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Further casting has been announced for the UK premiere of *Here We Are*, which opens at the National Theatre in London on 23 April 2025.

Inspired by two of Luis Buñuel’s films – *The Discreet Charm of the Bourgeoisie* and *The Exterminating Angel* – *Here We Are* is the final musical by Stephen Sondheim. It follows a group of guests at a dinner party, as they realise they’ve bitten off more than they can chew.

Joining this new production are Chumisa Dornford-May (*Natasha, Pierre & The Great...

Further casting announced for final Sondheim musical 'Here We Are'

here we are 1200 LT cast

Inspired by two of Luis Buñuel’s films, *Here We Are* is the final musical by Stephen Sondheim and follows a group of guests at a dinner party.

Irish actor Paul Mescal is one of the biggest success stories of recent years. Born in 1996 in Maynooth, north County Kildare, Mescal initially aspired to be a footballer but discovered acting after an injury. He trained at Dublin’s Lir Academy of Dramatic Art and began his career as a stage actor.

Mescal’s mainstream breakthrough came in 2020 when he was cast as diffident student Connell Waldron in the television adaptation of Sally Rooney’s novel *Normal People* opposite Daisy Edgar-Jones....

Learn more about Paul Mescal's career ahead of 'A Streetcar Named Desire'

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The *Normal People* and *Gladiator II* star reprises his role as Stanley Kowalski at the Noël Coward Theatre in the West End for three weeks in February.

Paul Mescal - LON

DNU - A Streetcar Named Desire - Almeida - LON

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Venues in London

A Streetcar Named Desire - Almeida

The Almeida Theatre is a hidden gem tucked away in the heart of Islington, London. This magnificent small-scale theatre venue is renowned for its incredible productions and intimacy, providing a unique theatre experience that's hard to come across in most larger venues. With a repertoire spanning modern adaptations of classic plays to exciting new writes, the Almeida ensures a vibrant and diverse range of plays. The theatre has an innovative auditorium with a capacity of just 325, which is designed to pull the audience into the action, regardless of where they're sitting. Also of note, the foyer functions as a friendly mixed-use space, serving food and drinks before the shows and during the intervals.

*How to Get There*

The Almeida Theatre is located in Islington, an area well-served by public transport. The nearest tube station is Angel (Northern line), which is approximately a 10-minute walk away from the theatre. Also, from Kings Cross St Pancras station, you can reach the theatre in a short bus ride, taking buses 19, 30, 73, 205 or 476. For those preferring to drive, there's limited pay and display parking on Almeida Street and nearby streets. However, during match days, when Arsenal FC is playing at home, the area is much busier, and parking can be more challenging to find.

Almeida Theatre - LON

Almeida Theatre

London's Almeida Theatre is an intimate, 325 seat theatre in Islington, renowned for diverse and vibrant plays. Reachable via tube and buses, with limited parking.

Age guidance 14+ For all performances anyone aged under 16 must be accompanied by an adult over 18.

A Streetcar Named Desire - LON

A Streetcar Named Desire

A Streetcar Named Desire - LON Product Media

The Phoenix Theatre is a West End theatre situated in the heart of London, embracing a rich history of over a century. With a seating capacity of 1,012, the venue emanates elegance with refined gold and bronze interiors along with lush red velvet seats. Known for its magnificent portrayal of widely acclaimed arts from across the globe, the theatre has famously exhibited spectacularly thought-provoking plays and dramatic productions.

Since its inaugural production of Noel Coward's 'Private Lives' in 1930, Phoenix Theatre has circulated a diverse repertoire, from Shakespearean classics to rock musicals like 'Blood Brothers' that ran for 21 years. It also attracts an impressive roster of acting talents, including legendary artists like Dame Judi Dench and Ian McKellen.

**How to get to the venue:**

Phoenix Theatre is easily accessible, just a two-minute walk from the bustling Tottenham Court Road Underground station, which serves the Central and Northern lines. Multiple bus routes through Charing Cross road also connect it well with the rest of the city. Additionally, the nearest NCP car park is situated in Shaftesbury. It's recommended to use public transport due to restrictions on parking in the area.

**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.

Phoenix Theatre - LON

Phoenix Theatre

The Phoenix Theatre in London's West End showcases a diverse repertoire of theatrical productions, is easily accessible via public transport.

A Streetcar Named Desire - LON [43503]

LON | A Streetcar Named Desire | 43503

Following sold out runs at the Almeida and Phoenix Theatre, Rebecca Frecknall's multi-Olivier award winning and ‘heartstopping’ (Telegraph) production of A STREETCAR NAMED DESIRE returns to the West End for three weeks only in February 2025.

**Noël Coward Theatre** is a popular venue in the heart of London that continues to draw audiences with its excellent choice of productions. This theatre is a prominent part of London's cultural fabric and has been a part of the city's arts scene since its opening in 1903. Named after the renowned playwright, Noël Coward, it was formerly known as the Albery Theatre. The theatre has a remarkable capacity of 872 seats, offering a fascinating range of viewing experiences. The venue is well-known for its diverse productions, ranging from musicals to classic plays and modern dramas. Past productions include 'Half a Sixpence', 'The Vortex', and 'Deathtrap'. The Theatre's design is a delightful blend of tradition and modernity, mirroring the diverse array of productions it hosts. The richly decorated interior adds to the sensory experience, making viewing a performance here a complete theatrical event. 

 **How to Get There** 
 The theatre is located in St Martin's Lane, a short walk from Leicester Square and Covent Garden tube stations. This makes the venue quite easily accessible by public transportation. There are also numerous bus routes which stop nearby. For patrons driving to the venue, there is a car park nearby in Chinatown. The theatre also offers bicycle racks for those who prefer to cycle.

Noël Coward Theatre - LON

Noël Coward Theatre

The Noël Coward Theatre is a prominent London venue known for diverse theatrical productions; accessible via public transportation, parking, and cycle.

Find out more about Paul Mescal theatre roles in London.

Paul Mescal - Stars on Stage | London Theatre

Paul Mescal - 124x124px - LON

It’s been another fantastic, and fantastically varied, year of [London theatre](https://www.londontheatre.co.uk/). Multiple inventive revivals put a fresh spin on classic work, from Wilde and Shakespeare to Sophocles, while heartfelt new plays and musicals illuminated our complex world (and our obsession with true crime). 

Here are some of my top picks – and, happily, you still have time to catch a few of these gems.

![The Importance of Being Earnest - LT -...

The best of theatre 2024

Hello, Dolly - LT - 1200

With 2024 drawing to a close, we look back on some of the year's theatrical highlights – from spectacular musicals to thrilling plays.

The Bush Theatre will host a one-night fundraising event with Sir Lenny Henry next year to raise vital funds for the venue. [*An Evening with Sir Lenny Henry*](https://www.londontheatre.co.uk/show/43517-an-evening-with-sir-lenny-henry) will take place on 25 January.

Comedian, actor, and writer Lenny Henry, whose playwriting debut *August in England* was produced by The Bush in 2023, will read from his play, as well as take part in a live Q&A with culture writer and podcaster Nancy Durrant.

The...

Bush Theatre to host fundraising event with Lenny Henry 

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The west London venue has nurtured countless writers such as Michaela Coel, James Graham, and Benedict Lombe, but finds itself in a difficult financial position due to rising costs.

It's that time of year! The evenings are dark by 4pm, Christmas trees are up, and the Royal Variety Performance is back on our screens. Presented by Amanda Holden and Alan Carr, the performance will return to ITV1 from 8pm on Sunday 15 December.

Every year, the Royal Variety boasts an impressive and extensive list of West End stars and shows. Casts from *The Lion King, Frozen*, and *Crazy For You* all performed last year, as well as stars such as Hannah Waddingham and Cher.

This year, there...

All the West End shows appearing at the Royal Variety Performance

The Devil Wears Prada - LT - 1200

The Royal Variety 2024 will feature a number from new Elton John musical *The Devil Wears Prada*, as well as an exclusive medley from Cameron Mackintosh’s *Oliver!* 

Marisha Wallace - LON

Oklahoma! - Young Vic - LON - DNU

Oklahoma! - Young Vic

*Content warning: This review discusses suicide and mental health.*

When this intimate and innovative revival of the Rodgers and Hammerstein classic premiered in New York, many, including the cast, dubbed the show “Sexy *Oklahoma*.” The hashtag #thisoklahomafucks permeated social media, as director Daniel Fish’s production showcases the darker, seductive elements of the story about the divisions in a local community on the brink of the titular territory’s statehood. 

Well, as someone who saw that production off Broadway at St. Ann’s Warehouse, on Broadway three times, and for the first time at the [Young Vic](https://www.londontheatre.co.uk/theatres/young-vic) last night, I’m here to tell you, this *Oklahoma* still fucks. 

Fish, co-directing with Jordan Fein here, replicates his Tony-winning revival, complete with Laura Jellinek and Grace Laubacher’s wood-panelled set and Terese Wadden’s contemporary-yet-period-appropriate colourful costumes. Scott Zielinski’s lighting and Joshua Thorson’s projections create the eerie moodiness of the production. 

The genius of Fish’s concept for the revival is in the role reversal of the two male leads: Jud and Curly. You know, the farmer and the cowman who can’t be friends because they both want to be with the same woman. Traditionally, Curly is the strapping hero who wins the girl, while Jud is the conniving farm hand. However, without changing a word of the text, Fish highlights just how wrong we’ve been about these characters.

Fish stages the iconic smokehouse scene, where Curly confronts Jud about who is going to bring Laurey the box social, in pitch black, with video projections of Jud’s reactions throughout, as Curly bullies Jud and tries to convince him to kill himself. Underlying this interaction and throughout Curly and Jud’s feud is a level of homo-eroticism, as the actors share the same microphone and perform “Poor Jud Is Dead” as an emotional duet, their faces centimetres apart.

And London audiences, you are in for a real treat because Patrick Vaill is making his UK stage debut, after originating the role of Jud in this production from Bard College where he was a student all the way to Broadway. His emotional depth as the misunderstood Jud has only gotten deeper and more nuanced with time, and the result is utterly heart shattering. 

If you’re lucky enough to be sitting on the side of the theatre, which is situated in a thrust semi-circle with the cast in folding chairs around the edge, you’ll get to watch Vaill react as Jud throughout. He’s never out of character, sitting there shifting and smouldering. It’s a truly immaculate character study

The bumbling and delightful James Davis also crossed the pond to play Will Parker again, but the rest of the cast is new. Anoushka Lucas is stoic and alluring as Laurey, a perfect foil for the swirl of male energy around her, establishing Laurey as more than just a typical ingenue but instead as a complex woman with agency. 

Arthur Darvill puts an Elvis Presley spin on Curly, and rather than go for broad strokes bully, he’s more calculated. He’s the rock star who gets the girl, leaving no prisoners in his path. Liza Sadovy as Aunt Eller and Stavros Demetraki as Ali Hakim also bring impressive grit and humour to the company. 

As Ado Annie, Marisha Wallace gives an entirely fresh take, complete with full-power vocals. Her rendition of “I Can’t Say No” becomes a feminist anthem about a woman’s desire, and as she struts around the stage, embracing her power, she proves that Annie is the temptress and Will and Ali are just lucky to be there. 

It seems like a cliché to say that this show couldn’t be more timely, but unfortunately, its relevance just keeps getting, well, more relevant. As a story about a divided territory with classes at odds, struggling to find common ground to become a unified state, the parallels with our divided world are painfully clear. 

Whether it’s abortion legistature in the United States Supreme Court, the war in Ukraine, or British politics and the recent UK elections, people have been fighting over laws, land, and perspectives since the beginning of time. 

If only territory folks would stick together. 

*[Oklahoma! is at the Young Vic to 25 June.](https://www.londontheatre.co.uk/show/24339-oklahoma)*

*Photo credit: Patrick Vaill in Rodgers & Hammerstein’s Oklahoma! at the Young Vic (Photo by Marc Brenner)*

'Oklahoma!' at the Young Vic review — Rodgers and Hammerstein has never been so sexy

The Young Vic (Main House) theatre is a renowned performing arts venue in London that boasts a rich heritage and an eclectic mix of performances each year. Known for its creative and innovative approach to theatre, it is committed to producing high-quality shows that take a fresh look at classics while also showcasing new talent and creative voices. With a focus on accessibility and community, the Young Vic (Main House) theatre is a vibrant hub for culture and community in the heart of London. The Main House, with an adjustable auditorium, provides an intimate, immersive viewing experience, making each performance uniquely engaging. 

**How to get to the venue**:

The Young Vic is located at 66 The Cut, London, SE1 8LZ. It is easily accessible by public transport. The nearest Underground station is Waterloo, which is just approximately 10 minutes by foot. Alternatively, the Southwark and Lambeth North Underground stations are also close by. Buses frequently run in and around the area with main bus routes serviced being the 1, 68, 168, 171, 172, 176, and 188. There's a Santander Cycle Hire station located a minute away on Waterloo Road for those who prefer to bike, and several local parking lots in the vicinity for individuals driving to the theatre.

Young Vic - LON

Young Vic (Main House)

The Young Vic (Main House) is a globally famed theatre in London known for innovative performances and community-focused ethos.

Waitress [13105]

Waitress

Waitress [13105] Product Media

<a href="/show/waitress">Waitress</a> opened on Broadway in the same 2015/16 season as <a href="/show/hamilton">Hamilton</a> - so, hardly surprisingly, lost out in the Tony Awards race, including for best musical and best original score. Yet, nearly three years on from its premiere there, it is still running - a block away from Hamilton (and the only shows from that season still be doing so). It has obviously struck a chord with theatregoers - and now it has come to London (with an international roll-out still to follow in Australia and Japan). It is in an altogether lower-key, folk-rock register to Hamilton's blast of hip-hop energy, and an absolutely lovely contrast to it. There is, or at least should be, room for both. Again, while <a href="/show/hamilton">Hamilton</a> takes bold steps while re-telling a giant chapter in the birth of the American nation and the constitutional papers that are its bedrock, <a href="/show/waitress">Waitress</a> is more domestically-scaled - and all the more heartfelt and personal for it.Here is an intimate everyday story of the power of workplace friendships and the joys of pie-baking - but not, as you might fear, full of sugar but also containing quite a lot of spice. There are real notes of anguish and entrapment felt as we follow the experiences of a diner waitress called Jenna, who can bake multiple varieties of pies -&nbsp;but also finds herself unexpectedly with a bun in the oven.So far, so familiar; especially if you've seen the 2007 film of the same name, originally written and directed by the late Adrienne Shelly. But what the all-female writing and lead creative team have done here is to add texture and tension through a series of gorgeous songs by folk-pop writer Sara Bareilles, making her musical theatre debut, that pulse with melody and feeling, and tender comedy notes expertly channelled by book writer Jessie Nelson.Under the guiding eyes of director Diane Paulus and choreographer Lorin Latarro, this story about a woman's life, told entirely from her point of view, is beautifully championed - and gets a sterling boost from American import Katharine McPhee, reprising the role of Jenna that she has also performed on Broadway, who has an effortlessly natural acting style and an alternately soaring and throbbing singing voice, not least in the show's Act Two power ballad "She Used to Be Mine".She is ideally partnered by Marisha Wallace and Laura Baldwin as her two work colleagues, each of&nbsp;whom get their own songs to shine in;&nbsp;and while all the male roles are, unusually for a musical, supporting ones, there are characterful contributions from David Hunter as Jenna's gynaecologist who takes more than a passing professional interest in her, Peter Hannah as her abusive husband and Shaun Prendergast as the fatherly owner of the diner.This is a small show with a big heart; it may have been better served by a more intimate house than the <a href="/theatres/adelphi-theatre">Adelphi</a>&nbsp;for its London debut, but I loved it.<a href="/show/waitress">Waitress</a> is booking at the <a href="/theatres/adelphi-theatre">Adelphi Theatre</a> until 19th October.<a href="/show/waitress">Waitress tickets</a> are available now.&nbsp;&nbsp;<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WAITRESS REVIEW ROUND-UP</h2></div></div></div>"This musical took me by surprise: I expected something much less touching, gritty and moving. It has heart (not to mention pastry) to spare, and McPhee's voice has the lilt and lift to take you away from yourself." Ann Treneman, <a href="https://www.thetimes.co.uk/article/treat-yourself-to-a-slice-of-five-star-pie-32hjz2rsk" target="_blank">The Times</a>, ★★★★★"There are moments of discomfort but it says a lot for the fast sass and wonderful take-it-or-leave it silliness and the occasional sugar-free sequences in Jessie Nelson's deft book that the spot-on cast in Diane Paulus's production mostly manage to give these elisions an elating good humour and humanity.&nbsp; " Paul Taylor, <a href="https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/waitress-adelphi-theatre-london-review-a8811911.html" target="_blank">Independent</a>, ★★★★☆"McPhee gives a beautifully weary performance, setting the tone for a mostly British cast that treats the serious bits seriously and goes balls-to-the-wall on the daft stuff." Andrzej Lukowski, <a href="https://www.timeout.com/london/theatre/waitress-review" target="_blank">Time Out</a>, ★★★☆☆"Initially, the show struck me as raucous and improbable... But I found myself warming to Jessie Nelson's book and to the vigour of the songs." Michael Billington, <a href="https://www.theguardian.com/stage/2019/mar/07/waitress-review-adelphi-london-cook-fling-doctor-broadway-musical" target="_blank">The Guardian</a>,&nbsp;★★★☆☆

Review - Waitress at the Adelphi Theatre

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.

Welcome to the '60s! Don't miss your final chance to see this big-hearted hit in the West End

Hairspray [16216] - LON

Hairspray

Hairspray [16216] - LON Product Media

On a night of jubilation for English football fans, there was ample cause for celebration in the West End, too. Theatre came roaring back with a bright and big-hearted musical, ecstatically received by the <a href="https://www.londontheatre.co.uk/theatres/london-coliseum">London Coliseum</a> audience.As star <a href="https://www.londontheatre.co.uk/actor-profile/michael-ball">Michael Ball </a>pointed out in a post-show speech, we're not there yet: that audience was 1,000 instead of 3,000, with social distancing and capacity caps still in place. It was a smaller band, too, looking lonely in the cavernous pit. All of which exacerbated a mismatch between this genial but modest production and the enormous venue.&nbsp;Yet thanks to a phenomenally hard-working ensemble, dynamically delivering Jerry Mitchell's witty, inventive choreography, it did capture the <a href="https://www.londontheatre.co.uk/show/hairspray">Hairspray</a> spirit — capped by the irresistible final number, "You Can't Stop the Beat," which had everyone up and dancing together. You don't get that with a streamed show in your living room.&nbsp;The big draw of this revival — originally due to run last year — is Ball reprising his Olivier-winning turn as Edna Turnblad, laundress mother of the dance-crazy Tracy, who has yet to embrace '60s liberation. Ball has total command of the material, landing one-liners with aplomb, forming an endearing bond with Lizzie Bea's Tracy, and relishing this multifaceted drag role. He can both work a feathered hem and threaten to throw a punch.&nbsp;It's a performance that shifts into panto at times, especially when Ball ad libs to crack up Les Dennis, playing husband Wilbur. Dennis is a jolly presence, but vocally underpowered and clearly busking it during the dance numbers.Overall, Jack O'Brien's production needs more tonal consistency. Rita Simons and Georgia Anderson play the Von Tussles as cartoon villains — enjoyably so in the latter case, giving us a very funny, shrill Amber. But that's slightly at odds with more grounded work elsewhere, particularly from Bea as Tracy and Ashley Samuels as Seaweed J Stubbs. This show is a tricky balancing act: relishing its zany, colourful fun, without losing the heartfelt story at the centre.However, Bea is a delight as the plus-sized, giant-haired Tracy, determined to follow her dreams of dancing on her favourite TV show. She could make more of the comic possibilities, but gets great mileage out of Tracy's unbridled lust for crooner Link (a suitably appealing Jonny Amies).&nbsp;Michael Vinsen's Corny Collins amusingly lives up to his name, shiny trousers and all (glorious costumes by William Ivey Long), while, as Penny, Mari McGinlay proves to be an adept physical comedian. There's also a scene-stealing turn by Kimani Arthur as Little Inez, while Ashley Samuels makes Seaweed a genuinely exciting dancer — and imbues those smooth moves with real meaning, too.But the knockout performance comes from Marisha Wallace as Motormouth Maybelle, whose "I Know Where I've Been" begins as an intimate, bluesy number, sung to her children, and builds to a great cry, testifying about her experiences and beseeching the heavens for progress.While Mark O'Donnell, Thomas Meehan, Marc Shaiman, and Scott Wittman's show does minimise social injustice with its overly neat ending, in some ways it feels startlingly contemporary. There's an activist protagonist using her platform to enact change, a joke about how rigging the justice system to win a contest is "un-American" that plays differently in 2021, and the lyrics of "I Know Where I've Been" still confront us"&nbsp;"Just to sit still would be a sin" is the challenge issued by the Black Lives Matter movement to be more than a passive ally.Yet, ultimately, Hairspray is a great big hug of a show. With its catchy '60s songs and explosive dancing, it's a joyful welcome back to musical theatre audiences — and to a re-emerging West End.<a href="https://www.londontheatre.co.uk/show/hairspray">Hairspray is running through 30 September at the London Coliseum. Book Hairspray tickets in the West End on London Theatre today.</a>Photo credit: Lizzie Bea as Tracy Turnblad and Jonny Amies as Link Larkin (Photo by Tristram Kenton)<div>&nbsp;</div>

'Hairspray' brings the beat and a big heart back to the West End

The London Coliseum, located in the heart of London is the largest theatre in London's West End. Built by architect Frank Matcham and opening its doors for the first time in 1904, the theatre houses just under 2,359 seats, spread out over four levels. Stylistically, the design is Edwardian Baroque - known for its grandeur and detail-oriented style. A site of both historic and cultural importance, The Coliseum is famed for its variety of productions including musical comedies, variety shows, and classic dramas. Since 1968, it has been the London home of the English National Opera (ENO) and is also used by the English National Ballet during the Christmas period. Notably, The London Coliseum has a rich history, boasting a revolving stage and the first 'quadraphonic' sound system in Britain. Today, its programming is varied with everything from high-profile awards ceremonies, to film screenings, television broadcasts, and a selection of world-class operas, musicals, dance performances and concerts. Its motto is 'Pro Bono Publico' (For the public good).

## How to get to the venue
The London Coliseum is easily accessible by a variety of transport options. It is located at St Martin's Lane, London, WC2N 4ES. The nearest underground station is Leicester Square on the Northern and Piccadilly Lines whilst the Charing Cross station servicing the Northern, Bakerloo and the British Rail Lines is just a short walk away. Additionally, a variety of buses service the area including the routes 3, 6, 9, 12, 13, 15, 24, 29, 30, 53.

London Coliseum - LON

London Coliseum

The London Coliseum is the largest West End theatre, housing English National Opera and English National Ballet performances. Accessible from Leicester Square and Charing Cross stations.

Dreamgirls [2731]

Dreamgirls

Dreamgirls [2731] Product Media

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 5+. Under 12s are not allowed in the standing area. Under 16s in the standing or seated areas must be accompanied by an adult. Children aged 5-11 must watch from a seat with an adult. Children under 5 will not be admitted.

Guys & Dolls - LON [25504]

Guys & Dolls

Guys & Dolls - Seated - LON  Product Media

Would luck be a lady for Nicholas Hytner? His much-hyped, immersive production of *[Guys & Dolls](https://www.londontheatre.co.uk/show/25504-guys-and-dolls-tickets)* is set to run for six months at the [Bridge Theatre](https://www.londontheatre.co.uk/theatres/the-bridge-theatre) — a significant gamble. Well, I’m delighted to report that he’s hit the jackpot with this jubilant revival, which somehow manages to be both the most exhilarating version of Frank Loesser’s musical I’ve seen, and also the most nuanced. 

That combination is thanks to an ingenious staging, building on the Bridge’s previous immersive Shakespeare productions. The audience is in the round, partly seated. The standing audience, gathered in the centre, gets thrillingly close to the action, with hydraulic platforms shooting out of the floor all over the place and neon signs descending from the ceiling.

Bunny Christie’s design basically dances more than the cast. It creates boundless staging opportunities for Hytner: whether it’s a central platform for a big Hot Box number, or a large zigzagging path across the auditorium, or several separate mini-stages acting as different locations. It matches the energy of this heightened, Damon Runyon-styled New York City, and allows for lightning-fast scene changes (occasionally the set-up for the next scene cuts into the current one, as ushers nudge the promenading audience around, but that can hopefully be ironed out over the run). 

It creates a dynamic audience experience, far removed from the previous rather tired West End outing for *Guys & Dolls*. There’s pre-show fun (you can get a rakish hat or a pretzel from a street seller), and immersive elements during the show itself: you might be handed a Save-a-Soul Mission leaflet, or a streamer to wave, or have your drink nicked by a cheeky gambler. It all climaxes with a euphoric dance party, with cast members sticking around to boogie and take selfies with fans. It’s an inspired way to make theatre feel relevant and accessible.

But, as with the similarly thoughtful revivals of *Cabaret* and *Oklahoma!*, this isn’t just audience pandering. Thanks to the intimacy and nimbleness of this set-up, Hytner can also mine the show for psychological detail. 

*Guys & Dolls* is that rare show in which the book is the equal of the score, and this production so joyfully lands all of Abe Burrows and Jo Swerling’s zingers and larger-than-life, deliciously named characters, while also giving them dimensionality.

Crucially, it addresses the inherent misogyny. [Marisha Wallace](https://www.londontheatre.co.uk/stars-on-stage/marisha-wallace)’s Adelaide is no ditzy, marriage-obsessed dupe, who eventually guilts reluctant long-time fiancé Nathan into settling down with her. Instead, this is a couple desperately, carnally in love with each other, however, it’s Nathan who has the mental block. Daniel Mays (mostly known for his screen work, but making a phenomenal musical theatre debut) emphasises how Nathan relishes his status as the ultimate fixer, always staying one step ahead of the law. What happens if he stops running? 

The pair of them bring impressive comic chops but also an inherent sadness to their big rows, especially the wonderfully absurd sequence in which Adelaide admits she’s invented a brood of children for her concerned mother (Mays’s pique that Nathan is just an assistant manager in this fiction is priceless). 

Duet “Sue Me” — often a throwaway gag — is a masterclass in acting through song, supported by the blocking: they grow more physically distanced with each bitter exchange, while still achingly emotionally attached.

Wallace also avoids the easy humorous route with “Adelaide’s Lament,” dropping the exaggerated pronunciations in favour of framing the number as a gentle confession, aimed at the audience right beside her — one friend speaking to another. But she’s just as capable of amping up her performance in the steamy Hot Box stripteases (no coyness here), in which she owns her power and sexuality. 

In contrast to these warring veterans of love are the newly met, opposites-attract pair: Celinde Schoenmaker’s robustly dedicated missionary Sarah and Andrew Richardson’s charmingly insincere gambler Sky. Again, this is framed as an equal journey, not just as a woman who needs to lighten up. 

If anything, the exquisitely clarion-voiced Schoenmaker is the driving force: in “If I Were a Bell” she seems as drunk on life as on rum, tearing open Sky’s shirt and, following some Gene Kelly lamppost swinging, falling into his arms and swimming through the air. When they meet in song, their harmonies intertwine like a warm embrace. 

The boyish Richardson, a smouldering, Clive Owen-esque presence, actually feels like the lost one of the pair. This mainly works nicely, although both performance and vocals need more projection. There’s also one bewildering misstep: the introduction of a stereotypical gay club in Havana. It gets around the tired trope of a feisty Latina starting a catfight, and a bisexual Sky is a fascinating idea, but it’s never actually developed.

I also would have liked more explosive choreography here (the Cuban sequence begins with dancers scattered in the crowd — less impactful at a distance), but Arlene Phillips and James Cousins’s grounded, organic movement is otherwise invigorating, and the visible band gives us a glorious version of Loesser’s peerless score. Plus there are numerous scene-stealing supporting turns: Cedric Neal’s Nicely-Nicely, lending gospel fervour to “Sit Down, You’re Rocking the Boat”; Mark Oxtoby’s fast-talking Benny; the perfect sight gag of Cameron Johnson’s giant Big Jule.

Most joyfully, the happy ending feels earned. Wallace and Schoenmaker’s “Marry the Man Today” isn’t an expression of dubious making-do, but a dawning realisation — by two shrewd women knocking back shots together; fabulous — that there’s nothing certain about life or love: “You’ve simply gotta gamble”. And when it pays off, as Hytner proves, the rewards are boundless. 

*Guys & Dolls at the Bridge Theatre through 2 September. Book Guys & Dolls tickets on London Theatre.*

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=25504&content_product_id=25504&venue_id=76)

*Photo credit: The cast of Guys & Dolls (Photo by Manuel Harlan)*

'Guys & Dolls' review – Nicholas Hytner hits the jackpot with this exhilarating immersive revival

Read our five-star review of *Guys & Dolls* starring Marisha Wallace at the Bridge Theatre, currently playing through 2 September. Get *Guys & Dolls* tickets on London Theatre.

The Bridge Theatre is a state-of-the-art theatre venue located in London's vibrant Southwark district, near the iconic Tower Bridge. It was opened in 2017, and has quickly established itself as a hub for innovative and engaging productions, attracting high-profile directors, writers and actors from around the world. The venue boasts a contemporary design with sleek interiors and comfortable seating. It offers a rotating repertory program, featuring a variety of performances from new productions to classic plays and musicals. The Bridge Theatre is especially renowned for its immersive staging, which allows for a unique, close-up theatre experience. High-tech acoustics and lighting further contribute to the world-class performances that audiences have come to expect at this venue.\n\n**Getting to the Bridge Theatre**\nIt's easily accessible by public transport. The nearest tube station is London Bridge, which is just a short walk away. Numerous bus routes also stop nearby. For those driving, there's a Q-Park car park in Butlers Wharf, which offers discounted parking rates for theatre goers when booked in advance. The area is well served by cycle lanes, and Santander Cycles docking stations can be found nearby. The theatre encourages green travel and recommends walking or cycling where possible.

Bridge Theatre - LON

Bridge Theatre

The Bridge Theatre is a modern theatre venue in London, known for its immersive productions, and is accessible by numerous transport options.

Guys & Dolls - Standing Immersive - LON [27637]

Guys & Dolls - Standing Immersive

Guys & Dolls - Standing Immersive - LON  Product Media

Born in North Carolina, USA, Marisha Wallace is a West End rising star who has appeared in many West End and Broadway productions.

Marisha Wallace - Stars on Stage | London Theatre

Marisha Wallace - 124x124px

The full cast has been revealed for Mischief Theatre's new West End show *The Comedy About Spies*. Performances begin at the Noël Coward Theatre from 14 April 2025.

Starring members of the original Mischief company, the show's cast includes Dave Hearn, Chris Leask, Henry Lewis, Charlie Russell, Henry Shields, Greg Tannahill, and Nancy Zamit. They are joined by Adele James, who is making her Mischief debut. 

The new play from the company behind *The Play That Goes Wrong, Peter Pan Goes Wrong*,...

Full cast announced for 'The Comedy About Spies'

comedy about spies 1200

Mischief Theatre's other West End shows include *The Play That Goes Wrong, Peter Pan Goes Wrong*, and *The Comedy About a Bank Robbery*.

Andrew Lloyd Webber’s *Evita* will open at the London Palladium next summer. Performances will begin on 14 June 2025, running until 6 September.

As was announced in October, [director Jamie Lloyd will direct the production](https://www.londontheatre.co.uk/theatre-news/news/andrew-lloyd-webber-reveals-jamie-lloyd-will-direct-evita-in-london-in-2025), with further cast and creative team to be announced.

Lloyd previously directed the musical at Regent's Park Open Air Theatre in 2019 and he is...

Andrew Lloyd Webber’s 'Evita' to open at the London Palladium next summer

Andrew Lloyd Webber lyrics

Jamie Lloyd previously directed the musical at Regent's Park Open Air Theatre in 2019 and he is currently directing *Sunset Blvd.* on Broadway, starring Nicole Scherzinger.

Bah humbug! If you’re struggling to get in the festive spirit this year and want to see something other than a pantomime, children’s show or [ballet](https://www.londontheatre.co.uk/whats-on/ballet), there are plenty of options on London’s stages. From dark plays such as *The Duchess [of Malfi]*, to the political satire *Dr Strangelove*, and Greek musical *Hadestown*, choose from a variety of thrilling West End and Off-West End shows. 

While festive fanatics should head over to [our top 10 list...

Non-festive shows to see this winter

1200 LT 1.Jodie Whittaker (The Duchess). Photo Credit - Marc Brenner

Struggling to get into the festive mood this Christmas? Fear not! Read on for our top non-festive shows to see during the Christmas period.

__UPDATE:__ This article was updated on 10 December with the announcement that Billy Byers will play Alternate Artful Dodger and Odo Rowntree-Bailly (*Love Never Dies*) will be one of the actors playing Oliver Twist. Other actors performing in the roles of Oliver and Dodger for later in the run will be announced in due course.

The complete cast has been set for Cameron Mackintosh and Matthew Bourne's revival of *Oliver!*, which opens at the Gielgud Theatre in the West End on 14 December.

New...

Full cast announced for 'Oliver!' in the West End

oliver 1200 LT

The cast of *Oliver!* will include Simon Lipkin as Fagin, Shanay Holmes as Nancy, Aaron Sidwell as Bill Sikes, and Billy Jenkins as the Artful Dodger. 

The Donmar Warehouse’s production of [*Macbeth*](https://www.londontheatre.co.uk/show/39455-macbeth), starring David Tennant and Cush Jumbo, has broken box office records at the Harold Pinter Theatre in the West End.

[Director Max Webster](https://www.londontheatre.co.uk/theatre-news/interviews/director-max-webster-the-importance-of-being-earnest-macbeth-david-tennant-ncuti-gatwa)'s production, which opened at the Harold Pinter on 1 October following a run at the Donmar last year, achieved the...

'Macbeth' starring David Tennant and Cush Jumbo breaks box office records

Macbeth - LT - 1200

Max Webster's production achieved the highest ever initial on sale at the Harold Pinter Theatre, reaching over £2,150,000 in just one day.

Orchestra Seat Sale in June 2025

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