The brilliant *[Wicked](https://www.londontheatre.co.uk/show/313-wicked-tickets)* movie is defying gravity with both cinema audiences and awards bodies — it’s a huge box office hit, and it’s been nominated for 10 Academy Awards, including Best Picture, Best Actress for Cynthia Erivo, and Best Supporting Actress for Ariana Grande. 

That makes it the perfect time to look back at *Wicked*’s incredible stage journey, following that Yellow Brick Road all the way from its original San Francisco...

A timeline of 'Wicked' in the West End and beyond

Wicked - 1200 - LT 

Long before Elphaba and Glinda became Oscar-nominated Hollywood stars, they have delighted audiences in London and around the country — and the world! Get to know their full theatre history.

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Born in Suffolk in 1979, Kerry Ellis is a West End actress. She attended the Ann Holland School of Theatre Dance, and spent the summer swith the National Youth Music Theatre.

Kerry Ellis - Stars on Stage | London Theatre

Alice Fearn - LON

Born in Bath in 1983, Alice Fearn is best known for her acclaimed takeovers of Elphaba in Wicked and Beverley Bass in Come From Away.

Alice Fearn - Stars on Stage | London Theatre

Lucy St. Louis - LON

Lucy St Louis is a West End actress, best known for playing Diana Ross in Motown the Musical. In 2021, she’ll return to the West End as Christine in The Phantom of the Opera, becoming the first actress of colour to play the role in London.

Lucy St. Louis - Stars on Stage | London Theatre

Since it was introduced as an 'experiment' in 2009 (with Helen Mirren’s *Phèdre* the guinea pig production), the National Theatre’s NT Live scheme has been a great democratiser of theatre, recording world-class productions and beaming them into cinemas across the UK and beyond. 

The benefits are undeniable: for creatives, it ensures their work gets seen by far wider audiences; for punters, it’s a chance to catch cutting-edge productions that are otherwise sold out, too expensive, or too far...

Opinion: How well does 'Macbeth', starring David Tennant and Cush Jumbo, work on screen?

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With the cameras in control, the eyes are not permitted to roam freely in screenings of the Donmar Warehouse production of *Macbeth*, which is now released in cinemas around the UK. But are there other benefits to seeing this play on screen? asks our writer Holly O'Mahony.

David Tennant - LON

David Tennant - Stars on Stage | London Theatre

Cush Jumbo — LON

Cush Jumbo - Stars on Stage | London Theatre

Listen up, old sport! The lead cast has been revealed for [*The Great Gatsby*](https://www.londontheatre.co.uk/show/43205-the-great-gatsby), which transfers from Broadway to the London Coliseum in the West End on 11 April. The show will run until 7 September.

Jamie Muscato will play Jay Gatsby. His theatre credits include Anatole in the recent production of *Natasha, Pierre & the Great Comet of 1812* at the Donmar Warehouse, as well as *Moulin Rouge!* (Piccadilly Theatre), *Once* (London...

Jamie Muscato and Frances Mayli McCann to play the leads in 'The Great Gatsby' musical

the great gatsby 1200 LT Credit Dan Kennedy

The Broadway production of F. Scott Fitzgerald’s 1925 novel opened in April 2024, with Jeremy Jordan and Eva Noblezada as the leads. The musical comes to the West End on 11 April.

West End stars Beverley Knight and Billy Porter will host the 2025 Olivier Awards this spring. The ceremony will take place at the Royal Albert Hall on 6 April.

The awards ceremony honours excellence in the London theatre industry, with awards in 26 categories.

Three-time Olivier nominee Knight returned to the London stage last year in *Sister Act*. She won an award in 2023 for her performance in *Sylvia*. She is joined by *Pose* star Porter, who is currently starring in the multi-Olivier...

Beverley Knight and Billy Porter to host the 2025 Olivier Awards

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Three-time Olivier nominee Beverley Knight returned to the London stage last year in *Sister Act*, while Billy Porter is currently starring in *Cabaret* at the Kit Kat Club.

Beverley Knight - LON

Read all about soul superstar Beverley Knight and her latest London theatre shows at LondonTheatre.co.uk

Billy Porter - LON

Billy Porter's biggest stage role to date has been the drag queen Lola, which he originated, in the Broadway premiere of *Kinky Boots* in 2013.

Billy Porter - Stars on Stage | London Theatre

Shakespeare's Globe has announced has announced programming for its summer season, which runs from April – October 2025.

Kicking off the season is *Romeo and Juliet*, directed by Associate Artistic Director Sean Holmes and running from 25 April to 2 August. Abdul Sessay and Lola Shalam will star as Romeo and Juliet in Shakespeare's play about star-crossed lovers. The cast also includes Niamh James as Abram/Cover, Roman Asde as Benvolio, Léa des Garets as Lady Capulet, John Lightbody as Friar...

Shakespeare's Globe reveals 2025 summer season

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The performance of Arthur Miller's *The Crucible* will mark the first time a modern classic will be performed in the Globe Theatre.

Congratulations, you made it through January. The first 31 days of the year can feel like a lifetime — a combination of dark nights, low temperatures, and little sunlight can be difficult to get through day after day. Put the first month of the year behind you, and get ready for an action-packed February that's complete with West End theatre. 

Plus, [Valentine’s Day is right in the middle of February](https://www.londontheatre.co.uk/theatre-news/news/west-end-shows-to-see-for-valentines-day),...

Top theatre to see in London in February

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West End

It's the shortest month of the year, so time is of the essence – don't wait to book incredible London shows including *Richard II*, *Clueless*, and *The Score*.

[*The Devil Wears Prada*](https://www.londontheatre.co.uk/show/34706-the-devil-wears-prada) will extend performances at the Dominion Theatre in the West End through 3 January 2026. The production stars Vanessa Williams in the role of magazine editor-in-chief Miranda Priestly.

Alongside Williams (*Ugly Betty, Desperate Housewives*) in the cast are Olivier Award winner Matt Henry as Nigel, Georgie Buckland (*Shrek The Musical, Bedknobs and Broomsticks*) making her West End debut as Andy, Amy Di...

'The Devil Wears Prada' tickets now available through January 2026

The Devil Wears Prada - LT - 1200

*The Devil Wears Prada* stars Vanessa Williams, Matt Henry, Georgie Buckland, Amy Di Bartolomeo, James Darch, and Rhys Whitfield in the lead roles.

Emmy and Tony Award-winning actor Sean Hayes will make his London theatre debut in *Good Night, Oscar* at the Barbican this summer as part of a limited seven-week season. Performances begin on 31 July.

The *Will and Grace* star previously won a Tony Award in 2023 for his performance as actor, pianist, and personality Oscar Levant in Doug Wright's play about a notorious talkshow appearance. Lisa Peterson directs.

Hayes said: “It’s thrilling to be making my West End debut at the Barbican this...

'Will and Grace' star Sean Hayes to reprise 'Good Night, Oscar' performance in London

Sean Hayes 1200 LT credit Joan Marcus (1)

The *Will and Grace* actor previously won a Tony Award in 2023 for his performance as actor, pianist, and personality Oscar Levant in Pulitzer Prize winner Doug Wright's play.

The new cast of [*Hadestown*](https://www.londontheatre.co.uk/show/24465-hadestown-tickets) in the West End has been revealed, with the performers taking over from 11 March at the Lyric Theatre.

Desmonda Cathabel (*Aladdin*) will star as Eurydice, with Olivier Award nominee Victoria Hamilton-Barritt (*Cinderella*) as Persephone, Chris Jarman (*Harry Potter and the Cursed Child*) as Hades, Olivier Award nominee Cedric Neal (*Guys & Dolls*) as Hermes, and Dylan Wood, who made his West End debut...

New 'Hadestown' West End cast revealed

hadestown new cast 1200 LT

Olivier Award nominee Cedric Neal (*Guys & Dolls*) joins as Hermes, while Dylan Wood, who made his West End debut in *Hadestown* last year, returns as Orpheus.

Roll up, roll up! London theatre has often ventured into the Big Top, bringing us exciting circus spectacles like gravity-defying acrobats, hilarious clowns, jugglers, fire-breathers, stilt-walkers, and much more. It’s a natural arena for musicals, as there is plenty of inherent drama, colourful characters, and thrilling live entertainment.

One of the biggest movie-musical hits of recent times is *The Greatest Showman*, and we’re now eagerly anticipating the West End stage version of the film....

A history of circus musicals in London

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From *Barnum* and *Matilda* to the thrilling new production *Come Alive! The Greatest Showman Circus Spectacular*, London has a long history of circus musicals.

West End stars Beverley Knight and Billy Porter will host the 2025 Olivier Awards this spring. The ceremony will take place at the Royal Albert Hall on 6 April.

The awards ceremony honours excellence in the London theatre industry, with awards in 26 categories.

Three-time Olivier nominee Knight returned to the London stage last year in *Sister Act*. She won an award in 2023 for her performance in *Sylvia*. She is joined by *Pose* star Porter, who is currently starring in the multi-Olivier award-winning *Cabaret* at the Kit Kat Club.

The event will mark the 40th Olivier Awards since actor Sir Laurence Olivier gave his name to the ceremony in 1984.

Knight said: "I am so chuffed to be hosting this year’s Olivier Awards. I’m even more excited to be hosting alongside Billy Porter who is a phenomenal talent. It is an honour to be asked to hold the reins of such an important and prestigious night of celebrating theatre."

Porter said: "I am thrilled and honoured to host the Olivier Awards alongside the fantastic Beverley Knight. I’m so grateful for the warm welcome from the London theatre community, and am looking forward to a magnificent evening."

Highlights from the ceremony will be broadcast on ITV1 and ITVX on the evening of the event. 

Nominees for the 2025 awards are yet to be announced. Check back for more information and [read our list of last year's winners.](https://www.londontheatre.co.uk/theatre-news/news/2024-olivier-awards-full-list-of-winners)

*Photo credit: Beverley Knight and Billy Porter. (Photo courtesy of the Olivier Awards)*

Beverley Knight MBE was born in Wolverhampton in 1973.&nbsp;Throughout her teens, she sang in a church choir, whilst being raised listening to gospel music. She was also inspired by Sam Cooke and Aretha Franklin, who mixed elements of both gospel and secular music. In 1994, she signed to her first label, releasing her debut LP, The B-Funk, which won critical acclaim.

She is perhaps best known for a number of smash hits, including "Get Up!"&nbsp;and "Shoulda Woulda Coulda", both from her third LP, Who I Am, which led to a Mercury Music Prize nomination. In 2004 she went onto release her biggest-selling album yet, *Affirmation*, which included hits such as “Keep This Fire Burning” and “Not Too Late for Love.”&nbsp;Subsequently, she won a lifetime achievement award at the Urban Music Awards.

In 2006, Knight released a platinum-selling compilation album. Following this, she started hosting Beverley’s Gospel Nights on BBC Radio 2, talking about gospel music, with interviews with celebrities including Michelle Williams and Shirley Caesar.&nbsp;Knight was one of the many performers in the London 2012 Paralympic Opening Ceremony, a performance which was highly praised.&nbsp;

In 2013, Knight made her West End debut playing Rachel Marron in <a href="/show/the-bodyguard">The Bodyguard</a> at the <a href="/theatres/adelphi-theatre">Adelphi Theatre</a>. In 2014 she starred in West End production Memphis The Musical at the <a href="/theatres/shaftesbury-theatre">Shaftesbury Theatre</a>, and in 2015, she played Grizabella in Andrew Lloyd Webber’s Cats at the <a href="/theatres/london-palladium">London Palladium</a>.&nbsp;Knight led the cast as Faye Treadwell in the world premiere of <a href="https://www.londontheatre.co.uk/show/the-drifters-girl">The Drifters Girl</a>.

In 2023, Knight will play Emmeline Pankhurst in *Sylvia* at the Old Vic. She won her first Olivier for *Sylvia,* winning the Best Actress in a Supporting Role in a Musical category. She'll then reprise the role of Deloris Van Cartier in *Sister Act* at the Dominion Theatre in 2024.

The Bodyguard [1840]

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The Bodyguard

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The Dominion Theatre, located in London, is an iconic venue with a remarkable history, hosting musicals, concerts, and performances for almost a century. Established in 1929, it prides itself in its distinctive Art Deco style that resonates with its visitors and transports them to a majestic era. The theatre provides a large capacity of over 2,000 seats, making it one of the largest in London. Known for hosting some of the greatest musicals of all time, the Dominion Theatre became a prominent venue for 'We Will Rock You' - a musical inspired by the band Queen. The stage has seen performances from many famous artists, including Judy Garland. 

### How to Get to the Venue 

The Dominion Theatre is conveniently situated at the junction of Tottenham Court Road and Charing Cross Road, making it easily accessible by public transport. The closest tube station is Tottenham Court Road, which is only a minute’s walk away. Services from the Northern and Central Line serve this station. Multiple bus routes also pass close to the theatre including 7, 8, 14, 19, 24, 29, 38, 55, 73, 98, 134, 176, and 242. For those driving, the nearest car park is an NCP on Adeline Place, with a 24-hour car park on Great Russell Street.

Dominion Theatre - LON

Dominion Theatre

The Dominion Theatre is a historic, art deco theatre in London, known for hosting iconic performances. Easily accessible by public transport.

Nimax - Entry Requirements

 The Drifters Girl [21273] - LON

The Drifters Girl

 The Drifters Girl [21273] - LON Product Media

"There’s only one New York Yankees, you can’t have another just because it features some ex-players” says Faye Treadwell in *The Drifters Girl*. The pioneering African-American music manager has the unenviable job of managing The Drifters, a doo-wop band who on hand dominate the music world, but also suffer from an ever-changing lineup and “copycat” rivals who look to steal their identity. 

But rest assured, while *The Drifters Girl* storyline shines a light on the band's issues, there's nothing wrong with this musical retelling. Thanks to its  zippy, upbeat music and a warm, progressive heart, there's no musical in town quite like it.

Based on an original idea by Faye Treadwell's daughter, Tina Treadwell, writer Ed Curtis faces an unenviable job of compiling decades of Drifters history into two and a half hours of musical entertainment. Rather than following moments in Drifters history, *The Drifters Girl* musical centres around Faye's daughter as she asks questions about her mother's life in the music industry. 

There's plenty of tough questions to contend with: band members drafted into the army, the sudden death of George Treadwell, and society's attitude to black performers in the midsts of the civil rights movement. 

It’s all expertly shown in slick fashion by Beverley Knight as Faye Treadwell and a cast of four males — playing dozens of roles between them and barely leaving the stage, they must be the hardest-working actors in the West End right now. 

But people aren't always coming for *The Drifters Girl* story. They want to hear the Drifters' greatest hits. The musical packs over 20 Drifters hits into a series of stand-alone songs and medleys. With audiences (politely) singing along, the whole show is akin to a celebratory concert. 

The opening medley sets the Drifters scene, but there’s also emotionally-charged renditions of chart-toppers: Tosh Wanogho-Maud’s performance of “Stand By Me” is simply spinetingling. Plus there’s all the endearing boyish charm you could wish for from Tarinn Callender as Johnny Moore and others, as well as Adam J. Bernard as George Treadwell and others and understudy Curtis Scott as Clyde McPhatter and others. 

Perhaps unsurprisingly, *The Drifters Girl* choreography is reminiscent of *Jersey Boys*. Both musicals follow a singing foursome growing in popularity in 1960s America. But *Jersey Boys* centres on the artists. And just like the Drifters were originally formed as a backing group for Clyde McPhatter, the Drifters here ultimately serve as a backdrop — albeit a highly-skilled one — for Beverley Knight, a soulful master at work.

Walking onto stage to rapturous applause before she’d even said a word, Knight delivers the goods. Her lead numbers, "Nobody But Me" and "Harlem Child" showcase her swooping riffs and almost ethereal vocal abilities. The Act One closer, a mashup of “I Don’t Wanna Go On Without You / Stand By Me” is worth the ticket price alone. Thankfully, *The Drifters Girl* soundtrack is available to stream, so you can listen to it on repeat once you've left the auditorium.

*The Drifters Girl* boasts impressive design too thanks to Anthony Ward's clever set and Ben Cracknell's carefully-considered lighting transitions. Together, the pair complement each other in an accomplished fashion: in a few moments we're taken from a recording studio to theatres to meeting rooms. 

*The Drifters Girl* doesn't have many working parts. But what can happen with a cast of five and a few set and lighting pieces is truly remarkable. More importantly though with a jukebox musical like this, the audience walk away with their heads held high, singing their favourite hits. Only now, the audiences learn more about The Drifters' manager herself, Faye Treadwell.

[*The Drifters Girl is at the Garrick Theatre. Book The Drifters Girl tickets on London Theatre.*](https://www.londontheatre.co.uk/show/21273-the-drifters-girl)

*Photo credit: The Drifters Girl cast (Photo courtesy of production)*

'The Drifters Girl' review — Beverley Knight wows in a doo-wop musical celebration

Discover the remarkable story of The Drifters, one of the world’s greatest vocal groups, and the truth about the woman who made them.

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.

Sister Act: The Musical [19421]

Sister Act: The Musical

Sister Act: The Musical [19421] Product Media

[*Sister Act*](https://www.londontheatre.co.uk/show/19421-sister-act-the-musical) brings people together. There were people of all walks in the audience at the [Eventim Apollo](https://www.londontheatre.co.uk/theatres/eventim-apollo) on Wednesday night for the show’s triumphant return to London. Drag queens. 1970s disco devotees. Celebrities. Nostalgic millennials. All of the above. Everyone loves *Sister Act* and it’s easy to see why.

The musical brings a new lens to the 1992 film starring Whoopi Goldberg as a struggling 1970s nightclub singer who goes undercover as a nun after witnessing a murder. It’s a classic, jubilant story of the power of community and coming together set to rollicking music and full of humour and dancing. Watching the cast of *Sister Act* absolutely tear up the Eventim Apollo makes you wonder why the show ever left London? Well, the nuns are back, and they all are fabulous, baby. 

Beverley Knight is giving a performance as Dolores van Cartier that makes you think, “Whoopi Goldberg, who?” The role requires reinvention for the stage, and from her otherworldly vocals to her impeccable comedic timing, Knight absolutely redefines and becomes this iconic character. 

The entire cast is stacked, and each performance leaves you wishing there was a whole musical centered around each nun. Lizzie Bea is a bonafide star as the young Sister Mary Robert, and her Act 2 anthem “The Life I Never Led” had me in tears. Jennifer Saunders delivers her trademark comedy magic as Mother Superior, while Keala Settle’s Sister Mary Patrick hits all the punchlines and notes. 

Clive Rowe brings an earnestness to “Steady” Eddie, the cop investigating the case and Dolores’s old high school friend who’s still harbouring a crush. He brings down the house down with his all-out production number “I Could Be That Guy.” Every single person in the cast deserves a shoutout; there are just too many to list. And as a group, the whole is greater than the sum of its parts. It’s magical. 

Parts of the Bill Buckhurst-directed production get a little lost in the cavernous Eventim Apollo space. Designer Morgan Large’s set is a simple-yet-effective backdrop, and her costumes are bright, catchy, and appropriate to the time period and tone of the show. Tom Marshall’s sound design is booming and permeates the whole space — there are great acoustics in here, after all. And Tim Mitchell’s lighting makes you feel like you’re at a gospel concert. 

When the *Sister Act* film came out in 1992, this heartwarming story won over the hearts of audiences everywhere, and London audiences are going to fall in love with this gem of a show all over again. You’ll leave the theatre humming Alan Menken and Glenn Slater’s fabulous score and ready to come back for more. If you see one show about singing nuns this summer, make it *Sister Act* at the Eventim Apollo. 

*Sister Act is at the Eventim Apollo to 28 August. Book Sister Act tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)
](https://ticket.londontheatre.co.uk/booking/calendar?product_id=2069&content_product_id=2069&product_type=show&performance_type=M&venue_id=146)

*Photo credit: Beverley Knight and Jennifer Saunders in Sister Act (Photo by Manuel Harlan)*

'Sister Act' review — Raise your voice for this fabulous musical

The Eventim Apollo theatre, formerly the Hammersmith Apollo, is a unique and storied venue nestled in the heart of London. With a seating capacity of approximately 5,000, it offers high-quality entertainments to the fans of live events. Originally opened in 1932, it has an iconic Art Deco design and provides an overwhelming experience, with a mesmerising ambience. The building was designated a Grade II* listed structure by English Heritage in 1990, affirming its importance in English culture and history. Over the years, the theatre has played host to some remarkable singers, comedians and performance troupes, and continues to offer a versatile program of events. Its large stage and ample seating make it conducive for all genres, be it concerts, comedy performances, or family shows. ##How to get to the venue: Eventim Apollo is easily accessible by public transportation. It is located just a short distance from the Hammersmith tube station which is served by Circle, District, Piccadilly, and Hammersmith & City lines. If you're travelling by bus, it's served by numerous lines including the 9, 10, 27, 33, 72, 190, 211, 220, 267, 283, 295, and 391. For those preferring to drive their own vehicle, there are numerous car parks around the area.

Eventim Apollo - LON

Eventim Apollo

The historic Eventim Apollo theatre in London hosts diverse live events and is easily accessible by various modes of transportation.

10+. Anyone under the age of 16 must be accompanied by an adult.

Sylvia - LON

Sylvia

Sylvia - LON Product Media

Kate Prince’s hip-hop take on the [Suffragettes](https://www.londontheatre.co.uk/theatre-news/news/a-complete-guide-to-sylvia-starring-beverley-knight) has the cheer-worthy aim of ensuring we all understand how long and how hard these incredible women fought to secure our rights. In fact, it’s also been something of a battle to get this new work to the stage: originally a dance show, *[Sylvia](https://www.londontheatre.co.uk/show/26524-sylvia)* was meant to premiere in 2018 as a musical, wound up semi-opening as a work-in-progress, and is now finally ready to bring us those “first steps of a revolution”.

As per the title, the focus is mainly on Sylvia, daughter of the almighty Emmeline Pankhurst. Unlike her more biddable older sister Christabel, Sylvia diverged from her mother’s approach: while Emmeline focussed on securing votes for women, an increasingly socialist Sylvia wanted to expand to the working-class. Emmeline grew militant when diplomacy failed; Sylvia grew more enamoured of pacifism.

It’s a fascinating dynamic, placing conflict over how to achieve change (so debating the merits of direct action, message discipline and intersectional solidarity – although, oddly, race is never mentioned) at the heart of a family. You could parallel that with any number of current issues, whether it’s environmental protest or Brexit dividing families.

Prince’s use of contemporary dialogue, music (Josh Cohen and DJ Walde's enjoyable mix of hip-hop, funk, soul and R&B) and infectiously fun, propulsive movement also helps bridge that gap. However, there’s a large elephant in the room, and its name is *[Hamilton](https://www.londontheatre.co.uk/show/20561-hamilton-tickets)*, to which this inevitably invites comparisons.

But, while Lin-Manuel Miranda made very deliberate and thoughtful choices about paralleling his Founding Fathers with modern rappers, and where to deploy diverse casting (crucially, George III is played by a white actors), *Sylvia* feels conceptually muddled.

Prince (who co-wrote the book with Priya Parmar, and also directs and choreographs) has spoken about hip-hop culture being rooted in oppression. Yet all of its characters sound and move in the same way, whether the Suffragettes or their male opponents. In fact, the most dynamic performance comes from a “Braap!”-roaring, show-stealing Jade Hackett – as Winston Churchill’s fiercely anti-suffrage mother. So what are we meant to take from that? 

Churchill is also played by a black actor, but is a foppish, hen-pecked cartoon villain. The tone generally skews light-hearted, which makes the material engaging, but it’s challenging to switch tack for horrifying moments like the hunger-striking Suffragettes being force-fed in prison, or a vicious beating by the police (although Prince does find an expressive movement language for both). If we can’t take the opposition seriously, we’re in danger of underestimating our heroines. 

*Sylvia* also zips through the years, giving us little time to really dig into the lead characters’ lives and motivations. I wished we could have seen the Pankhursts interacting as a family, rather than just spouting slogans at one another, so we could feel the weight of what is sacrificed here – or that Christabel’s queerness could be characterised as more than just a potential PR problem. 

Charming though Alex Gaumond makes him, there’s too much time devoted to Sylvia’s romance with Labour Party founder Keir Hardie instead. It’s also a shame to see the argument weighted so heavily in Sylvia’s favour in the latter stages: she’s painted as a peace-loving, saintly martyr, adored by the working class (who we only actually meet briefly), while Emmeline becomes an elitist monster. 

And yet: one phenomenal number, in which Sylvia and Emmeline finally spill their fear, anger, resentment, desires and shared trauma, demonstrates what this show could be. With roof-raising vocals and diva riffs, [Beverley Knight](https://www.londontheatre.co.uk/stars-on-stage/beverley-knight) shows how Emmeline’s courage, passion and determination is calcifying into dictatorial intransigence, while Sharon Rose’s Sylvia finally breaks free with a rush of innovative rapping. It’s emotionally revealing as well as a fraught political fight, and it’s given space to fully land.

That’s not the case elsewhere in a show that is often highly entertaining and inspiring, thanks to a committed company and creative elements like Andrzej Goulding’s lively video projections. Yet ultimately it feels overstuffed – too much telling, not enough dramatising. Prince might take a cue from the Suffragettes: “deeds, not words.”

*Sylvia is at the Old Vic through 1 April. Book Sylvia tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=26524&content_product_id=26524&venue_id=191)

*Photo credit: The cast of Sylvia at the Old Vic (Photo by Manuel Harlan)*

'Sylvia' review – Beverley Knight leads an inspiring but overstuffed hip-hop Suffragette musical 

Read our review of Beverley Knight in the hip-hop musical *Sylvia*, now playing at the Old Vic through 1 April. Get *Sylvia* tickets on London Theatre.

The Old Vic is amongst London's most revered theatre venues, situated in the heart of the bustling city. Founded in 1818, this prestigious establishment continues to attract audiences with its dynamic array of world-renowned plays, ballets, operas and pantomimes. With a seating capacity of over 1,000, the richly decorated auditorium offers an immersive and intimate experience for all spectators. The Old Vic's enchanting neoclassical exterior and swirling marble foyers take you back in time, while its state-of-the-art sound and lighting system provide a modern and truly spectacular performance environment. Its stellar shows often star internationally acclaimed actors and directors. Over its 200-year legacy, the venue has been the home for breakthrough performances and debuts of some of the greatest plays in theatre history. 

**How to get to the Old Vic Theatre:** The Old Vic is conveniently located near multiple transport links. The nearest underground station is Waterloo, served by the Northern, Bakerloo, Jubilee, and Waterloo & City lines. The theatre is only a short 4-minute walk away. Bus routes 1, 68, 168, 171, 172, 176, 188 serve the area around the theatre. If you are driving, the nearest car park is the Waterloo Car Park located on York Road.

The Old Vic - LON

Old Vic

The Old Vic is a historic theatre in London known for world-class performances. It's conveniently accessible via Waterloo station and local bus routes.

Ages 12+. Children under the age of 5 cannot be admitted to the theatre. Children aged 15 or under must be accompanied by an adult (at least 1 adult per 10 children). All patrons, regardless of age, must have a valid ticket.

Sister Act - LON [28926]

Sister Act

Sister Act - LON [28926] Product Media

Based on the beloved film, this story of music, mishaps and nuns on the run is a joyous and uplifting tale of finding your voice and singing out, with your sisters by your side.

Beverley-Knight-124x124px

Billy Porter is starring as The Emcee alongside Marisha Wallace's Sally Bowles in *Cabaret* at the Kit Kat Club in the West End. 

Porter made his Broadway debut in the ensemble of the original 1991 Broadway production *Miss Saigon*, and his breakthrough stage role came in 1994 in *Grease*.

His biggest stage role to date has been the drag queen Lola, which he originated, in the Broadway premiere of *Kinky Boots* in 2013, winning him the Tony Award for Best Performance by an Actor in a Leading Role in a Musical. He returned to the role for a limited engagement from 2017-18. 

Recently, Porter played Pray Tell in TV series *Pose* — about New York City's ball culture — which earned him an Emmy Award as well as Golden Globe and Critics Choice Award nominations.

Ages 12+. At parent/guardian's discretion.

Cabaret - LON [23939]

Cabaret

Cabaret - LON [23939] Product Media

We have no troubles here. In here, life is beautiful.The<a href="https://www.londontheatre.co.uk/theatres/kit-kat-club"> Kit Kat Club</a> is the ultimate escape. After a difficult or even ordinary day, the fanfare, glitz, and glamour feel like a portal to another time, where you'll be greeted with complimentary schnapps, dancing chorus members, and a lascivious pre-show smorgasbord.&nbsp;From the gilded lobby, disco-lit basement, and everywhere in between, the space creates an all-encompassing atmosphere, right down to the aptly named cabaret tables, a design element director Sam Mendes also used in his 1993 production at the Donmar and later&nbsp;on Broadway, where it was revived in 2014.&nbsp;However, here, director Rebecca Frecknall levels up the concept, and maybe this time, the stakes are a little higher and a little more intense. Coupled with Tom Scutt's immersive design and Isabella Byrd's atmospheric lighting, this production feels like a world away from outside.&nbsp;Or does it really? The headlines feel eerily similar today as when Joe Masteroff, John Kander, and Fred Ebb wrote their iconic musical about an American writer and a struggling nightclub performer in 1920s Berlin, who find themselves torn between a struggle to survive in love and life amid the rising glare of Nazism. There are, in fact, many troubles here.&nbsp;And Frecknall doesn't pull any punches with her high-concept approach, which takes a cue from Christopher Isherwood's Goodbye to Berlin and John van Druten's 1951 play, on which the show is based. The approaching horror and absurdism of this escape is at the forefront, and her highly choreographed tableau feels like a ballet or a marionette show, where someone calculating is pulling all the strings.&nbsp;At the center of this circus stands the Emcee, played here with impish wackiness by Eddie Redmayne. Redmayne slithers around the stage, contorting his being every which way to almost distracting effect. Redmayne is not a commanding showman, as is a tempting take for the Emcee, but instead he uses gesture and sensuality to make the audience lean in. As the musical gets progressively darker, Redmayne's Emcee becomes more and more absurd, almost half American Horror Story: Freakshow and half Martha Graham dancer, and his final iteration is the most horrific.&nbsp;In contrast to Redmayne, Jessie Buckley is all bravado and belt. Her Sally Bowles is the ultimate starlet, taking a note or three from Liza Minelli's iconic film performance in the role, and she dominates the stage with effortless charisma and appeal. She's irresistible. Even in the quieter, heartbreaking moments, she conveys an emotional depth and density, and she nails the 11 o'clock title song. (While many may argue that Sally Bowles as a character is not supposed to be a good singer, neither this production nor Buckley respect that take.)This production highlights the ensemble nature of the show, featuring a chorus of extremely talented dancers, seemingly inventing new ways to move with Julia Cheng's choreography, and the supporting cast offers a deep emotional contrast to the more showy club scenes.&nbsp;As Fraulein Scheider and Herr Schultz, Liza Sadovy and Elliot Levey hold the beating heart of the piece and shatter it into pieces. Anna-Jane Casey stands out as Fraulein Kost, and Omari Douglas does his best naive fish-out-of-water as American writer Clifford Bradshaw.&nbsp;<a href="https://www.londontheatre.co.uk/show/23939-cabaret">Cabaret</a> feels like a story we need and also don't need right now. On the one hand, it's a glorious ode to escapism and forgetting the troubles that bind us. But some of the "troubles" we're going through right now aren't that far off from Jazz Age Berlin, with abortion legislation under fire in the United States and government oversight of Covid-19 brewing further division.&nbsp;And Frecknall's searing, haunting final stage portrait seems to imply that escapism only lasts so long. Sooner or later, if we don't face our troubles, our troubles will find us. After all, life isn't really a cabaret, old chum.<a href="https://www.londontheatre.co.uk/show/23939-cabaret">Cabaret is playing at the Kit Kat Club. Book tickets to Cabaret on London Theatre.&nbsp;</a>

'Cabaret' at the Kit Kat Club review — Come to the cabaret with Eddie Redmayne and Jessie Buckley

The Kit Kat Club at the Playhouse Theatre is an iconic venue rooted deep in London's cultural heart. Immortalized by the legendary play 'Cabaret', this famous locale comes alive every night, brimming with elegance, sophistication, and a richly provoking ambiance. The Satine interior design is steeped in history, featuring rich, dark reds and a stunning crystal chandelier. Parquet floors and large French windows looking out over the busy London streets further imbue the Kit Kat Club with an irresistible allure. Here, the sounds of decadence echo long into the night, as theatre fanatics, tourists, and curious wanderers seek solace in its welcoming atmosphere.

### Getting to the Venue

Centrally located, the Kit Kat Club at the Playhouse Theatre is easily accessible. The nearest underground station is Embankment (Circle, District, Bakerloo, Northern lines) which is just a short walk away. Also, Charing Cross Station (National Rail services, Northern and Bakerloo lines) is close by. Numerous buses service the Strand, and there are taxi ranks at Charing Cross. There are car parks at Trafalgar Square or on the South Bank. Whether by public transport, car, or on foot, getting to the Kit Kat Club at the Playhouse Theatre is convenient and effortless.

### Additional information

Venue opens 75min before showtime.

Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.
Please note that once the show begins, we cannot guarantee readmission to the auditorium if you need to leave your seat for any reason. This is for both your safety and the safety of the performers. It may be up to a 30 minute wait before you are allowed back to your seat. If you have any requirements which mean you're likely to need to leave the auditorium mid-show, please speak to member of staff before the show begins.

Kit Kat Club at the Playhouse Theatre - LON

Kit Kat Club at the Playhouse Theatre

The Kit Kat Club at the Playhouse Theatre is a historic, iconic theatre venue in London, easily accessible via multiple transport options.

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