style. Mind you, Siobhan is a very experienced performer. Her credits include the title role in "Evita" at the Prince Edward theatre, 'Mary Magdalen' in "Jesus Christ Superstar", ' Fantine' in Les Miserables", ''Svetlana' in the original production of "Chess" and many more. She has recently played 'Mrs Johnston' in "Blood Brothers" at the Phoenix Theatre. There is also a great performance from the prolific Jenny Galloway as 'Rosie', and Louise Plowright as ' Tanya'. These two bring lots of humour to the show, particularly the lovely, cuddly, scary Jenny Galloway. I have seen Jenny on the London stage many times in the last couple of years, playing all kinds of different roles and she has been impressive in each of them. Lisa Stokke as ' Sophie', and Andrew Langtree as her fiance 'Sky', perform adequately. Both have come from Paul McCartney's Liverpool Institute for Performing Arts, with Lisa making her West End debut. Andrew recently made his West End debut in the lead role of Nick in "Fame" at the <a href="/theatres/prince-of-wales-theatre">Prince of Wales Theatre</a>.So has the show received a critical panning from the popular press as was expected? Well, the notices have not been that bad. NICHOLAS DE JONGH of the EVENING STANDARD says, "Thank you for the music...shame about the musical". BENEDICT NIGHTINGALE of THE TIMES says, " With so much fun in the theatrical air, the rest of us might as well indulge them." SHERIDEN MORLEY on TELETEXT really enjoyed the show saying, "After a shaky start, Mamma Mia soars" and goes on to say, "It's a genuinely touching and comic book allied to some of the greatest and most theatrical pop songs ever written." KATE BASSETT of THE DAILY TELEGRAPH says, "Unfortunately, Johnson's dialogue often sounds like a banal soap opera" and goes onto say, "The cast are clearly having a hoot, almost raising their eyebrows when they have to break into lyrics that are barely relevant." THE FINANCIAL TIMES says, "You shouldn't take Mamma Mia! seriously: which is precisely why it proves to be one of the few good musicals on the London stage today."This show is strictly for people who like ABBA songs and like to have a 'good time'. Don't go to the show expecting any gripping story line, just go with the mind of enjoying the songs, reminiscing and having a lot of fun.This musical is a must for all ABBA fans!!(Darren Dalglish) <a href="/show/mamma-mia">Mamma Mia! Tickets</a> are now on sale.Note: The cast has changed many times since these reviews

Mamma Mia! Review

Join the fun at **MAMMA MIA!**, the world’s sunniest, most exhilarating smash-hit musical! Since premiering in London’s West End over 23 years ago, ‘the ultimate feel-good show’ (__Classic FM__) has thrilled over 65 million people around the world.

The Novello Theatre opened as the Waldorf Theatre on 22 May 1905. The theatre was built as a pair with the [Aldwych Theatre](https://www.londontheatre.co.uk/theatres/aldwych-theatre). The theatre has had several name changes: the Strand Theatre (1909), Whitney Theatre (1911), Strand Theatre (1913), and the Novello Theatre (2005). Its current name is after Welsh composer Ivor Novello who lived in the flat above the theatre for nearly 40 years.

The theatre has played host to several successful productions, including the 1941 premiere of the black comedy *Arsenic and Old Lace*, which enjoyed a run of 1337 performances, and the 1955 comedy *Sailor, Beware!*, playing 1231 performances. 

*No Sex Please, We’re British* ran at the Novello Theatre for 10 years from 1971 before transferring to the Garrick Theatre. *[Mamma Mia!](https://www.londontheatre.co.uk/show/mamma-mia)* transferred from the [Prince of Wales Theatre](https://www.londontheatre.co.uk/theatres/prince-of-wales-theatre) to the Novello Theatre in 2012.

## Novello Theatre Seating Information

The auditorium has four levels - Stalls, Dress Circle, Grand Circle and Balcony. 

The stalls seats are well-raked and have no obstructions.

Dress Circle, Grand Circle, and Balcony seats may feel high, due to the theatre's narrow auditorium. 

## Where is *Mamma Mia!* in London?

*Mamma Mia!* is at the Novello Theatre. The Novello Theatre is located on Aldwych in the West End. It's near the Aldwych Theatre and Theatre Royal Drury Lane.

Novello Theatre - LON

Novello Theatre

The Book of Mormon Rush

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

book-of-mormon-lead-et-23-11-20

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

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

tina_lead_09-05-20.jpg

TINA - The Tina Turner Musical

[Poster] Tina 8547

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. 

Great musicals to see 

Choose from the best musicals on offer when booking with TodayTix. Explore the top musicals in London today, and find out where to see them.

Best Musicals in London

...a five, six, seven, eight!

Explore popular cities

Resources

Get more TodayTix

Download the app

Follow us