*A wild creature appeared!* From larger-than-life puppets to iconic costumed characters, these shows bring fantastic characters of all shapes and sizes to the stage. If you want to be the very best, like no one ever was, then catch a show and start your collection.

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• Type: Giant Forest Spirit‎ 
• Habitat: Enchanted forest 
• Behaviour: Appears silently, often with a knowing gaze 
• Abilities: Flight, invisibility to most humans, weather manipulation 
• Observation: Often accompanied by smaller companions; delights children and adults alike

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

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My Neighbour Totoro

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Video trailer of The Royal Shakespeare Company's 'My Neighbour Totoro' at the Gillian Lynne Theatre

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Performers maneuver a large, illuminated cat bus puppet with a wide grin on a stage set resembling a forest with twisted tree branches.

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Be transported to the 1950s Tokyo countryside and a fantastical world of forest spirits in *My Neighbour Totoro*, a coming-of-age tale based on the 1988 Studio Ghibli film of the same name. Book *My Neighbour Totoro* tickets on London Theatre. 

*My Neighbour Totoro* in London has been a fan favourite since its premiere in 2022. In fact, the show broke the Barbican Centre box-office record for ticket sales in a single day. In 2023, the show also earned an impressive six Olivier awards, including for costume design, direction, and set design. 

The imaginative production tells the story of young girls, Satsuki and Mei, who relocate to the countryside with their father following their mother’s hospitalization. During their summer adventures, they encounter numerous woodland spirits, including the furry giant Totoro. 

*My Neighbour Totoro* is a play with an immensely talented creative team, including those who earned Olivier Awards for their work on the show’s run at the Barbican. This includes direction by Phelim McDermott, production design by Tom Pye, costume design by Kimie Nakano, lighting design by Jessica Hung Han Yun, and sound design by Tony Gayle. 

Additionally, the puppetry by puppetmaster Basil Twist in *My Neighbour Totoro* is truly exceptional. The fleet of puppets, from chickens to Totoros, is a new style of puppetry that the creative team calls “wind spirits.”

“We’ve got an on-stage ensemble of puppeteers. They’ve got their own costumes that help them be invisible at certain points, but they’re a presence. And they are like storytellers. It’s a little bit like in the movie, if you suddenly got to see the animators who were making that cartoon happen,” McDermott [told The Standard.](https://www.standard.co.uk/culture/theatre/my-neighbour-totoro-barbican-theatre-royal-shakespeare-company-b1032199.html)

__Captioned:__ 
Sunday, 12th October, 2pm 

__Audio Described:__ 
Saturday, 11th October, 2pm (Touch Tour 12pm)

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

The star-studded creative team includes set design by Tom Pye, costume design by Kimie Nakano, direction by Phelim McDermott, lighting design by Jessica Hung Han Yun, and sound design by Tony Gayle. All of whom won Olivier Awards for their work on *My Neighbour Totoro* during its run at the Barbican. 

*My Neighbour Totoro* is a play that is set apart by its stunning puppetry headed by puppetmaster Basil Twist. For the show, a new style of puppetry, called “wind spirits,” was created, which focuses on having human puppeteers rather than machines. The puppeteers have their own costumes, which are visible throughout the production. 

“It’s a little bit like in the movie, if you suddenly got to see the animators who were making that cartoon happen,” [McDermott told The Standard](https://www.standard.co.uk/culture/theatre/my-neighbour-totoro-barbican-theatre-royal-shakespeare-company-b1032199.html).

## What to watch for

- Studio Ghibli has had numerous hit films in addition to *My Neighbor Totoro*, this includes Oscar-winning *Howl’s Moving Castle* and *Spirited Away*. 
- The story by Hayao Miyazaki is, in part, biographical, as his mother suffered from tuberculosis when he was a child and spent much of her time in the hospital. This is similar to the film and now the play in which the girls’ mother is hospitalized. 
- In addition to dialogue, *My Neighbour Totoro* relies on musical and visual storytelling to create a captivating tale for audiences. 
- The performance incorporates aspects of Shinto and Japanese folklore as it transports audiences into the imaginative mind of a child. 

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Gillian Lynne Theatre

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

Ages 12+. Children under the age of 4 will not be admitted into the theatre. All persons aged 16 or under must be accompanied by an adult and may not sit on their own within the auditorium.

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Standing at the Sky's Edge

Hailed as ‘the best British musical in decades’ (Daily Express), you won’t want to miss this multi award-winning sensation, now in its final weeks in the West End. Experience this ‘epic musical for the ages’ (Broadway World) – book Standing at the Sky’s Edge tickets on TodayTix. 

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The Gillian Lynne Theatre originally opened in 1847 as the Mogul Music Hall. From 1919 to 1965, it was named the Winter Garden Theatre, but after renovations, the theatre opened as the New London Theatre in 1973. 

The theatre housed Andrew Lloyd Webber’s *Cats*, which was the longest-running musical in West End history when it closed in 2002.  It was also used as a television studio, and was the home of Masters Snooker for two years.

Since the closure of *Cats*, the theatre has hosted productions of Lloyd Webber’s *Joseph and the Amazing Technicolor Dreamcoat*, *School of Rock*, and *Cinderella*.

In 2018, Andrew Lloyd Webber announced the theatre would be renamed the Gillian Lynne Theatre, the first London theatre to be named after a woman. Lynne worked on productions with the English National Opera, Royal Shakespeare Company and many West End and Broadway shows. She collaborated with Andrew Lloyd Webber on *Cats, The Phantom of the Opera* and *Aspects of Love.* 

## Gillian Lynne Theatre Seating Information

The Gillian Lynne Theatre features a thrust stage that juts into the auditorium. Seats are on three sides of the auditorium. 

Some seats offer side views of the action on stage. But every seat guarantees a view that's close to the action.

Gillian Lynne Theatre - London Theatre

Opened in 1847, the Gillian Lynne Theatre hosted many Andrew Lloyd Webber's productions including Cats. In 2018, it became the first London theatre named after a woman.

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• Type: Costumed Feline‎ 
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• Abilities: Dance mastery, vocal prowess, tail flick charm‎ 
• Observation: Known to mesmerize audiences with a single leap‎

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Ages 5+. Children under the age of 4 will not be admitted to the venue.

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**Regent's Park Open Air Theatre** is a London-based theatre venue that sits within a beautiful Royal Park. Offering a unique and innovative style of performing arts, the outdoor venue, encapsulated by the lush park surroundings, creates a magical and immersive theatrical experience. The theatre holds a capacity of 1,240 individuals, showcasing a variety of performances from classic Shakespearean plays to modern contemporary pieces, and even musicals. It was established in 1932, and the uniqueness of the venue has since then captivated the hearts of both Londoners and guests from all around the world. The theatre's characteristic feature - total exposure to the elements - often compels creative interpreters to rethink and reshape their performances, resulting in unforgettable renderings of familiar plays. Spectators can also enjoy food and drinks at the theatre's bar and grill.

**How to get to the venue:** The theatre is based close to Baker Street and Great Portland Street underground stations thereby making it easily accessible by underground trains. Alternatively, several bus routes also operate in the vicinity of the park. If you prefer a scenic ride, cycle docking stations are located at nearby Albany Street and Marylebone Road for those who prefer to cycle or walk. Keep in mind that there is only limited parking available around Regent's Park, so public transport is advised. 

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Regent's Park Open Air Theatre

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 - London Theatre

Regent's Park Open Air Theatre, leased to The New Shakespeare Company since 1932, holds a summer season of shows. Tickets non-refundable due to weather.

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Regent's Park Open Air Theatre is a unique outdoor venue in London, featuring an array of exceptional performances.

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• Type: Lost Bear 
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• Behaviour: Clumsy but endlessly polite 
• Abilities: Marmalade expertise, hat-wearing consistency 
• Observation: Audience frequently joins in his mishaps

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Ages 6+. Children under 3 cannot be admitted. Guests aged 16 or under must be seated next to an accompanying adult. All guests attending, regardless of age, must have a ticket.

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Adrian Der Gregorian, Leo Collon - credit Johan Persson

Bonnie Langford stands center stage under bright lights, arm raised, with "Mrs. Bird" illuminated behind them in large letters amid stage smoke.

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A group of actors in colorful costumes, including a man with a white beard and a person in a Paddington Bear costume, perform on a stage with a backdrop of shelves and memorabilia.

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Three actors on stage next to a black London taxi, with a large illuminated "SAVOY" sign in the background, under dramatic stage lighting.

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A stage performance features actors in colorful costumes, including oversized fruit suits, with a vibrant, illuminated backdrop and fireworks effects.

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Six actors stand in a row on stage holding brightly colored umbrellas, dressed in eclectic costumes, illuminated by blue stage lighting, reading from papers.

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Five performers in theatrical costumes and goggles stand on stage under dramatic blue lighting, with the central performer wearing a plaid suit and singing or speaking.

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A performer stands center stage under blue lighting, with a colorful comic book-themed backdrop featuring superhero illustrations behind her. Amy Ellen Richardson shines in this vibrant scene. Photo credit Johan Persson.

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A group of actors in winter clothing sit and stand on a dimly lit stage, some holding books and cups, with luggage and a guitar case visible in the background.

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James Hameed (Young Man), with curly hair and a red jacket, holds a brown teddy bear and looks upwards while standing on a dimly lit stage. Photo by Johan Persson.

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Paddington Bear sits on a box, holding a large red hat, on a dimly lit stage.

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Bringing one of Britain’s best-loved characters to life on stage, this unmissable major new production at the Savoy Theatre is jam-packed with irresistible songs, dazzling choreography – and of course, marmalade sandwiches

Discover a selection of West End shows featuring puppets, creatures and iconic costumed characters. Book tickets and explore unforgettable stage worlds.

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