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Ain't Too Proud - Rush

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Ain’t Too Proud - LON [26469]

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Ain’t Too Proud

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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](https://ticket.londontheatre.co.uk/booking/calendar?product_id=26469&content_product_id=26469&venue_id=156)

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

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

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

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

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

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

## Prince Edward Theatre Seating Information

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

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

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

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

Prince Edward Theatre - LON

Prince Edward Theatre

Recommended 12+. Children under the age of 16 must be accompanied by and sat next to a ticket holder who is at least 18 years old. Children under the age of 4 will not be admitted. 

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OKLAHOMA! - LON [26450] 

OK! New Header Image

OKLAHOMA!

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The Wyndham’s Theatre opened on 16 Nov. 1899. The theatre was commissioned by Charles Wyndham who also managed the [Criterion Theatre.](https://www.londontheatre.co.uk/theatres/criterion-theatre) 

The Wyndham’s welcomed its first long-running production – Sandy Wilson’s musical *The Boyfriend* which opened on 14 Jan. 1959 and ran for over 2,000 performances. Another successful musical came to the theatre in 1972, the Roundhouse’s production of Stephen Schwartz’s *Godspell*, which ran for three years. The theatre has seen many notable actors grace the stage, including Alec Guinness, [Vanessa Redgrave](https://www.londontheatre.co.uk/actor-profile/vanessa-redgrave), Diana Rigg and Madonna.

In May 2005, the Wyndham’s Theatre was bought by Cameron Mackintosh through his company Delfont Mackintosh Theatres. The theatre was renovated in 2008 and plays regularly run for limited engagements at the Wyndham's Theatre.

## Wyndham's Theatre Seating Information

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

In the Stalls, the front four rows of seating are not raked, but other than that the seats in the Stalls offer excellent views of the stage.

Only the seats in Row G of the Royal Circle are affected by the overhang of the Grand Circle. Seats are well raked, offering great views of the stage.

The Grand Circle is set very high in this theatre.

The Balcony is set behind and above the Grand Circle, so does feel far from the stage, but the view is unobstructed.

Wyndham's Theatre - LON

Wyndham's Theatre

Newsies Rush

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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

Suitable for 12+, under 5's will not be admitted.

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Pretty Woman [18613] - LON 

prettywoman_lead_18-02-20.jpg

Pretty Woman: The Musical

Pretty Woman Poster Image LON

There have been plenty of musicals about prostitution on Broadway, like the 60s classic Sweet Charity, set in a dance hall where the hostesses available for hire as dance companions say, "Who dances? We defend ourselves to music" and The Life, a 1997 show that portrayed a gritty, pre-Disneyfied Times Square and the hard realities of street sexual exploitation and its affiliations with drug interests. The Best Little Whorehouse in Texas, on the other hand, which premiered in 1978 and became a film with Dolly Parton starring as the whorehouse madame, offered a jiggling, country-and-western take on a brothel that presented it virtually as innocuous family entertainment.&nbsp;But <a href="/show/pretty-woman">Pretty Woman: The Musical</a>, based on the 1990 film that starred Julia Roberts as a Hollywood Boulevard street sex worker and Richard Gere as her billionaire investor executive client, is something else, seeking to combine a hard-edged reality with a real romance and happy ending (and not the kind that you might be offered in a massage parlour, either, on this same boulevard).&nbsp;In a post-Weinstein world, there are inevitably fears that the rich, entitled male might be seen to be exploiting the younger, more vulnerable female for his own purposes, seeking uncomplicated companionship and sex on demand during his time sealing a company take-over bid in LA, in return for a comparatively modest fee (for him). Early on, there's a slightly icky scene where she takes a cushion from the piano stool so that she can be more comfortable as she sinks to her knees to service him.&nbsp;But this is also a Cinderella-meets-Pygmalion story, in which the street prostitute is transformed into a society princess, cleaned up by a much-improved wardrobe (bought for her, of course, by the man) and eventually redeemed by acknowledging and meeting her needs as well as his. There may be a bit of wish-fulfillment to all of this -&nbsp;the score and book are both written by all-male teams, and the show its also written and directed by a man -&nbsp;but it also has a happy, eventually feel-good vibe to it.&nbsp;In the late Garry Marshall and JF Lawson's book (who respectively directed and wrote the original film), it is the woman who holds the cards -&nbsp;and the man who has the bigger journey to travel, from self-imposed isolation to finding real love.&nbsp; It's a relationship that ends up transforming them both -&nbsp;he even ends up making different, more moral business choices, too.&nbsp;But what makes it ultimately both digestible and credible are the sympathetic performances of the two leads. Yes, of course, it helps that <a href="/actor-profile/danny-mac">Danny Mac</a> is no physical monster in the style of Weinstein but easy on both the eyes and ears - and as with Sunset Boulevard in which he recently toured the UK, he removes his shirt for the undeniable pleasure of the audience. But Mac succeeds in having plenty of charm as well as pecs appeal. <a href="/actor-profile/aimie-atkinson">Aimie Atkinson</a>, in the Julia Roberts role of Vivian Ward, is ironically less objectified than him, and has a perfect combination of quirky vulnerability and the strength of a survivor; and there's good support from Rachael Wooding and Neil McDermott as friends to each of them. &nbsp;Jerry Mitchell, who has previously been responsible as director and/or choreographer to such film to hit stage properties as <a href="/show/kinky-boots">Kinky Boots</a>, Legally Blonde, The Full Monty, <a href="/show/hairspray">Hairspray</a> and Dirty Rotten Scoundrels, knows just how to make these transformations work. He ups the energy and momentum throughout. If Bryan Adams and Jim Vallance's score lacks serious break-out hits of its own, there's at least a curtain call reprise of Roy Orbison's famous 1964 hit single that gave the original film its title to send you out on a high. &nbsp;<a href="/show/pretty-woman">Pretty Woman: The Musical</a>&nbsp;is at the Savoy Theatre.&nbsp;<a href="/show/pretty-woman">Pretty Woman: The Musical tickets</a>&nbsp;are available now.&nbsp;&nbsp;

Review - 'Pretty Woman: The Musical' starring Danny Mac and Aimie Atkinson

It's time to head back to Beverly Hills and experience one of Hollywood’s most beloved romantic stories of all time live on stage at it’s glamorous new home - the Savoy Theatre. Get ready to fall in love London as the record breaking box office smash-hit musical returns.

The Savoy Theatre opened on 21 Oct. 1929. The building was known for being the first public building to be lit entirely by electricity. 

When a fire ravaged the theatre in 1990, destroying the interior, it was meticulously restored by Sir William Whitfield to the original 1929 designs. The theatre reopened on 19 Jul. 1993.

The D’Oyly Carte Opera Company played several seasons at the theatre over the past 20 years, their last production being *HMS Pinafore* in 2003. 

The theatre has also housed several musicals, including *She Loves Me* in 1994 starring John Gordon Sinclair and Ruthie Henshall, and has played host to musicals exclusively since 2006. 

## Savoy Theatre Seating Information

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

In the Stalls, the legroom throughout is very good, and the seating is well raked to ensure good views.

In the Dress Circle, the overhang of the Grand Circle affects the view from Row K onwards. The amount of legroom also decreases the further back you sit.

The Grand Circle feels rather far from the stage.

## Where is *Pretty Woman: The Musical* in London?

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

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Savoy 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

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Wicked

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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.


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Apollo Victoria Theatre

All ages. Everyone, regardless of age, must have their own ticket to enter the theatre. Children under the age of 16 must be accompanied by and sat next to a ticketholder who is at least 18 years old. Children under the age of 3 will not be admitted. 

The Great British Bake Off Musical Rush

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The Great British Bake Off Musical 

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Sugar, butter, flour… No, not *Waitress*: the West End has a new baking hit on its oven-gloved hands. Transferring to London following its Cheltenham debut last year, [*The Great British Bake Off Musical*](https://www.londontheatre.co.uk/show/26643-the-great-british-bake-off-musical) (drawing from the same successful recipe as the TV institution) is part love letter, part gentle send-up, with a slice of romance and a soupçon of showbiz satire. And the resulting mixture, briskly stirred by director Rachel Kavanaugh, goes down a treat.

You don’t have to be a *[Bake Off](https://www.londontheatre.co.uk/theatre-news/news/everything-you-need-to-know-about-the-great-british-bake-off-musical-west-end)* superfan to enjoy it, but it’ll definitely help. That way, you’ll appreciate all the detailed homages here: from the pastel work surfaces, bunting, and gleaming mixers in the Edenic tent, through references to Star Baker, soggy bottoms, and eyebrow-waggling innuendo, to headline-making Bake Off moments (watch out for Bingate), dramatic injuries, increasingly complicated challenges (“Make a focaccia of your face!”), and even including the most delectable of contestant putdowns: no-nonsense Nancy dismissing Paul Hollywood as “the male judge”.

Hollywood and Prue Leith are here too, in the guise of Phil Hollinghurst (perma-tanned, motorcycle-riding, prone to Zoolander-ing down the camera lens) and Pam Lee (colourful fashion, giant statement jewellery, likes a drink or two – actually, is that more Mary Berry?). You’ll recognise all the contestant types as well in this spot-on pretend series: the lovable nan, the vegan hipster, the hyper-competitive posh student, the engineer who spends as much time constructing elaborate presentation stands as he does the actual food.

Jake Brunger and Pippa Cleary’s lively pastiche score is well organised into, essentially, a succession of skits – winking riffs on different aspects of *Bake Off*, with a range of musical styles to suit. So there are big diva ballads, jazzy vaudevillian numbers with bouncy grapevines, a wry lament that’s pure Victoria Wood, and (my favourite) earnest 90s pop crooning complete with dry ice and air grabs as the contestants share their desire for a Hollywood – sorry, Hollinghurst – Handshake.

The show does stray into syrupy territory whenever it turns baking into a metaphor for life, though. So childless Italian fashionista Francesca uses it as a substitute for her missing “bun in the oven”, widower Ben sticks to his late wife’s recipes until he decides he’s ready for a new taste, and shy carer Gemma hopes she can find the right ingredient to give herself confidence. More effective is Syrian teen Hassan (an instantly lovable Aharon Rayner) describing, in straightforward, non-simile-battered terms, how baking won him social acceptance. 

But, if the songs feature some knowingly sketchy rhymes (“action” matched with “Michelin”), they’re brilliantly tailored to the characters, creating a mini showcase for each performer. Grace Mouat is deliciously villainous as scheming, ambitious student Izzy; Claire Moore twinkles as naughty grandmother Babs; Michael Cahill is a hoot as camp inventor Russell; Jay Saighal brings alarming intensity to eco-conscious Dezza; and Cat Sandison sells Francesca’s emotional turmoil through sheer force of will – and soaring vocals.

The treacly burgeoning romance between Russell and Gemma (with an assist from the former’s precocious nine-year-old daughter) would make your fillings ache if Damian Humbley and Charlotte Wakefield didn’t bring such gentle sincerity and soulful singing to it. And it’s offset by John Owen-Jones’s brilliant skewering of Scouse judge “Phil”, slapping around his phallic-looking strudel dough with ridiculously macho swagger.

He’s joined for the West End run by the wonderful Haydn Gwynne, who gets a new number complete with scarlet sequinned frock and impressive cartwheel (next stop: *Strictly*). The pair give good behind-the-scenes spoofing too, staggering around hungover after the Baftas, or comparing mouth-watering commercial opportunities. And *Bake Off* should seriously think about employing [Scott Paige](https://www.londontheatre.co.uk/theatre-news/interviews/scott-paige-the-great-british-bake-off-musical-love-letter-tv-show), here acting as host alongside Zoe Birkett, for real: his comic timing is immaculate.

Georgina Lamb enjoyably employs bowls, whisks and spoons in her whimsical choreography, while Alice Power not only re-creates the series’ aesthetic perfectly but also whips up showstopping creations. Yes, you might wish for a tad more spice to balance out the sweetness, but it’s hard not to melt when you see the contestants helping each other, or hear a lyric so English that it should be added to the national anthem: “Cake is the key/ And it comes with a cup of tea.” Bliss.

*The Great British Bake Off Musical is at the Noel Coward Theatre through 13 May. Book The Great British Bake Off Musical 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=26643&content_product_id=26643&venue_id=128) 

*Photo credit: Jay Saighal and Haydn Gwynne in The Great British Bake Off Musical (Photo by Manuel Harlan)*

'The Great British Bake Off Musical' review – the TV institution has become a scrumptious West End treat

Read our four-star review of *The Great British Bake Off Musical* at the Noel Coward Theatre, running through 13 May. Get *The Great British Bake Off Musical* tickets on London Theatre.

The Noël Coward Theatre opened as the New Theatre on 12 Mar. 1903. In 1973, the theatre’s name was changed from the New Theatre to the Albery Theatre, as a tribute to the theatre’s long-serving manager Sir Bronson Albery. Sir Cameron Mackintosh acquired the theatre through his company, Delfont Mackintosh Theatres, in 2005 and renamed the theatre in memory of the famous playwright, Noel Coward.

The theatre famously played host to two theatre companies whose theatres were destroyed during the Blitz – the [Old Vic](https://www.londontheatre.co.uk/theatres/old-vic-theatre) and [Sadler’s Wells](https://www.londontheatre.co.uk/theatres/sadlers-wells) both performed at the theatre until their new theatres were built in the 1950s. 

The theatre also played host to the premiere of Lionel Bart’s world famous musical *Oliver!* The show was a huge success, running for 2,618 performances.

Several notable actors have appeared in productions at the theatre, including [Judi Dench](https://www.londontheatre.co.uk/actor-profile/judi-dench), [Helen Mirren](https://www.londontheatre.co.uk/actor-profile/helen-mirren) and [Patrick Stewart](https://www.londontheatre.co.uk/actor-profile/patrick-stewart). 

## Noël Coward Theatre Seating Information

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

The Stalls offers excellent views throughout. The high setting of the stage allows for good views.

The view from the Royal Circle is completely unobstructed and the seating is well raked.

The Grand Circle is set fairly high, but again offers unobstructed views of the stage. 

Whilst the Balcony is high, the seats are well raked and comfortable with a good amount of legroom.

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Noël Coward Theatre

Punchdrunk creates genre-defying experiences for audiences around the world. They blend classic texts, physical performance, dance and award-winning design installation to bring to life unique sensory worlds. 

Inspired by Greek tragedies Agamemnon by Aeschylus and Hecuba by Euripides, The Burnt City is a sprawling metropolis filled with chance encounters and each visit is unique. Be brave. Follow your instincts. If you find yourself somewhere curious explore it, and if someone catches your eye follow them.


The age requirement for this performance is 16yrs+. Anyone aged 16 or 17 must be accompanied by an adult. Photo ID will be required on entry.

Punchdrunk Lottery/Rush

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£25 Lottery tickets

If selected, you will have strictly 30 minutes to claim and purchase £25 Punchdrunk tickets.

You can enter the Punchdrunk £25 Lottery through the TodayTix mobile app. Download the TodayTix app on your iOS or Android device and enter weekly to win the chance to purchase £25 Lottery tickets.

No purchase required to enter. You can only win the Lottery for each performance once. Entrants are selected at random. By entering your phone number you are giving TodayTix permission to contact you via SMS Text, Email or Phone per our privacy policy.

Your participation in any of the lotteries in the series is subject to our standard terms and conditions, which you can view [here](https://www.todaytix.com/terms/uk). The Promoter of this series of lotteries is TodayTix, Ltd.

This is a series of promotional prize draws and the term 'lottery'/'lotteries' is only used in a brand sense. No gambling is involved.

To enter the Lottery you must either reside in United Kingdom and/or be able to attend the relevant scheduled performance in London and be aged 18 years or older. Any entries made from outside the UK will be subject to UK law.

No purchase is required to enter but if you win you will need to pay for each ticket.

You can earn one extra entry into the same lottery that you have entered if you share the auto-filled post on Facebook, another if you share the auto-filled post on Twitter, and another if you share the auto-filled post on Instagram.

All winners are drawn at random by a computerised process. There are a limited number of discounted price tickets available as prizes for each lottery in the series, which are always drawn in two stages.

All tickets available are drawn at random and assigned to winners. If a winner declines or fails to claim their tickets within thirty minutes, these tickets will be re-assigned at random to another entrant. Choosing to enter for either 1 or 2 tickets holds no bearing on your chances of being drawn as a winner.

When the winners are drawn for each lottery in the series, the same computer process will be used to randomly select "reserve" winners. If you are a "reserve" winner and the original winner does not claim the tickets, you will be sent an email to let you know that you’ve been assigned as a winner. All replacement winners are selected from the drawn "reserve" at random.
TodayTix takes no responsibility for undelivered ‘winner’ emails or push notifications.

Please note that your entry into a lottery for the chance to purchase 1 or 2 tickets for a particular performance will not be rolled-over to any lottery for another performance.

__Tickets cannot be exchanged, refunded or resold.__

Employees and their immediate families of the Promoter, its agents or anyone professionally connected with the Promoter are not able to enter.

It is also possible to enter by emailing lotteryentries@todaytixgroup.com with your name, e-mail address, phone number, post-code, number of tickets required (1 or 2 tickets) and desired performance dates/times. You can only enter for performance dates that feature within the ongoing lottery draw, no advance entries into future draws will be accepted. 

I entered the Punchdrunk Lottery for £25 tickets on @TodayTix! Tap here to enter: https://www.todaytix.com/london/shows/25388?share=enter

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Photo Julian Abrams. Performer Miranda Mac Letten

Punchdrunk: The Burnt City

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One Cartridge Place is the home of Punchdrunk, an immersive theatre company. On the banks of the Thames, the venue serves as a catalyst for an inventive regeneration for theatre. Punchdrunk currently present their show, *The Burnt City* at the Woolwich-based venue. One Cartridge Place opened in summer 2022. 

## Where is *Punchdrunk: The Burnt City* in London?

*Punchdrunk: The Burnt City* is at One Cartridge Place in London. One Cartridge Place is located in Woolwich. 

One Cartridge Place - 8500

One Cartridge Place

The Book of Mormon Rush

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The Book of Mormon [287] - LON

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The Book of Mormon 

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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

& Juliet Rush

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& Juliet

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The biggest hit, by far, of the current Broadway season, so far, is Moulin Rouge, a compilation musical that folds extracts from over 70 pop songs, from multiple sources, into telling a story set in the eponymous Parisian nightclub. Now, the new musical <a href="/show/and-juliet">&amp; Juliet</a> that has just received its world premiere in the West End after a try-out run in Manchester, tries to replicate some of the same formula, only using a more economical track listing of some 30 songs. It is also likewise set in Paris - and yes, the Moulin Rouge and its windmill are even referenced in an onstage set model, too, plus the use of similarly prominent title signage.But this time the songs are heard in more complete (if not necessarily as complex) versions than the songs in Moulin Rouge, though there's a similar relentless and restless forward propulsion to how they're integrated into the plot by David West Read's book, which has Shakespeare (with a big assist from his wife Anne Hathaway) re-writing Romeo and Juliet in a way that keeps both of them alive - and gives Juliet a lot more agency. It also throws in a new gay subplot for good measure.But this is no Kiss Me, Kate, the 1949 classic which gave a backstage musical spin to a troubled out-of-town production of Shakespeare's The Taming of the Shrew, set to one of Cole Porter's most scintillating scores; nor is it West Side Story, which already adapted Romeo and Juliet to the streets of 1950s New York to Leonard Bernstein's sinewy, brassy music.Here, instead, all the songs originate from a single songwriting source, the Swedish pop hitmaker Max Martin, whose songs for the likes of Britney Spears, the Backstreet Boys, Katy Perry, Celine Dion, NSYNC&nbsp;and Justin Timberlake, amongst others, have placed him behind only Paul McCartney and John Lennon in achieving the global record for number one singles on the Billboard charts (22, to McCartney's 32 and Lennon's 26).That ensures a high level of familiarity for pop fans (and even me, who doesn't follow the genre much); like the songs of ABBA&nbsp;that kicked off the penchant for folding existing pop catalogues into new stories with <a href="/show/mamma-mia">Mamma Mia!</a>, there's already a lot of identification and love for material that has been impossible to avoid in popular culture. &nbsp;And this likeable and sometimes spectacular production - directed by Luke Sheppard and choreographed by Jennifer Weber with vigour and discipline, gives them a full-bodied and full-blooded outing. Frequently resembling a series of pop videos come to life - thanks to performance platforms that come out of the floor, or benches that take on an aerial life of their own in Soutra Gilmour's sets, aided by Andrzej Goulding's dazzling projections - it is performed with a glinting knowingness and powerful pop theatre voices.The company is led by the extraordinary Miriam-Teak Lee in the title role of Juliet, who brings a sizzling presence, incredible vocals and moves to turn her into a force of nature.&nbsp;There's also powerful vocal work from two of our best pop theatre performers, Oliver Tompsett and Cassidy Janson, as William Shakespeare and Anne Hathaway, and likeable support from Jordan Luke Gage as Romeo, Melanie La Barrie as Juliet's Nurse and Arun Blair-Mangat and Tim Mahendran as the gay couple. &nbsp;A popular hit made from popular hits has been born.<a href="/show/and-juliet">&amp; Juliet</a> is booking at the <a href="/theatres/shaftesbury-theatre">Shaftesbury Theatre</a> until 30th May 2020.&nbsp;<a href="/show/and-juliet">&amp; Juliet tickets</a>&nbsp;are available now.&nbsp;

Review - Max Martin musical & Juliet at the Shaftesbury Theatre

[**_& JULIET_** ](https://www.londontheatre.co.uk/show/14834-and-juliet-tickets) 
**THE MOST FAMOUS LOVE STORY OF ALL TIME. REMIXED.**   

What if Juliet’s famous ending was really just her beginning? What if she decided to choose her own fate?

Join Juliet on this sensational journey of self-discovery and second chances, told through some of the most glittering pop anthems of the last three decades from legendary songwriter **Max Martin**, including …_Baby One More Time_, _Since U_ _Been Gone, Roar_, _Everybody (Backstreet's Back)_, _Love Me Like You Do_ and _Can’t Feel My Face,_ all brilliantly arranged by the Tony and Grammy Award-winning orchestrator **Bill Sherman**.

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

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

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

## Shaftesbury Theatre Seating Information

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

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

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

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

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Shaftesbury Theatre

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

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Back to the Future: The Musical - LON

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Back to the Future: The Musical 

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​​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.

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Adelphi 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

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Tina - The Tina Turner Musical [8547] - LON

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TINA - The Tina Turner Musical

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

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

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

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

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

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

## Aldwych Theatre Seating Information

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

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

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

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

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

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

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Aldwych Theatre

Under 18s must be accompanied by an adult. Please be aware Jersey Boys contains genuine New Jersey language which may not be suitable for younger audiences

Jersey Boys Rush

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Jersey Boys [22661] - LON

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Jersey Boys  

Jersey Boys - Poster

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The gorgeously revamped <a href="/theatres/trafalgar-theatre">Trafalgar Theatre</a> (formerly Trafalgar Studios) christens its new auditorium with an old favourite: 2005 biographical jukebox musical <a href="/show/jersey-boys">Jersey Boys</a>, which last ran in the West End from 2008-2017. Well, the boys are back in town - a strong lure for those audiences still working their way back to theatre.Marshall Brickman and Rick Elice's show makes a virtue out of the Four Seasons members' conflicting recollections of their rise to fame and subsequent acrimonious split. The tale is told from multiple points of view, although the live-wire founder Tommy DeVito arguably dominates proceedings - until (a plot necessity but an unfortunate one) he disappears in the second half of the show.Tommy clues us in to life growing up in 1950s New Jersey. Neighbourhood guys like him are in and out of prison all the time, with few other prospects. But when he joins forces with Frankie Valli, possessed of an angelic falsetto, talented bass player Nick Massi, and the boy wonder composer Bob Gaudio, the combination is magic. The first time that the quartet's voices blend perfectly together under a street light is spine-tingling.But, happily for the drama, success doesn't come easy. Part of it is an identity crisis, with the band constantly changing names, and radio DJs unsure if they're a Black group or one led by a female singer. There's also tension immediately between band members: Tommy hustles for them, but is also an unreliable gambling addict who gets in deep with the mob, and he feels threatened by the business-savvy Bob's increasing influence over Frankie, who Tommy considers his "little brother".The shifting power dynamics and the tussle over what it means to be a man - whether a provider, a boss, or a loyal friend - form the backbone of the story. But, though the book does challenge Tommy's blinkered world view, there's a misty nostalgia for this kind of tough-guy masculinity, when you lived by a code, made deals with a handshake, and settled disputes with your fists. It echoes the Four Seasons' view of themselves as the hard-scrabble working man's band - in contrast to those arty Beatles.More interesting than that questionable hagiography are quirky details like Nick and Frankie having to break into a church to rehearse their harmonies, Frankie making a mobster weep over his late mother, or the fact that a teenage Joe Pesci (later an Oscar-winning actor) was the one who brought Bob into the group.What about the women, you may ask? Well, the show certainly doesn't. They occasionally drift into dismal view, as mothers, wives, hookers, or daughters, always from the perspective of a man - though kudos to Melanie Bright for attempting to breathe life into Frankie's tenacious wife, Mary Delgado. There's also a tiresomely camp portrait of a supporting gay character.Still, what the audience is really here for is the music, and there's no disputing that the Four Seasons' back catalogue is a wondrous thing. The hits just keep coming: "Sherry,"&nbsp;"Big Girls Don't Cry,"&nbsp;"December 1963 (Oh What a Night),"&nbsp;"Beggin',"&nbsp;"Lets Hang On,"&nbsp;"Bye Bye Baby" - and, once Frankie goes solo, the show-stopping "Can't Take My Eyes Off You."&nbsp;Benjamin Yates brings swagger to brash wise guy Tommy, who always has a chip on his shoulder, while Karl James Wilson is an amusingly fastidious Nick and Adam Bailey a quiet but resolutely ambitious Bob - all providing smooth vocals and synchronised moves, too (slick choreography by Sergio Trujillo). And it's a star-making West End debut for Ben Joyce, who not only evokes Valli's exceptional voice, but supplies fervent passion and a heartbreaking gradual disillusionment.This pared-back, Off-Broadway version of Des McAnuff's staging works beautifully in the smaller venue. It whizzes efficiently between the short scenes and multiple locations, thanks to an industrious ensemble, minimal props, and good use of a multi-level scaffold. A video screen on the back wall showing Roy Lichtenstein's pop art is a witty way to frame the action and tie it into the era.Jersey Boys isn't the most revolutionary programming, and I really do hope we see more original musicals emerging post-pandemic rather than just jukebox revivals, but you can't fault the sheer entertainment value of this show. Oh what a night indeed.<a href="/show/jersey-boys">Jersey Boys is at Trafalgar Theatre. Book Jersey Boys tickets on LondonTheatre.co.uk.</a>Photo credit: Jersey Boys (Photo by Piers Allardyce)

'Jersey Boys' offers 'sheer entertainment' in a welcome return to the West End

Winner of over 65 international awards, and seen by over 27m people worldwide, the Tony, Grammy and Olivier Award-winning smash hit musical JERSEY BOYS has triumphantly returned to London’s West End, playing to nightly standing ovations.

The Trafalgar Theatre opened in the West End theatre in summer 2021. Named the Trafalgar Theatre, the playhouse combines the two smaller studio spaces at Trafalgar Studios: Trafalgar Studio One and Trafalgar Studio Two. 

The Grade II listed Trafalgar Theatre will feature a new single auditorium, with a capacity similar to the [Duke of York’s Theatre](https://www.londontheatre.co.uk/theatres/duke-of-yorks-theatre) and the [Vaudeville Theatre](https://www.londontheatre.co.uk/theatres/vaudeville-theatre). Seating will be across two levels: the stalls and dress circle.

## Where is *Jersey Boys* in London?

*Jersey Boys* is at the Trafalgar Theatre in London. The Trafalgar Theatre is located on Whitehall. It's close to the Garrick Theatre.

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Trafalgar Theatre

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Heathers the Musical [24125] LON

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Heathers the Musical

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'Dear Diary. July 12th, 2021.' Veronica Sawyer opens Heathers&nbsp;with the phrase "Dear Diary", so it feels fitting to mark the day I battled through the wind and rain to see Heathers&nbsp;in the West End.The growing domination of cult teen musicals is alive and well as the West End reopens. Be More Chill and Six are playing in their largest West End venues to date. Dear Evan Hansen is set to reopen in the autumn. But for all the shared playground politics in teen musicals, no show takes on adult themes quite like Heathers, back at the Theatre Royal Haymarket this summer. Don't be fooled by this youthful cast and expect an upbeat show; there's dark turns aplenty in this sinister musical. But for all its doom and gloom, this is a Heathers that feels closer to being age-accurate, even with its far-fetched storylines.Based on the 1980s film starring Winona Ryder,&nbsp;Heathers&nbsp;follows Veronica Sawyer, a reserved teen that's thrust into the spotlight when joining the 'Heathers' clique. Her relationships change when she falls in love with J.D., ultimately causing her to have a personal check-in and assess how her life has turned so quickly.&nbsp;The original West End's Veronica Sawyer, Carrie Hope Fletcher, left big boots to fill for its newest holder. Now the teenage outcast turned cool girl is played by Christina Bennington, who's sure to be idolised by a younger demographic. Approaching the role with the dewy-skinned mystery of a 17-year-old, it's easy to fall for her, laughing along with her as she fast-tracks to being the most popular kid in school.&nbsp;From the opening number "Beautiful" and beyond, there's never a sense that Bennington preempts Veronica's actions, leaving audiences in the palm of this blue-blazered teen. She's quirky. She's lovable. She's everything you'd want from a teen just trying to do good. Fletcher's conniving, calculated approach has been replaced by Bennington's unassuming approach. Both takes work well, but Bennington's reads closer to acting as if an actual high school dispute has spiralled out of control.&nbsp;And even though I saw the 2018 cast, I was still shocked by how Veronica behaves —&nbsp;a sign that Heathers has not only become slicker, thanks to direction by Andy Fickman,&nbsp;but also demonstrates Bennington's ability to breathe fresh air into an iconic role.She's balanced by Jordan Luke Gage, newly cast as the alluring J.D. This chiselled actor has the teenage heartthrob look down to a t, while turning the creepiness up to level 100 in the final scenes. You wouldn't want to meet this J.D. alone in an alleyway. Duets between Veronica and J.D. capture tender teenage love too; "Dead Girl Walking" has a possessive quality, later polarised by "Seventeen" where it's almost as if you can see the twinkles in their eyes.This musical is about the Heathers though, and this new trio of same-named women are definitely queen bees. Jodie Steele reprises her role as Heather Chandler, adding an exaggerated comedic lease of life into her performance, especially in "The Me Inside of Me." Bobbie Little (as Heather Duke) and Frances Mayli McCann (as Heather Macnamara) complete the trio to rival&nbsp;Mean Girls, sassily stomping all over the audience in their colour-coordinated looks.For all its bright lights and laughs, it'd be remiss to not acknowledge its questionable approach to discussing adult topics. In a sociopolitical climate that encourages body positivity and loving yourself, is placing characters throwing up to lose weight and pretending to commit suicide glamourising mental health crises? Considering the teenagers that flock to Heathers, does the musical inadvertently teach that it's okay to make fun of difference? Sure, the movie&nbsp;Heathers&nbsp;was written in the 1980s, when it is still set, and society has progressed considerably since. But Heathers is a contemporary musical, and being too on-the-nose could be triggering to its young fans.Heathers does have its moments of pure joy though. Olivier winner Lauren Ward steals the show as eccentric teacher Mrs. Fleming in "Shine a Light,"&nbsp;playing to an audience of 250 like it's 25,000. In "My Dead Gay Son,"&nbsp;Simon Bailey and Steven Serlin take audiences to church in a Leap of Faith-inspired number, where rising up is the key to getting through tough times. Clean, sharp choreography by Gary Lloyd is placed in all the right moments too, feeling organic and not like a Glee flashmob.Like a lot of teen musicals, its ending is wrapped up very quickly, simplifying struggles into just becoming friends again like nothing's changed. But few people come to see Heathers for its resolution. They're there for an evening of&nbsp;film nostalgia and imagining they're at Westerberg High. This Heathers cast really has made the musical their own, elevating this teenage tragedy into a razor-sharp show. To take a phrase from the Heathers themselves — how very.<a href="/show/heathers-the-musical">Heathers is at Theatre Royal Haymarket to 11 September. Book Heathers tickets on LondonTheatre.co.uk now</a>.Photo credit: Heathers cast (Photo by Pamela Raith)

'Heathers' returns as an elevated teen dark comedy with a fresh-faced cast

Read our review of Heathers the Musical at Theatre Royal Haymarket at London Theatre.

Heathers the Musical at Theatre Royal Haymarket Review | London Theatre

Following two smash hit London seasons and the WhatsOnStage award for BEST NEW MUSICAL, Heathers the Musical is back! 

Formerly the St. James Theatre, The Other Palace opened its doors in February 2017. It's a home and breeding ground for musicals at various stages of development. 

The Other Palace focuses on four key areas: programming, creative use of spaces, musical theatre development and audience engagement. West End premieres have taken place at The Other Palace, including *Amelie*, *Be More Chill* and *Heathers*.

## Where is *Heathers* in London?

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

The Other Palace - LON

The Other Palace - Main Theatre

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