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LON | TT | App Carousel | Mrs. Doubtfire | 24395 | Boxing Day Sale 2024

Ages 7+. Under 16s must be accompanied by and seated next to an adult ticketholder (18+).

Mrs. Doubtfire - LON [24395]

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Mrs. Doubtfire

Mrs. Doubtfire - LON [24395]  Product Media

Wonderful news, poppets! The beloved family film [*Mrs. Doubtfire*](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) about a cross-dressing nanny is just as joyful a watch in this new [stage musical incarnation](https://www.londontheatre.co.uk/theatre-news/news/everything-you-need-to-know-about-mrs-doubtfire-in-the-west-end), which had its Broadway premiere in 2020 and now looks set to become a popular West End fixture. Appropriately enough for a tale all about transformations – inside and out – it’s surprisingly inventive, refashioning the original just enough to make it thoroughly theatrical and a smart 21st-century show.    

Those tweaks include giving the women in the story more of a voice. The opening number, “That’s Daniel,” establishes struggling actor Daniel Hillard as the endlessly fun dad – but, by being a man-child, he piles pressure onto already-overburdened wife Miranda, as she explains to their therapist (Daniel has ditched their sessions). Not having boundaries is affecting their three kids, too: youngest Natalie is anxiously biting her nails, Christopher is getting poor grades, and Lydia wishes her dad would grow up.

That creates a more satisfyingly balanced narrative. Though she’s still a bit of a killjoy, Miranda isn’t the villain here; you sympathise with her making a difficult decision to divorce Daniel and break up the family, just as you then believe his sincerity in the sweet song “I Want to Be There,” in which he pleads with the judge to let him stay in his children’s lives.

Likewise, when Daniel first approaches his brother Frank for help in transforming him into an elderly Scottish woman, Frank’s husband Andre rightly calls him out on his shady plan to deceive Miranda. A later nightmare sequence, involving multiple Mrs. Doubtfires doing *Riverdance* (no, really), cleverly riffs on her name to point out that Daniel is “playing with fire.”

None of that takes away from the zany, high-energy farce in Jerry Zaks’s dynamic production; rather, it gives you permission to fully enjoy it. Gabriel Vick is simply astonishing in the title role, coming close to Robin Williams’s sheer genius as an impressionist, while also singing, dancing, managing numerous quick-changes, and putting in a strong dramatic performance. 

He’s both endearing and maddening, petty in his jealousy of Miranda’s new boyfriend Stuart, yet always a loving father, if misguided. The actual Mrs. Doubtfire latex mask is rather creepy, but Vick makes the character a lovely one: warm, a tad eccentric, but firm in her convictions and – unlike Daniel himself – a really good listener. She makes him a better man. 

The engaging adaptation by brothers Wayne and Karey Kirkpatrick and John O’Farrell features several contemporary updates (this *Mrs. Doubtfire* knows how to rein in the kids by switching off the Wi-Fi) and tailored British gags. Among Daniel’s impressions are Prince Charles squawking at a pen and Boris blustering about parties, while Glastonbury’s infamous loos get a shout-out.

When Daniel learns to cook by watching a video online, the host pops up in his kitchen and leads a lively tap number (exuberant choreography throughout by Lorin Latarro). A butter-stroking Nigella also appears – and is then interrupted by a commercial for IBS medication. It’s one of several instances where the creative team brilliantly finds a fresh theatrical, and modern, language for this familiar tale.

I also adored the ecstatically camp disco makeover number, inspired by Andre’s love for Donna Summers, which has winking fun with influential female icons – from Princess Di and Cher to Julia Child. Teenager Lydia gets an angsty rock song, buff  Stuart expresses his feelings while lifting weights (his gym buddies turn into earnest back-up singers), and Miranda, now a fitness wear designer, celebrates body positivity while leading a fashion parade. 

But the definite highlight is an uproariously over-the-top flamenco number that elevates the film’s infamous restaurant scene, with Daniel hopping between his two guises. Lisa Mathieson is an absolute riot as the singer lambasting the faithless ex who lied to her – further highlighting Daniel’s own dubious actions, but in a deliciously flamboyant way.

The whole company is strong here. As Miranda, Laura Tebbutt supplies powerhouse vocals; Cameron Blakely is hysterical as Frank, who involuntarily shouts when he lies (a fantastic farcical addition); and Marcus Collins is a showboating Andre, but also strikes a serious note when he talks of their struggle to adopt as a gay couple, while Daniel risks losing his own kids with his shenanigans. 

There’s also great support from Carla Dixon-Hernandez as a fiery Lydia, Samuel Edwards as sensitive hunk Stuart, Kelly Agbowu as Daniel’s suspicious case worker, Ian Talbot as the creaky kids’ entertainer Mr. Jolly, and Micha Richardson as a formidably humourless TV executive. On press night, Frankie Treadaway was very funny as Christopher, who seems to have inherited Frank’s panicked yelling, and Angelica-Pearl Scott was an adorable pipsqueak Natalie.

David Korins nods to the San Francisco setting with a stylish cityscape backdrop featuring the Golden Gate Bridge, and Catherine Zuber has a ball with the costumes. It all feels celebratory: of self-exploration and identity (although this is very clearly not a trans story, nor does it feel remotely prejudicial), of different types of families, and, finally, of honesty. Well, my dears, the truth is that *Mrs. Doubtfire* is this summer’s sizzling-hot ticket.

*Mrs. Doubtfire* is at the Shaftesbury Theatre. Book [*Mrs. Doubtfire* tickets](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) 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=24395&content_product_id=24395&venue_id=127&product_type=show&qt=2)

*Photo credit: Mrs. Doubtfire. (Photo by Manuel Harlan)*

'Mrs Doubtfire' review – this exuberantly inventive musical adaptation is a sizzling-hot ticket

Read our four-star review of *Mrs. Doubtfire* in the West End, starring Gabriel Vick, currently in performances at the Shaftesbury Theatre.

**Shaftesbury Theatre** is an iconic theatre venue in the heart of London's West End. It's been a central part of London's theatre scene since its opening in 1911, boasting more than a century of remarkable performances. Widely esteemed for its architectural grandeur, it ordinarily retains a capacity of 1,400 seats that remain filled with regulars and tourists from around the globe. The theatre has primarily focused on musical-style performances but has also accommodated some premium works of drama over the years. Its historic record includes hosting some of the longest-running shows in London, like 'Hair’ and 'Hairspray'.

**How to get to Shaftesbury Theatre**

Located in the London Borough of Camden, Shaftesbury Theatre is easily accessible by various modes of transport. By Tube, the nearest station is Holborn, a short 6-minute walk away on Kingsway road. Alternatively, for those preferring to travel by bus, various routes stop near the theatre including numbers 1, 8, 19, 38, 55, 98, 242, and N98. If you're driving, parking facilities can be availed at Bloomsbury Square Car Park just 5 minutes away with a pre-booked parking space. If walking or biking, the theatre is within easy distance of several central London locations.

Shaftesbury Theatre - LON

Shaftesbury Theatre

The Shaftesbury Theatre is a historic London venue known for musicals, easily reached by tube and bus, with nearby parking.

LON | TT | App Carousel | HPATCC | 21176 | Boxing Day Sale 2024 

Ages 10+. Please note that patrons under the age of 15 must be accompanied by an adult.

Harry Potter And The Cursed Child: Both Parts - LON [21176] 

Harry Potter And The Cursed Child: Both Parts

Harry Potter and The Cursed Child: Both Parts [21176] - LON Product Media

Just as <a href="https://www.londontheatre.co.uk/show/hamilton">Hamilton</a> has been all-pervasive on Broadway since it opened there last summer, there's been little talk of anything but Harry Potter's official stage debut over here since the first announcement was made revealing that it was on its way over a year ago. (There was previously a small two-man fringe show called Potted Potter that raced through all the books to date in 70 minutes that transferred from the Trafalgar Studios small house to the Garrick where it was Olivier nominated in 2012, and then off-Broadway).When tickets finally went on sale for the initial run at the 1,400 seater neo-gothic pile that is the <a href="https://www.londontheatre.co.uk/theatres/palace-theatre">Palace Theatre</a>, they sold out almost instantly, long before the show had even gone into rehearsal. (A new batch is set to be released imminently).There's been a drip-feed of news ever since that, through to the casting and J.K Rowling tweeting drawings of the show's swords, and the revelation of the front house displays, each fuelling the air of anticipation around it. So now that it is finally here, does it deliver?   The first and most important thing to say is: And how! This is absolutely tremendous family entertainment that brilliantly and evocatively brings Harry Potter from the page to the stage -- but instead of adapting an existing story, does even better and continues the story, 19 years from where we left it at the end of the 7th book, to take it further forward in all sorts of spellbinding (in every sense) directions.Theatregoers are being urged to #KeepTheSecrets -- we're even given a badge to remind us! -- but this much I can say: some of our favourrite -- and a few of our less favourite -- characters are all here. Harry Potter is now 37 and a father of three, and Hermione Granger and Ron Weasley now married with children of their own. Albus Potter, Harry and Ginny Potter's middle child, is leaving for his first term at Hogwart's, along with Hemione and Ron's daughter Rose. One of the first people they meet on the train is Scorpius, son of Draco Malfoy.We are immediately plunged into another of J.K Rowling's ingeniously plotted rabbit holes of collisions between the natural and supernatural worlds, Muggles and mystery, Wizards and wonderment, and good and evil. An overriding theme here is parenting, with Harry Potter wrestling with being a good father to his son Albus when he, an orphan, has no model to follow.Some of this is deeply poignant: it reminded me at times of the great Sondheim musical Into the Woods (itself being revived in London at the moment at the Menier Chocolate Factory), which is also about parents and curses and outside forces threatening the world. But of course this isn't a musical, though there's an attractive electronic soundscape and propulsive movement from Steven Hoggett.If you're not quite a Potter-head, the programme has a helpful summary of the first seven stories. But you don't really need it, either: the story stands on its own feet (though you may miss some of the references that cause the audience at points to collectively and loudly catch their breaths with surprise).It's a show rich in theatrical magic as well as evoking magical powers, but also deeply human, too, with fantastic performances from a brilliant ensemble cast, led by Jamie Parker as Harry Potter, Sam Clemmett as his son Albus, Noma Dumezweni as Hermione, Paul Thornley as Ron, Alex Price as Draco Malfoy and Anthony Boyle as Draco's son Scorpius.A group of theatre makers at the very top of their game bring it all to impressive 3D life, from the brilliant designs of Christine Jones (cleverly using the auditorium of <a href="/theatres/palace-theatre">Palace Theatre</a>&nbsp;itself in one scene), evocatively lit with architectural splendour by Neil Austin, to Steven Hoggett's propulsive movement.The result is a work that will thrill new audiences as well as regular theatregoers alike -- some 50% of the audience is reported to be first-timers -- and could inspire and encourage a whole new generation to make theatre part of their lives.<a href="https://www.londontheatre.co.uk/show/harry-potter-and-the-cursed-child-parts-i-ii">Buy Harry Potter and the Cursed Child Tickets</a><hr /><h3>What the Press Said...</h3>"It's a spectacle for the theatre, one that is filled to the brim with fan service and magical imagery that will amaze. For any Potterhead who can get their hands on a ticket, it will no doubt be a fantastic experience..." Jack Shepherd for the Independent"This is a production that thrills at the aura of possibility lurking in the Victorian splendour of the theatre itself, a bygone age of smoke and mirrors." Dominic Cavendish for The Telegraph"It's convoluted, but the latest expansion of the Potter universe is thrillingly staged, with time travel and age-old quests given a dash of post-Freudian guilt." Michael Billington for The Guardian"For once the so-called theatrical event of the year really is just that...a feast for fans, packed with pathos, dazzling choreography and moments of pure enchantment." Henry Hitchings for The Evening Standard<hr /> External links to full reviews from popular press <a href="http://www.independent.co.uk/arts-entertainment/tv/reviews/harry-potter-and-the-cursed-child-review-palace-theatre-a-magical-experience-tailor-made-for-the-a7155381.html">Independent</a> - <a href="http://www.telegraph.co.uk/theatre/what-to-see/harry-potter-and-the-cursed-child-is-pure-magic---review/" target="Top">The Telegraph </a> - <a href="https://www.theguardian.com/stage/2016/jul/26/harry-potter-cursed-child-review-palace-theatre-london" target="Top">The Guardian</a>

Harry Potter and the Cursed Child, review of Harry Potter play at London's Palace Theatre

There’s magic in every moment at Harry Potter and the Cursed Child, the most awarded play in history and “one of the most defining pop culture events of the decade” (Forbes). And now, the 8th Harry Potter story is bringing the magic back to London’s West End.

The Palace Theatre is an iconic Red-brick playhouse that graces the heart of London, located specifically at Cambridge Circus on the corner of Shaftesbury Avenue in the City of Westminster. It's an impressive example of architectural elegance, with notable Richardsonian Romanesque style, designed by the well-renowned Thomas Edward Collcutt. The theatre seats more than 1,000 people, providing enough room for audiences to revel in the grand spectacles it stages. The Palace Theatre has housed spectacular productions from its establishment in 1891, notably hosting famous musicals and productions such as 'Jesus Christ Superstar', 'The Woman in White', 'Monty Python's Spamalot', and recently the critically-acclaimed 'Harry Potter and the Cursed Child'. The venue is well-equipped with bars on all four levels and a merchandise booth for show-specific souvenirs. The theatre offers a unique charm, coupled with a historic cultural ambiance that leaves visitors in awe. 

## How to get here
The Palace Theatre is easily accessible via public transportation. The closest tube station is Leicester Square (Northern and Piccadilly lines) which is a 2-minute walk away. Alternatively, you can use the Covent Garden station (Piccadilly line), a 5-minute walk away. Numerous buses stop at Cambridge Circus, providing a wide range of routes across the city. If you are driving, note that the theatre is inside the London Congestion Zone, so remember to pay the charge if it applies. Nearby car parks are available at Soho and Chinatown.

Palace Theatre - LON

Palace Theatre

The Palace Theatre, a red-brick architectural masterpiece in London, hosts spectacular productions. It's easily accessible via public transport or local car parks.

LON | TT | App Carousel | WAISS | 39622 | Boxing Day Sale

LON | TT | App Carousel | WAISS | 39622 | Boxing Day Sale 2024

LON | TT | App Carousel | WAISS | 39622 | Black Friday 2024

Ages 14+. Under 16s must be accompanied by an adult.

Why Am I So Single? - LON [39622] 

Why Am I So Single?

Why Am I So Single? - LON [39622]

From the writers of SIX, Toby Marlow and Lucy Moss, Why Am I So Single? is a brand-new British musical where the lonely little lives of two BFFs are transformed into an all-singing, all-dancing extravaganza about dates, mates, and celebrating love in all its forms.


The Garrick Theatre is a renowned and historical theatre venue located in the heart of London, Charing Cross Road, near Leicester Square. Opened in 1889, it was named after the stage actor David Garrick. Designed by Walter Emden and C.J. Phipps, it is built with an exquisite blend of classical and baroque architectural styles, giving it a unique touch of elegance. The theatre boasts a theatrical heritage unrivalled in its history of performances, artists, and premieres, hosting a variety of world-class productions ranging from dramatic plays, farces, comedic performances, to Shakespearean plays. With a seating capacity of 656 spread across three levels - stalls, dress circle, and grand circle - the theatre offers an intimate atmosphere, drawing audience closer to the performances and making it a favourite venue for both theatre-goers and performers. Along with the splendid auditorium, the theatre contains bars at each level providing a comfortable space for refreshment. The theatre is equipped with state-of-the-art systems offering excellent audio and visual experiences. A visit to the Garrick Theatre is a step back into time, offering classic London theatre experience in a beautiful and iconic venue. 

## How to Get There
The Garrick Theatre is easily accessible by various modes of transport. If you are using the London Underground, the closest Tube stations are Leicester Square (Northern, Piccadilly) and Charing Cross (Bakerloo, Northern). By bus, several bus routes pass close to the theatre, including the numbers 24, 29 and 176. If driving, the nearest car park is Q-Park Chinatown.

Garrick Theatre - LON

Garrick Theatre

The Garrick Theatre is an iconic London venue, known for its architectural elegance, rich history, and hosting top-tier productions.

LON | TT | App Carousel | Tina | 8547 | Boxing Day Sale 2024

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

Tina - The Tina Turner Musical - LON [8547] 

Tina - The Tina Turner Musical

Tina - The Tina Turner Musical [8547] - LON Product Media

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 is a grand, atmospheric theatre venue situated in the heart of London's West End. Built in 1905 by the renowned theatre architect W. G. R. Sprague, this venerable institution has a rich history of hosting notable plays, musicals, and performances by celebrated actors from around the world. With a seating capacity of approximately 1,200 spread over three levels - Stalls, Dress Circle, and Grand Circle, the thoughtfully designed interior ensures an intimate viewing experience from all angles. The unique Edwardian Baroque architecture, the intricately decorated interior, and Hungary's specially commissioned chandelier lend it a majestic aura, transporting audiences to an era bygone. Over the years, Aldwych Theatre has staged several significant performances including 'A Streetcar Named Desire,' 'Dirty Dancing,' and 'Tina – The Tina Turner Musical.' 

## How to get to the venue
 Aldwych Theatre is conveniently located and easy to reach with public transportation. The nearest underground station is Covent Garden, a short 5 minute walk away. Alternatively, Charing Cross station is only a 10-minute walk. Numerous buses service the Strand, making it accessible from across the city. If driving, it's recommended to book in advance in a nearby car parking like the Q-Park Covent Garden, as street parking is limited. It’s important to remember that Aldwych Theatre is located within London's congestion charge zone.

Aldwych Theatre - LON

Aldwych Theatre

Located in London's West End, Aldwych Theatre is a historic venue known for acclaimed performances and rich architectural design.

LON | TT | App Carousel | The Tempest | 43263 | Boxing Day Sale 2024

Ages 12+. Children under the age of 4 will not be admitted and every customer must have their own ticket.

The Tempest - LON [43263]

The Tempest

LON | The Tempest | 43263

The Jamie Lloyd Company presents a joyous and captivating season of Shakespeare in London’s iconic Theatre Royal Drury Lane.

The Theatre Royal Drury Lane is among the most iconic and fascinating place of performance in London’s Covent Garden. The current building, which constitutes the fourth theatre on the site since 1663, navigates you through the mesmerising journey of nearly four centuries of British history under its majestic roof. Built by Benjamin Dean Wyatt, the theatre has proudly been a destination for legendary performances that left a substantial remark in the annals of theatre history. As the oldest and continuously used theatre in London, it has thrived as a symbol of resilience, being rebuilt after two devastating fires, and witnessing a multitude of evolution in the taste of the audience. Home to exceptional productions, the theatre has hosted national icons such as Laurence Olivier, Nell Gwynne and even King Charles II himself have trodden its boards. Its grandeur and rich heritage surely attract the ardent admirers of theatre from all around the globe.
## Getting to the Venue
The Theatre Royal Drury Lane is located in the heart of London’s West End and well-served by public transport. Nearest underground stations include Covent Garden and Holborn. Additionally, numerous bus routes pass close to the theatre. Alternatively, drivers can use the MasterPark at Park Street or NCP at Drury Lane.

Theatre Royal Drury Lane - LON

Theatre Royal Drury Lane

The Theatre Royal Drury Lane, in London's Covent Garden, is the city’s oldest working theatre with a rich heritage and excellent transport links.

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