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Why Am I So Single? - LON [39622]

Why Am I So Single?

From the writers of SIX, Toby Marlow and Lucy Moss, Why Am I So Single? is a brand-new British musical where the lonely little lives of two BFFs are transformed into an all-singing, all-dancing extravaganza about dates, mates, and celebrating love in all its forms. 


The Garrick Theatre is a renowned and historical theatre venue located in the heart of London, Charing Cross Road, near Leicester Square. Opened in 1889, it was named after the stage actor David Garrick. Designed by Walter Emden and C.J. Phipps, it is built with an exquisite blend of classical and baroque architectural styles, giving it a unique touch of elegance. The theatre boasts a theatrical heritage unrivalled in its history of performances, artists, and premieres, hosting a variety of world-class productions ranging from dramatic plays, farces, comedic performances, to Shakespearean plays. With a seating capacity of 656 spread across three levels - stalls, dress circle, and grand circle - the theatre offers an intimate atmosphere, drawing audience closer to the performances and making it a favourite venue for both theatre-goers and performers. Along with the splendid auditorium, the theatre contains bars at each level providing a comfortable space for refreshment. The theatre is equipped with state-of-the-art systems offering excellent audio and visual experiences. A visit to the Garrick Theatre is a step back into time, offering classic London theatre experience in a beautiful and iconic venue. 

## How to Get There
The Garrick Theatre is easily accessible by various modes of transport. If you are using the London Underground, the closest Tube stations are Leicester Square (Northern, Piccadilly) and Charing Cross (Bakerloo, Northern). By bus, several bus routes pass close to the theatre, including the numbers 24, 29 and 176. If driving, the nearest car park is Q-Park Chinatown.

Garrick Theatre - LON

Garrick Theatre

The Garrick Theatre is an iconic London venue, known for its architectural elegance, rich history, and hosting top-tier productions.

Ages 8+. Under 16s must be accompanied and sat next to an adult (18+). Everyone must have their own ticket. Under 3s will not be admitted. 

MJ The Musical - LON [28638] 

MJ The Musical

MJ The Musical - LON - 28638 Product Media

He is one of the greatest entertainers of all time. Now, Michael Jackson’s unique and unparalleled artistry is heading to the West End in the multiple Tony Award®-winning musical MJ.

The Prince Edward Theatre, one of London's most celebrated theatrical venues, is located in the heart of the city's West End. Opened in 1930, the theatre boasts a rich history and an impressive architectural style with art deco influences. The theatre is famous for hosting ground-breaking productions, with a focus on large-scale musicals. Its 1600-seat auditorium is renowned for the spectacular performances it entertains, and for its elegant and lavish interior. Notable productions include 'Evita', 'Miss Saigon', and the current long-running 'Aladdin'. The theatre was considered special even during its inception, as it was the first theatre built on a steel frame giving it a wider, roomier feel. The Prince Edward theatre is a must-visit for anyone wishing to immerse themselves in the captivating world of London Theatre.

## How to Get to the Venue
The Prince Edward Theatre is situated at Old Compton Street, in London's bustling Soho district. It is well served by public transport. To get there, you can take the Tube to Leicester Square or Tottenham Court Road station, and then walk for about five minutes. Be aware that this is a particularly busy area of London, so it may be advisable to allow extra time for your journey.

Prince Edward Theatre - LON

Prince Edward Theatre

The Prince Edward Theatre in London's West End is renowned for its history, architecture and large-scale musicals. It is easily accessible via Tube.

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

The Lion King - LON [302]

The Lion King

Lion King no people

The Lion King [302] - LON Product Media

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 is a grand cultural establishment located in London's bustling West End. Featuring a magnificent façade, impressive entryway, and an interior adorned with deep-red velvet, chandeliers, and exquisite gold-leaf embellishment, the Lyceum offers a classic theatre experience with a blend of historic charm and contemporary convenience. It has a seating capacity of over 2,000 occupants, and is known for hosting a wide range of performances, but most notably, it has been the home of 'The Lion King' musical since 1999, attracting thousands of theatre-goers each year. Apart from shows, the theatre has bars on all levels and facilities for wheelchair users. 

## How to get to the venue

The Lyceum Theatre is easily accessible by a variety of transport methods. For those who prefer the tube, Covent Garden station on the Piccadilly Line is the nearest at a 5-minute walk away. There are also several bus routes that stop near the theatre and for those driving, there is designated theatre parking at Q-Park Centres in nearby Trafalgar Square and Chinatown. The theatre's central location also ensures plenty of restaurants, bars, and shops within quick reach.

## Additional Information

Venue opens 90m before showtime.

Lyceum Theatre - LON

Lyceum Theatre

The Lyceum Theatre in London's West End is a grand venue known for hosting 'The Lion King' musical and is easily accessible by various transport methods.

Ages 7+. Under 16s must be accompanied by and seated next to an adult ticketholder (18+).

Mrs. Doubtfire - LON [24395] 

Mrs. Doubtfire

Mrs. Doubtfire - LON [24395]  Product Media

Wonderful news, poppets! The beloved family film [*Mrs. Doubtfire*](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) about a cross-dressing nanny is just as joyful a watch in this new [stage musical incarnation](https://www.londontheatre.co.uk/theatre-news/news/everything-you-need-to-know-about-mrs-doubtfire-in-the-west-end), which had its Broadway premiere in 2020 and now looks set to become a popular West End fixture. Appropriately enough for a tale all about transformations – inside and out – it’s surprisingly inventive, refashioning the original just enough to make it thoroughly theatrical and a smart 21st-century show.    

Those tweaks include giving the women in the story more of a voice. The opening number, “That’s Daniel,” establishes struggling actor Daniel Hillard as the endlessly fun dad – but, by being a man-child, he piles pressure onto already-overburdened wife Miranda, as she explains to their therapist (Daniel has ditched their sessions). Not having boundaries is affecting their three kids, too: youngest Natalie is anxiously biting her nails, Christopher is getting poor grades, and Lydia wishes her dad would grow up.

That creates a more satisfyingly balanced narrative. Though she’s still a bit of a killjoy, Miranda isn’t the villain here; you sympathise with her making a difficult decision to divorce Daniel and break up the family, just as you then believe his sincerity in the sweet song “I Want to Be There,” in which he pleads with the judge to let him stay in his children’s lives.

Likewise, when Daniel first approaches his brother Frank for help in transforming him into an elderly Scottish woman, Frank’s husband Andre rightly calls him out on his shady plan to deceive Miranda. A later nightmare sequence, involving multiple Mrs. Doubtfires doing *Riverdance* (no, really), cleverly riffs on her name to point out that Daniel is “playing with fire.”

None of that takes away from the zany, high-energy farce in Jerry Zaks’s dynamic production; rather, it gives you permission to fully enjoy it. Gabriel Vick is simply astonishing in the title role, coming close to Robin Williams’s sheer genius as an impressionist, while also singing, dancing, managing numerous quick-changes, and putting in a strong dramatic performance. 

He’s both endearing and maddening, petty in his jealousy of Miranda’s new boyfriend Stuart, yet always a loving father, if misguided. The actual Mrs. Doubtfire latex mask is rather creepy, but Vick makes the character a lovely one: warm, a tad eccentric, but firm in her convictions and – unlike Daniel himself – a really good listener. She makes him a better man. 

The engaging adaptation by brothers Wayne and Karey Kirkpatrick and John O’Farrell features several contemporary updates (this *Mrs. Doubtfire* knows how to rein in the kids by switching off the Wi-Fi) and tailored British gags. Among Daniel’s impressions are Prince Charles squawking at a pen and Boris blustering about parties, while Glastonbury’s infamous loos get a shout-out.

When Daniel learns to cook by watching a video online, the host pops up in his kitchen and leads a lively tap number (exuberant choreography throughout by Lorin Latarro). A butter-stroking Nigella also appears – and is then interrupted by a commercial for IBS medication. It’s one of several instances where the creative team brilliantly finds a fresh theatrical, and modern, language for this familiar tale.

I also adored the ecstatically camp disco makeover number, inspired by Andre’s love for Donna Summers, which has winking fun with influential female icons – from Princess Di and Cher to Julia Child. Teenager Lydia gets an angsty rock song, buff  Stuart expresses his feelings while lifting weights (his gym buddies turn into earnest back-up singers), and Miranda, now a fitness wear designer, celebrates body positivity while leading a fashion parade. 

But the definite highlight is an uproariously over-the-top flamenco number that elevates the film’s infamous restaurant scene, with Daniel hopping between his two guises. Lisa Mathieson is an absolute riot as the singer lambasting the faithless ex who lied to her – further highlighting Daniel’s own dubious actions, but in a deliciously flamboyant way.

The whole company is strong here. As Miranda, Laura Tebbutt supplies powerhouse vocals; Cameron Blakely is hysterical as Frank, who involuntarily shouts when he lies (a fantastic farcical addition); and Marcus Collins is a showboating Andre, but also strikes a serious note when he talks of their struggle to adopt as a gay couple, while Daniel risks losing his own kids with his shenanigans. 

There’s also great support from Carla Dixon-Hernandez as a fiery Lydia, Samuel Edwards as sensitive hunk Stuart, Kelly Agbowu as Daniel’s suspicious case worker, Ian Talbot as the creaky kids’ entertainer Mr. Jolly, and Micha Richardson as a formidably humourless TV executive. On press night, Frankie Treadaway was very funny as Christopher, who seems to have inherited Frank’s panicked yelling, and Angelica-Pearl Scott was an adorable pipsqueak Natalie.

David Korins nods to the San Francisco setting with a stylish cityscape backdrop featuring the Golden Gate Bridge, and Catherine Zuber has a ball with the costumes. It all feels celebratory: of self-exploration and identity (although this is very clearly not a trans story, nor does it feel remotely prejudicial), of different types of families, and, finally, of honesty. Well, my dears, the truth is that *Mrs. Doubtfire* is this summer’s sizzling-hot ticket.

*Mrs. Doubtfire* is at the Shaftesbury Theatre. Book [*Mrs. Doubtfire* tickets](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) 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=24395&content_product_id=24395&venue_id=127&product_type=show&qt=2)

*Photo credit: Mrs. Doubtfire. (Photo by Manuel Harlan)*

'Mrs Doubtfire' review – this exuberantly inventive musical adaptation is a sizzling-hot ticket

Read our four-star review of *Mrs. Doubtfire* in the West End, starring Gabriel Vick, currently in performances at the Shaftesbury Theatre.

**Shaftesbury Theatre** is an iconic theatre venue in the heart of London's West End. It's been a central part of London's theatre scene since its opening in 1911, boasting more than a century of remarkable performances. Widely esteemed for its architectural grandeur, it ordinarily retains a capacity of 1,400 seats that remain filled with regulars and tourists from around the globe. The theatre has primarily focused on musical-style performances but has also accommodated some premium works of drama over the years. Its historic record includes hosting some of the longest-running shows in London, like 'Hair’ and 'Hairspray'.

**How to get to Shaftesbury Theatre**

Located in the London Borough of Camden, Shaftesbury Theatre is easily accessible by various modes of transport. By Tube, the nearest station is Holborn, a short 6-minute walk away on Kingsway road. Alternatively, for those preferring to travel by bus, various routes stop near the theatre including numbers 1, 8, 19, 38, 55, 98, 242, and N98. If you're driving, parking facilities can be availed at Bloomsbury Square Car Park just 5 minutes away with a pre-booked parking space. If walking or biking, the theatre is within easy distance of several central London locations.

Shaftesbury Theatre - LON

Shaftesbury Theatre

The Shaftesbury Theatre is a historic London venue known for musicals, easily reached by tube and bus, with nearby parking.

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

SIX - LON [12201] 

wl-poster-creative-six-lon

SIX - LON [12201] Product Media

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

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

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

SIX at the Lyric Theatre Review | London Theatre

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

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

The Vaudeville Theatre is one of the most distinguished theatres in London. Perched on the Strand in London's West End district, the theatre has been a pillar of the city's performing arts scene and a symbol of London's rich cultural history. With a capacity of 690, it offers an intimate setting that brings audiences closer to the performances. The auditorium, embellished with opulent detailing, provides a breathtaking atmosphere that exalts the theatre experience. Historically, it has been home to notable plays and musicals featuring some of the world's most renowned actors and actresses. Beyond its aesthetic beauty and historic significance, it is celebrated for its commitment to presenting excellent productions which cater to a wide variety of theatrical tastes.### How to Get to the Venue ###It is readily accessible not only to the locals but also to foreign tourists. For those planning to arrive by tube, the nearest station is Covent Garden which is approximately 5 minutes walk. Alternative tube stations include Charing Cross (10 minutes walk) and Holborn Station (11 minutes walk). For anyone planning to use a bus, services 6, 9, 11, 15, 23, 77A, 91, 139, 176 all stop near the theatre. Those driving are suggested to use the MasterPark at Trafalgar Square and Chinatown car park.

Vaudeville Theatre - LON

Vaudeville Theatre

The Vaudeville Theatre is a historic venue in London's West End, known for its intimate setting and diverse productions.

Ages 14+. Children under the age of 16 must be accompanied by and sat next to an adult ticketholder (18+). Everyone, regardless of age, must have their own ticket to enter the theatre. Children under the age of 4 will not be admitted. 

Next To Normal - LON [37439]

Next To Normal

Next To Normal - LON [37439] Product Media

Nominated for 4 Olivier Awards including Best New Musical, the critically acclaimed, sold-out Donmar Warehouse production of __Next to Normal__ comes to London’s West End for a strictly limited season at Wyndham’s Theatre from 18 June 2024.

When this landmark musical debuted on Broadway in 2010, it won 3 Tony Awards and the Pulitzer Prize for Drama – one of only ten musicals in history to receive this prestigious honour. A ground-breaking and intimate portrait of a modern family, Next to Normal *“tears at the heart in a way few musicals manage”* (Attitude). 

Named after its founder and famed actor-manager Charles Wyndham, the **Wyndham's Theatre** is a classic London West End theatre that stands on Charing Cross Road in the City of Westminster. Opened in 1899, the theatre was designed by W G R Sprague, an architect who was also responsible for many other West End theatres. It has a strong reputation for high-quality drama, which is part of its charm and attractiveness. The exterior contains a beautiful portico in the classical style, while the interior is adorned with luxurious ornate plasterwork. Over its history, Wyndham's Theatre has hosted a wide variety of productions, including 'God of Carnage', 'Art', and 'Donkeys' Years'.

**Getting to the Wyndham's Theatre:**

Wyndham's Theatre is easily accessible by multiple modes of transport. The closest Underground station, Leicester Square, is just a two-minute walk away, offering connections via the Northern and Piccadilly lines. Several bus stop directly outside the theatre, including routes 24, 29 and 176. Limited on-street paid parking is available. National car park at St Martin’s Lane Hotel offers a discount to theatre patrons, but the venue encourages sustainable transport options where possible.

Wyndham's Theatre - LON

Wyndham's Theatre

Wyndham's Theatre, established in 1899, is a classic West End venue known for high-quality drama. It's easily accessible via public transport.

Ages 10+. Under 16s must be accompanied by and sat next to an adult (18+). Children under 3 years will not be admitted. 

Mean Girls - LON [35503] 

Mean Girls

Mean Girls | Savoy Theatre - LON [35503] Product Media

IT’S NOT LIKE A REGULAR MUSICAL. 
IT’S A COOL MUSICAL. 

London's Savoy Theatre is one of the most renowned theatre venues in the heart of the city. This cherished venue exhibits a rich history that dates back to 1881. The Savoy indulges its patrons with a variety of performances, including plays, musicals, ballet, and concerts. The attractive architecture and interior details give the attendees a sense of a grand theatrical experience. The Savoy Theatre prides itself on having introduced electric lights to the theatre world. Remarkable luminaries such as Gilbert and Sullivan have graced its stage. The theatre has a seating capacity of 1,158, split between the Stalls, Dress Circle, and Upper Circle. Dedicated to providing full accessibility, the venue offers services for those with mobility, hearing, and visual impairments.

## How to get to the Savoy Theatre 
The Savoy Theatre is centrally located in London and is easily accessible by both public and private transport. The theatre is easily reachable by bus, tube, and rail services. The nearest tube stations are Charing Cross (Bakerloo and Northern lines), Embankment (District, Circle, Bakerloo, and Northern lines), and Covent Garden (Piccadilly line). For those who prefer buses, services 6, 9, 11, 13, 15, 23, 87, 91, 139, and 176 stop near the theatre. For patrons driving private vehicles, the closest Q-Park car park is available at the nearby Chinatown. The theatre also participates in the Q-Park Theatreland Scheme, offering a 50% discount on parking.

## Additional Information 

Venue opens 1hr 30min before showtime.

Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

Savoy Theatre - LON

Savoy Theatre

The Savoy Theatre is a historic London venue offering diverse performances. It's centrally accessible by tube, bus, and car.

Ages 6+. Under 16s must be accompanied by an adult (18+). Under 4s will not be admitted.

Back to the Future: The Musical - LON [22396]

Back to the Future: The Musical

wl-poster-creative-backtothefuture-lon

Back to the Future: The Musical - LON [22396] Product Media

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

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

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

The Adelphi Theatre, located in London's West End, is a historic venue recognised for its rich contribution to London's vibrant theatre scene. Exquisitely built in Art Deco architectural style, the Adelphi boasts an impressive history of notable performances and theatrical debuts since it first opened its doors in 1806. With a seating capacity of around 1,500, the venue ensures a sumptuous viewing experience enhanced by modern equipment, tastefully restored interiors, and comfortable seating that allows audiences to get lost in the art unfolding onstage. Over the years, the venue has hosted a range of compelling performances, be it dazzling musicals, thought-provoking dramas, or riveting mystery thrillers, contributing to its reputation as a central hub for quality theatre. Some of the famous shows to grace its stage include Chicago, Joseph and the Amazing Technicolor Dreamcoat, Evita, and more recently, Waitress. **How to get to the Adelphi Theatre**: Located on The Strand, the theatre is just a short walk away from various bus stops, tube stations, and railway stations. The nearest tube station, Covent Garden, is only a 5-minute walk away, while Charing Cross, the nearest railway station, is a 7-minute walk. Several bus routes service The Strand, making the theatre readily accessible from all parts of London.

Adelphi Theatre - LON

Adelphi Theatre

The historic Adelphi Theatre in London's West End hosts notable performances in 1,500-seating capacity auditorium, and is easily accessible via public transport.

Ages 14+. Contains scenes and language, which may be unsuitable for children under 14. Children under 5 are not admitted.

Tina - The Tina Turner Musical - LON [8547]

Tina - The Tina Turner Musical

Tina no people

Tina - The Tina Turner Musical [8547] - LON Product Media

If you drew up a list of everything you wanted from a <a href="/actor-profile/tina-turner">Tina Turner </a>musical, you wouldn't be disappointed by <a href="/show/tina-the-musical">Tina</a>, which gets its world premiere at the <a href="/theatres/aldwych-theatre">Aldwych Theatre</a>. It's got the anthems, it's got the moves, it's got the hair. But on a deep-dive into the life of one of the world's best-selling recording artists, we witness some of the moments of genuine turmoil she's had to endure on her way to stardom.Born Anna Mae Bullock, the young Turner grew up in the small Tennessee town of Nutbush, whose Black residents were expected to stick to picking cotton and keep to themselves. Her first experience of violence is over the kitchen table as her father beats her mother. It draws gasps from the audience who may have bought tickets solely expecting a jaunty musical, but also provides a harrowing insight into the life that lies ahead.Anna Mae was discovered by Ike Turner, who put her centre stage leading his band alongside him. He made her change her name to Tina Turner, and made her his wife. Tina became embroiled in Ike's life: he would beat her for seeing men before they were married, for not performing the music in his vision. And it's pretty brutal stuff.The second half focusses much more on Turner's music: working with Beatles producer Phil Spector; finding her rock 'n' roll mojo; facing record labels who would only have one Black woman on their books. It brings Turner's current husband, record executive Erwin Bach (Gerard McCarthy), into the frame, though his involvement in the story feels shoe-horned in.<div style="text-align:center"><figure class="image" style="display:inline-block"><img alt="" height="603" src="https://images.ctfassets.net/6pezt69ih962/1SERDLCaKw4ajWsd5DDCKQ/847292bf4c976386fc2a8a88501d44d5/10_2.jpg" width="904" /><figcaption>Adrienne Warren as Tina Turner. Photos by Manuel Harlan.</figcaption></figure></div>Making her West End debut, Adrienne Warren absolutely storms it in the title role. Her impersonations of Turner are pretty spot-on, from her low-smooth tones to iconic howls - best demonstrated in a scene in the recording studio where Ike pushes the singer to go higher and higher. She's got the moves too, imitating Turner's distinctive moves and during the finale, transporting us from the Aldwych to the 180,000 capacity Maracana Stadium; from a musical to a rock concert.&nbsp;As you would expect, Tina is constantly at the centre of this story. Katori Hall's book does tackle the issues head-on, it covers racism in the Deep South, adversity in the music industry, and relationships of domestic abuse - all very current issues too. The only respite comes in the music.&nbsp;The whole show has more of a rock musical vibe than I expected. Many scenes begin on stage or at a recording session, giving us full-power renditions of "River Deep. Mountain High" and "The Best" (which is a pretty high-octane finale that drew the audience to its feet). &nbsp;But a highlight could be act two opener "Private Dancer", as Tina struggles to cope after Ike uses copyright to stop her from performing any of the songs they worked on together.Phyllida Lloyd's staging includes the extensive use of video as a backdrop which works well to transport us from rainy London ("I Can't Stand the Rain") to trippy, colourful scenes like "Higher". The choreography is some of the most giddy and energetic in the West End (the faster the better) and while Warren's spot-on as Turner, the speed means it's noticeable if one dancer is a touch out of time.<a href="/theatre-news/interviews/kobna-holdbrook-smith-interview-work-hard-tina-ike-turner-musical">Kobna Holdbrook-Smith</a>, performing in a musical for the first time, plays the villainous Ike with ferocity, though it is slightly grating that the character can hardly go one song without grabbing a guitar.It's everything you expected, executed well and packs in a few surprises. Simply the Best? If you're a Tina fan, it'll definitely be pretty close.<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/e3GY4mTJF8E?rel=0&amp;controls=0&amp;showinfo=0;color=white" width="560"></iframe><hr /><a href="/show/tina-the-musical">Tina - The Tina Turner Musical</a> is booking at the <a href="/theatres/aldwych-theatre">Aldwych Theatre</a> until 20th October.&nbsp;<a href="/show/tina-the-musical">Tina - The Tina Turner Musical Tickets</a> are available now.&nbsp;<hr /><h3>What the popular press said...</h3>"Born in the USA, made in England. That's the thesis of this slickly choreographed, beautifully designed and roof-raisingly well-sung bio-musical about Tina Turner." Dominic Cavendish, <a href="https://www.telegraph.co.uk/theatre/what-to-see/tina-musical-aldwych-review-joyful-lungs-bursting-show-simply/" target="_blank">The </a><a href="https://www.telegraph.co.uk/theatre/what-to-see/tina-musical-aldwych-review-joyful-lungs-bursting-show-simply/" target="_blank">Telegraph</a> (five stars)"This is a great show that is going to be a hit and its star, Adrienne Warren, is, as someone once sang, simply the best." Ann Treneman, <a href="https://www.thetimes.co.uk/article/16432644-4288-11e8-9618-96ec7a8a2ce5" target="_blank">The Times</a>&nbsp;(four stars)"[<a href="/show/tina-the-musical">Tina</a>]&nbsp;offers a heady celebration of triumph over adversity and boasts a whirlwind performance by Adrienne Warren that left the audience, though not the star herself, breathless." Michael Billington, <a href="https://www.theguardian.com/stage/2018/apr/17/tina-review-turner-musical-aldwych-theatre-london?CMP=twt_a-stage_b-gdnstage" target="_blank">The </a><a href="https://www.theguardian.com/stage/2018/apr/17/tina-review-turner-musical-aldwych-theatre-london?CMP=twt_a-stage_b-gdnstage" target="_blank">Guardian</a> (four stars)"Two things make this new West End mega-musical incredible: one, her life story - the fact that the unwanted daughter of poor black sharecroppers in racist small-town Tennessee became Tina Turner; two, Adrienne Warren as Tina." Tim Bano, <a href="https://www.thestage.co.uk/reviews/2018/tina-turner-musical-review-aldwych-theatre-london/" target="_blank">The Stage</a> (four stars)"Phyllida Lloyd's production is a rollicking rollercoaster ride, delivered with stylistic verve and fireball energy by a high-caliber cast and crew." Stephen Dalton, <a href="https://www.hollywoodreporter.com/review/tina-theater-review-1103339" target="_blank">Hollywood Reporter</a>"Warren is a livewire performer with a belter of a voice and the hits, as well as that iconic clothing combination of leather and denim, are all present and correct." Fiona Mountford,&nbsp;<a href="https://www.standard.co.uk/go/london/theatre/tina-review-tina-turner-musical-is-not-quite-better-than-all-the-rest-a3816741.html" target="_blank">Evening Standard</a> (three stars)&nbsp;"From the second she takes over from the child actor playing her young self, Warren ignites the theater." David Benedict, <a href="http://variety.com/2018/legit/reviews/tina-review-tina-turner-musical-1202755932/" target="_blank">Variety</a>&nbsp;

Review - Tina - The Tina Turner Musical at the Aldwych Theatre

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race.

The Aldwych Theatre is a grand, atmospheric theatre venue situated in the heart of London's West End. Built in 1905 by the renowned theatre architect W. G. R. Sprague, this venerable institution has a rich history of hosting notable plays, musicals, and performances by celebrated actors from around the world. With a seating capacity of approximately 1,200 spread over three levels - Stalls, Dress Circle, and Grand Circle, the thoughtfully designed interior ensures an intimate viewing experience from all angles. The unique Edwardian Baroque architecture, the intricately decorated interior, and Hungary's specially commissioned chandelier lend it a majestic aura, transporting audiences to an era bygone. Over the years, Aldwych Theatre has staged several significant performances including 'A Streetcar Named Desire,' 'Dirty Dancing,' and 'Tina – The Tina Turner Musical.' 

## How to get to the venue
 Aldwych Theatre is conveniently located and easy to reach with public transportation. The nearest underground station is Covent Garden, a short 5 minute walk away. Alternatively, Charing Cross station is only a 10-minute walk. Numerous buses service the Strand, making it accessible from across the city. If driving, it's recommended to book in advance in a nearby car parking like the Q-Park Covent Garden, as street parking is limited. It’s important to remember that Aldwych Theatre is located within London's congestion charge zone.

Aldwych Theatre - LON

Aldwych Theatre

Located in London's West End, Aldwych Theatre is a historic venue known for acclaimed performances and rich architectural design.

Ages 6+. No children under the age of 4 will be admitted and every customer must have their own ticket. Under 16s must be sat with an adult. To make sure everyone enjoys the show, little ones need to be able to sit in their own seat without any assistance.

Matilda The Musical - LON [305]

Matilda The Musical

Matilda The Musical - LON - [305] Product Media

Note: There has been cast changes since this review!We are rapidly drifting into that peculiarly English time of year when even the sanest of actors and production companies seem to take leave of their senses. Men dress up as women, women dress up as men and well-worn jokes that never ought to have seen the light of day in the first place are resurrected with abandon.Yes, panto season is with us once again. But '<a href="/show/matilda-the-musical">Matilda The Musical</a>', even though it is being aired during this silliest of seasons, isn't really a panto, even if it has some hallmarks of that genre.Based on Roald Dahl's novel 'Matilda' (first published in 1988 and turned into a film directed by Danny DeVito in 1996) the musical was commissioned by the Royal Shakespeare Company and has book by Dennis Kelly and music and lyrics by Tim Minchin. It is the story of an unwanted daughter who turns out to be something of a prodigy. Mr Wormwood is a dodgy second-hand car salesman who rather foolishly sells clapped-out bangers to the Russian Mafia. Mrs Wormwood has a penchant for Latin American dancing and dresses in garish costumes. The Wormwoods dislike their daughter Matilda intensely. They do not understand her interest in books and encourage her to be like her older brother and fall comatose in front of the 'telly'. And Mr Wormwood even goes so far as to refer to Matilda as 'boy' even though she repeatedly corrects him. When Matilda heads off to school she surprises her teacher Miss Honey with her mathematical skills and intelligence. But she falls foul of the child-hating headmistress, the former hammer-thrower Miss Trunchbull.A small army of children tackle the numerous roles, with multiple child actors rotating the parts at different performances - a nightmare I would think for the production staff, having to rehearse so many actors. But a quick glance through the biogs in the programme tells you that many of the small actors in this cast have more experience than a lot of actors get in a lifetime. They've done it all from The Sound of Music through Peter Pan and Oliver!, covering Macbeth along the way. And this wealth of talent and experience shines through all the performances, including those actors making their professional débuts. There's terrific support from the bigger actors too. In particular, Bertie Carvel makes the most of the plumb role of Miss Trunchbull making her a controlled, but incredibly sadistic head who delights in putting children into the 'chokey' cupboard. Melanie La Barrie is a wonderfully mumsy, story-loving librarian, and Paul Kaye is equally well-cast as the pushy, second-hand car dealer.On the occasion I saw the show, Cleo Demetriou took the lead as Matilda. Ms Demetriou is an enormously talented young actor with a charming singing voice to match. She combines in the role intelligent confidence with a certain intellectual aloofness, but finally shows she is just a child who needs a cuddle now and then too.One mum sitting near to me declared the show 'brilliant' and her offspring sat wide-eyed and transfixed throughout as if ET had just landed in person on the stage. In fact, all the children in the audience seemed totally mesmerised even though some of them were barely of school age. Not only that, but many seemed surprisingly clued-in to some of the more adult jokes which are sensibly injected at various points to keep the adults as happy as the smaller members of the audience. However, if my ears served me correctly, there were a couple of lewd comments from Mrs Wormwood which seemed unnecessarily gratuitous given the audience composition.The second half does not quite match up to the first in terms of the humour and tends towards the sentimental even if the final message about there not always being happy endings has much to commend it. So, I would not go quite as far as my neighbour in describing it as 'brilliant', but <a href="/show/matilda-the-musical">Matilda the Musical</a>&nbsp;is nevertheless hugely enjoyable and cracking Christmas fun. <a href="/show/matilda-the-musical">Matilda Tickets</a> are now on sale. &nbsp;"It is the best new British musical since <a href="/show/billy-elliot">Billy Elliot</a>." Charles Spencer for The Telegraph"It's an evening of unadulterated bliss." Lyn Gardner for The Guardian"A beasty baddie and stonking songs" Quentin Letts for The Daily MailExternal links to full reviews from popular press <a href="http://www.telegraph.co.uk/culture/theatre/london-shows/8913998/Matilda-Cambridge-Theatre-review.html" target="Top">Telegraph</a> - <a href="http://www.guardian.co.uk/stage/2011/nov/25/matilda-review" target="Top">Guardian</a>

Matilda The Musical Review

Matilda The Musical is the multi award-winning musical from the Royal Shakespeare Company, inspired by the beloved book by the incomparable Roald Dahl.

The Cambridge Theatre opened in 1930. The theatre occupies a triangular site on Seven Dials. 

The Cambridge Theatre opened with a production of *Masquerade*, a revue type show by André Charlot. In 1984, the theatre was renamed "the magic castle of Seven Dials" in the hopes of bringing magic shows to the West End — the scheme ended after a year. 

In 1999, the building became part of the Really Useful Group Ltd portfolio of theatres. Andrew Lloyd Webber premiered *The Beautiful Game* in 2000, with musicals including *Chicago* and *Jerry Springer – The Opera*. [*Matilda*](https://www.londontheatre.co.uk/show/matilda-the-musical) opened at the Cambridge Theatre in November 2011.

## Cambridge Theatre Seating Information

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

Stalls seating is not affected by the overhang from the Royal Circle.

The Royal Circle is set far back, and with a shallow rake in the seats the audience seated here may feel detached from the action. 

The Grand Circle is steeply raked which offers good sightlines.

## Where is *Matilda The Musical* in London?

*Matilda The Musical* is at the Cambridge Theatre Theatre in London. The Cambridge Theatre is located in Seven Dials. It's close to the Shaftesbury Theatre, the Gillian Lynne Theatre, and the Theatre Royal Drury Lane.

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