LTW All Time Faves

Get theatre tickets to long-running West End shows and classic musicals and plays during London Theatre Week, with tickets from £15.

Classic Shows in London

LTW All Time Faves - LON

Suitable for ages 8+. Children under the age of 16 must be accompanied by and sat next to a ticketholder who is at least 18 years old. Children under the age of 3 will not be admitted.

Les Misérables [300] - LON

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Les Misérables

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Another fantastic chapter in West End history has been gloriously (re)written, with not one but two spectacular reinventions -&nbsp;first of a theatre itself, in which the Queen's on Shaftesbury Avenue has been reincarnated as the <a href="/theatres/sondheim-theatre">Sondheim Theatre</a> and completely refurbished by its owner Cameron Mackintosh to restore it from a threadbare functionality to which it had previously been brought back 61 years ago from wartime bomb damage to a glowing and welcoming new warmth. Meanwhile, its current tenant -&nbsp;already the West End's longest-running musical -&nbsp;has itself been entirely overhauled, with Mackintosh taking the opportunity of its temporary 20-week closure for the theatre's refurbishment to replace the original landmark RSC production with a touring version that was first created for a UK tour as part of the show's 25th-anniversary celebrations in 2010. It was briefly seen in London that year at the Barbican - the show's original London home - running contemporaneously with the West End edition, and is even now on a new European and UK tour, currently playing in Zurich before it returns to continue across the regions in March. The first thing to say about it is that it still owes a lot to the original Trevor Nunn and John Caird production -&nbsp;the famous revolve of John Napier's original design may have gone, for instance, but now the actors merely mime the identical movement (originally the work of Kate Flatt, with musical staging now credited to Geoffrey Garratt, long an associate on the original production) as they advance across the stage in the ever-rousing Act One finale of "One Day More" as the iconic red flag is waved above them. Fans of the original will check off numerous such instances, including the indelible image of a dead Enjolras lying across the back of a cart. Crucially, too, the original costume designs of Andreane Neofitou are also retained, so visually there are plenty of references to the original production. There are also several cast veterans of the previous incarnation, including principals Bradley Jaden who was Javert in the final cast of the original and reprises that role now; Jon Robyns, previously Marius and Enjolras, who now graduates to the role of Jean Valjean; and <a href="/actor-profile/carrie-hope-fletcher">Carrie Hope Fletcher</a>, previously Eponine and now playing Fantine (and all three in spectacular voice); amongst others in the ensemble who also include fellow West End returnees Ciaran Bowling, Sarah Lark and Luke McCall. The show remains an ensemble effort, as it was when it was first created by Nunn and Caird. That establishes a welcome sense of continuity from past to present versions, but it is also given a fresh 21st-century inventiveness with Matt Kinley's sets being complemented by stunning painterly projections, inspired by Victor Hugo's own paintings, that have been niftily realised by Fifty-Nine Productions and Finn Ross, all of which are lavishly lit by Paule Constable. Mick Potter's sound is also thrilling, wrapping the theatre is swathes of sumptuous melody, richly played by the pit orchestra under the direction of Steve Moss. As both a producer and theatre owner, Cameron Mackintosh has always been about attention to detail; the reopening of this theatre and show gives him an opportunity to prove his meticulous care in both. But I also love fresh new details, whether it be the reintroduction of rear dress circle boxes that are newly named in honour of Maggie Smith and Judi Dench, or new cast members like West End regular Josefina Gabrielle, who - cast entirely against her usual sophisticated type as Madame Thenardier -&nbsp;is virtually unrecognisable and truly hilarious. The show remains a thrilling triumph. Here's to the next 35 years, as it looks set to become <a href="/show/the-mousetrap">The Mousetrap</a> of musical theatre; but unlike that murder mystery, there's hardly any mystery to why it's such an enduring success.<a href="/show/les-miserables">Les Miserables</a>&nbsp;is at the <a href="/theatres/sondheim-theatre">Sondheim Theatre</a>.<a href="/show/les-miserables">Les Miserables&nbsp;tickets</a> are available now.

Review - Les Miserables at the Sondheim Theatre

The Sondheim Theatre opened on 8 Oct. 1907. TThe Sondheim was built as a pair with the Hicks Theatre, now called the [Gielgud Theatre](https://www.londontheatre.co.uk/theatres/gielgud-theatre). 

The theatre was badly damaged in September 1940 when a World War II German bomb dropped directly on the building. The façade and front of house areas were destroyed. It took 20 years before the damage was repaired and the theatre reopened. Whilst the auditorium remained untouched, the exterior and foyer were rebuilt with a modern look.

The theatre has seen performances from several notable stars, including Fred Astaire, Noel Coward, and [Kenneth Branagh](https://www.londontheatre.co.uk/actor-profile/kenneth-branagh). 

The Sondheim Theatre is currently home to [*Les Misérables*](https://www.londontheatre.co.uk/show/les-miserables), where it's played since 2004.

## Sondheim Theatre Seating Information

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

The Stalls offers good views of the stage, helped by a noticable rake in the seating from Row H onwards. 

The Dress Circle offers good legroom, but the curving of the area means that the sightlines from the outermost seats to suffer. 

The Upper Circle has a very good rake in the seating allowing for good views.

## Where is *Les Miserables* in London?

*Les Miserables* is at the Sondheim Theatre in London. The Sondheim Theatre is located on Shaftesbury Theatre. It's close to West End theatres including the Lyric Theatre and the Gielgud Theatre.

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Sondheim Theatre

Suitable for 8+. Anyone under the age of 16 has to be accompanied by an adult aged 18+. Under 4s will not be admitted

The Phantom of the Opera [308] - LON

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The Phantom of the Opera

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Stop a person on the street and ask them to name a West End musical, they'll probably say one of two things: <a href="/show/les-miserables">Les Mis</a>, or <a href="/show/the-phantom-of-the-opera">The Phantom of the Opera</a>. The latter has been impressively running non-stop at <a href="/theatres/her-majestys-theatre">Her Majesty's Theatre</a>&nbsp;for over 3 decades now, but does Andrew Lloyd Webber's musical still have the same sense of wonder as it did all that time ago.&nbsp;&nbsp;There's no question that it's a complete classic: the story tells of the titular phantom who haunts an opera house, the tales of his presence in the building are now common gossip amongst the casts. During rehearsals for the company's latest offering, an unknown chorus girl, Christine, is forced to thrust into the lead role, with the producers assured she has been taught well. Taught, it turns out, by the 'Angel of Music', the Phantom whose voice rings around in her head.During her triumphant performance, an old friend Raoul rekindles his love for Christine, while the Phantom reveals himself to Christine, luring her to his underground lair. As he tells her how she's been chosen to perform his work-in-progress opera, she lifts his mask to reveal his gruesomely disfigured face, and this begins a tale of jealousy and control.While its reputation as the ultimate romantic musical precedes it, watching the show in the #MeToo era throws up for a few uneasy moments. As the Phantom's manipulation and desire to control Christine become more and more apparent - through some pretty no-nonsense lyrics like "You will curse the day you did not do /All that the Phantom asked of you" - it's difficult not to feel for her as she is trapped and manipulated by a selfish, jealous man.It did create two of the most desirable roles for any musical theatre performer. Originated by Michael Crawford and Sarah Brightman, the production currently features an excellent leading cast of <a href="/theatre-news/interviews/ben-lewis-interview-meet-the-west-ends-new-phantom-of-the-opera">Ben Lewis</a> and Kelly Mathieson. Lewis commands every corner of the stage with the menace of the Phantom, while treating his more tender moments with the deluded pain the character demands. Mathieson plays Christine with the kind of innocent naivety that makes the part convincing, and nails some of the most challenging songs written for the stage.There is still something special about Lloyd Webber's score. Its songs were revelations that shook musical theatre, standards that entered the public consciousness. The '80s synth-opera fusion might seem a little dated, but there's no disputing that descending motif still conjures goose bumps. At the heart of "The Point of No Return" - the Phantom's composition - are the satisfying resolved phrases that are a trademark of the score.In 2018, it's difficult for one to imagine the reaction this production would have received in the '80s. It's wildly over the top - complete with its iconic set pieces, fireballs, and an elephant &nbsp;- and some of these elements raise a chuckle or two at the confidence it must have taken to pull them off. Some of the tricks wouldn't look out of place in <a href="/show/harry-potter-and-the-cursed-child">Harry Potter and the Cursed Child</a>, while others laid the groundwork for a show like <a href="/show/bat-out-of-hell-the-musical">Bat Out of Hell</a> to exist at the heightened level it does.While we could dissect the reaction the show would get if <a href="/show/the-phantom-of-the-opera">Phantom</a>&nbsp;was presented as a new work today, there's no question that it's still wild, it's still joyous, and it's still deserved of its place as the pride of the West End.<a href="/show/the-phantom-of-the-opera">The Phantom of the Opera</a> is currently booking at the <a href="/theatres/her-majestys-theatre">Her Majesty's Theatre</a>.

Review - The Phantom of the Opera at Her Majesty's Theatre

This multi-award winning musical continues to captivate audiences at Her Majesty’s Theatre in London’s West End, after more than 12,000 performances.

A theatre has stood on the site of Her Majesty's Theatre since 1705. This incarnation of Her Majesty’s Theatre opened in 1897.

The Her Majesty's Theatre auditorium is appropriately scaled to house musicals. Throughout the 20th century, a host of musicals played at Her Majesty's Theatre: *Brigadoon*, *Paint Your Wagon*, *Bye Bye Birdie*, *West Side Story*, *On The Twentieth Century*, *Fiddler on the Roof* and *Bugsy Malone*. 

The theatre’s current tenant is Andrew Lloyd Webber’s *[The Phantom of the Opera](https://www.londontheatre.co.uk/show/308-the-phantom-of-the-opera)*, which opened in October 1986 and is the theatre’s longest running production. Her Majesty's Theatre is currently owned by Andrew Lloyd Webber's Really Useful Theatres Group.

Following the death of Queen Elizabeth II, Her Majesty’s Theatre will be renamed to His Majesty’s Theatre after King Charles III's coronation. A date for the name change will be announced in due course.

## Her Majesty's Theatre Seating Information

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

Views from the Stalls are very good.Other than the front row, the legroom is good throughout the Stalls.

The Royal Circle offers good views of the stage. The overhang of the Grand Circle could affect the view from seats in Row E onwards.

The Balcony's sharp rake of the seating ensures good views.

## Where is *The Phantom of the Opera* in London?

*The Phantom of the Opera* is at Her Majesty's Theatre in London. Her Majesty's Theatre is located on Haymarket. It's close to the Theatre Royal Haymarket and Piccadilly Circus.

Her Majesty’s Theatre - LON

Her Majesty’s Theatre

Recommended 7+. Children under 16 must be accompanied by an adult (18+) and may not sit on their own. Children under 3 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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I unlocked The Daily Dozen for tickets to see @WickedUK on @TodayTixUK! Tap to unlock: https://www.todaytix.com/london/shows/313?share=unlock

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

Recommended age: 7+. Children under school age will not be permitted entry. Under 16yo must be accompanied by an adult. All children must have their own ticket.

The Mousetrap Rush

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I unlocked £25 Rush tickets for The Mousetrap on @TodayTixUK! https://www.todaytix.com/london/shows/333?share=unlock

The Mousetrap [333] - LON

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Agatha Christie's '<a href="/show/the-mousetrap">The Mousetrap</a>', opened in the West End on the 25th November 1952, which means it has been running for over 50 years making it the world's longest running play - an incredible achievement for any play and one that the producers are rightly proud of. In the course of the first 50 years, according to the programme notes, over 10 million people have seen the show and over 395 tons of ice cream have been sold!So what is the show's success? Part of it has to do with the fame of playwright Agatha Christie. In 1962 UNESCO announced that she was the most widely read British writer in the world, beating even Shakespeare, who came a miserable second. As the creator of such famous sleuths as Miss Jane Marple and the famous French, sorry Belgian, Detective Hercule Poirot, Agatha Christie is the most famous 'whodunnit' crime writer of all time. Who has not heard of "Death on the Nile" or "Murder on the Orient Express"?Agatha Christie's fame has surely played a part in this show's success. In the 1950's Christie's books were regularly in the top sellers list. It was hardly surprising that a play, which has never been published or turned into a movie or tv programme, should attract avid fans. Since that initial enthusiasm the show has now become one of the essential things to do on many a tourists schedule - go to Buckingham Palace, visit the Tower of London and see 'The Mousetrap'.The play is your regular 'whodunit' mystery. Eight people are snowed in at a guest house: Mollie and Giles Ralston, the owners; four invited guests, each with eccentric characteristics; the unexpected guest, who turns up out of the blue after his car overturns in the snow storm; and finally a skiing detective. Once everyone has arrived it is not long before a murder takes place and the detective assembles all the guests together and interrogates them one by one. Each avoid the truth, some by silence and others by lies? Can the murderer be caught before more deaths happen?The story, whilst sensational and full of silly coincidences, is actually quite good. The characters are, despite their histrionics, vivid and they interact amongst themselves with macabre amusement. There are enough false clues to keep you guessing and a few hidden ones that mean if you stay alert you will not be too surprised to discover that the murderer is ****. Just kidding! If you want the answer to that question then you will need to go and see this quintessentially English murder mystery for yourself.NOTE: The star rating was added to this review by the editor after original publication<a href="/show/the-mousetrap">The Mousetrap Tickets</a> are now on sale.&nbsp;

The Mousetrap Review

AGATHA CHRISTIE’S THE MOUSETRAP is the world’s longest-running play. This thrilling West End production – which has become as much of a London icon as Big Ben or Buckingham Palace – is THE genre-defining murder mystery from the best-selling novelist of all time… case closed!

As news spreads of a murder in London, seven strangers find themselves snowed in at a stately countryside guesthouse. When a police sergeant arrives, the guests discover – to their horror – that a killer is in their midst! Which one is the murderer?  Can you solve the mystery before another “mouse” goes SNAP?

For almost 70 years, AGATHA CHRISTIE’S THE MOUSETRAP has kept millions of people from every corner of the globe on the edge of their seats. HAVE YOUDUNNIT

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

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 for ages 7+. Children under the age of 5 cannot be admitted to the auditorium. All patrons, regardless of age, must have a valid ticket.

Grease The Musical - [24201] LON

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This seems to be the summer of reinvented classic musicals, from the moody [*Oklahoma!*](https://www.londontheatre.co.uk/reviews/oklahoma-review-young-vic) at the Young Vic to a revamped *[Legally Blonde](https://www.londontheatre.co.uk/show/24209-legally-blonde)* at Regent’s Park Open Air. In that vein, Nikolai Foster dishes up his “gritty” *[Grease](https://www.londontheatre.co.uk/show/24201-grease-the-musical)*, which began Leicester Curve, toured the UK and is now playing in the West End. But is this the one that audiences want?

Yes and no. Foster has gone back to Jim Jacobs and Warren Casey’s original stage musical version, rather than the John Travolta and Olivia Newton-John 50s nostalgia-fest movie. It definitely feels rawer: working-class, disaffected, lust-crazed kids bucking against authority, in the mean streets of Chicago instead of sunny California. There are songs you won’t recognise from the film, like an expressive rock solo for [Dan Partridge](https://www.londontheatre.co.uk/theatre-news/interviews/dan-partridge-and-olivia-moore-on-playing-danny-and-sandy-in-grease)’s restless Danny Zuko, “How Big I’m Gonna Be”.

But you come to realise the wisdom of the movie adaptation in narrative terms. The Danny/Sandy romance really doesn’t feature that much here, meaning big numbers like “Hopelessly Devoted to You” – though well sung by Olivia Moore – come out of nowhere. Sandy’s climactic sex-kitten transformation is particularly inexplicable, since she’s vigorously defended her (admittedly goody-two-shoes) life choices in previous scenes.

Oddly, their dynamic is also doubled up by Danny’s push-pull relationship with perky cheerleader Patty Simcox, who likewise challenges him to do more with his life than just hang out with his gang, the Burger Palace Boys. She lingers as another romantic prospect, thanks to the charged scenes between Partridge and the vivid Jessica Croll. Yet Patty has more growth than Danny – who’s basically given a free pass for his groping, lying and vacillating. 

But if this *Grease* loses the thread of its boy-meets-girl plot, it’s much more successful as a paean to teen friendships. From the eager back and forth of the indelible “Summer Nights” to the slumber parties and school dances, these are recognisably kids who take solace in and want to fit in with their peers, while also figuring out who they might become after high school. “We Go Together” is a jubilant ensemble triumph.

And that ensemble features plenty of winning turns. Mary Moore and Noah Harrison are endearing in the playful duet “Mooning”, Jake Reynolds charms when picking out chords for “These Magic Changes”, Katie Lee impresses in the energetic hand jive competition, and Paul French brings a dangerous edge to the testosterone-fuelled Kenickie. 

Jocasta Almgill is the clear standout though, showing the searing pain and desperation behind Rizzo’s sharp-tongued bullying and slinky-hipped swagger, culminating in a ferocious “There Are Worse Things I Could Do”.

[Peter Andre](https://www.londontheatre.co.uk/theatre-news/interviews/peter-andre-achieves-a-lifelong-dream-with-grease-in-the-west-end), if vocally underpowered, is surprisingly good fun as the Elvis-aping DJ and fantasy Teen Angel. It helps that he’s essentially in on the joke, sending up his own cheesy persona and incongruous presence in this professional musical theatre cast. “Beauty School Drop Out” is a highlight thanks to its camp, witty staging, with an angel whizzing in on a scooter and mannequin doll heads paraded around.

Frustratingly, the other songs lack that impact. [Arlene Phillips](https://www.londontheatre.co.uk/theatre-news/interviews/choreographer-arlene-phillips-putting-women-front-and-centre-in-grease)’s choreography is effectively character-driven, from youthful rockabilly romps to the guys throwing punches, thrusting crotches and smoothing their hair, but you long for a number to really explode off the massive Dominion stage. Colin Richmond’s school gym-based set is likewise limiting.

But then that’s the core issue with this production, which feels caught between sombre realism and full-throttle, sugar-rush escapism. It feints at the former, like teasing a rumble with another gang, trouble with the cops, or a more hard-hitting look at predatory male behaviour, yet never quite commits. Though given the glee with which fans welcomed the end singalong megamix, I rather suspect that it’s the gentler, more inviting side of *Grease* which will keep audiences asking “Tell me more, tell me more”.

[*Grease is at the Dominion Theatre to 29 October. Book Grease tickets on London Theatre.*](https://www.londontheatre.co.uk/show/24201-grease-the-musical)

*Photo credit: Dan Partridge, Jocasta Almgill and company in Grease at the Dominion Theatre (Photo by Manuel Harlan)*

'Grease' review — this fitfully gritty take on the beloved musical still gives you chills

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.

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Dominion Theatre

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

Oklahoma! Rush 

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OKLAHOMA! - LON [26450] 

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OKLAHOMA!

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

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

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

## Wyndham's Theatre Seating Information

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

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

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

The Grand Circle is set very high in this theatre.

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

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Wyndham's Theatre

The Book of Mormon Rush

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The Book of Mormon [287] - LON

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The Book of Mormon 

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Note: Cast has changed since this reviewIf you follow proceedings in the entertainment arena, you may well know as much if not far more than I do about this much-anticipated show. '<a href="/show/the-book-of-mormon">The Book of Mormon</a>' has already been in residence on Broadway for the past two years, where it has been a huge success, and advance publicity for the show means there can't be many people in the UK who do not know about it already.Given the descriptive nature of the title, it is pretty clear that the show is about the religious group informally known as the Mormons, or more accurately the members of the Church of Jesus Christ of Latter-day Saints. The congregation of this church stretches across the globe thanks to missionary activities which form part of the required service of a male member of the church. So, many of us are accustomed to being hailed in the street or on our doorsteps by young men, mostly American, who are desperate to convert anyone and everyone to their faith.The show begins at a Mormon missionary training centre where a group of squeaky-clean young men in their late teens are preparing to head-off on their missions in various parts of the world. Elder Price (Gavin Creel) seems like the ideal young man to succeed in baptising more than any other missionary on his two-year endeavour. He is eagerly anticipating being sent to Orlando, Florida, which has been his dream-destination since childhood. Elder Price has pin-up good looks, and has all the attractive qualities to make him, well, popular. On the other hand another of the trainees is neither as charming or good-looking as Elder Price. Elder Cunningham (wonderfully played by Jared Gertner) is rather overweight for his diminutive stature, and with his spectacles and curly mop of hair, hardly meets the manicured image of the other missionaries who all seem to have inherited identical Mormon genetics. Elder Cunningham cannot remember the basic sales patter which the missionaries are trained to deliver, and moreover has issues with telling the truth. Since the missionaries are sent off on their work in pairs and must never leave each others' sides, you can see where this set-up is heading. Yes, the supremely confident and smooth-operating Price is twinned with the unreliable and gawky Cunningham. Disaster seems imminent as winner is teamed with loser, and is more or less assured when the ill-matched pair are sent, not to Orlando as Price yearned, but to Africa. The results are more or less predictable, though there are some surprises.<iframe align="right" frameborder="0" src="https://embed.spotify.com/?uri=http://open.spotify.com/track/4YfNmQKnrX5DrlAxSAnMoA" style="width: 330px; height: 80px;"></iframe>Given that this is a satire directed against a particular religious group - who are still very much alive and preaching - this show might have attracted a whole string of legal actions, or at least a heated public exchange between the production team and the Mormons. But apparently not from what I can gather. The Mormons seem to have taken the show in their stride - which implies they see no threat and have, in avoiding a public row, preserved their dignity. But I don't really think they have much to worry about anyway. Sure, the show pokes fun at them and their beliefs. In particular, the actual '<a href="/show/the-book-of-mormon">Book of Mormon</a>' is scoffed at because of the incredulous nature of its origins. However, we see Elders Price and Cunningham not just as Mormons, but as individual human beings who find themselves in an extraordinary situation. In a sense, we laugh with them almost as much, if not more, than laughing at them. The satirical nature of the show is certainly never vicious or unduly cruel, though I found the reference to everyone in Africa having AIDS just the wrong side of bad taste for my liking. But most of the audience laughed at that remark as well much else besides.On the evening I caught the show the cast were word-perfect, the action was flawless and the orchestra was in great form. There was an almost audible buzz from the audience almost as soon as they entered the theatre and they seemed ready and willing to laugh, and they did, and very frequently at that. There was an instant standing ovation at the end which in my experience is fairly rare even with long-running and much-loved shows. And when I say a standing ovation, I am referring to the entire audience and not a few ardent fans who have already seen the show. And speaking of fans, I noticed that a couple of people in the front stalls seemed to have already taken the show to their hearts as they were dressed in the missionary uniform of white shirt, black tie and trousers, as well as a name badge. If that does not signify a hit, I am not sure what does - unless, of course, they were Mormon missionaries.I had to fight my way through hoards of people trying to buy last-minute tickets and there were a few dubious characters outside the theatre trying to buy-up any spares. So, whatever I or any other critic might say about this musical, it seems like it will be hard to dislodge it for some considerable time. In fact, the show is very funny - not the funniest I have seen in the past few years, but certainly one of them and very near the top of the 'funniest' list. It is cleverly written and extremely well-produced, and the excellent, energetic performances give the impression that the cast are loving every minute of it. It is enormously enjoyable, and the laughs keep coming even when the story-line seems about to run out of steam. Like the contents of the <a href="/show/the-book-of-mormon">Book of Mormon</a> itself, this show could well end-up being the stuff of legend.Note: This Review is from a preview performance.<a href="/show/the-book-of-mormon">Book of Mormon Tickets</a> are now on sale."While acknowledging that it is often damnably clever and sharp, I find it hard to warm to the show...The Book of Mormon strikes me as a decadent and self-indulgent musical, and its mixture of satire and syrup ultimately proves repellent." Charles Spencer for Daily Telegraph"I absolutely loved it...songs, though not especially memorable, have bounce and bite and colour." Paul Taylor for The Independent"I'm not sure its crude yet clever package is roll-in-the-aisles funny but it's deliciously entertaining and there is certainly nothing like it in the West End." Julie Carpenter for The Daily Express"Its satire is insistently US college-campus adolescent. I tired of it after ten minutes...This is a cowardly, coarse, cynical show, worth avoiding. Quentin Letts for The Daily Mail" Indecently funny...The music...is generally jaunty and from time to time soars operatically, though only three or four of the tunes are really memorable. Henry Hitchings for Evening Standard"A mildly amusing musical, with some knowingly parodic songs, that takes a few pot shots at religious credulity without ever questioning the need for belief. I had a perfectly pleasant time, but the idea that the show, which won nine Tony awards, is either daringly offensive or a Broadway breakthrough is pure codswallop...For all its rude words, this is essentially a safe, conservative show for middle America." Michael Billington for The Guardian

The Book of Mormon London Review

*The Book of Mormon* comes from South Park creators__ Trey Parker__ and __Matt Stone__, and *Avenue Q* co-creator __Robert Lopez__. *The Book of Mormon*, winner of nine Tony Awards® and four Olivier Awards, including Best Musical for both, follows a pair of Mormon boys sent on a mission to a place that’s about as far away a from Salt Lake City as you can get.

The Prince of Wales Theatre opened on 27 Oct. 1937. The theatre was named for the current Prince at the time, the future Edward VII.

In the 1930s, the theatre hosted risqué Follies-style revues. Whilst controversial, the shows proved to be a huge success and the profits made funded the demolition of the theatre and the construction of the new building.

In 1941 the theatre played host to the UK premiere of *The Great Dictator*, Charlie Chaplin’s film that had been banned across most of Europe.

The Beatles also performed at the theatre in 1963 at the Royal Variety Performance for the Queen Mother. Barbra Streisand made her West End debut here in *Funny Girl* in 1966. *The Book of Mormon* opened in London in 2013, and it's played at the West End theatre ever since.

## Prince of Wales Theatre Seating Information

The auditorium has two levels - Stalls and Dress Circle.

The seating is very comfortable and offer good views of the stage due to a noticeable rake in the seating and offset seating, meaning no seat is placed directly behind another.

The Dress Circle offers excellent views of the stage due to the steep rake in the seating. 

## Where is *The Book of Mormon* in London?

*The Book of Mormon* is at the Prince of Wales Theatre in London. The Prince of Wales Theatre is located close to Leicester Square. It's near West End theatres including the Criterion Theatre and Theatre Royal Haymarket.

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Prince of Wales Theatre

Mamma Mia! Rush 

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MAMMA MIA! [304] - LON

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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

Recommended 6+. No children under the age of 4 will be admitted and every customer must have their own ticket. 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 [305] - LON

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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.

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Cambridge Theatre

No under 16's are allowed to go into the standing ticket area unaccompanied.

Guys & Dolls Rush

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Guys & Dolls

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Would luck be a lady for Nicholas Hytner? His much-hyped, immersive production of *[Guys & Dolls](https://www.londontheatre.co.uk/show/25504-guys-and-dolls-tickets)* is set to run for six months at the [Bridge Theatre](https://www.londontheatre.co.uk/theatres/the-bridge-theatre) — a significant gamble. Well, I’m delighted to report that he’s hit the jackpot with this jubilant revival, which somehow manages to be both the most exhilarating version of Frank Loesser’s musical I’ve seen, and also the most nuanced. 

That combination is thanks to an ingenious staging, building on the Bridge’s previous immersive Shakespeare productions. The audience is in the round, partly seated. The standing audience, gathered in the centre, gets thrillingly close to the action, with hydraulic platforms shooting out of the floor all over the place and neon signs descending from the ceiling.

Bunny Christie’s design basically dances more than the cast. It creates boundless staging opportunities for Hytner: whether it’s a central platform for a big Hot Box number, or a large zigzagging path across the auditorium, or several separate mini-stages acting as different locations. It matches the energy of this heightened, Damon Runyon-styled New York City, and allows for lightning-fast scene changes (occasionally the set-up for the next scene cuts into the current one, as ushers nudge the promenading audience around, but that can hopefully be ironed out over the run). 

It creates a dynamic audience experience, far removed from the previous rather tired West End outing for *Guys & Dolls*. There’s pre-show fun (you can get a rakish hat or a pretzel from a street seller), and immersive elements during the show itself: you might be handed a Save-a-Soul Mission leaflet, or a streamer to wave, or have your drink nicked by a cheeky gambler. It all climaxes with a euphoric dance party, with cast members sticking around to boogie and take selfies with fans. It’s an inspired way to make theatre feel relevant and accessible.

But, as with the similarly thoughtful revivals of *Cabaret* and *Oklahoma!*, this isn’t just audience pandering. Thanks to the intimacy and nimbleness of this set-up, Hytner can also mine the show for psychological detail. 

*Guys & Dolls* is that rare show in which the book is the equal of the score, and this production so joyfully lands all of Abe Burrows and Jo Swerling’s zingers and larger-than-life, deliciously named characters, while also giving them dimensionality.

Crucially, it addresses the inherent misogyny. [Marisha Wallace](https://www.londontheatre.co.uk/stars-on-stage/marisha-wallace)’s Adelaide is no ditzy, marriage-obsessed dupe, who eventually guilts reluctant long-time fiancé Nathan into settling down with her. Instead, this is a couple desperately, carnally in love with each other, however, it’s Nathan who has the mental block. Daniel Mays (mostly known for his screen work, but making a phenomenal musical theatre debut) emphasises how Nathan relishes his status as the ultimate fixer, always staying one step ahead of the law. What happens if he stops running? 

The pair of them bring impressive comic chops but also an inherent sadness to their big rows, especially the wonderfully absurd sequence in which Adelaide admits she’s invented a brood of children for her concerned mother (Mays’s pique that Nathan is just an assistant manager in this fiction is priceless). 

Duet “Sue Me” — often a throwaway gag — is a masterclass in acting through song, supported by the blocking: they grow more physically distanced with each bitter exchange, while still achingly emotionally attached.

Wallace also avoids the easy humorous route with “Adelaide’s Lament,” dropping the exaggerated pronunciations in favour of framing the number as a gentle confession, aimed at the audience right beside her — one friend speaking to another. But she’s just as capable of amping up her performance in the steamy Hot Box stripteases (no coyness here), in which she owns her power and sexuality. 

In contrast to these warring veterans of love are the newly met, opposites-attract pair: Celinde Schoenmaker’s robustly dedicated missionary Sarah and Andrew Richardson’s charmingly insincere gambler Sky. Again, this is framed as an equal journey, not just as a woman who needs to lighten up. 

If anything, the exquisitely clarion-voiced Schoenmaker is the driving force: in “If I Were a Bell” she seems as drunk on life as on rum, tearing open Sky’s shirt and, following some Gene Kelly lamppost swinging, falling into his arms and swimming through the air. When they meet in song, their harmonies intertwine like a warm embrace. 

The boyish Richardson, a smouldering, Clive Owen-esque presence, actually feels like the lost one of the pair. This mainly works nicely, although both performance and vocals need more projection. There’s also one bewildering misstep: the introduction of a stereotypical gay club in Havana. It gets around the tired trope of a feisty Latina starting a catfight, and a bisexual Sky is a fascinating idea, but it’s never actually developed.

I also would have liked more explosive choreography here (the Cuban sequence begins with dancers scattered in the crowd — less impactful at a distance), but Arlene Phillips and James Cousins’s grounded, organic movement is otherwise invigorating, and the visible band gives us a glorious version of Loesser’s peerless score. Plus there are numerous scene-stealing supporting turns: Cedric Neal’s Nicely-Nicely, lending gospel fervour to “Sit Down, You’re Rocking the Boat”; Mark Oxtoby’s fast-talking Benny; the perfect sight gag of Cameron Johnson’s giant Big Jule.

Most joyfully, the happy ending feels earned. Wallace and Schoenmaker’s “Marry the Man Today” isn’t an expression of dubious making-do, but a dawning realisation — by two shrewd women knocking back shots together; fabulous — that there’s nothing certain about life or love: “You’ve simply gotta gamble”. And when it pays off, as Hytner proves, the rewards are boundless. 

*Guys & Dolls at the Bridge Theatre through 2 September. Book Guys & Dolls tickets on London Theatre.*

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=25504&content_product_id=25504&venue_id=76)

*Photo credit: The cast of Guys & Dolls (Photo by Manuel Harlan)*

'Guys & Dolls' review – Nicholas Hytner hits the jackpot with this exhilarating immersive revival

Read our five-star review of *Guys & Dolls* starring Marisha Wallace at the Bridge Theatre, currently playing through 2 September. Get *Guys & Dolls* tickets on London Theatre.

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.

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Bridge Theatre

Recommended for ages 12+. Children under the age of 16 must be accompanied by and sat next to a ticket holder who is at least 18 years old.

To Kill a Mockingbird Rush

I purchased £25 Rush tickets for To Kill a Mockingbird on @TodayTixUK! #TodayTixRush https://www.todaytix.com/london/shows/20130?share=unlock

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To Kill A Mockingbird

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A time-honoured title, not least against expectation in the UK, gets a vigorous new lease on life in this West End reboot of [*To Kill A Mockingbird*](https://www.londontheatre.co.uk/show/20130-to-kill-a-mockingbird), a London transplant of the 2018 New York iteration that made headlines as the most commercially successful straight play in Broadway history. 

Judging by its visceral appeal to a British audience, Harper Lee’s story of racial injustice in 1930s Alabama should resonate no less galvanically here, not least as refashioned by playwright Aaron Sorkin and director Bartlett Sher, and with a tremendous performance from [Rafe Spall](https://www.londontheatre.co.uk/actor-profile/rafe-spall) inheriting Gregory Peck’s screen role as Atticus Finch. (This novel has long been a stage mainstay in Britain, albeit in a separate adaptation that brought Robert Sean Leonard to London to play Atticus in 2013.)

Times have changed rather significantly since Jeff Daniels opened in this production Stateside, and Sorkin has cannily adjusted his script to capture the changing zeitgeist and a necessarily heightened awareness of racism and societal injustice. 

The result more amply foregrounds the widower Atticus’s relationship with the family housekeeper Calpurnia (Pamela Nomvete) and, on this occasion anyway, rather side lines the narrative potential of Atticus’s daughter Scout, not least because Gwyneth Keyworth is still finding her footing in the role that brought Celia Keenan-Bolger a Tony Award. 

Keyworth looks perfect for the child-woman required of an adult playing a young girl, but may perhaps be held back by accent issues that on this occasion are shared among one or two others in the cast. 

I very much exclude from that line-up the pitch-perfect Spall and Nomvete – and, for that matter, recent drama school graduate Harry Redding, here making an impressive stage debut as Scout’s older brother, Jem (short for Jeremy, just as Scout is short for Jean-Louise). 

And whereas Lee’s 1960 novel takes its sweet time getting to the trial, the courtroom exists at the thematic and physical centre of a production that shifts multiple locales with ease as Miriam Buether’s restless set slides this way and that to accommodate the domestic requirements of the material as well as its legal aspects. 

Scout sets the scene, landing us in the rape trial of Tom Robinson (Jude Owusu), a 25-year-old Black man with three children who is put on the stand with Atticus in his corner and a hunched Mayella Ewell (Poppy Lee Friar) as the accused. Mayella’s father, Bob, is a snarling bigot played with full-throttle fury by the excellent Patrick O’Kane who, it’s intriguing to note, is also the cover for Atticus – which here gives new meaning to playing both sides of the fence.

“Conscience can be exhausting,” says Atticus, in one of the play’s key takeaway lines, and Spall’s great achievement is to locate a rumpled, creased authority within a potentially saintly character who is rescued here from unimpeachable rectitude, not least in a faceoff with Calpurnia that exposes even this upstanding lawyer’s limitations. 

Speaking of “hasten(ing) the change,” Atticus here sounds at times like someone running for office, and it’s no surprise when mention is made near the start of a possible gubernatorial role for this character. I’m not sure Bob Ewell needs on this occasion to be classed as anti-Semitic amongst his other hateful characteristics: that feels in context like a step too far. 

But Spall handles moral outrage with an understated command that invites empathy for this man on all fronts: a small-c crusader who puts decency first whilst acknowledging that no one, himself included, is without flaw.
A cast the size of many a musical includes the award-winning David Moorst as Dill Harris, who fairly blatantly figures as comic relief, and the invaluable Jim Norton (himself a Tony and Olivier winner) in robust form as a notably keen-witted judge. 

That nearly 90 years have passed between the era in which the play is set and today, with arguably very little having fundamentally changed, may give sorrowful pause: how are we to achieve that change which Atticus so movingly anticipates? As a richly emotional evening closes on the rending hymn “Joy Cometh in the Morning,” all one can and must do is look toward a better tomorrow and to those new and more just mornings that, with any luck, lie in wait.

[*To Kill a Mockingbird* is at the Gielgud Theatre to Nov. 19. Book *To Kill a Mockingbird* tickets on London Theatre.](https://www.londontheatre.co.uk/show/20130-to-kill-a-mockingbird)

*Rafe Spall in To Kill a Mockingbird. (Photo by Marc Brenner)*

'To Kill a Mockingbird' review: Rafe Spall shines in Aaron Sorkin's stage adaptation

*To Kill a Mockingbird* is at the Gielgud Theatre to 19 November. 

★★★★★ - Evening Standard
★★★★★ - Daily Telegraph

__Matthew Modine__ plays Atticus Finch in *To Kill a Mockingbird*, __Aaron Sorkin's__ new play based on __Harper Lee's__ Pulitzer Prize-winning novel, directed by __Bartlett Sher__, now open at the Gielgud Theatre.

Harper Lee's enduring story of racial injustice and childhood innocence has sold 45 million copies worldwide. In New York, the production has become the most successful American play in Broadway history.


The Gielgud Theatre opened on 27 Dec. 1906, and was built for Seymour Hicks. The Gielgud was built as a pair with the [Sondheim Theatre](https://www.londontheatre.co.uk/theatres/sondheim-theatre).

The house was renamed the Globe Theatre in 1909 by its new manager, Charles Frohman from America. It was known as the Globe Theatre for the next 85 years until a 1994 name change to avoid confusion with [Shakespeare’s Globe Theatre](https://www.londontheatre.co.uk/theatres/shakespeares-globe-theatre) on the South Bank. It was then that the theatre received its current name, the Gielgud.

Hit shows at the Gielgud Theatre include Simon Stephens' [*The Curious Incident of the Dog in the Night-Time*](https://www.londontheatre.co.uk/show/the-curious-incident-of-the-dog-in-the-night-time), Jez Butterworth's *The Ferryman* and a gender-swapped revival of Stephen Sondheim's *Company*.  Delfont Mackintosh Theatres own the Gielgud Theatre.

## Gielgud Theatre Seating Information

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

The Stalls offers very good sightlines with each row being offset from the one in front. The overhang of the Dress Circle becomes apparent from Row R onwards.

The Dress Circle doesn’t have a strong rake. The stage is not obstructed by the overhang of the Upper Circle.

The Upper Circle seats offer good legroom. The seats curve inwards towards the stage.

## Where is *To Kill a Mockingbird* in the West End? 

*To Kill a Mockingbird* is at the Gielgud Theatre. The Gielgud Theatre is located on Shaftesbury Avenue, and is one of six theatres on the West End road.

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Gielgud Theatre

Children under five are not allowed to attend this performance.

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Sadler's Wells is the home of contemporary dance productions in London. A smaller, 180-seat studio theatre (the Lilian Baylis Studio) was also built in the renovation to accommodate workshops of new works, as well as smaller productions for younger audiences. 

Sir Matthew Bourne's all-male *Swan Lake* premiered here in 1995 on the main stage before going on to international success. Sadler's Wells theatre events take place year round, with musicals taking place in the summer months, and dance shows throughout spring, autumn, and winter.

## Sadler's Wells Seating Information

The auditorium has three levels - Stalls, First Circle and Second Circle. The sightlines from most seats are very good, with no pillars obstructing views.

In the Stalls, the view from seats in Rows N-S may be slightly obstructed by the overhang of the First Circle.

In the First Circle, the view from seats in Rows L-M may be partially impaired by the overhang of the Second Circle.

The Second Circle may feel slightly removed from the action, and the view from the side seats in the front four rows is slightly impaired due to the seats being set at an angle.

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Sadler's Wells

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

Jersey Boys Rush

I unlocked £25 Rush tickets for Jersey Boys on @TodayTixUK! https://www.todaytix.com/london/shows/22661?share=unlock

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Jersey Boys  

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

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

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

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

## Where is *Jersey Boys* in London?

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

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Trafalgar Theatre

Recommended 14+ - there are scenes of partial nudity and the storyline addresses the topic of abortion. Children under the age of 5 cannot be admitted to the auditorium.  All patrons, regardless of age must have a valid ticket.

Dirty Dancing Rush

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I unlocked £25 Rush tickets for Dirty Dancing on @TodayTixUK! https://www.todaytix.com/london/shows/24338?share=unlocked

Dirty Dancing - The Classic Story on Stage - LON [24338]

Kira Malou, Michael O Reilly (c) Mark Senior

Dirty Dancing - The Classic Story on Stage

Dirty Dancing 2023

With its infectious mix of chart-topping tracks, explosive dance routines, and *that* lift, [*Dirty Dancing*](https://www.londontheatre.co.uk/show/24338-dirty-dancing---the-classic-story-on-stage-tickets) at the [Dominion Theatre](https://www.londontheatre.co.uk/theatres/dominion-theatre) is a joyous musical tonic. You’ll wish you could book a one-way trip to Kellerman’s.

At its heart, *Dirty Dancing* is about the endearing summer romance between holidaymaker Frances “Baby” Houseman, and the resident dance instructor Johnny Castle. Jennifer Grey and Patrick Swayze put the Catskills lovers on the Hollywood map, and their spirits resonate in the stage adaptation.

Kira Malou and Michael O’Reilly play the romantic duo; their undeniable chemistry sizzles throughout, dancing into each other’s hearts with a tender, yet fiery, touch. 

Malou embodies the baby-faced teenager, playing the innocent, doe-eyed goofball in all the physical moments. Meanwhile, O’Reilly oozes sex appeal, making a 2000-strong audience swoon in unison — both for his killer dance routines and his sculpted torso.

There’s great supporting work too, notably from Charlotte Gooch as Johnny’s dance partner Penny — Gooch and O’Reilly’s show-stopping moves bring the house down. Georgina Castle delivers a refreshing comedic turn as Lisa Houseman, especially in a raucous version of “Lisa’s Hula”. Plus, there’s soulful vocals from the show’s lead vocalists Colin Charles (as Tito Suarez) and Lydia Sterling (as Elizabeth).

The musical incorporates all the classic hits from the film like “Hungry Eyes,” “She’s Like the Wind,” and “Cry To Me.” While the show relies on recordings, it’s also exciting to see the six-piece Kellerman’s Band take centre stage too, adding a brassy flair to the pop hits. 

But what is *Dirty Dancing* without... dancing? Thankfully, there’s plenty of it, as a hardworking ensemble power through dozens of choreographer Austin Wilk’s non-stop dance routines. They salsa, rumba, and merengue their way across the vast Dominion stage, doing their best to fill the space and cover a sparse set. If there’s ever a slow turn, the ensemble energises their audience and lifts the show to new heights.

There’s a lot of additional material infused in the stage show too, allowing audiences to understand the Houseman’s family dynamic, as well as more scenes between Baby, Johnny, and Penny. It’s a shame then that the important abortion subplot feels rushed, given the recent overturning of Roe v. Wade in the United States. Constant references to Martin Luther King's politics aren't explored in full detail either, and static scenes end mid-sentence, with actors freezing on stage in a blackout to convey the end of the conversation. 

Federico Bellone’s faithful direction stays so true to the film that at times, the musical struggles to breathe. But by the time Johnny struts in, whisks Baby onto the dancefloor and utters “Nobody puts Baby in the corner,” all concerns melt away. Everyone screams "Yes!" This is the big hitter. If you’re here for those final moments alone, you’ll be giddy with dance fever. 

*Dirty Dancing - The Classic Story on Stage is at the Dominion Theatre through 29 April. Book Dirty Dancing 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=24338&content_product_id=24338&venue_id=139)

*Photo credit: Michael O’Reilly & the ensemble of Dirty Dancing (Photo by Mark Senior)*

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