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Book now and save on 70+ shows

Festive favourites

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Children under the age of 4 cannot be admitted to the auditorium. All patrons, regardless of age, must have a valid ticket.

ELF the Musical - LON - 25201

ELF the Musical

Son of a nutcracker! London’s “ultimate Christmas show” (Smooth FM), ELF The Musical returns to spread festive cheer at the Dominion Theatre this winter. 

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? 


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

Christmas by Candlelight - LON

Christmas by Candlelight

Ages 6+. Under 16s must be accompanied by an adult.

Christmas by Candlelight - The Actors' Church - LON [36493]

Christmas by Candlelight - The Actors' Church

Immerse yourself in the enchanting melodies of Christmas classics played by a live string quartet.


Ages 4+. Under 16s must be accompanied by an adult.

Christmas by Candlelight - St Giles-in-the-Fields - LON [36495] 

Christmas by Candlelight - St Giles-in-the-Fields

Ages 5+. Children under the age of 5 are not permitted in the auditorium. Children under the age of 16 must be seated with an adult.

Nutcracker - English National Ballet - LON [24499] 

Nutcracker - English National Ballet

Embark on a journey full of delight and wonder as English National Ballet brings Nutcracker to life with over 100 dancers and musicians.

Ages 5+ (recommended). Babes in arms under 12 months permitted. Children over 12 months must have a ticket.

The Nutcracker - LON [45472]

The Nutcracker

This Christmas, Olivier Award-winning theatre company Little Bulb reimagines The Nutcracker as a magical, musical quest with not a tutu in sight! When two squabbling siblings are swept into ‘The Mousey Realm’, they must stop the evil Mouse King and save Christmas in a brilliantly silly adventure bursting with festive bangers — and just the right amount of cheese.

Ages 5+. All customers aged 14 years or below must be accompanied by an adult (18+).

The Nutcracker - Royal Albert Hall - LON [25885]

The Nutcracker - Royal Albert Hall

This enchanting production, featuring Tchaikovsky’s glorious score, is a sparkling festive treat for the whole family. 

Suitable for 3+ but babies and younger children will be allowed entry. 

The Gruffalo's Child - LON [33455]

The Gruffalo's Child

Follow the Gruffalo’s Child on her adventurous mission in Tall Stories’ enchanting adaptation of the much-loved picture book by Julia Donaldson and Axel Scheffler.

Ages 8+. Children under 15 must be accompanied by an adult over 18 years of age.

Christmas Carol Goes Wrong - LON [43915]

Christmas Carol Goes Wrong

The Cornley Amateur Drama Society are back with tidings of chaos and joy, ready to tackle the  Charles Dickens' classic, A Christmas Carol. Do not miss another Christmas catastrophe from Mischief, the multi award-winning company behind The Play That Goes Wrong, Peter Pan Goes Wrong and The Comedy About a Bank Robbery.


Maddie Moate’s Very Curious Christmas - LON [41899]

Maddie Moate’s Very Curious Christmas

Maddie, best known from CBeebies, is on work experience in this winter wonderland, and she’s got her hands full with two hilarious elves: Tinker, the trainee toymaker, and Goggles, the Head of Elf Safety.

But with Christmas just around the corner, the workshop is a whirlwind of mishaps! The snow machine is out of control, the crackers have lost their bang, and the Christmas lights won’t twinkle. To top it all off, Mrs Claus – played by CBeebies star Jennie Dale - is on her way for a surprise inspection, and she expects nothing less than perfection!

A Christmas Carol - A Ghost Story - LON [35678]

A Christmas Carol - A Ghost Story

Following a critically acclaimed run in 2023, Mark Gatiss’ retelling of Dickens’ winter ghost story returns to haunt Alexandra Palace Theatre again in 2025.

West End Musical Christmas - LON [24329]

West End Musical Christmas

The West End’s number one concert series returns to The Lyric Theatre for the biggest festive celebration for musical theatre lovers!

Ages 5+. Under 16s to be accompanied by an adult 18+.

A Fairytale for Christmas - LON [44902]

A Fairytale for Christmas

From the producers of Seven Drunken Nights – The Story of The Dubliners, immerse yourself in the spirit of Christmas as talented singers, musicians and dancers perform dashing renditions of Yuletide favourites.

Lovers Actually - LON [45062]

Lovers Actually

If you want belly laughs and to be wooed by some cardboard cue cards, then this hilarious new musical parody is one to put down on your Christmas list! Following last year’s sold- out hit, Homo Alone, The Other Palace is thrilled to present Lovers Actually written by Jodie Prenger (Coronation Street, I’d Do Anything) and Neil Hurst (Fat Friends The Musical, Casualty).

The Red Shoes - LON [19771]

The Red Shoes

A timeless fairytale and Academy Award-winning movie, The Red Shoes has captivated audiences and inspired generations of dancers with its powerful tale of obsession, possession and one girl’s dream to be the greatest dancer in the world.

All ages. Children aged 2 and above require a ticket. Children must be seated with an accompanying adult.

The Snowman - LON [26625]

The Snowman

This winter family favourite is the heartwarming tale of a boy, and a snowman who comes to life.

All Ages. Children 3 years and under may sit on the lap of an adult, children 4+ require their own ticket.

Cinderella - LON [45312]

Cinderella

Cinderella dreams of a life full of love and adventure, and free from the clutches of her Ugly Sisters and Wicked Stepmother. When an invitation to the party of the year arrives, it might be just the ticket she needs. Throw in some glass slippers, a fairy godmother, and a little sparkle of magic and you’ve got yourself a pantomime that’s guaranteed to be the perfect fit!

Pinocchio - Globe - LON [44741]

Pinocchio - Globe

Dreaming of a life beyond the confines of his traditional town, restless maverick Gepetto carves a wooden puppet and calls him Pinocchio. Together, they embark on a series of adventures with a host of weird and wonderful characters as they teach each other how to love and build a community of their own.

TodayTix Gift Cards - LON [24441]

TodayTix Gift Cards

Ages 5+. Under 5s cannot be admitted to the theatre.

Elf The Musical - LON [45437]

Elf The Musical

Based on the beloved film, Elf tells the hilarious tale of Buddy, a human raised by elves, who heads to New York to find his real father - and ends up saving Christmas. Don’t miss the magic - because smiling’s your favourite, right?

Top sellers 

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Family friendly

TT | LON | Product List | Family friendly 

All Ages. Babes of 12 months and under do not require a ticket but we reserve the right to check ID.

CoComelon: Sing-A-Long LIVE - LON [44413]x

CoComelon: Sing-A-Long LIVE

This interactive live show brings CoComelon’s vibrant world to life, inviting families to sing, dance, and play together.

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+. All persons entering the theatre, regardless of age, must have a ticket, and children under 5 are not permitted. Babes-in-arms are not admitted to the auditorium. 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

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

All Ages. 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.

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.

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]

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... 

Family friendly shows in London

Award-winning

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Award-winning shows in London

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

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LON | TT | Carousel - Web Homepage | Harry Potter | 21176 | Cyber Sale 2025

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

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 | Carousel - Web Homepage | Matilda | 305 | Cyber Sale 2025

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

LON | TT | Carousel - Web Homepage | Cyber Sale 2025

LON | TT | Carousel - Web Homepage | My Neighbour Totoro | 25389 | Cyber Sale

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.

LON | TT | Carousel - Web Homepage | Back to the Future |  22396 | Cyber Sale 2025

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.

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