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Suitability: 6+. Under 4yo will not be admitted. Under 16s must be accompanied by an adult aged 18+.  Every customer must have their own ticket. To ensure everyone enjoys the show, little ones need to be able to sit in their own seat without any help.

Frozen Rush

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The promoter of the 'TodayTix Rush' sales promotion is TodayTix, Ltd (the "Promoter"). This sales promotion is neither endorsed by nor in any way associated with: (i) Apple Inc.; (ii) Google Inc.; (iii) Facebook Inc.; (iv) Twitter Inc.; (v) any owner/licensor of any musical or theatrical performance for which tickets are available to purchase under the 'TodayTix Rush' sales promotion and/or (vi) the theatre in which it is performed.

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Please note that the discounted price tickets sold through the 'TodayTix Rush' section of the app are for the stated performance time of the featured musical/theatrical performance which will always be later on the same date. The discounted price tickets are very limited in quantity and subject to availability sold on a 'first come first served basis'. If either there is:

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I unlocked £29.50 Rush tickets for Frozen The Musical on @TodayTixUK! https://www.todaytix.com/london/shows/23585-frozen-the-musical?share=unlock

Frozen the Musical - LON [23585]

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Frozen the Musical 

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Elsa must feel at home in London, where the weather can turn faster than you can say "let it go." After a blustery and blue summer (Elsa, is that you?), the sun emerged for the first 30-degree day in months on the press night for <a href="/show/frozen">Frozen</a>, a winning sign for a bright new Disney musical in the West End.&nbsp;The legendary ice queen likely feels at home in the completely redone <a href="https://www.londontheatre.co.uk/theatres/theatre-royal-drury-lane">Theatre Royal Drury Lane</a>, which feels positively palatial with vaulted ceilings, detailed frescos, and golden accents. All it takes for a journey to the kingdom of Arendelle is a step inside its doors, or rather, gates.&nbsp;Add to that an expanded and updated story and additional music and magic, and Frozen seems to have found its ideal home in the West End, where it deserves to stay for many years to come.&nbsp;The Disney classic won the hearts of children all over the world for its story about two princesses torn apart by tragedy and yearning to reconnect, but the story's staying power rests with the adults in the room, who are drawn to the powerful message of sisterhood and embracing your true self. Spoiler alert: You don't need a prince to save the day.&nbsp;Director Michael Grandage's production leans more into the gravity of the story, and the stakes feel much higher. Whereas that tone felt somewhat limiting in the Broadway premiere, the musical has more room to breathe here and plays grander.&nbsp;Although very little in Jennifer Lee's tight book has been changed from her original screenplay, there's something about watching two young children separated by a terrible accident who then lose their parents and are forced to live in isolation that hits a little harder onstage, especially after the year we've had. &nbsp;Grandage's storied background in Shakespeare and opera have helped create a spectacle on a new level ​​— the effects are bigger, the jokes land harder, and the emotions are heightened. Along with choreographer Rob Ashford, Grandage has created a series of tableaus through dance and movement that keep the show pulsating and coursing.The entire affair is much bigger than its initial Broadway outing, which felt more intimate. While the production featured some gorgeous performances and interesting storytelling, Grandage has scaled up his initial work enormously, with the addition of new set pieces, songs, and of course, magic. (Jeremy Chernick's special effects and Finn Ross's projections are pure delight.) You truly feel like you're on an epic journey.All of Robert Lopez and Kristen Andersen-Lopez's songs from the film are here, along with an expanded catalogue that allow characters like Prince Hans (a smarmy Oliver Ormson) and Kristoff (a loveable Obioma Ugoala) a little more back story and development. The new music particularly benefits Elsa, who only really has one number (albeit the biggest one) in the film and spends most of her time off screen in an ice castle. Here, her internal struggle blossoms in two new ballads, one before her coronation and a second act belter. Elsa comes to life in a new way (and now parents have two new songs to add to the Frozen rotation.)There's also a new duet for the sisters, where they actually sing together instead of through a closed door about a snowman. Their connection is the central love story here, so it feels imperative to explore that relationship through song. This number, "I Can't Lose You," has been added since the show's Broadway premiere and really levels up the storytelling.&nbsp;And with Samantha Barks and Stephanie McKeon, that story is in excellent hands. Barks's Elsa is serious and scared, and you can see every emotion travel across her face and through her body as she seems to haunt the stage. And of course, she nails the prerequisite for the role by hitting every note and riff in "Let It Go," not to mention the expert magical costume change into one of designer Christopher Oram's fairytale fever dream gowns.&nbsp;McKeon possesses effervescent bubbly, goofball energy, and her Anna revels in physical comedy and one-liners, a fitting foil for Barks's more grounded Elsa. The yin and yang energy is what makes their familial chemistry sizzle. The other leads round out the company nicely, and Craig Gallivan's Olaf is a true crowd pleaser and Mikayla Jade and Ashley Birchall make puppetry magic, courtesy of designer Michael Curry, with Sven.&nbsp;There's even great dimension to secondary roles like the Duke of Weselton, courtesy of a comedic and lively Richard Frame. At the performance I attended, Asanda Abbie Masike and Tilly-Raye Bayer stole the show as Young Anna and Young Elsa.&nbsp;The weather certainly blessed London and Frozen's West End opening, and after what feels like a veritable ice storm of a year (or two), not unlike the "surprise summer blizzard" that overtakes Arendelle, it's nice to remember that the gates will open, the sun will shine on, and we'll stand in the light of day again.&nbsp;<a href="/show/frozen">Frozen is at Theatre Royal Drury Lane. Book Frozen tickets on LondonTheatre.co.uk.</a>Photo credit: Samantha Barks and Stephanie McKeon in Frozen (Photo by Johan Persson)

'Frozen' review - a magical spectacle full of humour and heart

The Theatre Royal Drury Lane opened on 10 Oct. 1812. However, this was not the first theatre on this site – there have been four theatres at this location since 1663. 

Rodgers and Hammerstein musicals played in succession from 1947 starting with *Oklahoma!*, *Carousel* in 1950, *South Pacific* in 1951 and *The King and I* closed the series with a three year run ending in 1956. 

The transfer of musicals from Broadway continued in 1958 with Lerner and Loewe’s *My Fair Lady*, starring Julie Andrews and Rex Harrison. The writing duo followed this up in 1964 with their next musical, *Camelot*.

Another three-year tPrize-winningransfer danced its way into Drury Lane in July 1976 - the Pulitzer Prize winning *A Chorus Line* came to London with its original Broadway cast and played for almost three years. Stephen Sondheim’s *Sweeney Todd – The Demon Barber of Fleet Street* also made the move across the pond in 1980.

It was the arrival of the tap-dance heavy *42nd Street* in 1984 that saw the theatre packed and reignited the flame for long-running shows. The show played for five years, before *Miss Saigon* moved in and played over 4,000 performances over a decade. 

Recent musicals at Theatre Royal Drury Lane include *[Charlie and the Chocolate Factory](https://www.londontheatre.co.uk/show/charlie-and-the-chocolate-factory)* and an acclaimed revival of *[42nd Street](https://www.londontheatre.co.uk/show/42nd-street)*. After two years of refurbishment, the Theatre Royal Drury Lane reopened in 2021 with the West End premiere of *[Frozen](https://www.londontheatre.co.uk/show/frozen)*.

## Theatre Royal Drury Lane Seating Information

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

The Stalls do offer great views of the stage and the legroom is very good.

In the Royal Circle, the view of the stage is affected from Row H onwards by the overhang of the Grand Circle. The seats do feel quite set back from the stage, but the view is generally very good.

The Upper Circle feels relatively close to the stage for its height and views from this level of the theatre are surprisingly good.

The Balcony is set very high up and although a strong rake helps to give good sightlines to the stage many people have suffered from vertigo at this level.

## Where is *Frozen* in London?

*Frozen* is at Theatre Royal Drury Lane in London. Theatre Royal Drury Lane is located in Covent Garden. It's close to West End theatres including the Fortune Theatre and the Novello Theatre.

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Theatre Royal Drury Lane

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

The Lion King [302] - LON

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The Lion King

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It's been fifteen years almost to the week that I first saw Disney's<a href="/show/the-lion-king"> The Lion King</a> in what was its first year in the West End. I don't think even Disney could have predicted that sixteen years later the show would still be London's most popular musical, selling out performances eight times a week and playing to packed crowds.Judging the show against the current climate of the West End, I worried some of the magic may have faded, but Julie Taymor's staging and costume design remains some of the most innovative, impressive and breath-taking to ever be seen on stage - musical or otherwise.Disney Theatricals have grown in strength and statue since the production originally opened on Broadway in 1997, but <a href="/show/the-lion-king">The Lion King</a> remains the jewel in the crown for theatrical integrity and pure spectacle. Seeing the show again in context of Disney's more recent efforts 'The Little Mermaid', 'Newsies' and '<a href="/show/aladdin">Aladdin</a>', you realise how they pail in comparison in terms of creativity and kick yourself for taking Taymor's work for granted.Based on the 1994 animated film, one of the last in the period of the 'Disney Renaissance', the heart-warming tale follows the lion cub Simba as he learns to take his place in the great "circle of life" following the murder of his father Mufassa by his evil uncle Scar. The show combines low comedy (side-kicks Timon and Pumba) with shades of 'Hamlet', resulting in a near perfect and original story that delights both children and adults.The level of detail in the costumes, make up and puppetry is utterly staggering and Taymor creates a visual feast for the eyes aided by Garth Fagan's authentic and energetic choreography that makes you forget you are watching humans. This is blended with the subtlety of the direction that at its most powerful shows a waterhole drying up with just the simplest trick and binds together a fully immersive technical feat. There is simply nothing like this musical on a production level and the fact it stands the test of time and is yet to be bettered is proof alone of its success.The show has had some tightening up in recent years, with one song trimmed ("The Madness of King Scar") and one deleted all together ("The Morning Report") to keep the run time to a family friendly level. All of the set pieces are there - from the opening section where the animals come together to celebrate "The Circle of Life" to the Wildebeest stampede and the battle for Pride Rock. The ingenuity however comes from scenes such as "The Lioness Hunt" and "One By One" that bring a fresh authenticity to the score and showcase a universally talented, athletic and agile ensemble.<a href="/show/the-lion-king">The Lion King</a> is an outstanding creative and emotional musical and will no doubt remain the King of the West End for many years to come. As Disney Theatricals continue to grow their stock and with a Broadway production of 'Frozen' on the horizon, I hope the show isn't taken for granted, as theatre practitioners the world over can learn from Taymor's alchemy.

The Lion King Review

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

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

The Lyceum Theatre dates back to 1834, but the current theatre opened in 1904. The 1904 renovation saw the auditorium almost completely rebuilt. After 25 years of presenting variety acts, Christmas pantomimes and a series of melodramas presented by the Melville Brothers, the building was closed in 1939 facing demolition. 

Fortunately, it was rescued and reopened in 1951 as the Lyceum Ballroom, a Mecca Ballroom which saw many famous bands perform through the 1970s, including The Who, The Police, Led Zeppelin, U2, Bob Marley and the Wailers. It closed again in 1986 but was restored to theatrical use in 1996, including the addition of an orchestra pit.

## Lyceum Theatre Seating Information

The auditorium has three levels – Stalls, Royal Circle and Grand Circle. In the Stalls, the view of the stage is obstructed by the overhang of the Royal Circle from Row T onwards, but the Stalls generally offer a good view of the stage, with a rake from Row C.

In the Royal Circle, the view of the stage is slightly obstructed by the overhang of the Grand Circle from Row P onwards. The Royal Circle offers good views.

The Grand Circle is set very high in this theatre.

## Where is *The Lion King* in London?

*The Lion King* is at the Lyceum Theatre. *The Lion King* started its record-breaking run of performances at the Lyceum Theatre in 1999.

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Lyceum Theatre

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

Wicked Rush

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Wicked [313] - LON

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Wicked

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

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

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

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

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

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

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

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

*Wicked is at the Apollo Victoria Theatre. Book Wicked tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=1587&content_product_id=1587&venue_id=138)

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

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

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

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

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

## Apollo Victoria Theatre Seating Information

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

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

## Where is *Wicked* in London?

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


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Apollo Victoria Theatre

Recommend 6+. Children under 3 will not be allowed into the venue, those 16 or under must be accompanied by an adult and may not sit in the arena on their own. The Dance Floor area is not recommended for anyone younger than 16.

ABBA Voyage - LON

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ABBA Voyage

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No concert was anticipated quite like [*ABBA Voyage*](https://www.londontheatre.co.uk/show/25118-abba-voyage-tickets). The possibility to see the iconic Swedish band on stage once more, not only together again, but appearing as their younger selves, boggled everyone’s minds. But can these ABBA-tars (a colloquial way to describe the quartet’s holograms) entertain audiences as much as seeing the real deal in the flesh?

To put simply, yes. *ABBA Voyage* is a concert for the ages. Over five weeks, 1,000 animators immortalised Agnetha Fältskog, Anni-Frid Lyngstad, Benny Andersson, and Björn Ulvaeus into state-of-the-art digital forms. Add in visual effects from Industrial Light & Magic — the brains behind the Marvel Cinematic Universe — and the end result is sublime, defining the phrase "needs to be seen to be believed." 

ABBA are no longer four performers; they’re ethereal beings bounced in from another world, materialising on a 65-metre screen. These highly-rendered beings may not look and feel entirely human: glossy, vacant eyes; a constant beaming smile; and swishing hair can feel disorienting and take a few minutes to get used to. 

But it's impossible to take your eyes off them. When there’s a chance to see ABBA “live” and experience the musical euphoria of generations past, it’s easy to forgive any odd appearances. There’s no denying that the Swedish superstars are in the room. 

It’s a slow buildup, as the lesser-radio-played “The Visitors” and “Hole in Your Soul” kick off proceedings. Once the crowdpleasers start, the pop-fuelled rollercoaster begins and gets everyone up on their feet. Even the slower-paced songs like “Chiquitita” leave the audience waving, clapping, and stomping their feet. 

There’s a 10-piece live band too, including Britpop artists James Righton, of Klaxons fame, and the chart-topping DJ Little Boots (Victoria Hesketh) on keyboards, marrying ABBA and live music. By the time “The Winner Takes It All" hits its crescendo, the audience’s energy could solely power the ABBA Arena’s 291-speaker surround sound system. 

It’s not just the music we should thank ABBA for. Matthieu Debay’s futuristic lights and laser shows transform the arena into a disco rave, and when there’s a break to keep up the illusion ABBA are in the building, Shynola’s two short animations following a hero as they find the band’s legend lift the "Voyage" theme into the stratosphere.

There are a few glaring omissions in the setlist, but with producers confirming additional songs were filmed for the concert, it’s only a matter of time before *ABBA Voyage* changes its course.

Once again, the septuagenerians find themselves leading the music industry in a format that is surely beyond the band’s wildest dreams back when they won Eurovision in 1974. With the flat-pack, purpose-built ABBA Arena’s ability to move around the world, this is a concert that can live on forevermore. *ABBA Voyage* - douze points.

*ABBA Voyage* is at the ABBA Arena. Book *ABBA Voyage* tickets on London Theatre.

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=25118&content_product_id=25118&venue_id=846)

*Photo credit: ABBA Voyage (Photo courtesy of production)*


'ABBA Voyage' review — a multi-dimensional pop concert for the ages

ABBA Voyage is the long-awaited concert from one of the biggest pop acts of all time. Featuring a setlist of hit songs, see ABBA’s avatars accompanied by a 10-piece live band, at the custom-built ABBA Arena in London. The ABBA Arena holds 3,000 audience members per performance. 

## ABBA Arena Seating Information

The ABBA Arena boasts a dance floor, where audiences can stand throughout the ABBA Voyage performance. There are five blocks of seating and eight dance booths. Dance floor tickets allow audiences to be closer to the stage. Every seat in the ABBA Arena offers an excellent view of the performance. 

## Where is ABBA Voyage in London?

ABBA Voyage is at the ABBA Arena in London. The ABBA Arena is located at Queen Elizabeth Olympic Park. It's close to Westfield Stratford, as well as the Olympic Park. 

ABBA Arena, London

ABBA Arena

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

Pretty Woman Rush

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Pretty Woman [18613] - LON

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Pretty Woman: The Musical

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

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

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

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

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

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

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

## Savoy Theatre Seating Information

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

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

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

The Grand Circle feels rather far from the stage.

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

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

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Savoy Theatre

Newsies Rush

I unlocked £25 Rush tickets for Newsies on @TodayTixUK! https://www.todaytix.com/london/shows/24908?share=unlock

Newsies - LON [24908]

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Newsies

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Extra, extra! Read all about it! Disney musical *[Newsies](https://www.londontheatre.co.uk/show/24908-newsies-tickets)*, which began life as a notorious film flop starring Christian Bale and was miraculously reborn as a Tony-winning Broadway show, is finally making its UK premiere at the Troubadour Wembley Park Theatre. Based on the [real-life Newsboys’ Strike](https://www.londontheatre.co.uk/theatre-news/news/learn-about-the-real-newsboys-strike-that-inspired-the-newsies-musical) of 1899, its tale of unionising and campaigning for workers’ rights comes at a particularly apt time, as we see industrial action on multiple fronts.

That’s an added element to what is already a thrillingly immersive show, with the audience seated on three sides and the “newsies” (kids who sell newspapers) making great use of all the gangways and staircases. They’re constantly dashing into the crowd, either fleeing from the corrupt authorities or furthering their revolution - which kicks off when venal publisher Joseph Pulitzer unfairly raises the price of their bundles of papers in order to increase profits for himself.

Leading the strike is veteran newsie and natural leader Jack Kelly, played with a pitch-perfect combination of street-smart charisma and a vulnerable yearning to belong and be valued by rising star [Michael Ahomka-Lindsay](https://www.londontheatre.co.uk/theatre-news/interviews/newsies-star-michael-ahomka-lindsay-anything-is-possible) (also a standout in this summer’s *[Legally Blonde](https://www.londontheatre.co.uk/reviews/legally-blonde-review-regents-park-open-air-theatre)*). Jack voices his dreams in the show’s breakout ballad “Santa Fe”, which Ahomka-Lindsay delivers with spine-tingling conviction.

The score, by Disney’s beloved composer [Alan Menken](https://www.londontheatre.co.uk/theatre-news/news/a-complete-guide-to-alan-menken-musicals) and lyricist Jack Feldman, is otherwise on the generic side, but its many stirring anthems (like “Carrying the Banner”, “The World Will Know”, “Seize the Day”) do the job of conveying a gathering storm. It’s a bit like a junior *[Les Mis](https://www.londontheatre.co.uk/show/300-les-miserables-tickets)*. And while that musical was famously built on the barricades, Morgan Large’s monumental set revolves around a giant scaffolding structure that houses the newsies, evokes New York fire escapes, and opens out to reveal singer Medda’s club.

Not only that, but set pieces whoosh down from the ceiling or are whisked on by the dynamite ensemble, who turn every scene change into a mini dance number. As for the big numbers, director/choreographer Matt Cole (building on Mark Hummel’s original dance arrangements) has put together a simply jaw-dropping series of routines - the most propulsive, skilful and genuinely surprising that you’ll see anywhere this Christmas. 

Cole uses an astonishing mix of styles and vocabulary on top of a classical base (à la Jerome Robbins) to convey the toughness of the newsies, but also their youthful enthusiasm: they’re still just kids at heart. Jump rope and leapfrog meet one-handed cartwheels, split leaps, jetés, breakdance moves like whirling windmills, even cheerleading stunts. 

When they’re in the fight of their lives, they add kicks, stomps and punches too, and when they’re celebrating in the buoyant “King of New York”, we get glorious tap-dancing on tabletops and actual swinging from the light fixtures - aerial work to rival [Cirque du Soleil](https://www.londontheatre.co.uk/show/26120-cirque-du-soleil-kurios-tickets). When the whole ensemble moves as one, it’s a force to be reckoned with, and a fantastic physical expression of the show’s themes: we are stronger together.

But I must just pick out one individual to praise. Mark Samaras, who has worked with Matthew Bourne and Crystal Pite, supplies almost otherworldly pirouettes - turn after glorious turn without moving an inch. He leads the seriously impressive balletic sections, but, like the whole fantastic company, adds cheeky rambunctiousness as well.

The scale of Cole’s numbers make phenomenal use of the cavernous Wembley Park Troubadour. The more intimate moments of the show are less well served here, and the lyrics often fall victim to an uneven sound balance and the sheer exuberance of the accompanying movement. But then the musical itself is better on generalised feeling than nuance, with Harvey Fierstein’s book telling this David and Goliath tale in big, bold brushstrokes.

The romance between Jack and pioneering, quick-witted female reporter Katherine is rather undercooked, but Ahomka-Lindsay and Bronté Barbé add heft to it, making it a real meeting of minds as well as hearts. Barbé also makes her solo number, where she wrestles with how best to write this important story (obviously, I felt seen), a real highlight thanks to her thoughtful character work and pristine, clearly projected vocals.

There’s also good work from Moya Angela as the brassy Medda, Matthew Buckett as Jack’s plucky pal Crutchie, Ryan Kobel as thoughtful newcomer Davey, and Cameron Blakely as a sharkish, steely Pulitzer. Plus it’s heartening to see the female ensemble given more to do in the second half. 

Natalie Pryce’s striking period costumes should spark a rise in flat caps (if they ever went out of style post-*[Peaky Blinders](https://www.londontheatre.co.uk/show/25895-peaky-blinders-the-rise-tickets?utm_source=google&utm_medium=cpc&gclid=Cj0KCQiA1sucBhDgARIsAFoytUt8mnzR5m_ocOhC13TvzMPYbXbGpKkGOmEI61YXY-rhUd3odT6tMu8aAiMLEALw_wcB&utm_campaignid=11060757766&utm_adgroupid=140567314064&utm_adid=623318585033&utm_term=peaky%20blinders%20london&utm_matchtype=e&utm_campaign=TTG_LT_g_uk_acq_search_shows&utm_adgroup=Shows_Peaky_Blinders_All&gclid=Cj0KCQiA1sucBhDgARIsAFoytUt8mnzR5m_ocOhC13TvzMPYbXbGpKkGOmEI61YXY-rhUd3odT6tMu8aAiMLEALw_wcB)*), and Mark Henderson’s lighting directs our attention in this mighty arena and changes the mood superbly - from vast dramatic shafts of light to an evocative sequence with lanterns.

While this underdog tale doesn’t have the most sophisticated of narratives, I can absolutely see its themes resonating with audiences, particularly its inspiring message that the next generation of social justice warriors can change the world. We could do with that hope right now - and with a huge, spectacular show which proves, once and for all, that musical theatre is good for the soul. Seize the day and get your tickets while you can: *Newsies* is going to be hitting the headlines for all the right reasons.

*Newsies is at Troubadour Wembley Park Theatre through 16 April. Book Newsies tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=24908&content_product_id=24908&venue_id=15)

*Photo credit: Newsies at Troubadour Wembley Park Theatre (Photo by Johan Persson)*

'Newsies' review – the inspirational Disney musical has the most thrilling dancing in town

The Troubadour Wembley Park Theatre is an off-West End theatre that has a seating capacity of 2,000. The theatre is located on the former site of Fountain Studios. Fountain Studios formerly hosted *The X Factor* and *Pop Idol*. 

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Troubadour Wembley Park Theatre

Babes in arms are allowed for this production, babes under 12 months sitting on an adults lap do not need a ticket.

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This heart-warming tale about friendship and helping those in need is brought to life in a musical, puppet-filled adventure.

The St Martin’s Theatre opened on 23 Nov. 1916. The building was designed as a pair with the [Ambassadors Theatre](https://www.londontheatre.co.uk/theatres/ambassadors-theatre). 

Ricky Meyer was responsible for transferring the theatre’s current tenant, *The Mousetrap*, from the next-door Ambassadors Theatre to the larger St Martin’s, to continue its record-breaking run. The production began in 1952 and has been performed on the London stage ever since.

## St. Martin's Theatre Seating Information

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

Although the Dress Circle overhangs the Stalls at Row J the obstruction does not block anything. All seats in the Stalls have a good view of the stage.

The overhang of the Upper Circle doesn’t affect the view from any seat in the Dress Circle. 

Whilst the Upper Circle does not feel far from the stage, the view from the first two rows is impaired by a safety bar running along the front. 

## Where is *The Mousetrap* in London?

*The Mousetrap* is at St. Martin's Theatre in London. St. Martin's Theatre is located on West Street. It's close to West End theatres including the Ambassadors Theatre.

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St. Martin's Theatre

Moulin Rouge! The Musical [23350] - LON

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Moulin Rouge! The Musical 

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The night belongs to the bohemians, as Baz Luhrmann's iconic 2001 film can-cans its way to vibrant life onstage in Alex Timbers's eyegasmic production. There's a new detail —&nbsp;an elephant, a windmill —&nbsp;everywhere you look in the bedazzled <a href="https://www.londontheatre.co.uk/theatres/piccadilly-theatre" target="_blank">Piccadilly Theatre</a>, dripping in red lights, lace, and velvet with Derek McLane's immersive set. Welcome to the Moulin Rouge.&nbsp;This is not your Parisian night club from the early 2000's in the film or from the turn-of-the-century (other century) France where the tragic love story of fledgling American writer Christian and washed-up showgirl Satine is set. This, mon chérie, is an all-new, all-adrenaline rush of a show that leverages the movie's magic and adds the secret ingredient: theatrical magic.&nbsp;Timbers is not afraid to use every tool in his directing arsenal with this self-aware, but not self-conscious, amalgamation of vintage and modern, classic and contemporary. Every creative team member is clearly working overtime to deliver excellence and opulence.Seventy-plus pop songs, precisely arranged by music supervisor Justin Levine? Check. Show-stopping ensemble dance numbers choreographed like a pop concert by Sonya Tayeh? You bet. A veritable smorgasbord of lighting effects from designer Justin Townsend? Of course. Jewel-dripping bodices and crushed velvet for days in Catherine Zuber's elaborate ensembles? Bien sûr.However, sometimes extravagance can mask the cracks, which make the barrier between art and life transparent. On Wednesday night's performance, this show-stopper literally stopped. During Act 2, between high-energy ensemble numbers "Chandelier" and "Roxanne," the show was held due to technical difficulties for about 20 minutes.&nbsp;While stage management handled everything smoothly and professionally, the momentary pause felt like watching a show within a show within a show. After all, Moulin Rouge! The Musical catalogues the backstage drama of the eponymous nightclub struggling to make it while putting on a new production.Here we were in the audience, watching a company that's weathered more than its share of Covid difficulties and delays with an opening twice-postponed, still doing their thing and putting on a show, despite the hardship.It's a testament to resilience and artistry, something that both the show and this company clearly celebrate. The leading lovers, played by Liisi LaFontaine and Jamie Bogyo, deliver a youthful energy that belies their characters' weary struggles, and each is charming and well-sung.&nbsp;However, the standouts of the evening are in the supporting cast and the ensemble. As writer and unabashed bohemian Toulouse-Lautrec, Jason Pennycooke steals every scene he's in, and Elia Lo Tauro oozes charisma as Christian's rapscallion friend Santiago. Clive Carter channels Jim Broadbent from the film in a pitch-perfect portrayal of the club's emcee Harold Ziegler, and every ensemble dancer deserves their own shoutout for the hard work and energy they're delivering onstage.&nbsp;After all, theatre and the Moulin Rouge are about family and community, something we've all been missing these past few years. Watching a powerful show where despite trials onstage and off, the power and perseverance of the human spirit is what overcomes, is healing. And as soon as those snaps click into place at the top of "Lady Marmalade," you know you're safe to go along for the ride. Lemme hear y'all flow, sistas.&nbsp;<a href="https://www.londontheatre.co.uk/show/23350-moulin-rouge-the-musical">Moulin Rouge! The Musical is at the Piccadilly Theatre. Book Moulin Rouge! The Musical tickets on London Theatre.</a>Photo credit: The London company of Moulin Rouge! The Musical. (Photo by Matt Crockett)

'Moulin Rouge! The Musical' review — Baz Luhrmann’s classic film can-cans into the West End

Enter a world of splendour and romance, of eye-popping excess, of glitz, grandeur, and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Pop the champagne and prepare for the spectacular spectacular… 

The Piccadilly Theatre opened on 27 Apr. 1928. The Piccadilly Theatre opened with a production of *Blue Eyes*, but then the theatre was turned into a cinema by Warner Brothers and was the house of the very first talking picture to be shown in England – Al Jolson in *The Singing Fool*. 

Suffering considerable damage during World War II, the venue had to be partially rebuilt and reopened again in April 1945 with a production of Agatha Christie’s *Appointment with Death*.

The Piccadilly Theatre is also known for the ITV variety show *Live From the Piccadilly* which began in 1986, playing on Sunday evenings and hosted by Jimmy Tarbuck. [Ian McKellen](https://www.londontheatre.co.uk/actor-profile/ian-mckellen), [Judi Dench](https://www.londontheatre.co.uk/actor-profile/judi-dench), Barbara Dickson, Lynn Redgrave, Julia McKenzie and Dame Edna all appearing in productions over the years. 

## Piccadilly Theatre Seating Information

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

The Stalls offers very good views of the stage, with a noticeable rake in the seating.

The overhang of the Royal Circle affects the view from Row F onwards, but the seating at this level is very well raked which allows for excellent views.

The Grand Circle is well-raked, allowing good views of the stage, but the legroom is rather slim at this level.

## Where is *Moulin Rouge! The Musical* in London?

*Moulin Rouge! The Musical* is at the Piccadilly Theatre in London. The Piccadilly Theatre is located on Denman Street. It's close to West End theatres including the Criterion Theatre.

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Piccadilly Theatre

Under 17s must be accompanied by an adult. 

Monopoly Lifesized COVID Protocol

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Monopoly Lifesized - Classic Board

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Monopoly Lifesized

Mamma Mia! Rush 

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

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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.

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

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

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

## Novello Theatre Seating Information

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

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

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

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

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

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Novello Theatre

This event is not recommended for children under 5.All customers aged 14 years or below must be accompanied by an adult aged 18 years or over.

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The Nutcracker - Royal Albert Hall Tickets

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The theatre dates from in 1871. It is best known for holding the annual summer Proms concerts since 1941. The Royal Albert Hall is a world-leading venue for music, dance, sport and politics, and is visited by over 1.7 million people annually. The venue is also home to the Elgar Room, which is a smaller performance space for intimate, cosier concerts.  


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Royal Albert Hall

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

Back To The Future Rush

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

Back to the Future: The Musical - LON 

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Back to the Future: The Musical 

BTTF poster

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

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

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

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

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

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

## Adelphi Theatre Seating Information

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

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

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

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

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

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

Adelphi Theatre - LON

Adelphi Theatre

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

ELF the Musical

ELF Poster

Christmas is no longer a day-long celebration — the first episodes of *Strictly Come Dancing*, the John Lewis adverts, and once upon a time *The X Factor*, usher in festive goodwill from as early as September.

So it’s no surprise then that in November, before the *Elf* curtain rises, audience members hear a medley of winter songs to get us in “the spirit.” Sadly, this intoxicating spirit doesn't carry forward into the stage action: *Elf* doesn’t deliver a Christmas snap — it’s like pulling a cracker and ending up with the losing side. 

It’s difficult to distance *Elf* away from the film. Thomas Meehan and Bob Martin’s story still brings Buddy — a human who grew up in the North Pole with Santa’s elves — to the Big Apple in search of his father once more. But, an oafish Santa now narrates Buddy’s story, and he’s more interested in sharing the results of his bets on the Arsenal vs. Liverpool game. Matthew Sklar and Chad Begeulin’s score accompanies the action, and for all its sparkling showbizzy qualtiies, all the forgettable songs blend into one.

Phillip Wm. McKinley fails to inject trademark *Elf* humour into its iconic scenes. The catchphrases you’ll know and love: the “beef and cheese,” the “smiling’s my favourite,” and the "cotton-headed ninny muggins" insult were thrown away. 

Thankfully, Simon Lipkin holds his own as the goofy, spirited Buddy, cartwheeling and worming his way across the stage and into our hearts. It’s a shame then that *Elf* woefully underutilises its other cast members. 

Georgina Castle delivers all the goods as Jovie, but her short stage time shuts down any hope of falling for her and Buddy together. In songs, Rebecca Lock and Logan Clark as Emily and Michael Hobbs shine as the close-knit mother and son, but their limited interactions with Buddy fall flat. And for all Tom Chambers’s charm, his monotone performance as Walter Hobbs does little to bring the family together.

Liam Steel’s choreography pops in all the right places: an elf-based opening number was a right knees up, and he utilises the ensemble into a tinsel-skipping, candy-cane twirling unit. But, just like waiting for a present that isn’t delivered in time for 25 December, boxes reading “Marry Christmas” highlighted a lack of finesse.

Tim Goodchild’s set design stretches like thin wrapping paper in order to cover the vast Dominion space, but it’s mercifully aided by Patrick Woodroofe’s whimsical lighting and projections transporting us from the North Pole to Manhattan in a few moments.

If you’re looking to see *Elf* because you enjoy the film, you'll walk away with pep in your step. Buddy the Elf is still the Christmas hero we need, and if you still believe, then Santa may fly in his sleigh. But if you’re looking for a musical that leaves you singing loud for all to hear, this may not be what you want under your tree.

*Elf is at the Dominion Theatre through 7 January. Book Elf tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=25201&content_product_id=25201&venue_id=139)

*Photo credit: Elf the Musical (Photo by Mark Senior)*

'Elf' review — the sugary musical doesn’t deliver all the Christmas cheer

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. 

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

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

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

## Dominion Theatre Seating Information

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

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

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

Dominion Theatre - LON

Dominion Theatre

 10+. Children under 16 must be accompanied by an adult.

Six The Musical: Rush

I unlocked £25 Rush tickets for @sixthemusical on @TodayTixUK! Tap to unlock: https://www.todaytix.com/london/shows/12201?share=unlock

SIX - LON [12201]

359 96A0697 SIX 2021 Pamela Raith Photography RT

SIX21101 TodayTix 480x720pxls

SIX21101 TodayTix 1080x1080pxls

The queens are back, and they're beautiful. Since their creation by Cambridge University students Toby Marlow and Lucy Moss in 2017, when they first sashayed before audiences at the Edinburgh Fringe Festival, these ritzily reincarnated wives of Henry VIII have stomped their way into the theatre history books. The show - more rock revue than musical - transferred to the West End and became an international hit. Its Broadway opening was delayed by the Covid crisis, but doubtless its conquering of the Great White Way is just a matter of time.A bedazzling sing-off by six women, each determined to wrest back control of her own narrative, Moss and Jamie Armitage's production is slick, witty, and so frenetically charged that resistance is pretty much useless. What's behind the glitter and the gloss, the astonishing vocals and the seductive strut, is in reality not much more profound than the Spice Girls' rallying cry of "Girl Power": it's a case of clever branding rather than serious substance. But it undeniably works: an audience dominated by young women and girls, many of them watching with their mums, whooped their appreciation, faces glowing. This may be feminism-lite, but it ignites powerful passions.And as a spectacle, it's eye-poppingly impressive. Emma Bailey's set, lit with blinding, blingy excess by Tim Deiling, is like a medieval chapel relocated to Las Vegas, purple neon in place of stained glass. Backed by an all-female band, the queens, in costume designer Gabriella Slade's mini farthingales or doublet and hose, crystal-encrusted and flesh-flashing, glide, pop and grind through choreographer Carrie-Ann Ingrouille's high-energy, geometric formations, to songs that musically reference a roll call of fabulous divas&nbsp;—&nbsp;Beyonce, Britney, Ariana Grande, Nicky Minaj, Rihanna, and Adele among them. They're here to decide who's life story was the most tragic - and she who had the worst of it will reign supreme.This is the show's major stumbling, if not chopping, block. Competing to be the biggest victim hardly sounds like empowerment, any more than the catfighting and bitchiness they indulge in; and the last-minute flipflop, in which they claim the whole thing was a set-up designed to make us question our own assumptions, feels like a bit of a cop-out. But if the sexual politics are hazy, the attitude is fierce. The current cast are all phenomenal, but I particularly enjoyed Courtney Bowman's faux-innocent Anne Boleyn, skipping insouciantly through her role in the Reformation via Lily Allen-ish rhymes ("everybody chill, it's totes God's will"), and Sophie Isaacs's Katherine Howard, radiating sparks of fury as she sings about the succession of men who have sexually exploited her.And there's a glorious sequence of overblown fantasy and pounding German techno when Alexa McIntosh's Anne of Cleves, who was famously (and, according to Henry, too flatteringly) painted by Holbein, recalls visiting the artist in his atelier: "Haus of Holbein" sends up beauty standards ("try these heels, so high it's naughty, but we can't guarantee you'll still walk at 40"), and, with the queens adopting oversized sunglasses and ludicrous posturing, reminded me deliciously of the eccentric, body-fascist fashion designer Karl Lagerfeld.The songs are insanely catchy, and if subtlety gets gleefully ground beneath the show's rhinestone-studded stiletto heel, that's not what anyone came for anyhow. It isn't profound, but this is a party - and it's unstoppable.SIX runs through 18 April at the <a href="https://www.londontheatre.co.uk/show/six-the-musical-lyric">Lyric Theatre</a>, then at the <a href="https://www.londontheatre.co.uk/show/six-the-musical">Arts Theatre</a> from 20 April.Photo credit:&nbsp;Courtney Bowman, center, in SIX: The Musical (Photo by Pamela Raith)

'SIX' brings the girl power party back to the West End

Read our review of the Olivier-nominated musical SIX at the Lyric Theatre on London Theatre.

SIX at the Lyric Theatre Review | London Theatre

SIX, ‘the most uplifting piece of new British musical theatre’ (✭✭✭✭✭ The Evening Standard) is the phenomenon everyone is losing their head over!

Critically acclaimed across the UK with a sound-track storming up the UK pop charts, the sell-out intoxicating Tudor take-off is back!

The Vaudeville Theatre opened in 1870, designed by C.J. Phipps. The Vaudeville Theatre is on the Strand, close to the [Adelphi Theatre](https://www.londontheatre.co.uk/theatres/adelphi-theatre) and the [Savoy Theatre](https://www.londontheatre.co.uk/theatres/savoy-theatre). 

Like many West End theatres, the Vaudeville has been closed for a prolonged period of time to allow for renovation work. The current theatre that stands opened in 1926, and has seen plays including *Hedda Gabler* and *Private Lives*. 

## Vaudeville Theatre Seating Information

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

The Stalls offers very good views of the stage. There is a light raking in the seating throughout the Stalls which helps with sightlines, and the legroom is good too.
T
he Dress Circle offers good views of the stage, and feels close to the action due to the intimate size of the theatre. View from Row G onwards are affected by the overhang of the Grand Circle.

Though the theatre is small, the Grand Circle feels quite far from the stage.

## Where is *Six* in London?

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

Vaudeville Theatre - LON

Vaudeville Theatre

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

Musicals by Candlelight Rush

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Please note that in order to unlock and access the 'TodayTix Rush' section of the app, you will on each occasion first be invited (but not required) to post content about it to your registered account with Twitter or Facebook from within the app. Although such content will never involve your endorsement of a third party product or service (other than the then-current musical/theatrical performance featured on the locked screen of the 'TodayTix Rush' section of the app) please do not proceed to post such content unless you agree with all of it. Your decision to post content will not affect the ticket(s) available to you in the 'Rush' section of the app and/or their price. Regardless of whether or not you post content, the app will display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay to secure them.

Please note that the discounted price tickets sold through the 'TodayTix Rush' section of the app are for the stated performance time of the featured musical/theatrical performance which will always be later on the same date. The discounted price tickets are very limited in quantity and subject to availability sold on a 'first come first served basis'. If either there is:

less that 1 hour until the featured musical/theatrical performance; or all the discounted price tickets have been sold for it, then the 'TodayTix Rush' section of the app shall not be able to be unlocked from such point until the following date on which discounted price tickets are available for purchase through the 'TodayTix Rush' section of the app – either for the same or a different musical/theatrical performance.

PROMOTION PERIOD. You may purchase 2 discounted price tickets for the featured musical/theatrical performance from as soon as these are marketed within the 'TodayTix Rush' section of the app. The closing time/deadline for the purchase of such tickets is either: 1 hour until the featured musical/theatrical performance; or all the discounted price tickets have been sold. In either case the 'TodayTix Rush' section of the app shall not be able to be unlocked from such point until the following date on which discounted price tickets are available for purchase through the 'TodayTix Rush' section of the app.

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ELIGIBILITY. This sales promotion is open to anyone aged 18 years or over resident in the UK only, who selects the 'TodayTix Rush' section of the app, excluding employees of the Promoter and their families, the Promoter's service providers, agents and anyone professionally associated with this sales promotion.

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

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

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

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I unlocked £15 Rush tickets for Musicals by Candlelight on @TodayTixUK! https://www.todaytix.com/london/shows/25037?share=unlock

Musicals by Candlelight - LON [25037]

MBC header - LON

Musicals by Candlelight

Musicals be Candlelight NEW Poster

St Paul's Covent Garden church is an Anglian Christian church. The church has a deep-rooted connection to the theatre, with many West End playhouses nearby: Theatre Royal Drury Lane, the Royal Opera House, and more.

The Actors' Church is the resting place for influential West End figures. There's also memorials to theatre personalities, including Charlie Chaplin, Noel Coward, Gracie Fields, Vivien Leigh, Ivor Novello, Barbara Windsor, Diana Rigg, and the *My Fair Lady* lyricist, Alan Jay Lerner.

The Actors' Church also boasts an in-hosue professional theatre company. Every summer, Iris Theatre present outdoor plays of Shakespeare classics. 

The Actors' Church

Christmas Carol Bridge Theatre Rush

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By participating in the 'TodayTix Rush' sales promotion, a participant will be deemed to accept these promotional terms and the Promoter's UK Privacy Policy (which can be accessed here) and agrees that the decision of the Promoter is final and binding in all matters relating to the 'TodayTix Rush' sales promotion.

All references to "app" in these promotional terms refer to the "TodayTix – West End Tickets" mobile application which is compatible with iPhone, iPad and Android devices and can be downloaded from Apple's App Store (either iPhone or iPad version) or Google Play (Android version). Each participant must open a registered account via the app in order to participate in the 'TodayTix Rush' sales promotion – please see here [insert hyperlink] to open a registered account via the app.

Please note that in order to unlock and access the 'TodayTix Rush' section of the app, you will on each occasion first be invited (but not required) to post content about it to your registered account with Twitter or Facebook from within the app. Although such content will never involve your endorsement of a third party product or service (other than the then-current musical/theatrical performance featured on the locked screen of the 'TodayTix Rush' section of the app) please do not proceed to post such content unless you agree with all of it. Your decision to post content will not affect the ticket(s) available to you in the 'Rush' section of the app and/or their price. Regardless of whether or not you post content, the app will display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay to secure them.

Please note that the discounted price tickets sold through the 'TodayTix Rush' section of the app are for the stated performance time of the featured musical/theatrical performance which will always be later on the same date. The discounted price tickets are very limited in quantity and subject to availability sold on a 'first come first served basis'. If either there is:

less that 1 hour until the featured musical/theatrical performance; or all the discounted price tickets have been sold for it, then the 'TodayTix Rush' section of the app shall not be able to be unlocked from such point until the following date on which discounted price tickets are available for purchase through the 'TodayTix Rush' section of the app – either for the same or a different musical/theatrical performance.

PROMOTION PERIOD. You may purchase 2 discounted price tickets for the featured musical/theatrical performance from as soon as these are marketed within the 'TodayTix Rush' section of the app. The closing time/deadline for the purchase of such tickets is either: 1 hour until the featured musical/theatrical performance; or all the discounted price tickets have been sold. In either case the 'TodayTix Rush' section of the app shall not be able to be unlocked from such point until the following date on which discounted price tickets are available for purchase through the 'TodayTix Rush' section of the app.

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ELIGIBILITY. This sales promotion is open to anyone aged 18 years or over resident in the UK only, who selects the 'TodayTix Rush' section of the app, excluding employees of the Promoter and their families, the Promoter's service providers, agents and anyone professionally associated with this sales promotion.

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

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

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

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

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I unlocked £20 Rush tickets for A Christmas Carol - The Bridge on @TodayTixUK! https://www.todaytix.com/london/shows/26405?share=unlock

A Christmas Carol - The Bridge - LON [26405]

A Christmas Carol - The Bridge

ACC New 480 720

Nicholas Hytner and Nick Starr spearhead the Bridge Theatre. Having worked together at the [National Theatre](https://www.londontheatre.co.uk/theatres/national-theatre) for over a decade as artistic and executive directors, Hytner and Starr formed the London Theatre Company as part of their efforts to open the largest Off-West End commercial theatre. The 900-seater auditorium is very adaptable and allows shows to be presented in end-on, thrust and promenade formats. 

Production aside, the theatre was praised for its abundance of ladies toilets and its on-site kitchen which, among other things, provides treats freshly baked on site during the interval. 

In 2017, the theatre's inaugural season included a new Richard Bean play *Young Marx*, starring [Rory Kinnear](https://www.londontheatre.co.uk/actor-profile/rory-kinnear) and Oliver Chris, *Julius Caesar* starring Ben [Whishaw](https://www.londontheatre.co.uk/actor-profile/ben-whishaw) and David Calder, and a new play by Nina Raine about the life of JS Bach starring [Simon Russell Beale](https://www.londontheatre.co.uk/actor-profile/simon-russell-beale).

Notable plays at the Bridge Theatre include *The Lion, the Witch and the Wardrobe,* as well as *My Name is Lucy Barton* and *Straight Line Crazy* — the latter two both transferring to New York.

Bridge Theatre - LON

Bridge Theatre

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