Further casting has been announced for the world premiere of Suzie Miller's *Inter Alia*, which begins performances at the National Theatre on 10 July, running until 13 September

Joining the previously announced [Rosamund Pike](https://www.londontheatre.co.uk/theatre-news/news/learn-more-about-rosamund-pikes-career-ahead-of-inter-alia) (*Saltburn, Gone Girl*), who returns to the stage following a 15-year absence, are Jamie Glover (*Waterloo Road*) and Jasper Talbot (*Redlands*). All three make...

Further casting announced for Rosamund Pike-led 'Inter Alia'

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Rosamund Pike returns to the stage in Suzie Miller's *Inter Alia* following a 15-year absence. The performance also marks her National Theatre debut.

Rosamund Pike - LON

Further casting has been announced for David Lan's new play *The Land of the Living*, which begins performances at the National Theatre on 9 September, running until 1 November.

Directed by Stephen Daldry (*The Jungle, The Inheritance*), the play looks at the shapeshifting nature of memory and morality, when Ruth, a UN relief worker, decides whether to find the parents of Thomas — a child stolen by the Nazis from eastern Europe during the Second World War — or leave him with his new family....

Further casting revealed for 'The Land of the Living', starring Juliet Stevenson

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Directed by Stephen Daldry and written by David Lan, *The Land of the Living* looks at the shapeshifting nature of memory and morality.

Juliet Stevenson - LON

Juliet Stevenson is a highly regarded British stage and screen performer known for her many performances across both in films and plays in London. Stevenson was trained at the Royal Academy of Dramatic Art then joined the Royal Shakespeare Company.

Juliet Stevenson - Stars on Stage | London Theatre

Clive Owen (*Closer*) and Saskia Reeves (*Slow Horses*) will star in *End*, the final chapter of David Eldridge's trilogy of plays at the National Theatre next winter. Performances will begin in the Dorfman theatre on 13 November.

Eldridge's plays [*Beginning*](https://www.londontheatre.co.uk/reviews/review-beginning-at-the-dorfman-national-theatre) and [*Middle*](https://www.londontheatre.co.uk/reviews/middle-national-theatre-review) were performed at the venue in 2017 and 2022 respectively,...

Complete casting set for 'End' at the National Theatre

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David Eldridge's plays *Beginning* and *Middle* about love and relationships were performed at the National in 2017 and 2022. He returns with the final chapter in the trilogy this winter.

The Regent’s Park Open Air Theatre production of *Fiddler on the Roof* will transfer to the Barbican Centre this summer, ahead of a UK and Ireland tour. Performances will begin on 24 May, running until 19 July.

The musical is set in 1905, in the tiny village of Anatevka where Jewish milkman Tevye leads a traditional life with his five daughters. Against the backdrop of a changing world, Tevye tries to find them husbands and hold on to his roots, but will he be able to protect them from outside...

'Fiddler on the Roof' to transfer to the Barbican this summer

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The creative team includes director Jordan Fein (*Oklahoma*), choreographer Julia Cheng (*Cabaret*), and Tony Award-winning designer Tom Scutt (*Cabaret*).

John Cleese’s [*Fawlty Towers – The Play*](https://www.londontheatre.co.uk/show/39250-fawlty-towers-the-play) will return to the West End’s Apollo Theatre for a
strictly limited three-month season this summer.

The play about a chaotic hotelier in the seaside town of Torquay will run from 24 June – 13 September, before embarking on a UK and Ireland tour until 2026.

The play opened in May 2024 and is based on Cleese's 1970s TV series, co-written with Connie Booth. Cleese took three episodes from...

John Cleese’s 'Fawlty Towers' to return for limited West End summer run

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The play features many of the beloved characters from the original 1970s TV sitcom including Basil, Sybil, Manuel, Polly and The Major.

Further details have been announced for Jamie Lloyd's revival of Tim Rice and Andrew Lloyd Webber’s *Evita*, which opens at the London Palladium this summer.

The musical will open on 27 June, with previews from 14 June, and runs until 6 September 2025.

Director Lloyd previously directed an award-winning outdoor version of the musical in 2019 at Regent’s Park Open Air Theatre.

Producer Michael Harrison said: “It’s an honour to return to The London Palladium next summer, with my 14th production...

More details revealed for 'Evita' revival at the London Palladium

Andrew Lloyd Webber lyrics

The musical tells the story of Argentine politician, activist, actress, and philanthropist Eva Perón, who rose from poverty to become the most powerful woman in Latin America.

Further casting has been revealed for Oliver Cotton’s play [*The Score*](https://www.londontheatre.co.uk/show/42504-the-score), which begins performances at Theatre Royal Haymarket in the West End on 20 February.

Joining the previously announced Brian Cox (*Succession, Long Day's Journey Into Night*) as Johann Sebastian Bach and Nicole Ansari-Cox (*Rock’n’Roll, Deadwood*) as Bach’s wife Anna are Peter De Jersey as Voltaire, Juliet Garricks as Emilia, Stephen Hagan as Frederick, Jamie Wilkes as...

Further cast announced for 'The Score', starring Brian Cox 

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Directed by Trevor Nunn, *The Score* follows the meeting of composer and musician Johann Sebastian Bach, and Frederick II, Europe’s most ambitious and dangerous leader. 

Brian Cox - LON

Read more about Brian Cox on stage in London.

Brian Cox - Stars on Stage | London Theatre

Casting has been announced for the West End transfer of [*Just For One Day*](https://www.londontheatre.co.uk/show/35497-just-for-one-day), which opens at the Shaftesbury Theatre on 15 May.

The musical, which tells the behind-the-scenes story of the Live Aid concerts in London and Philadelphia in 1985, features the music of Bob Dylan, David Bowie, The Who, U2, Queen, Madonna, The Police, Elton John, Paul McCartney, Diana Ross, and others. The show had its  world premiere at the Old Vic in...

Casting announced for Live Aid musical 'Just For One Day'

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The musical tells the behind-the-scenes story of the Live Aid concerts in London and Philadelphia in 1985, featuring the music of Elton John, Paul McCartney, Diana Ross, and more.

This really is the year of Jamie Lloyd. Shakespeare returned to Theatre Royal Drury Lane for the first time in 67 years at the end of 2024 with Lloyd's production of [*The Tempest*](https://www.londontheatre.co.uk/show/43263-the-tempest), starring Sigourney Weaver. And the director is preparing for his second Shakespeare play at the venue — *Much Ado About Nothing*, starring Hayley Atwell and Tom Hiddleston. The prolific and boundlessly inventive director enjoyed a sweep at the Olivier Awards...

Learn more about Jamie Lloyd before seeing 'The Tempest' or 'Much Ado About Nothing'

1200 LT The Tempest. Sigourney Weaver (Prospero). Credit - Marc Brenner. 1373

Jamie Lloyd is a global force, with a Shakespeare season at Theatre Royal Drury Lane and his award-winning musical revival of *Sunset Boulevard* now on Broadway.

Love is in the air! No sooner than Christmas ends, Valentine’s Day floats onto the horizon. A world-class theatre trip is the perfect way to spend some quality time with your beloved. You can also combine it with a meal out before or after the show and dress up for the occasion. 

Whether you prefer musicals, plays, concerts, comedy or opera, there’s something for all tastes on the London theatre scene. What’s most important is spending time with a loved one and forming new memories. Theatre...

The most romantic London shows to book for Valentine's Day

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This Valentine's Day, treat someone special to a West End play, musical or comedy – here's our round-up of the best date night theatre.

Further casting has been announced for David Lan's new play *The Land of the Living*, which begins performances at the National Theatre on 9 September, running until 1 November.

Directed by Stephen Daldry (*The Jungle, The Inheritance*), the play looks at the shapeshifting nature of memory and morality, when Ruth, a UN relief worker, decides whether to find the parents of Thomas — a child stolen by the Nazis from eastern Europe during the Second World War — or leave him with his new family. Spanning two time periods and two countries, the play brings Ruth's decisions as a young woman into question.

The previously announced Juliet Stevenson (*The Doctor*), will be joined by Atilla Akinci (*Ghosts*). Kate Duchêne (*Hedda Gabler*), Hubert Hanowicz (*This is Going to Hurt*), Caroline Loncq (*The Protégé*), Avital Lvova (*Macbeth*), Michael Marcus (*The Inheritance*), Anastasia Martin (*Cold War*) and Tom Wlaschiha (*Game of Thrones*). 

The rest of the creative team includes set designer Miriam Buether, lighting designer James Farncombe, sound designer Gareth Fry, composer Paul Englishby and casting director Naomi Downham.

Further casting is to be announced.

*The Land of the Living* will play in the Dorfman theatre at the National.

Check back for *The Land of the Living* tickets on LondonTheatre.co.uk

*Photo credit: Hubert Hanowicz, Juliet Stevenson, Atilla Akinci. (Photos courtesy of production)*

Juliet Stevenson is a highly regarded British stage and screen performer known for her many performances across both in films and plays in London.

Juliet Stevenson was born in Essex. Stevenson’s mother was a teacher and her father was an army officer who was assigned a new post every two and a half years. Having studied at a number of different schools, Stevenson was trained at the Royal Academy of Dramatic Art and joined the Royal Shakespeare Company upon graduating.

During her time with the RSC, Stevenson appeared in productions of *The Tempest*, *Antony and Cleopatra*, *Measure for Measure*, *Henry IV* and *As You Like It*. Having made her name as a stage actress, Stevenson began to split her time between stage and screen as she landed roles in films like *The March* and *Truly, Madly, Deeply* during the early 1990s.

In 1991, she appeared in the role of *Death and the Maiden* at the [Royal Court](https://www.londontheatre.co.uk/theatres/royal-court-theatre) and its subsequent West End transfer, which saw her recognised with the Olivier Award for Best Actress. She had received four nominations prior, in 1984, 1986 and 1987, and since she has been nominated for *Duet for One* in 2010.

In recent years, Stevenson has forged a relationship with Robert Icke and the [Almeida Theatre](https://www.londontheatre.co.uk/theatres/almeida-theatre). She has starred in his productions of *[Mary Stuart](https://www.londontheatre.co.uk/show/mary-stuart)*, *[Hamlet](https://www.londontheatre.co.uk/show/hamlet-almeida-theatre-2017)* and *[The Doctor](https://www.londontheatre.co.uk/show/the-doctor)*, all of which premiered at the North London fringe theatre, and subsequently transferred to the West End. *Mary Stuart* saw Stevenson share the lead role with Lia Williams, and a coin flip at the beginning of each performance determine who played the title character or Elizabeth I.

Stevenson then led the highly-acclaimed Robert Icke play, *The Doctor*, at the Almeida Theatre. *The Doctor* transfers to the Duke of York's Theatre.

Hamlet - HPT 2017 [4518]

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The Harold Pinter Theatre, established and adorned with Victorian architecture in 1881, is one of the most notable theatre venues in the heart of London. Originally known as the Royal Comedy Theatre, it later adopted the name of 'Harold Pinter', honouring the famous playwright. The theatre is situated conveniently in the centre of the bustling West End, an ideal location for tourists and locals alike. The interior is decorated with an impressive array of original features aligned with its historical era of inception, creating an aesthetically pleasing atmosphere for theatre-goers. The theatre has an audience capacity of 796 people across four levels, with the seats divided into Stalls, Dress Circle, Royal Circle and Balcony. Over time, it has been home to many outstanding performances, including shows like 'The Homecoming', 'Moonlight', and 'Betrayal'. The Harold Pinter Theatre undoubtedly offers a memorable and culturally enriching experience for all those who visit.

### How to Get to the Venue 

Harold Pinter Theatre is accessible and well-connected, located at Panton Street in the City of Westminster. The closest Underground stations are Piccadilly Circus and Leicester Square, both within a short 5-minute walk. Numerous buses service the area regularly, making it straightforward to reach using public transport. For those driving, the MasterPark at Whitcomb Street and NCP at Denman Street are the nearest parking options.

Harold Pinter Theatre - LON

Harold Pinter Theatre

The Harold Pinter Theatre is a historic venue in London's West End, known for hosting many notable performances. Convenient and easily accessible by public transit.

Mary Stuart [8144]

Mary Stuart

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The **Duke of York's Theatre** is one of the most prestigious theatres in the bustling city of London. Nestled in the heart of St Martin's Lane, it boasts a rich history dating back to its opening in 1892. The theatre is named after King George V and since its establishment, it has featured an array of stunning performances and world-renowned plays. The auditorium is an impressive spectacle in its own right, designed in proscenium style, with the capacity to accommodate up to 640 spectators. Over the years, it has maintained its classic Edwardian decor, adding to the immersive theatre experience it provides. Furthermore, the theatre has state-of-the-art technical facilities and provides excellent acoustics, ensuring an awe-inspiring experience. 

**How to get to the venue:** 

Duke of York's Theatre is well-connected to public transportation. The closest tube stations include Charing Cross, Leicester Square, and Covent Garden. Alternatively, several buses stop near St Martin's Lane. For those driving, there are car parks nearby. However, due to London's congestion charge, public transport is the most convenient and often, the easiest way to reach the theatre.

**Additional Information** 

Venue opens 1hr 30min before showtime.<br>
Please arrive with plenty of time. Latecomers will be admitted at a suitable point, which may be the interval.

Duke of York's Theatre - LON

Duke of York's Theatre

The Duke of York's Theatre is a prestigious historical venue in London, showcasing world-renowned plays with modern facilities. It's accessible via public transport.

The Doctor - LON [18876]

The Doctor

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“No human is an island. We don’t drive change alone,” says a televised debate moderator in [*The Doctor*](https://www.londontheatre.co.uk/show/18876-the-doctor-tickets). But for Professor Ruth Wolff, the subject of said debate, what instigates change? Can medicine be the basis for all rational thoughts, or does identity politics intersect into big decision making?

At the start of *The Doctor*, Wolff rationalises denying a 14-year-old who self-administered her own abortion the ability to have her last rites as a Father is not permitted in the room. The case initially sends shockwaves in the medical community, but quickly transpires into a national medical ethics dilemma: a 50,000-strong petition demands her appearance on TV debates, she eventually resigns from her position, and becomes physical. By the end, the central case is overshadowed by wider debates about religion, ethnicity, and personal morals, but for Wolff, it all relays back to the one moment she said no.

Robert Icke adapts Arthur Schnitzler’s 1912 play, *Professor Bernhardi*, into *The Doctor*. Elements of the original text remain — Ruth Wolff is a Jewish physician, and the patient dies of sepsis. But *Professor Bernhardi*’s identity politics overhaul transforms *The Doctor* into an urgent and provocative piece of theatre that taps into the sociopolitical zeitgeist.

Icke taps into our unconscious bias from the get-go. As characters reveal their ethnicity or gender through words, we’re left to build the characters through language, rather than at face value. In doing so, it takes away potential predictability, and we learn of events at the same time as Ruth Wolff. As she begins to understands how her ideas affect others, you almost watch the character’s brain snap into action, and it’s compelling viewing. Three hours fly by in a matter of minutes. 

[Juliet Stevenson](https://www.londontheatre.co.uk/stars-on-stage/juliet-stevenson) gives a masterful performance as Professor Ruth Wolff, timing every disdainful look and eyebrow raise to perfection. She starts out as a callous doctor with a penchant for correct grammar and a booming voice to a fragile, vulnerable woman who loses everything that forms her identity. You see her tears. You feel her heartache. As she frantically runs around the bare stage, you cry for someone to help her break her surroundings and the walls she built for herself. For Stevenson to do this eight times a week is seriously impressive. 

You’d be forgiven for thinking Ruth Wolff’s case in The Doctor is similar to that of the witch hunts in *The Crucible*, coincidentally playing at the National Theatre. For Wolff, “doctors are witches in white,” — a label to be feared and an easy scapegoat if things go wrong. As she’s forced into the spotlight in a televised debate (Stevenson sits with her back to the audience and we see her on camera throughout this section), Wolff must defend herself in a medical witchhunt where there’s no way out. She must wake up to “wokeness”, or else she’s on the stakes.

But for one doctor to shine, it takes an exceptional team too: Chris Osikanlu Colquhoun, Doña Croll, Mariah Louca, Daniel Rabin, Naomi Wirtner, and Sabrina Wu work commendably as doctors of all ranks in the first half to bring a *Grey’s Anatomy* likeness to proceedings, and debate show panellists in the second half. 

Detached from the main narrative, Wolff acts as an emotional crux for Sami, a young person who struggles to find their place in a confusing world. Matilda Tucker plays Sami with their heart on their sleeve, and as the pair break apart from each other, the end result is harrowing.

Hannah Ledwidge’s live drumming adds a theatrical heartbeat to the proceedings. It amplifies the tension in all the right moments without distraction, and also adds pace. Natasha Chiver’s cold and clinical lighting matched with Hildegard Bechtler’s equally bare set design complement the show.

If *The Doctor* play laid on an operating table, medical practitioners would examine how science, religion, and identity sit in the body and affect our way of living. Now, *The Doctor* sits on a wider table — the [Duke of York’s Theatre](https://www.londontheatre.co.uk/theatres/duke-of-yorks-theatre) — allowing more audiences to understand what makes a person. *The Doctor* is the dramatic equivalent of a scientific breakthrough.

[*The Doctor is at the Duke of York's Theatre through 11 December. Book The Doctor tickets on London Theatre.*](https://www.londontheatre.co.uk/show/18876-the-doctor-tickets)

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=7607&content_product_id=7607&venue_id=116)

Further casting revealed for 'The Land of the Living', starring Juliet Stevenson

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Further casting announced for Rosamund Pike-led 'Inter Alia'

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