TT Category - Off West End - Lon

Book tickets to all the Off-West shows playing in London.

Off-West End Shows

Off West End Theatre Week - TodayTix LON

Strictly 14+ due to the explicit language and the content of the show

Peaky Blinders The Rise Rush 

Unlock Rush for a chance to purchase £29 tickets.

£29 Rush tickets

Promotional terms for participants in the UK (any person who resides elsewhere is not eligible to participate in the 'TodayTix Rush' sales promotion).

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.
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.

Only 2 tickets may be purchased for any particular performance per person.

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.

HOW TO PARTICIPATE IN THIS SALES PROMOTION. To participate, please select the 'TodayTix Rush' section of the app and post the proposed content about this sales promotion to your registered account with Twitter or Facebook from within the app. If you decide to proceed and post such content then the app will then display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay and always within 1 hour of the relevant performance to secure them (otherwise you will lose the opportunity to purchase them).

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

THE PROMOTER'S LIABILITY. Except that the Promoter does not exclude or limit its liability for personal injury or death caused by its negligence or for fraudulent misrepresentation or any other liability that may not, by law, be limited or excluded, the Promoter accepts no liability in relation to a participant's participation (or inability to participate) in this sales promotion, including without limitation any use made by a participant of (or inability to use) the purchased ticket(s).

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.

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.

Any queries and comments concerning this sales promotion should be directed in writing to "TodayTix Rush", TodayTix Ltd, UK Limited, 5 New Street Square, London, EC4A 3TW United Kingdom

I unlocked £29 Rush tickets for Peaky Blinders The Rise on @TodayTixUK! https://www.todaytix.com/london/shows/25895?share=unlock

Peaky Blinders: The Rise [25895] - LON

Peaky Blinders: The Rise Header - LON

Peaky Blinders: The Rise

PBTR 480 x 720 edit 2

PEAKY BLINDERS: THE RISE is "a truly unmissable experience" (Express) that transports you inside the world of TV’s most notorious drama at the Camden Garrison, the glamorously gritty new venue in the heart of Camden Market.

The Camden Garrison is the name of the immersive venue used in *Peaky Blinders: The Rise.* The Camden Garrison is located in Camden Market. Photo by Mark Senior.

The Camden Garrison - LON

The Camden Garrison

Punchdrunk creates genre-defying experiences for audiences around the world. They blend classic texts, physical performance, dance and award-winning design installation to bring to life unique sensory worlds. 

Inspired by Greek tragedies Agamemnon by Aeschylus and Hecuba by Euripides, The Burnt City is a sprawling metropolis filled with chance encounters and each visit is unique. Be brave. Follow your instincts. If you find yourself somewhere curious explore it, and if someone catches your eye follow them.


The age requirement for this performance is 16yrs+. Anyone aged 16 or 17 must be accompanied by an adult. Photo ID will be required on entry.

Punchdrunk Lottery/Rush

Enter for a chance to purchase £25 Punchdrunk tickets.

£25 Lottery tickets

If selected, you will have strictly 30 minutes to claim and purchase £25 Punchdrunk tickets.

You can enter the Punchdrunk £25 Lottery through the TodayTix mobile app. Download the TodayTix app on your iOS or Android device and enter weekly to win the chance to purchase £25 Lottery tickets.

No purchase required to enter. You can only win the Lottery for each performance once. Entrants are selected at random. By entering your phone number you are giving TodayTix permission to contact you via SMS Text, Email or Phone per our privacy policy.

Your participation in any of the lotteries in the series is subject to our standard terms and conditions, which you can view [here](https://www.todaytix.com/terms/uk). The Promoter of this series of lotteries is TodayTix, Ltd.

This is a series of promotional prize draws and the term 'lottery'/'lotteries' is only used in a brand sense. No gambling is involved.

To enter the Lottery you must either reside in United Kingdom and/or be able to attend the relevant scheduled performance in London and be aged 18 years or older. Any entries made from outside the UK will be subject to UK law.

No purchase is required to enter but if you win you will need to pay for each ticket.

You can earn one extra entry into the same lottery that you have entered if you share the auto-filled post on Facebook, another if you share the auto-filled post on Twitter, and another if you share the auto-filled post on Instagram.

All winners are drawn at random by a computerised process. There are a limited number of discounted price tickets available as prizes for each lottery in the series, which are always drawn in two stages.

All tickets available are drawn at random and assigned to winners. If a winner declines or fails to claim their tickets within thirty minutes, these tickets will be re-assigned at random to another entrant. Choosing to enter for either 1 or 2 tickets holds no bearing on your chances of being drawn as a winner.

When the winners are drawn for each lottery in the series, the same computer process will be used to randomly select "reserve" winners. If you are a "reserve" winner and the original winner does not claim the tickets, you will be sent an email to let you know that you’ve been assigned as a winner. All replacement winners are selected from the drawn "reserve" at random.
TodayTix takes no responsibility for undelivered ‘winner’ emails or push notifications.

Please note that your entry into a lottery for the chance to purchase 1 or 2 tickets for a particular performance will not be rolled-over to any lottery for another performance.

__Tickets cannot be exchanged, refunded or resold.__

Employees and their immediate families of the Promoter, its agents or anyone professionally connected with the Promoter are not able to enter.

It is also possible to enter by emailing lotteryentries@todaytixgroup.com with your name, e-mail address, phone number, post-code, number of tickets required (1 or 2 tickets) and desired performance dates/times. You can only enter for performance dates that feature within the ongoing lottery draw, no advance entries into future draws will be accepted. 

I entered the Punchdrunk Lottery for £25 tickets on @TodayTix! Tap here to enter: https://www.todaytix.com/london/shows/25388?share=enter

Unlock Rush for a chance to purchase £25 tickets.

£25 Rush tickets

Download the TodayTix app and unlock Rush for a chance to access last-minute tickets at exclusive, great prices.

Company may offer programs whereby the Company would make available certain features of the Services when you share information about the Services through an SNS or click on the “Unlock without sharing” button in the Application. When you are considering purchasing a ticket for a specific show or after you purchase a ticket, if you select the “Share” button in the Application, Company will make available to you a personalized link to a Digital Property with text stating, for example, “Check out {show} on TodayTix! I’m thinking of going…” or something similar, which you may choose to share with your friends via SNS. Once you have shared the personalized link through an SNS using the Application or selected the “Unlock without sharing” button in the Application, Company will make available to you the RUSH feature, which will provide you with otherwise unavailable offers for tickets to live events occurring in the next week. The opportunity to take advantage of these offers is only available to users who share a personalized link to an SNS through the Application or select the “Unlock without sharing” button in the Application.

I unlocked £25 Rush tickets for Punchdrunk: The Burnt City on @TodayTixUK! https://www.todaytix.com/london/shows/25388?share=unlock

Punchdrunk: The Burnt City - LON

Punchdrunk s The Burnt City (Photo Julian Abrams. Performers Omagbitse Omagbeni Vinicius Salles) 0448 2 (002)

Punchdrunk: The Burnt City

Punchdrunk The Burnt City Poster LON

One Cartridge Place is the home of Punchdrunk, an immersive theatre company. On the banks of the Thames, the venue serves as a catalyst for an inventive regeneration for theatre. Punchdrunk currently present their show, *The Burnt City* at the Woolwich-based venue. One Cartridge Place opened in summer 2022. 

## Where is *Punchdrunk: The Burnt City* in London?

*Punchdrunk: The Burnt City* is at One Cartridge Place in London. One Cartridge Place is located in Woolwich. 

One Cartridge Place - 8500

One Cartridge Place

This musical is most suitable for ages 12+. Children under the age of 4 will not be admitted to the venue.

La Cage aux Folles - LON

La Cage aux Folles

7619 06 OAT2023 CAGE TTG 480x720

The Open Air Theatre has been a permanent feature in London’s Regent’s Park since 1932. The outdoor theatre is leased by The Royal Parks to The New Shakespeare Company Ltd which is a registered charity and a not-for-profit company. The season mainly takes place between May to September. 

Regent's Park Open Air Theatre has a seating capacity of 1,240, and welcomes audiences to new revivals and award-winning shows all summer long.

__Tickets are non-refundable in the event of cancellation because of the weather__ but may be exchanged in accordance with the Weather Policy.

Regent's Park Open Air Theatre - LON

Regent's Park Open Air Theatre

The Way Old Friends Do - LON

The Way Old Friends Do

OldFriends-480x720

The Park Theatre is the brainchild of Artistic Director Jez Bond, who discovered a disused office in 2009. Realising its potential, Bond engaged David Hughes Architects, and the two embarked on a period of extensive research, visiting over 35 theatres across the country, both large and small, to garner inspiration and research what ingredients made for the perfect theatre space and functioning building for the public.

The Park Theatre is a two-auditorium venue, incorporating a 200-seat theatre (Park200), and a smaller flexible 90-seat space (Park90). 

Park Theatre - LON

Park Theatre

14+. The play deals with non-consensual medical experiments on Black women and discusses cancer. Contains strong language.

Family Tree - LON

Family Tree

Family Tree Poster

Family Tree is a beautifully poetic drama about race, health, the environment, and the incredible legacy of one of the most influential Black women of modern times. Fearlessly honest, hilarious, and ultimately transformative, this award-winning play is both a remembrance and a celebration.

Brixton House

8+. Children under the age of 4 will not be admitted to the venue.

Robin Hood: The Legend. Re-written. - LON

Robin Hood: The Legend. Re-written.

7619 06 OAT2023 HOOD TTG 480x720

Children under five are not allowed to attend this performance.

42nd Street - LON

42nd Street - TT Header - LON

42nd Street

42nd Street Poster

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.

Sadler's Wells - LON

Sadler's Wells

August in England Rush

Enter for a chance to purchase {display price} {show} tickets.

{display price} Lottery tickets

If selected, you will have [CLAIM LENGTH] to purchase [PRICE] [SHOW TITLE] tickets.

Enter for a chance to purchase {display price} {show} tickets, only in the TodayTix app.

I entered the [SHOW] Lottery for [DISPLAY_PRICE] tickets on @TodayTix! Tap here to enter: https://www.todaytix.com/[LOCATION]/shows/[ID]?share=enter

Unlock Rush for a chance to purchase £15 tickets.

£15 Rush tickets

Promotional terms for participants in the UK (any person who resides elsewhere is not eligible to participate in the 'TodayTix Rush' sales promotion).
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.
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.
Only 2 tickets may be purchased for any particular performance per person.
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.
HOW TO PARTICIPATE IN THIS SALES PROMOTION. To participate, please select the 'TodayTix Rush' section of the app and post the proposed content about this sales promotion to your registered account with Twitter or Facebook from within the app. If you decide to proceed and post such content then the app will then display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay and always within 1 hour of the relevant performance to secure them (otherwise you will lose the opportunity to purchase them).
All instructions within the 'TodayTix Rush' section of the app will form part of these promotional terms.
THE PROMOTER'S LIABILITY. Except that the Promoter does not exclude or limit its liability for personal injury or death caused by its negligence or for fraudulent misrepresentation or any other liability that may not, by law, be limited or excluded, the Promoter accepts no liability in relation to a participant's participation (or inability to participate) in this sales promotion, including without limitation any use made by a participant of (or inability to use) the purchased ticket(s).
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.
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.
Any queries and comments concerning this sales promotion should be directed in writing to "TodayTix Rush", TodayTix Ltd, UK Limited, 5 New Street Square, London, EC4A 3TW United Kingdom

I unlocked £15 Rush tickets for August in England on @TodayTixUK! https://www.todaytix.com/london/shows/26430?share=unlock

August in England - LON  

August in England - Bush LON - Header 

August in England

august in england Poster

The Bush Theatre was established in 1972, but was relocated to a new home at the old Library in Shepherd’s Bush in 2011.

The Bush Theatre typically houses new plays by writers from around the world. Often, the Bush Theatre is home to works by new playwrights, sharing contemporary stories that are provocative and entertaining. Since 1972, the Bush Theatre has won over 100 awards and produced hundreds of original plays. 

Bush Theatre - LON

Bush Theatre

Sugar Coat - [27453] - LON

Sugar Coat

Sugar Coat 480x720

Southwark Playhouse aims to inspire the next generation of theatregoers, creatives and stories. It aims to facilitate the work of new and emerging theatre practitioners at the start of their careers.

The theatre programme at Southwark Playhouse is shown in two venues, the Large and the Little.

In 2023, there will be two Southwark Playhouse theatres. Southwark Playhouse Borough will be located at 77-85 Newington Causeway, and Southwark Playhouse Elephant will be located at Dante Place. 

Southwark Playhouse Borough- LON

Southwark Playhouse Borough

Iris Theatre

A Midsummer Night’s Dream - LON

A Midsummer Night’s Dream

480 x 720 - TT proper

Age 14+ This production contains strong language and references to sex.

Berlusconi A New Musical - LON

Berlusconi A New Musical

Berlusconi A New Musical Poster

Southwark Playhouse aims to inspire the next generation of theatregoers, creatives and stories. It aims to facilitate the work of new and emerging theatre practitioners at the start of their careers.

In 2023, there will be two Southwark Playhouse theatres. Southwark Playhouse Borough will be located at 77-85 Newington Causeway, and Southwark Playhouse Elephant will be located at Dante Place. 

Southwark Playhouse Elephant - LON

Southwark Playhouse Elephant

BLACK SUPERHERO - LON

Black Superhero header - LON

BLACK SUPERHERO

BSH 480x720 2022 11 01

Superheroes are having their moment on the London stage. The musical *Eugenius!* posits a teenager in imaginative thrall to the Marvel comic likes of Tough Man and Super Hot Lady. Not far away, the [Royal Court](https://www.londontheatre.co.uk/theatres/royal-court-theatre) is hosting the playwriting debut of its leading man, Danny Lee Wynter, who plays a self-doubting queer English actor called David who dreams of playing Hamlet but is destined more likely to be Horatio. 

The object of David’s affections is an American chum called King (played by *Pose* alumnus Dyllón Burnside), who has found screen renown in a franchise as a formidably attired superhero known as Craw. Also Black and gay — but openly married, unlike David, who is single — King further upends David’s already-fragile state of mind in a play that moves from the personal to the political, from domestic scenes with David’s sister Syd (Rochenda Sandall) to carnal encounters that swirl from London to Australia.

David’s life is a carnival of incident and emotion: a sex-intensive merry-go-round kept sizzlingly alive by the play’s director Daniel Evans, another multi-hyphenate and one of the two incumbent artistic directors of the RSC.

Even when it fires in too many directions at once — which is much of the time — [*BLACK SUPERHERO*](https://www.londontheatre.co.uk/show/26588-black-superhero) courses with a singular energy and fervour that more than compensate for the occasionally pro forma language. “I invite you here, and this is how you repay me” is the kind of line you’ll have heard often before, here overridden by a collective investment in the material that makes something clear-eyed and bracing of potential cliché. 

You’ve certainly come across plays elsewhere (Harvey Fierstein made a specialty of them early on) in which a hesitant gay man nonetheless finds himself amid a spiralling vortex of desire that is exciting on the one hand and potentially ruinous on the other. It doesn’t help David to come across a potential bedmate who identifies as “a straight man that does gay things” – which itself sounds a lot like Roy Cohn in Tony Kushner’s *Angels in America*. 

The play asserts a unique cultural breadth. Not in some while have I seen a play that could accommodate both Peppa Pig and Voltaire, that latter citation given added piquancy by the fact that Evans, back in his acting days, played the title role in *Candide* for the National Theatre. 

Some nods are more oblique than others — a veiled glance toward the recent London revival of *Death of a Salesman* or a pointed barb in the direction of Camilla Parker Bowles that made the press night audience gasp. 

This is the kind of nervy, up-for-anything play that the Court exists to do and has strangely shied away from in recent months in favour of one show or another that functioned as staged apologies of sorts. 

I mean it as a compliment to say that Wynter’s writing feels as if it could be teased out yet further. The roll call of names (Ava DuVernay, Streisand, Darren Criss, Forest Whitaker) is entertaining enough but comes at the price of proper investigation of the interactions on view — there’s enough going on between David and Syd, for instance, to merit a further scene that, on this evidence, would seem to be missing. (Syd’s anger in the second act seems very extreme, very fast.) 

There’s also an occasional whiff of self-pity to this portrait of “a good man [David] in a bad world” when the character is in fact as flawed as we all are and is engaged in ways both large and small in working his way through the whirligig of life. Wynter co-starred in the recent National revival of *The Normal Heart*, so knows firsthand about plays whose creators give themselves centre-stage, and there’s a comparable sense of the author-as-activist to this play, as well.

The acting, as expected, could not be bettered. The wonderful Ben Allen makes all of his various roles count, amongst them the travel writer from Ealing, Steven, who has perhaps less claim on King than has been assumed. Eloka Ivo is in impressive form, not least physically, as yet another actor whose success amplifies David’s anxiety about his career. 

Burnside comes effortlessly by the charisma needed for the philandering King, who exists in his celluloid alter ego to invade first David’s mind and then his body. And when that screen iteration, Craw, is seen in full amplitude at the end of the first act, the effect is akin to the comparable takeover achieved onstage by Tony Kushner’s angel: a rapt audience is stunned into silence. 

*BLACK SUPERHERO is at the Royal Court through 29 April. Book BLACK SUPERHERO 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=26588&content_product_id=26588&venue_id=105)

*Photo credit: Danny Lee Wynter and Eloka Ivo (Photo by Johan Persson)*

'BLACK SUPERHERO' review — a charismatic carnival of incident and emotion

Read our three-star review of Danny Lee Wynter's debut play, *BLACK SUPERHERO*, currently playing through 29 April. Get *BLACK SUPERHERO* tickets on London Theatre.

The Royal Court Theatre contains two spaces - The Theatre Downstairs (Main House) and the Theatre Upstairs. The present building was built in 1888 as the New Court Theatre. It was used a cinema from 1935 to 1940. The building re-opened as a theatre in 1952. The English Stage Company took over the Royal Court in 1956.

In 1996, the interior was completely rebuilt, except for the façade and the auditorium, and reopened in February 2000. 

Royal Court - LON

Royal Court

The Comedy of Errors - Globe - LON 

The Comedy of Errors - Globe

TCOE Poster

For a play with the word “comedy” in its title, [*The Comedy of Errors*](https://www.londontheatre.co.uk/show/27565-the-comedy-of-errors-globe) can often feel pretty bleak. That point isn’t lost on Sean Holmes, director of [Shakespeare's Globe’s](https://www.londontheatre.co.uk/theatres/shakespeares-globe-theatre) smart and savvy new production of the play that spawned the first-ever Shakespeare-themed musical: Rodgers and Hart’s 1938 *The Boys from Syracuse*. 

To be sure, the production is genuinely funny: you leave grinning at a conclusion rife with “wonder,” to co-opt a crucial word that resonates through other reunion-driven narratives from the Bard as well (*The Winter’s Tale*, for one). But the production pays equal time to the plight of the seemingly doomed Egeon, a Syracusan who has strayed into the enemy territory of Ephesus and is “hopeless and helpless” and risks becoming even “lifeless” as a result. 

It’s giving little away to report that things turn out rather better than anticipated for Egeon and others by the time we arrive at a conclusion alive to coincidence and to a commingling of severed families that lifts the heart. 

But Holmes’s achievement here is to chart the emotional byways of a text whose characters seem forever to be beating one another up – when, that is, they’re not seeking to be made whole. Antipholus of Syracuse compares himself movingly early on to “a drop of water… that seeks another drop”: this onetime twin, parted in a shipwreck from his lookalike other half, would like nothing more than to find that errant person who will help reconstitute his troubled sense of self.

The above may sound like heavier going than you may expect from so famously larky and knockabout a play, and this early entry in the canon is, I think, often sold thematically short. All credit, therefore, to Holmes, associate artistic director at the Globe, who takes *Comedy* seriously, which means monitoring its shifts in mood. (A threat is raised at one point of eye-gouging, which anticipates no play so much as *King Lear*.) 

These mean Ephesian streets are quick to violence: a decapitated head rolls into view, and we seem to have stumbled into a banner-waving brawl that looks decidedly ugly. You share Egeon’s unease at his uncertain fate, and it isn’t until we are properly acquainted with the two sets of twins – the masters jointly named Antipholus and their servants, both of whom are called Dromio – that we embark upon the defining whirligig of mistaken identity.
Even then, the play, presented straight through at nearly two hours, confronts its mounting absurdities head-on. Philip Cumbus’s Duke may have a gift for the throwaway, putting a spin on language that wouldn’t innately seem funny, but Laura Hanna’s Adriana, wife to Antipholus of Ephesus, is immediately plaintive and engaging: worrying one minute whether she might in fact be “dull” even as she succumbs to fury at the escapades of her adulterous husband. Or is he?

Disorientation rules: Dromio of Ephesus climbs a rope ladder wondering all the while who he is, and reality itself is soon up for grabs. By the time the great Claire Benedict arrives cloaked in authority as the Abbess, you pine for clarity to assert itself amidst the escalating confusion. Where oh where is truth amid all the fake news? 

My performance had an ensemble member reading the crucial part of Dromio of Ephesus, who is given the lovely closing lines about exiting the stage “hand in hand, not one before the other.” Normally cast with George Fouracres (a onetime Hamlet at the Sam Wanamaker Theatre), the role was skilfully taken, script in hand, by David Ijiti, who otherwise plays the part of Officer. In firm voice and dressed in street clothes at odds with the period garb elsewhere, Ijiti proved an able, physically supple talent opposite Jordan Metcalfe’s breech-wearing, madcap Dromio of Antipholus.

The antics make delightful use of the yard where a boat suddenly gets carried through some surprised groundlings, one of whom is (cheerfully) called out separately for being bald. Shop signs hang from the upper tiers of the structure, and Paul Wills’s set deploys the height of the space to unusual effect.

A few of the performances (Luciana, Angelo) could be reined in, but the diction – in a now-unamplified auditorium – is generally strong throughout, and the two Antipholi really land. Matthew Broome’s Ephesian twin has an uncanny knack for making Shakespeare sound entirely of the here and now. And Michael Elcock (Hex), as his Syracusan other self, is surpassingly lovely: a lively, quick-witted fellow who experiences more in a few giddy hours than most of us will in a lifetime. “Rejoice,” he commands as a parting shot, and so we do.

[*The Comedy of Errors is at Shakespeare's Globe Theatre through 29 July. Book The Comedy of Errors tickets on London Theatre.*](https://www.londontheatre.co.uk/show/27565-the-comedy-of-errors-globe)

*Photo credit: Phoebe Naughton and Michael Elcock in The Comedy of Errors at Shakespeare's Globe. (Photo by Marc Brenner)*

'The Comedy of Errors' review — Sean Holmes's production finds emotional depth amid the comedy

Read our four-star review of the classical play *The Comedy of Errors*, currently in performances in London at Shakespeare's Globe Theatre through 29 July.

Shakespeare's Globe Theatre opened in 1997. The Globe is a reconstruction of an open-air theatre designed in 1599. 

The 'wooden O' honours the 16th-century theatre: audience members can purchase a standing ticket and be a "groundling." [Find out more about Shakespeare's Globe in London.](https://www.londontheatre.co.uk/theatre-news/news/visit-shakespeare-globe)

Shakespeare's Globe is also home to a second indoor theatre, the [Sam Wanamaker Playhouse](https://www.londontheatre.co.uk/theatres/sam-wanamaker-playhouse). It is named after the organisation's founder, American actor and director Sam Wanamaker, father of [Zoe Wanamaker](https://www.londontheatre.co.uk/stars-on-stage/zoe-wanamaker). 


Shakespeare's Globe Theatre - LON

Globe Theatre

This musical is most suitable for ages 10+. In any event, children under the age of 4 will not be admitted.

Once On This Island Rush

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I unlocked £25 Rush tickets for Once On This Island on @TodayTixUK! https://www.todaytix.com/london/shows/27846?share=unlock

Once On This Island - LON

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Once On This Island

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The Walworth Farce [27367] - LON

The Walworth Farce

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As You Like It - Globe - LON 

As You Like It - Globe

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A Midsummer Night's Dream - Globe - LON

A Midsummer Night's Dream - Globe

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“Reason and love keep little company,” we’re reliably informed some way into [*A Midsummer Night’s Dream*](https://www.londontheatre.co.uk/show/27564-a-midsummer-nights-dream-globe), the Shakespeare play that perhaps more than any other invites reinvention. 

And why not, given the degree to which the irrational is embedded in this title’s very fabric. This, after all, is a play in which Puck claims to be able to put “a girdle around the earth in 40 minutes” and where the fairy queen, Titania, can fall for the donkey she assumes the weaver, Nick Bottom, to be.

So it’s no surprise that Elle While’s busy, bustling production – its opening delayed by illness – finds its own way into Shakespeare’s most otherworldly comedy, complete with the most extravagant costuming, courtesy the international designer takis, who is working at full tilt here. (Theseus’s splendiferous raiments are themselves worthy of permanent display.)

You quickly come to expect the unexpected, from a prologue that takes revelry to newly enthusiastic heights and on to our first glimpse of Michelle Terry’s extraordinary-looking Puck, who could well have stepped out of the visual world of Arthur Rackham or the Jim Henson Creature Shop.

Only at the very end does this performer, herself the Globe’s artistic director, remove the enveloping headgear that allows us to see her actual face. Advancing towards the audience, hands in her pockets, she’s a disarmingly casual presence. Can this be the same figure who, not much earlier, was seen silencing the musicians visible above the action or inducing shrieks at the breadth of her cunning.

Terry is always a pleasure to encounter at this, or any, address, her command of the language so complete that she finds a playfulness where others might not. “I go, I go, look how I go,” she says, vampily drawing a laugh on this simplest-seeming of lines. Elsewhere, her Puck is a strange, supernatural creature who looks of a piece with the tendrils that seem visibly to be crawling up the side of the Globe’s sturdy oak pillars. (The design is by Paul Williams, who goes by the solo moniker Wills.)

The show has been cast as inclusively as I’ve yet come across at a theatre boldly at the forefront on such matters. Nick Bottom is here Nicola Bottome (accent very much on the second syllable), a gender flip allowing the lovely Mariah Gale to relish the  pronunciation of her own name in a linguistic climate in which words like “prologue” and “epilogue” get a ludicrous comic spin. (Gale deliberately hiccups her way through much of the part, aptly enough when you’re wanting to convey a donkey.)

Hermia, in turn, is that perpetual live wire Francesca Mills, whose achondroplasia, or short-limbed dwarfism, lends a real sting to the character’s self-questioning amidst the gathering mania of the lovers that she is “so dwarfish and so low.” (The same performer was crucially invigorating in the Francesca Martinez play *All of Us* last year at the National.)

At times, you wish the production’s component parts cohered rather more fully: Missing is the unifying point of view that made something both dark and dazzling of Nicholas Hytner’s pre-pandemic *Midsummer Night’s Dream* for the Bridge Theatre, still the defining version of this play in recent years.

Mills’s energy notwithstanding, the lovers don’t really land; the stakes between them feel notably low even with the Helena of Isobel Thom, the nonbinary performer who led last season’s Globe company of the new play *I, Joan*. (Lysander and Demetrius are correspondingly pallid.) And though the Mechanicals’ play within-a-play is endearingly stage managed by Rebecca Root’s Peter Quince, that scene devolves into a competitive mugging that a tighter handle on the whole might put right.

Unusually, the characteristic doubling of Oberon and Theseus – adroitly managed by the ever-charismatic Jack Laskey, a Globe mainstay – isn’t given in this instance to Titania and Hippolyta, as well. That latter role is played by Anne Odeke without the suggestion of feminine subjugation that has attended views on this warrior-queen of late (and was very evident in the Hytner version). Titania, meanwhile, is in the radiant hands of Marianne Oldham, whose immediate stage authority brings to mind a younger Harriet Walter, which is no bad thing.

The vibe suggests a rave that could perhaps turn at any minute and that gives particular pride of place to the brass-intensive band who knock James Maloney’s score out of the park – or, in this case, yard. Actual engagement with the yard is here less than is the norm, though Theseus does recline toward the lip of the stage to deliver his “airy nothing” remarks around the same time that Hippolyta attempts a backward roll with which those standing near the front could perhaps assist.

And the climactic dance – another Globe mainstay – carries a particular frenzy. Make merry, it seems to be suggesting, and feast on what mirth you can before the madness of the world, like the broom-wielding Puck, sweeps it all away.

[*A Midsummer Night's Dream* is at Shakespeare's Globe Theatre through 12 August. Book *A Midsummer Night's Dream* tickets on London Theatre.](https://www.londontheatre.co.uk/show/27564-a-midsummer-nights-dream-globe)

*Photo credit: The company of A Midsummer Night's Dream at Shakespeare's Globe. (Photo by Helen Murray)*

'A Midsummer Night's Dream' review — lively production is extravagant but busy

Read our three-star review of *A Midsummer Night's Dream*, directed by Elle While, now in performances at Shakespeare's Globe Theatre through 12 August.

Macbeth - Globe - LON

Macbeth - Globe

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This production is suitable for ages 3+, although younger children are welcome. Everyone aged two and over must have their own ticket.

Dinosaur World Live - LON

Dinosaur World Live

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The SpongeBob Musical - LON

9. THE SPONGEBOB MUSICAL. The Company. Photo Mark Senior

The SpongeBob Musical

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The building was originally opened in March 1967 by Her Majesty the Queen and this historic restoration was possible through generous support from Arts Council England and the Heritage Lottery Fund. Queen Elizabeth Hall reopened in April 2018 following almost three years of renovations with world class, environmentally-improved new facilities for audiences and artists. The building also houses Purcell Room — a smaller, more intimate space.


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Queen Elizabeth Hall - Southbank Centre

This production is created especially for those aged 6+, however younger children are welcome. Everyone aged two and over must have their own ticket.

The Tempest re-imagined for everyone aged six and over - LON

The Tempest re-imagined for everyone aged six and over

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The Dry House - LON

The Dry House

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The Marylebone Theatre opened in 2022. The Marylebone Theatre team aim to produce distinctively visionary theatre, which explores and refreshes the great poetic tradition whilst boldly engaging with the pressing issues of our times. 

Marylebone Theatre

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Waterloo East Theatre

Children under five are not allowed to attend this performance. 

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Turn it Out with Tiler Peck & Friends

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Further than the Furthest Thing - LON

Further than the Furthest Thing

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Plays rarely get as out there — literally so — as [*Further than the Furthest Thing*](https://www.londontheatre.co.uk/show/27149-further-than-the-furthest-thing), the Zinnie Harris theatrical fantasia of sorts which opened in 2000 at the National and was seen off-Broadway, in a separate production, in 2002. Now considered a contemporary classic of sorts, not least for its compelling strangeness, Jennifer Tang revives the play into a prime case of elliptical beauty. 

Tang and a gifted design team, headed by the seemingly ubiquitous Soutra Gilmour here in minimalist mode, stage events in the round, with audiences encircling the action, and actors who sit between scenes in the aisles, directly next to playgoers. 

A deeply moving [Jenna Russell](https://www.londontheatre.co.uk/stars-on-stage/jenna-russell), taking a break from her storied musicals career, has the focal role of the islander Mill. We first encounter this sweet-voiced Scotswoman and her husband Bill (Cyril Nri) out in the remote climes of the South Atlantic archipelago of Tristan da Cunha, though the location is never specified in the script. 

The pair have a nephew, Francis (Archie Madekwe), who returns home from travels abroad after he was reviled for his unusual speech. (The islanders speak a distinctive, ungrammatical patois distinguished, amongst other things, by adding the letter H when saying things like “H’outside”.) Francis has a girlfriend, Rebecca (an impassioned Kirsty Rider), who is pregnant by someone else and who would quite like not to have the baby girl whose birth is evocatively depicted at the close of the first act. 

It’s 1961, and a volcanic eruption displaces this remote populace to the comparative bustle of Southampton, where we find ourselves after the interval — an incident that actually happened to this one-time British dependency. What transpires is an empathically imagined investigation into what we mean by “home”, folded into an often-grim parable of acculturation. 

The Anglo-Bangladeshi vocalist Shapla Salique adds to the play’s aural allure. 
Mill finds herself puzzling out “puddings” as if the very meaning of that British mainstay were somehow alien to her sense of self. The self-appointed chaplain of the island from which he has been evacuated, Bill gets tested in his own way — subsumed by grief and guilt as he and his wife discover a land of umbrellas and royalty, not seaweed seeping over one’s shoes. 

The play features a conjurer-villain of sorts in Gerald Kyd’s Mr. Hansen, a South African factory owner who is revealed to be less charming than first thought. A jar manufacturer, Mr. Hansen exists to upend tradition, bringing with him the promise of money which isn’t enough for such stalwarts as Mill, who exists in mourning for a vanished, and vanishing, way of life. 

The quintet on view is gradually seen to exist within the context of larger, impersonal forces — colonial misrule, for one thing — that flavours a play that may seem elusive at first but coalesces in the mind after the fact. 

That’s especially true of a staging as alert as this one to the imaginative reach of a text that unapologetically makes demands upon its audience: quite a few spectators disappeared at the interval, though those who stayed proffered a rousing response at the bows. Gilmour’s turntable design proffers an amphitheatre given shape and depth by Prema Mehta’s lighting and George Dennis’s sound design: joint contributors to the arresting otherness of the occasion. 

Ian William Galloway’s video design ramps up the atmospherics of a play that seems to have sprung from Harris in defiance of the time-honoured dictum to write what you know: the author on this occasion has been emboldened by inspiration and invention, not direct experience. 

Her play benefits no end from a cast who seem visibly affected by the tale they are telling: Russell, in particular, looked appropriately misty-eyed following a ravishing monologue to find musicality of an altogether different kind in the verbal idiosyncrasies at work here. This performer is given brief passages of song for those wanting a reminder of the career that has brought her to this place, to which she responds with a deeply visceral connection that finds meaning in the mysterious. Stick with it, and you may well, too.

*Further than the Furthest Thing* is at the Young Vic through 29 April. Book *Further than the Furthest Thing* 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=27149&content_product_id=27149&venue_id=173)

*Photo credit: Jenna Russell (centre), Gerald Kyd, Archie Madekwe and Cyril Nri in Further than the Furthest Thing at Young Vic (Photo by Marc Brenner)*

'Further than the Furthest Thing' review — a deeply visceral play finds meaning in the mysterious

Read our four-star review of Zinnie Harris's *Further than the Furthest Thing* starring Jenna Russell at the Young Vic, with performances through 29 April.

The Young Vic opened on 11 Sept. 1970, and was the first residence of the [National Theatre](https://www.londontheatre.co.uk/theatres/national-theatre) under Laurence Olivier. The Young Vic was conceived as a theatre to stage high-quality productions at affordable prices. The theatre was rebuilt from 2004 - 2006, with the Young Vic co-producing 22 shows over 22 months with 20 international companies. Now, the Young Vic features a main house, as well as two studios: Maria and Clare. 

Young Vic - LON

Young Vic (Main House)

Cirque Berserk! - LON [27181]

Cirque Berserk!

Cirque Berserk! - LON [27181] Poster

Riverside Studios sits on the former site of a Victorian iron works, which was converted into a film studio in 1933. Many classic films were made there, such as *The Seventh Veil* (1945) starring James Mason and *Father Brown* (1954) with Alec Guinness. 

In 1954, the studio was taken over by BBC Television and became home to many of their most iconic programmes, including *Hancock’s Half Hour* (1957-60) and *Doctor Who* (1964-68). Riverside brings the world to West London, with a dynamic programme of international theatre, dance, visual art, television, comedy and music. 

After five years of redevelopment, the Riverside Studios reopened in 2019 with three studios and a cinema.

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Riverside Studios

The Good Person of Szechwan - LON

The Good Person of Szechwan

Good Person Poster

The Lyric Hammersmith Theatre is one of London‘s leading producing theatres. After two years of discussions, a theatre opened in 1888 on Bradmore Grove. In 1895, the Lyric opened as the New Lyric Opera House with a performance of *Dora*, a one-act play. During World War One, audience numbers declined, so to encourage new visitors, the Lyric became a house for touring companies.

In 1949, a production of *The Seagull* transferred to the West End. That same year, John Gielgud (of [Gielgud Theatre](https://www.londontheatre.co.uk/theatres/gielgud-theatre) fame) directed Richard Burton at this venue. 

The Lyric was set to be demolished in 1969, but after a local campaign, the Queen reopened the venue a decade later. In 2018, the Main House was refurbished for the first time in 40 years. Rachel O'Riordan joined as artistic director in February 2019.

Lyric Hammersmith - LON

Lyric Hammersmith

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