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Ages 5+. Under 16s must be accompanied by and sat next to an adult (18+). If children do have separate seats you may be refused entry. All persons entering the theatre must have a ticket. Children under 3 will not be admitted.

Mamma Mia! - LON [304]

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Mamma Mia!

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

Mamma Mia! Review

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

Located in the heart of London's West End, the Novello Theatre is a key player in the city’s illustrious theatrical history. Built in 1905, the venue has been home to some of the most notable productions of our time. Its grand stylings, indicative of Edwardian architecture, offer an atmosphere teeming with nostalgia and awe. Inside, the plush red seating and lavish decor hark back to the theatre's illustrious past, perfectly pairing with the cutting-edge productions that grace its stage. The Novello Theatre's programming varies greatly, with a range of performances from musicals to dramas, adding vibrancy into London’s dynamic theatre scene. Shows like ‘Mamma Mia’ have filled out the 1,100-seat theatre for years, offering unique experiences that resonate with each audience member. The theatre is managed by Delfont Mackintosh Theatres, who maintain the venue's beautiful atmosphere, while ensuring a level of professional excellence in the theatre's operations.

## How to get to the Novello Theatre

The Novello Theatre is highly accessible, making it easy for theatre-goers to visit. It is situated at Aldwych in the City of Westminster. By tube, the nearest stations are Covent Garden (Piccadilly Line) and Holborn (Central and Piccadilly Lines), both approximately a 10-minute walk away. For travellers by bus, numbers 1, 4, 11, 13, 15, 68, and 98 all stop nearby. For those driving, the Novello falls under London’s Congestion Charge Zone, available Monday to Friday from 7am until 6pm.

Novello Theatre - LON

Novello Theatre

The Novello Theatre is a historic venue in London's West End, known for a range of shows including the long-running musical, ‘Mamma Mia’. It's easily accessible via public transport.

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Hyde Park Winter Wonderland Circus - LON [46014]

Hyde Park Winter Wonderland Circus

Located in London’s iconic Hyde Park, Winter Wonderland is the world’s ultimate destination for festive fun. Running for six magical weeks until 1st January 2026, Hyde Park Winter Wonderland offers a variety of attractions, activities, entertainment, food, drinks, and so much more. This three-day-only, exclusive, Circus Bundle includes single day entry to Winter Wonderland and a ticket to one of two exceptional circus shows!

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

The Lion King - LON [302]

The Lion King

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

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

Ages 8+. Children aged 14 and under must be accompanied by, and sat next to, an adult aged 18 or over. No under 5s will be admitted.

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

Harry Potter And The Cursed Child: Both Parts

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.

Ages 7+. Under 16s must be accompanied by and sat next to an adult (18+). Children under 5 years will not be admitted. All persons attending, regardless of age, must have a ticket.

Wicked - LON [313]

Wicked

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

Ages 3+. All children under 16 must have a valid ticket and be accompanied by an adult. Children under 3 will not be admitted.

Starlight Express - LON [24471]

Starlight Express

Starlight Express takes place within a nine-year old boy’s dream in which his toy trains magically come to life. Among them, there’s the fast diesel train Pacific Daylight, Bobo form France, Espresso from Italy, and Rusty, the old steam train. Along with entrants from around the world, the trains race to become the fastest train in the world.

All Ages. Like most Cirque du Soleil shows, Corteo is meant to entertain the whole family. 

Cirque du Soleil - Corteo - LON [41540]

Cirque du Soleil - Corteo

This jaw-dropping theatrical spectacular from Cirque Du Soleil plunges the audience into a captivating world of fun, comedy and spontaneity led by the poetic and mischievous clown Mauro.

Ages 8+. Children aged 14 and under must be accompanied by, and sat next to, an adult aged 18 or over.

The Play That Goes Wrong - LON [345]

The Play That Goes Wrong

The Cornley Polytechnic Drama Society are putting on a 1920s murder mystery, but as the title suggests, everything that can go wrong... does! The accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences!  

Ages 6+. Under 16s must be accompanied by an adult (18+). Under 4s will not be admitted.

Back to the Future: The Musical - LON [22396] 

Back to the Future: The Musical

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.

Ballet Shoes - LON [43183]

Ballet Shoes

The ★★★★★ adaptation that ‘never puts a foot wrong’  returns this autumn. The Fossil sisters; Pauline, Petrova and Posy are learning who they are and what they want to be, can they forge a future, keep their family together, and even learn a dance or two along the way? 


All Ages. Babes in arms are allowed for this production, babes under 12 months sitting on an adult’s lap do not need a ticket. All other patrons do need a ticket for entry.

Peppa Pig’s Fun Day Out - LON [32338]

Peppa Pig’s Fun Day Out

Peppa Pig is back in her oinktastic brand new live show, Fun Day Out!

Ages 7+. Everyone must have their own ticket. Under 16s must be accompanied by and sat next to a ticketholder who is 18+. Under 3s will not be admitted.

Oliver! - LON [40713]

Oliver!

Cameron Mackintosh’s new production of Lionel Bart’s iconic musical, Oliver!, which he has fully reconceived with director and choreographer Matthew Bourne, will open in London at the end of the year.

Ages 5+. Children under the age 5 are not permitted into the theatre. Children 5+ must have their own ticket and sit next to an accompanying adult.

Cinderella - LON [41664]

Cinderella

Stuck at home and put to work by her spoiled Step-Sisters, Cinderella’s life is dreary and dull. Everything changes when she helps a mysterious woman out... 

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LON | TT | App Carousel | Harold Fry | 45160 | LTW

LON | TT | App Carousel | Harold Fry | 45160

The Unlikely Pilgrimage of Harold Fry - LON [45160] 

The Unlikely Pilgrimage of Harold Fry

LON | The Unlikely Pilgrimage of Harold Fry | 45160

Harold Fry was never meant to be a hero. An ordinary man in an ordinary life until a letter from a long-lost friend sends him out the front door… and he keeps on walking. From Devon’s quiet lanes to the windswept streets of Berwick-upon-Tweed, his journey becomes a pilgrimage of love, redemption, and second chances.

The Theatre Royal Haymarket, also known as Haymarket Theatre or the Little Theatre, is a premium venue for world-class performances in London's vibrant West End. It boasts a history rooted in culture and art that spans far back into the 18th century. Known for its ornate, classical style and intimate acoustic quality, the theater is an exceptional haven for both classic and contemporary productions. This iconic establishment has played host to countless notable actors over centuries, from Victorian stage actor John Baldwin Buckstone to modern stars like Ian McKellen and Dame Judi Dench.

**How to get to the venue**
Centrally located, the Theatre Royal Haymarket is accessible via various modes of public transport. It is served by major bus routes and the nearest underground station is Piccadilly Circus, just a short walk away. Within proximity is Charing Cross station for both underground lines and overground rail services. For guests preferring to drive, there are numerous public car parks available within a short distance. It is important to note that the theatre is situated within London's congestion charge zone, operating between 7am and 6pm from Monday to Friday.

Theatre Royal Haymarket - LON

Theatre Royal Haymarket

The Theatre Royal Haymarket is a prestigious venue in London's West End, known for its history, classical style, and world-class performances.

LON | TT | App Carousel | My Neighbour Totoro | 25389 | LTW Feb 2026 

My Neighbour Totoro - App Carousel - LON | LTW 2026 

LON | TT | Totoro | LTW 2026 | Carousel Image 

Ages 6+. Children under the age of 4 (including babes in arms) will not be admitted. Children need to occupy their own seat. Under 16s must be accompanied by an adult. All guests, regardless of age, must have a valid ticket.

My Neighbour Totoro - LON [25389]

My Neighbour Totoro

LON | All Retailers | Product Media | My Neighbour Totoro | 25389

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Read our review of *My Neighbour Totoro* in London, Tom Morton-Smith's new stage adaptation of the Studio Ghibli film originally created by Hayao Miyazaki.

Don't miss the theatrical event of 2025, the record-breaking, award-winning My Neighbour Totoro is now playing in London's West End.

The Gillian Lynne Theatre, formerly known as the New London Theatre, is a prestigious performance venue in the West End of London. Located in Covent Garden, the theatre is home to an array of world-class performances, ranging from musical theatre, plays, and concerts. The theatre was renamed in 2018, in honour of the renowned British ballerina and choreographer, Dame Gillian Lynne. The architecture of this unique venue is innovative and captivating, with a circular auditorium that offers an immersive viewing experience. The theatre is also known for its state-of-the-art facilities, excellent acoustics, and a seating capacity that can accommodate over 1,000 spectators.
 ### How to get to the Gillian Lynne Theatre:
 The Gillian Lynne Theatre is accessible through various means of transportation. The closest underground station is Holborn, which is a short five-minute walk to the venue. Alternatively, you can also reach the theatre by bus, with the following routes: 1, 59, 68, 91, 168, 171, 188, 243, and 521 stopping near the venue. If you prefer to drive, the nearest car park is located at the Bloomsbury Square Car Park.
 Please note that due to the theatre's central location, it is advisable to check for any possible travel disruptions or roadworks before your journey.

Gillian Lynne Theatre - LON

Gillian Lynne Theatre

The Gillian Lynne Theatre is a prestigious venue in London's West End, offering world-class performances and excellent facilities. It's easily accessible via public transportation.

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LON | TT | App Carousel | Back to the Future | 22396 | London Theatre Week 2026

Back to the Future: The Musical - LON [22396] Product Media

​​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

The Adelphi Theatre, located in London's West End, is a historic venue recognised for its rich contribution to London's vibrant theatre scene. Exquisitely built in Art Deco architectural style, the Adelphi boasts an impressive history of notable performances and theatrical debuts since it first opened its doors in 1806. With a seating capacity of around 1,500, the venue ensures a sumptuous viewing experience enhanced by modern equipment, tastefully restored interiors, and comfortable seating that allows audiences to get lost in the art unfolding onstage. Over the years, the venue has hosted a range of compelling performances, be it dazzling musicals, thought-provoking dramas, or riveting mystery thrillers, contributing to its reputation as a central hub for quality theatre. Some of the famous shows to grace its stage include Chicago, Joseph and the Amazing Technicolor Dreamcoat, Evita, and more recently, Waitress. **How to get to the Adelphi Theatre**: Located on The Strand, the theatre is just a short walk away from various bus stops, tube stations, and railway stations. The nearest tube station, Covent Garden, is only a 5-minute walk away, while Charing Cross, the nearest railway station, is a 7-minute walk. Several bus routes service The Strand, making the theatre readily accessible from all parts of London.

Adelphi Theatre - LON

Adelphi Theatre

The historic Adelphi Theatre in London's West End hosts notable performances in 1,500-seating capacity auditorium, and is easily accessible via public transport.

LON | TT | App Carousel | Hercules | 43135

LON | TT | Hercules | App Carousel Image| LTW Feb 26 

Ages 6+. Children under 4 (including babies in arms) will not be admitted into the theatre. All persons aged 16 or under must be accompanied by an adult 18+ & may not sit on their own. All persons must have a ticket.

Disney's Hercules - LON [43135]

Disney's Hercules

LON | Disney's Hercules | 43135

Ancient Greece. A time of gods, mortals… and Hercules, who doesn't quite belong to either. But if he's not a god, how can he possibly save the world from Hades? It's one thing flexing those pecs, but going from zero to hero requires a different kind of strength. 

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.

LON | TT | App Carousel | Hamilton | 20561 | London Theatre Week 2026 

Ages 10+. Children under 16 must be accompanied and sat next to an adult ticketholder (18+). Children under the age of 3 won't be admitted. Everyone must have their own ticket to enter.

Hamilton - LON [20561]

Hamilton

Hamilton [20561] - LON  Product Media

What's left to be said about <a href="/show/hamilton">Hamilton</a>&nbsp;that's not already been said? One of the central questions the show asks is precisely who the storytellers are of our personal and collective histories: "Who Lives, Who Dies, Who Tells Your Story", as the final number asks of the life story the show has just relayed and replayed of Alexander Hamilton, one of the key players in defining and refining the American constitution. By the same token, who is now telling the stories about the show it comes from? And can and should you believe them, as it has become probably the most hyped Broadway import of the century so far?<a href="https://www.londontheatre.co.uk/theatre-news/interviews/ben-brantley-chief-theatre-critic-of-the-new-york-times">Ben Brantley</a>, chief theatre critic of the New York Times, declared in the opening sentence <a href="https://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html" target="_blank">of his review when the show transferred to Broadway</a> from Off-Broadway's Public Theatre in the summer of 2015, "Yes, it really is that good." He added, "I am loath to tell people to mortgage their houses and lease their children to acquire tickets to a hit Broadway show. But <a href="/show/hamilton">Hamilton</a>&nbsp;might just about be worth it — at least to anyone who wants proof that the American musical is not only surviving but also evolving in ways that should allow it to thrive and transmogrify in years to come."And now the show has arrived in London - its first appearance on non-US territory - and it's even more thrilling than I - already an avid fan who has seen it four times in New York - could hope for. Just as <a href="/show/les-miserables">Les Miserables</a> has proved to be a universal story, stretching far beyond its deeply etched story of revenge, retribution and revolution to speak to a human need for healing and forgiveness, so <a href="/show/hamilton">Hamilton</a>&nbsp;captures the heartbeat and heartbreak of a nation trying to find itself - and relates it directly to a pursuit it is still engaged in trying to define anew today, maybe especially today, in the age of the 45th President Donald Trump. "Immigrants, we get the job done" is a line that gets the biggest cheer of the night - and it's just as relevant in Brexit England as it is in Trump's America right now.

"I'm just like my country, I'm young, scrappy and hungry, and I am not throwing away my shot," sings <a href="/show/hamilton">Hamilton</a>, and the show - composed and written by <a href="/theatre-news/interviews/interview-with-hamiltons-lin-manuel-miranda">Lin-Manuel Miranda</a>, who also originally played the title role - is equally young, scrappy and hungry, and determined not to throw away its shot.There's absolutely no chance of that happening in the dynamic, propulsive staging of director Thomas Kail and choreographer Andy Blankenbuehler, or the extraordinarily talented British cast assembled to perform it here.This show may be about history, but it also makes history itself: not just in the freshness and vivacity of its rap-based score that could come from the charts today, but also in the colour-blind diversity of its cast. Recent RADA graduate Jamael Westman is a riveting presence in the title role, with Rachelle Ann Go (most recently as star of Miss Saigon in the West End and on Broadway) vocally thrilling as Hamilton's wife Eliza. There are also scene-stealing, hilarious performances from Michael Jibson as King George and Jason Pennycooke as the Marquis de Lafayette, with robust performances, too, from Giles Terera as Aaron Burr, Tarinn Calendar as James Madison and Obioma Ugoala as George Washington.But it's also impossible to take your eyes off the amazing dance ensemble who move with utter fluidity.And if it's not enough to give the show a rave review, a separate one is also due to the <a href="/theatres/victoria-palace-theatre">Victoria Palace</a> - the theatre has been given a stunning make-over for <a href="/show/hamilton">Hamilton</a>'s arrival that has seen it almost entirely gutted and remodelled, with new box seating at the rear of the stalls and dress circles and extensive new public areas in a new extension that has added bars and toilets at every level.Both the show and the theatre are here to stay.<hr /><a href="/show/hamilton">Hamilton</a> is booking at the <a href="/theatres/victoria-palace-theatre">Victoria Palace Theatre</a>.<a href="/show/hamilton">Hamilton tickets</a> are available now.&nbsp;&nbsp;<hr /><h3>What the popular press said...</h3>"In the end, however, the power of Hamilton lies in its ability to make the past seem vividly present. It suggests its subject was an Icarus who flew too close to the sun. But it also shows that he was an outsider who believed in strong central government and an enlightened capitalism. Above all, Miranda has created an invigorating and original musical that, at a time of national crisis, celebrates America's overwhelming debt to the immigrant." Michael Billington, <a href="https://www.theguardian.com/stage/2017/dec/21/hamilton-review-musical-london-victoria-palace-lin-manuel-miranda?CMP=twt_gu">The Guardian</a>&nbsp;(five stars)"This musical is history in the re-making and I mean that quite literally." Ann&nbsp;Treneman, <a href="https://www.thetimes.co.uk/edition/news/theatre-review-hamilton-at-victoria-palace-sw1-xdshn0nhs">The Times</a> (five stars)"Whether or not Hamilton&nbsp;is the best musical of our generation - it clearly is, but whatever - it's been a hit for the only reason anything is a hit: because it is a great work of entertainment." Andrzej Łukowski, <a href="https://www.timeout.com/london/theatre/hamilton">Time Out</a> (five stars)"Reviewing it feels like sizing up the Mona Lisa or Beethoven's Fifth and, in truth, Hamilton&nbsp;lands on the London stage looking every inch the classic." Matt Trueman, <a href="http://variety.com/2017/legit/reviews/hamilton-review-london-west-end-1202647480/">Variety</a>&nbsp;""The Greatest Show on Earth", one paper declared the other day. C'mon! But seriously folks, there's going to be more where that came from, because - lock up your doubters: I have to report that it really is as good as we've been told." Dominic Cavendish, <a href="http://www.telegraph.co.uk/theatre/what-to-see/hamilton-west-end-review-believe-every-single-word-hype/?WT.mc_id=tmg_share_tw">The Telegraph</a> (five stars)"Hamilton is a touchstone. It's zeitgeist, youthquake, Momentum, it's woke, it's post-musical. From masculinity, power struggles and the small things on earth, it metastasises into a crying epic about legacy, principle, nations, all the incredible mongrel people within those nations, and how all those people - every single one - can change the world." Tim Bano, <a href="https://www.thestage.co.uk/reviews/2017/hamilton-review-victoria-palace-lin-manuel-miranda-theatre-london/">The Stage</a> (five stars)"Hamilton is a knockout, and its British cast is superb, with two star-making performances from Giles Terera and, in the title role, magnetic newcomer Jamael Westman." Henry Hitchings, <a href="https://www.standard.co.uk/go/london/theatre/hamilton-review-believe-the-hype-linmanuel-mirandas-musical-is-a-knockout-a3725301.html">Evening Standard</a> (five stars)"This has been the most frenziedly anticipated musical in London since The Book of Mormon and the implacable publicity blitz might lead even the most mildly rebellious soul to wonder if anything could possibly live up to this degree of hype. I'm delighted to report that, for the most part, Hamilton manages to do so - quite exhilaratingly..." Paul Taylor, <a href="http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/hamilton-victoria-palace-theatre-london-review-a-magnificent-achievement-thomas-kail-the-book-of-a8122091.html">the Independent</a> (five stars)

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

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

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

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

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

**Victoria Palace Theatre** is a timeless traditional theatre located in the heart of London with an enduring appeal that keeps audiences returning time and again. Its regal exterior and opulent interiors, dating back to 1911, hold their own stories often parallel to the mesmerising performances it has staged. For more than a century, the theatre has been home to some of the world's greatest musicals and plays, and is currently the home of Broadway smash-hit, Hamilton. The theatre offers remarkable acoustics and unobstructed views, accommodating up to 1550 guests in its intricate architectural design. Other than the grandeur, its reputation has been built on the excellent quality of performances delivered by top-notch actors and performers from around the globe. Every theatre-goer is bound to savor the taste of London's rich history in the Victoria Palace Theatre.

**How to get there:** Victoria Palace Theatre is conveniently located near Victoria Station in the City of Westminster, making it easily accessible by public transport. If coming by train or underground, simply get off at Victoria. On exiting the station, cross the street and you'll see the theatre next to Victoria Street. There are numerous bus routes passing through Victoria and nearest car parks are located at Rochester Row or Semley Place.

Victoria Palace Theatre - LON

Victoria Palace Theatre

Victoria Palace Theatre, a century-old London venue, is known for its grand architecture, top-notch performances, and easy accessibility near Victoria Station.

LON | TT | App Carousel | Matilda | 305 | London Theatre Week 2026

Ages 6+. No children under the age of 4 will be admitted and every customer must have their own ticket. Under 16s must be sat with an adult. To make sure everyone enjoys the show, little ones need to be able to sit in their own seat without any assistance.

Matilda The Musical - LON [305]

Matilda The Musical

Matilda The Musical - LON - [305] Product Media

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

Matilda The Musical Review

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

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

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

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

## Cambridge Theatre Seating Information

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

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

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

The Grand Circle is steeply raked which offers good sightlines.

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

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

Cambridge Theatre - LON

Cambridge Theatre

Prepare for a sizzling catwalk of drama and haute couture in *The Devil Wears Prada*. Based on the hit film starring Meryl Streep and Anne Hathaway, follow aspiring journalist Andy on her rollercoaster journey working for the formidable fashion editor, Miranda Priestly. 

The Devil Wears Prada

Save on 60+ shows across the West End and beyond, for a limited time only!

LTW London Theatre Week

How did the Wicked Witch of the West get that name? Find out at this prequel to *The Wizard of Oz*, which has defied gravity in London since 2006. Hear songs like "Popular" and "Defying Gravity" at the story of how Elphaba and Glinda started out as friends before their lives changed for good.

Don't miss the theatrical event of 2025, the record-breaking, award-winning My Neighbour Totoro is now playing in London's West End. 


Get your flux capacitor at the ready because we're about to go back in time. Marty McFly and Doc Brown hit the stage in a time-travelling adventure filled with classic hits, electrifying performances, and the infamous DeLorean. See this musical adaptation of the classic 80s film and book your tickets on TodayTix.

*Hercules*, the audience-favourite Disney film about a young demigod growing up on Earth, comes to the West End stage in an exciting musical adaptation. 

This show will change your life! See the multi-award-winning satirical comedy by the creators of South Park. Follow Elder Price and Elder Cunningham, two mismatched Mormon missionaries, as they embark upon an absurd journey to recruit the people of Uganda into the Church of Latter-Day Saints. 

The Book of Mormon

tt-hero-image-mormon-lon-may25

Life is a cabaret, old chum! Don't miss this revival of a Kander and Ebb classic, and be immersed into the Kit Kat Club with the incredible transformation of the Playhouse Theatre. Leave all your troubles at the door and see this seven-time Olivier Award-winning production of *Cabaret* in London's West End.

Cabaret

Be in the room where it happens and catch Lin-Manuel Miranda's multi-award-winning show in the West End. *Hamilton* revolutionises the stage with a dynamic retelling of the ten-dollar founding father, Alexander Hamilton, through a catchy cross-genre score that blends various musical styles.

Visit the Pride Lands and see the stage adaptation of the Disney classic movie, *The Lion King*. Featuring Elton John and Tim Rice's beloved songs "Can You Feel the Love Tonight" and "Circle of Life," witness the incredible puppetry and effects in Julie Taymor's groundbreaking production.

Down-on-his-luck Broadway producer Max Bialystock schemes with timid accountant Leo Bloom to create the biggest flop in theatre history - only to have it backfire spectacularly, and with thunderous applause. 

The Producers

Everybody's a little bit naughty — don't miss out on seeing the musical adaptation of Roald Dahl's classic novel. With music and lyrics by Tim Minchin, embark on a journey with the mischievous Matilda as she demonstrates that even the smallest person can make a big difference.

The multi-award-winning musical *Kinky Boots* is strutting its way to London in a joyous, brand-new production starring *Strictly Come Dancing*'s __Johannes Radebe__. The acclaimed West End and Broadway sensation runs at the spectacular London Coliseum from March 2026 for a strictly limited season only.


Kinky Boots The Musical

Don’t miss Cole Escola’s Tony-winning, smashing dark comedy *Oh, Mary!* as it storms into the West End, starring Mason Alexander Park as Mary Todd Lincoln. Directed by Sam Pinkleton, this critically acclaimed comedic masterpiece is unlike anything else on the London stage.


Oh, Mary!

Fresh out of college and searching for his purpose, Princeton ends up in a shabby apartment on New York’s rundown Avenue Q. He quickly meets his new and colourful neighbours where together they navigate the life struggles of work, love and paying the bills in their own hilarious way.

Avenue Q

Don’t miss *The Unlikely Pilgrimage of Harold Fry* as it makes its West End debut. *The Unlikely Pilgrimage of Harold Fry* is a moving production based on Rachel Joyce’s award-winning 2012 novel. It is an emotionally intuitive, uplifting musical about the courage to persevere and the beauties of humanity. 


Don’t miss *Into The Woods* as it returns to London in a fantastic new revival, directed by Jordan Fein. With a cast led by Kate Fleetwood, Katie Brayben, and Jamie Parker, Sondheim and Lapine’s most beloved musical comes to life with unforgettable storytelling. 


The West End's best ticket.The West End's best ticket.