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Nicola Walker and Ambika Mod will take to the stage as part of Artistic Director David Byrne’s 2025 programme of shows at the Royal Court in London.

The theatre has revealed the final six productions that will feature in the season, including four world premieres.

*After the Act*, by Billy Barrett and Ellice Stevens, will run from 21 May - 14 June, and tells the story of the teachers, pupils and activists who lived through Section 28: a law that banned the ‘promotion’ of homosexuality in...

Royal Court completes 2025 season, with shows starring Nicola Walker and Ambika Mod

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Ambika Mod will star in Sophia Chetin-Leuner's *Porn Play*, directed by Josie Rourke, which sees young academic Ani struggle with her secret addiction to violent pornography.

*The Hunger Games* is the latest young adult blockbuster franchise to receive the stage treatment, about a decade after the project was first announced. It ought to be well worth the wait, as its the dream team of playwright Conor McPherson and director Matthew Dunster and will be staged in a new, state-of-the-art, purpose-built venue in Canary Wharf. No expense is being spared! 

Suzanne Collins’s book series has captivated readers of all ages since the first instalment was published in 2008 (a...

Everything you need to know about 'The Hunger Games' on stage

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The popular dystopian franchise is set to storm the stage at the brand-new Troubadour Canary Wharf Theatre this autumn.

There is a long and proud history of great acting dynasties, from the Barrymore family to the Redgraves. Audiences experience a particular charge when seeing relatives on stage together, such as in 1990 when real-life siblings (and their dad) Sinéad, Soarcha, Niamh and Cyril Cusack co-starred in a memorable production of Chekhov’s *Three Sisters*. 

That tradition has continued on, with father and son Edward and Freddie Fox playing Oscar Wilde’s bickering patriarch and child in *An Ideal...

Learn more about these productions starring real-life couples and family members

The Score - LT - 1200

From a Michael Jackson musical to a Bach drama, these close-knit casts are keeping it in the family.

Brian Cox - LON

Ages 12+. Everyone must have their own ticket to enter the theatre. Children under the age of 16 must be accompanied by and sat next to a ticketholder who is at least 18 years old. Children under the age of 4 will not be admitted.

Long Day’s Journey Into Night - LON [35498]

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Long Day’s Journey Into Night

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The Emmy, Golden Globe and Olivier award-winning actor Brian Cox, makes his return to the London stage in Spring 2024 starring in Long Day’s Journey Into Night.

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

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

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

Wyndham's Theatre - LON

Wyndham's Theatre

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

The Score - LON [42504]

The Score

LON | The Score | 42504

Spring 1747, Potsdam, Prussia. Johann Sebastian Bach reluctantly visits the court of Frederick II, Europe’s most ambitious and dangerous leader. The two men could hardly be more different. Bach is deeply religious, Frederick is an atheist. Bach loathes war, Frederick revels in it. Bach studies scripture, Frederick reads military history. Frederick remains in awe of Bach’s genius however and has mischievously prepared a musical conundrum that he hopes will baffle the composer and amuse his court. The explosive events of the following days could not have been predicted by either man.

The Theatre Royal Haymarket, also known as Haymarket Theatre or the Little Theatre, is a premium venue for world-class performances in London's vibrant West End. It boasts a history rooted in culture and art that spans far back into the 18th century. Known for its ornate, classical style and intimate acoustic quality, the theater is an exceptional haven for both classic and contemporary productions. This iconic establishment has played host to countless notable actors over centuries, from Victorian stage actor John Baldwin Buckstone to modern stars like Ian McKellen and Dame Judi Dench.

**How to get to the venue**
Centrally located, the Theatre Royal Haymarket is accessible via various modes of public transport. It is served by major bus routes and the nearest underground station is Piccadilly Circus, just a short walk away. Within proximity is Charing Cross station for both underground lines and overground rail services. For guests preferring to drive, there are numerous public car parks available within a short distance. It is important to note that the theatre is situated within London's congestion charge zone, operating between 7am and 6pm from Monday to Friday.

Theatre Royal Haymarket - LON

Theatre Royal Haymarket

The Theatre Royal Haymarket is a prestigious venue in London's West End, known for its history, classical style, and world-class performances.

Read more about Brian Cox on stage in London.

Brian Cox - Stars on Stage | London Theatre

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Nicole Ansari-Cox - LON

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Imelda Staunton - LON

Follies [14942]

Follies

Follies [14942] Product Media

Stephen Sondheim and James Goldman's 1971 Broadway musical yields new emotions, textures and terrors with each repeated viewing or production. Nostalgia, as the old saying goes, isn't what it used to be. But <a href="/show/follies">Follies</a> is a show about the perils of living in the past that comes alive in the present, and reminds us - like Samuel Beckett's great work of existential terror Waiting for Godot or Chekhov's Uncle Vanya - that we have to simply face the cold light of reality and carry on. Yes, the show is really that great; like those plays, it is a defining masterpiece in modern theatre.Each production adds its own layer of nostalgia to the ones that have come before; and in this case, of a cast that came before when this one was first premiered at <a href="/theatres/national-theatre">National</a> in 2017. That has already created its own ghosts and shadows, as we now remember actors who've now left the show -&nbsp;most notably, Imelda Staunton and Philip Quast, who previously played Sally and Ben, a couple who once courted each other but married Buddy and Phyllis respectively instead -&nbsp;and enjoy their successors.Joanna Riding -&nbsp;herself a veteran of this <a href="/theatres/olivier-theatre-national">Olivier</a> stage, where she previously starred in Carousel, Sondheim's A Little Night Music and Guys and Dolls in the 1990s (the latter alongside Staunton) -&nbsp;has less nervous energy but a more wide-eyed sense of the grasping need at trying, and failing, one last time to get what she always thought she wanted, namely Ben. She doesn't seem quite as unhinged - but she's also terrifying and terrific.Alexander Hanson is more emotionally muted than Quast; that's partly because he has less natural charisma. He's punching above his weight to secure the attentions of either Phyllis (who he actually married) or Sally, but it&nbsp;shifts the focus onto them: what need is he answering in them?Janie Dee, remaining as Phyllis, now reveals more thrilling shades of her brittle, bitter persona underneath the extraordinary glamour she exudes; there's real anger - and defiance - in her rendition of the showstopping "Could I Leave You?" in which she calculates and itemises her own dissatisfaction with her marriage.And Peter Forbes, returning as Buddy, is also utterly wonderful as he loyally sticks with a wife who loves someone else, and made his own accommodations with his sense of misery.A Chekhovian pallor of lives not lived hangs over all four principals - and it is heartbreakingly contrasted with versions of their younger selves, thirty years earlier, who watch and observe what they've become (a stunning quartet of young performers Ian McIntosh, Christine Tucker, Harry Hepple and Gemma Sutton). That constant pull between the past and present defines both James Goldman's wonderful impressionistic book and Dominic Cooke's haunting production, with its sets by Vicki Mortimer, lighting by Paule Constable and above all pitch-perfect period choreography by Bill Deamer.There's so much to relish in this production that I could name every single actor, but I'll stop at one more newcomer to the 2018 cast, Claire Moore who is absolutely miraculous as Hattie Walker. She sings "Broadway Baby", one of the show's most famous songs, as if her life depended on it. It's the distillation of a performer's one-time yearning for the bright lights of Broadway, sung from the reality of what her life has come; and it sums up perfectly the show's overwhelming and powerful contrast between past and present.<a href="/show/follies">Follie</a><a href="/show/follies">s</a> is, and remains, simply phenomenal.<a href="/show/follies">Follies</a>&nbsp;is at the <a href="/theatres/national-theatre">National Theatre</a> until 11th May.Photo credit: Johan Persson

Review - Follies returns to the National Theatre starring Joanna Riding and Janie Dee

The Olivier Theatre, sitting delightfully at the heart of London, is one of the largest public stages in the United Kingdom. Named after the celebrated British actor, Laurence Olivier, this grand venue is housed within the iconic National Theatre complex on the South Bank of the Thames. The theatre promises a unique experience with its open stage and fan-shaped auditorium, inspired by the ancient Greek theatre at Epidaurus. With an impressive seating capacity of about 1,150 spectators, it regularly hosts a diverse range of productions, from timeless classics to innovative contemporary performances.
**How to Get There**
The Olivier Theatre is highly accessible. It is located at South Bank, London SE1 9PX. If you're using public transit, getting off at the Waterloo Station is the best option. It's just a 5-minute walk from there to the theatre. Alternatively, Blackfriars and Westminster stations are located within walking distance too. For those considering driving, parking facilities can be found at the nearby Upper Ground Car Park. The theatre also provides excellent facilities for bicyclists, with several bicycle parking bays available around the building. Respecting the environment while attending the theatre is encouraged.

National Theatre - Olivier - LON

Olivier Theatre

Olivier Theatre is a renowned venue in London's National Theatre. Easily reachable via public transport, it offers a distinctive theatrical experience.

Who's Afraid of Virginia Woolf? [3392]

Who's Afraid of Virginia Woolf?

Who's Afraid of Virginia Woolf? [3392] Product Media

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.

Ages 4+. No under 4s admitted. Booster seats are not permitted on the Royal Circle and Grand Circle levels for health and safety reasons.

Hello, Dolly! - LON [37374]

Hello, Dolly!

Hello, Dolly! - LON Product Media

Imelda Staunton will be back where she belongs in Hello, Dolly! next summer, as one of the most iconic musicals of all time comes to The London Palladium.

The London Palladium is one of the most famous and prestigious theatres in the heart of London. Steeped in history, the venue first opened its doors in 1910 and has since welcomed millions of visitors. Boasting a grand architecture with a capacity of over 2,200 people, it has played host to a range of world-class performances, ranging from theatrical productions to musical concerts, ballets, and even popular TV shows, such as the 'Sunday Night at the London Palladium'. The interior of the theatre is known for its ornate design, featuring a beautiful proscenium arch and stunning ceiling décor. The venue also offers a glamourous and sophisticated atmosphere, perfect for a night out in the city. Notable past performers at the London Palladium include Sir Bruce Forsyth, Bing Crosby, and Sir Elton John.

 **How to Get to the London Palladium:**

The London Palladium is conveniently located in the West End of London. The closest tube station is Oxford Circus, which is only a short walk away from the venue. Oxford Circus station is served by the Bakerloo, Central, and Victoria lines. Alternatively, the theatre can also be reached by several bus routes that stop near Argyll Street. If you are traveling by car, the nearest car park is the Q-Park in Cavendish Square.

London Palladium - LON

London Palladium

The London Palladium is a historic and prestigious theatre in London's West End, known for hosting world-class performances. It's easily accessible via public transportation.

Mrs. Warren's Profession - LON [43661]

Mrs. Warren's Profession

LON | Mrs. Warren's Profession | 43661 

Vivie Warren is a woman ahead of her time. Estranged from her wealthy mother, she delights in a glass of whisky, a good detective story, and is determined to carve herself a sparkling legal career in an age ruled by men.

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.

Born in London in 1956, Imelda Staunton trained at the Royal Academy of Dramatic Art, where she trained alongside Juliet Stevenson, Alan Rickman and Timothy Spall and graduated in 1976.

Imelda Staunton - Stars on Stage | London Theatre

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Bessie Carter - LON

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Get ready for the most fabulous display of tantalisation courtesy of the one and only Dita Von Teese. The internationally celebrated Queen of Burlesque, who has revitalised and returned the glamour and wit to striptease, is bringing her latest Wild West-themed show *Diamonds and Dust* to a new West End venue, the Emerald Theatre, for a smoking-hot summer run.

Ahead of your trip, get to know all about the venerable art of burlesque and how Dita Von Teese is both honouring its roots and updating...

Learn about the history of burlesque ahead of Dita Von Teese's new London show 'Diamonds and Dust'

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The Queen of Burlesque is bringing her famously seductive entertainment to the West End – and it nods to the art form's glorious past.

For one last time, London audiences get to share in that very special experience: gathering for the much-anticipated arrival of a new Stephen Sondheim musical. The late, great composer and lyricist’s final show, *Here We Are*, which debuted at New York’s The Shed in 2023, is making its UK premiere at the National Theatre in April.

The musical is inspired by two respected art house films by Luis Buñuel, *The Discreet Charm of the Bourgeoisie* and *The Exterminating Angel*, and features a book by...

Learn about the history of Sondheim musicals in London ahead of 'Here We Are'

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As Sondheim's final musical comes to the National Theatre, revisit the hit UK productions of shows such as *Follies*, *Gypsy*, and *Company*.

Tracie Bennett - LON

Ages 7+. Children under the age of 16 must be accompanied by and sat next to an adult ticketholder (18+). Children under the age of 3 will not be admitted.

Les Misérables - LON [300]

Les Misérables

Les Misérables [300] - LON Product Media

Another fantastic chapter in West End history has been gloriously (re)written, with not one but two spectacular reinventions -&nbsp;first of a theatre itself, in which the Queen's on Shaftesbury Avenue has been reincarnated as the <a href="/theatres/sondheim-theatre">Sondheim Theatre</a> and completely refurbished by its owner Cameron Mackintosh to restore it from a threadbare functionality to which it had previously been brought back 61 years ago from wartime bomb damage to a glowing and welcoming new warmth. Meanwhile, its current tenant -&nbsp;already the West End's longest-running musical -&nbsp;has itself been entirely overhauled, with Mackintosh taking the opportunity of its temporary 20-week closure for the theatre's refurbishment to replace the original landmark RSC production with a touring version that was first created for a UK tour as part of the show's 25th-anniversary celebrations in 2010. It was briefly seen in London that year at the Barbican - the show's original London home - running contemporaneously with the West End edition, and is even now on a new European and UK tour, currently playing in Zurich before it returns to continue across the regions in March. The first thing to say about it is that it still owes a lot to the original Trevor Nunn and John Caird production -&nbsp;the famous revolve of John Napier's original design may have gone, for instance, but now the actors merely mime the identical movement (originally the work of Kate Flatt, with musical staging now credited to Geoffrey Garratt, long an associate on the original production) as they advance across the stage in the ever-rousing Act One finale of "One Day More" as the iconic red flag is waved above them. Fans of the original will check off numerous such instances, including the indelible image of a dead Enjolras lying across the back of a cart. Crucially, too, the original costume designs of Andreane Neofitou are also retained, so visually there are plenty of references to the original production. There are also several cast veterans of the previous incarnation, including principals Bradley Jaden who was Javert in the final cast of the original and reprises that role now; Jon Robyns, previously Marius and Enjolras, who now graduates to the role of Jean Valjean; and <a href="/actor-profile/carrie-hope-fletcher">Carrie Hope Fletcher</a>, previously Eponine and now playing Fantine (and all three in spectacular voice); amongst others in the ensemble who also include fellow West End returnees Ciaran Bowling, Sarah Lark and Luke McCall. The show remains an ensemble effort, as it was when it was first created by Nunn and Caird. That establishes a welcome sense of continuity from past to present versions, but it is also given a fresh 21st-century inventiveness with Matt Kinley's sets being complemented by stunning painterly projections, inspired by Victor Hugo's own paintings, that have been niftily realised by Fifty-Nine Productions and Finn Ross, all of which are lavishly lit by Paule Constable. Mick Potter's sound is also thrilling, wrapping the theatre is swathes of sumptuous melody, richly played by the pit orchestra under the direction of Steve Moss. As both a producer and theatre owner, Cameron Mackintosh has always been about attention to detail; the reopening of this theatre and show gives him an opportunity to prove his meticulous care in both. But I also love fresh new details, whether it be the reintroduction of rear dress circle boxes that are newly named in honour of Maggie Smith and Judi Dench, or new cast members like West End regular Josefina Gabrielle, who - cast entirely against her usual sophisticated type as Madame Thenardier -&nbsp;is virtually unrecognisable and truly hilarious. The show remains a thrilling triumph. Here's to the next 35 years, as it looks set to become <a href="/show/the-mousetrap">The Mousetrap</a> of musical theatre; but unlike that murder mystery, there's hardly any mystery to why it's such an enduring success.<a href="/show/les-miserables">Les Miserables</a>&nbsp;is at the <a href="/theatres/sondheim-theatre">Sondheim Theatre</a>.<a href="/show/les-miserables">Les Miserables&nbsp;tickets</a> are available now.

Review - Les Miserables at the Sondheim Theatre

Read our review of Les Misérables at the Sondheim Theatre on London Theatre.

Les Misérables at the Sondheim Theatre Review | London Theatre

‘A THRILLING INSPIRATION’ The Guardian

The Sondheim Theatre, formerly known as Queen's Theatre, is a historic venue in London's bustling West End. Opened in 1907 and designed by famed architect W.G.R Sprague, the theatre is a testament to Edwardian Baroque architecture. Its luxurious red and gold interior hosts nearly 1100 attendees, offering a top-notch viewing experience regardless of seating location. The theatre is renowned for its legendary performance of 'Les Misérables', which ran for a record-breaking 35 years. In 2019, the theatre underwent substantial refurbishment and was reborn as the Sondheim Theatre, with advanced technologies enhancing its historic charm. Visitors can anticipate a memorable performance complemented by the theatre's state-of-the-art sound and lighting systems. **Getting to the Sondheim Theatre:** Situated at 51 Shaftesbury Ave, the theatre is easily accessible by various modes of transport. Piccadilly Circus station on the London Underground is a mere 3 minute walk, while Leicester Square station is an 8 minute walk. Numerous bus services stop nearby, such as numbers 14, 19, and 38. For those who prefer driving, the nearest Q-Park is in Wardour Street, with a concession rate available for theatre-goers.

Sondheim Theatre - LON

Sondheim Theatre

The Sondheim Theatre in London’s West End is an Edwardian Baroque building known for a record-breaking 'Les Misérables' run. Accessible by tube, bus, or car.

How to Succeed in Business Without Really Trying - LON

How to Succeed in Business Without Really Trying

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One of the most exciting venues in London, Southwark Playhouse Borough theatre, is a powerhouse of ingenious stage productions that indubitably captures the spirit of community theatre. Nestled within the heart of London's cultural hub, this enchanting venue exudes an intoxicating charm, enticing theatre fans from across the globe. Lauded for its versatile stages, the 'Little' and 'Large', the Playhouse stages an impressive array of works spanning classics, contemporary plays, and rousing musicals. A distinctive feature is its commitment to nurturing young talents along with presenting productions by experienced performers. The venue houses the Drama Desk Award-winning production 'Shockheaded Peter' and critically acclaimed musical 'In the Heights'. Savor the spellbinding ambiance of this dynamic venue which is ingeniously furnished to retain its historic essence while resonating with a modern vibe. The affable staff, state-of-the-art amenities, and the on-site bar brewing a delightful gamut of refreshments make your rendezvous with Southwark Playhouse truly memorable.

__**How to get to the venue**__:
Reaching Southwark Playhouse Borough Theatre is quite simple. If travelling by tube, it is just a short walk from the Borough tube station on the Northern Line or Elephant & Castle tube station on the Bakerloo and Northern Lines. Bus routes 35, 40, 133, 343 and 344 have stops nearby. Limited metered street parking is available nearby, though public transport is recommended due its convenience.

Southwark Playhouse Borough- LON

Southwark Playhouse Borough

Southwark Playhouse Borough theatre is a historic yet modern venue featuring versatile stages, nurturing young talents, with easy accessibility via tube and bus.

Here We Are - LON [43325]

Here We Are

When brunch takes an unexpected turn, the table is set for drama as Sondheim’s ★★★★ ‘superb’ (Time Out New York) final musical hits London.

The Lyttelton Theatre is a prominent venue in London, known for its contribution to arts and culture. Belonging to the Royal National Theatre, it's one of the three auditoriums which together host a broad spectrum of performances. The Lyttelton comfortably seats an audience of 890 over two levels, the stalls and circle. Unique for its proscenium arch design, it offers a close connection between audience and performer, providing a traditional atmosphere. Being a part of the Royal National Theatre, the Lyttelton shares all of its modern and efficient facilities, including comfortable seating, superb sight lines, and superior acoustics. The venue is also renowned for hosting productions that are transgressive and boundary-pushing, nurturing new writing and innovative direction. 

## How to Get to Lyttelton Theatre 

Based in South Bank, the theatre is well connected to London's various transport options. Nearest tubes include Waterloo Station, serviced by the Northern, Jubilee, Bakerloo, and Waterloo & City lines. From Waterloo Station, the theatre is just a few minutes walk via Waterloo Bridge. Several bus services also pass close to the theatre, including routes 1, 4, 26, 59, 68, 76, 168, 171, 172, 176, 188, and X68. Driving is not recommended due to limited parking facilities.

National Theatre - Lyttelton - LON

Lyttelton Theatre

The Lyttelton Theatre in London, part of the Royal National Theatre, hosts innovative productions in a traditional setting, accessible via public transport.

Read all about Tracie Bennett West End shows and book tickets to see Tracie Bennett on stage at LondonTheatre.co.uk.

Tracie Bennett - Stars on Stage | London Theatre

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Rory Kinnear - LON

Macbeth [13166]

Macbeth

Macbeth [13166] Product Media

The Barbican Centre in London is an internationally renowned performing arts venue. Towering majestically in the heart of the city, it embodies dynamic entertainment and embodies the vibrance of London's cultural scene. Since its launch in 1982, the theatre has been wooing art aficionados with its avant-garde performances and world-class amenities. It houses multiple venues including a concert hall, theatres, art gallery, library, and a cinema. It rosters an impressive range of programming from contemporary to classical, covering theatre, dance, film, and music. The theatre venue stands as one of its chief attractions, boasting superb acoustics, excellent sightlines, and a generous capacity for large scale performances. The stage has been graced by numerous prestigious performers and companies. On top of being a go-to place for night outs, the Barbican Centre is an architectural marvel in its own right. The brutalist architecture sets it apart, making it a landmark on the city skyline.

## How to get to the venue
The Barbican Centre is located on Silk Street, London, EC2Y 8DS. It is conveniently accessible by public transport. Barbican, Moorgate, St. Paul's and Mansion House stations are the nearest tube stations. There are also ample bus routes that stop nearby. For those who prefer to drive, there are several car park options available in the area. The centre recommends using public transport where possible due to limited parking.

Barbican Theatre - LON

Barbican Centre

The Barbican Centre, located in London, is a world-class performing arts venue renowned for its diverse programming and brutalist architecture.

Force Majeure - LON [23972]

Force Majeure

Read all about actor Rory Kinnear (Quantum of Solace, Skyfall, Spectre) and his latest appearances on stage at LondonTheatre.co.uk

Rory Kinnear - Stars on Stage | London Theatre

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Richard Fleeshman - LON

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Michael Ball - LON

Ages 8+. Anyone under the age of 16 has to be accompanied by an adult (18+). Under 4s will not be admitted.

The Phantom of the Opera - LON [308] 

The Phantom of the Opera

The Phantom of the Opera [308] - LON  Product Media

Stop a person on the street and ask them to name a West End musical, they'll probably say one of two things: <a href="/show/les-miserables">Les Mis</a>, or <a href="/show/the-phantom-of-the-opera">The Phantom of the Opera</a>. The latter has been impressively running non-stop at <a href="/theatres/her-majestys-theatre">Her Majesty's Theatre</a>&nbsp;for over 3 decades now, but does Andrew Lloyd Webber's musical still have the same sense of wonder as it did all that time ago.&nbsp;&nbsp;There's no question that it's a complete classic: the story tells of the titular phantom who haunts an opera house, the tales of his presence in the building are now common gossip amongst the casts. During rehearsals for the company's latest offering, an unknown chorus girl, Christine, is forced to thrust into the lead role, with the producers assured she has been taught well. Taught, it turns out, by the 'Angel of Music', the Phantom whose voice rings around in her head.During her triumphant performance, an old friend Raoul rekindles his love for Christine, while the Phantom reveals himself to Christine, luring her to his underground lair. As he tells her how she's been chosen to perform his work-in-progress opera, she lifts his mask to reveal his gruesomely disfigured face, and this begins a tale of jealousy and control.While its reputation as the ultimate romantic musical precedes it, watching the show in the #MeToo era throws up for a few uneasy moments. As the Phantom's manipulation and desire to control Christine become more and more apparent - through some pretty no-nonsense lyrics like "You will curse the day you did not do /All that the Phantom asked of you" - it's difficult not to feel for her as she is trapped and manipulated by a selfish, jealous man.It did create two of the most desirable roles for any musical theatre performer. Originated by Michael Crawford and Sarah Brightman, the production currently features an excellent leading cast of <a href="/theatre-news/interviews/ben-lewis-interview-meet-the-west-ends-new-phantom-of-the-opera">Ben Lewis</a> and Kelly Mathieson. Lewis commands every corner of the stage with the menace of the Phantom, while treating his more tender moments with the deluded pain the character demands. Mathieson plays Christine with the kind of innocent naivety that makes the part convincing, and nails some of the most challenging songs written for the stage.There is still something special about Lloyd Webber's score. Its songs were revelations that shook musical theatre, standards that entered the public consciousness. The '80s synth-opera fusion might seem a little dated, but there's no disputing that descending motif still conjures goose bumps. At the heart of "The Point of No Return" - the Phantom's composition - are the satisfying resolved phrases that are a trademark of the score.In 2018, it's difficult for one to imagine the reaction this production would have received in the '80s. It's wildly over the top - complete with its iconic set pieces, fireballs, and an elephant &nbsp;- and some of these elements raise a chuckle or two at the confidence it must have taken to pull them off. Some of the tricks wouldn't look out of place in <a href="/show/harry-potter-and-the-cursed-child">Harry Potter and the Cursed Child</a>, while others laid the groundwork for a show like <a href="/show/bat-out-of-hell-the-musical">Bat Out of Hell</a> to exist at the heightened level it does.While we could dissect the reaction the show would get if <a href="/show/the-phantom-of-the-opera">Phantom</a>&nbsp;was presented as a new work today, there's no question that it's still wild, it's still joyous, and it's still deserved of its place as the pride of the West End.<a href="/show/the-phantom-of-the-opera">The Phantom of the Opera</a> is currently booking at the <a href="/theatres/her-majestys-theatre">Her Majesty's Theatre</a>.

Review - The Phantom of the Opera at Her Majesty's Theatre

Read our review of The Phantom of the Opera starring Kelly Mathieson at Her Majesty's Theatre on London Theatre.

The Phantom of the Opera at Her Majesty's Theatre Review | London Theatre

This multi-award winning musical continues to captivate audiences at His Majesty’s Theatre in London’s West End, after more than 12,000 performances.

His Majesty’s Theatre is an iconic venue located in the heart of London. This historic venue's grandeur and legacy heighten the aura of the performances it hosts. Nestling in the Theatreland, the edifice is an embodiment of architectural finesse and historical significance, it is an epitome of classic Victorian design with hints of French Renaissance, designed by the celebrated architect Charles J. Phipps and first opened its doors to the theatre-loving public in 1897. Known for churning out some of the best works in dramatic art, the theatre serves as a platform for emerging stars and industry veterans alike. From local productions to international plays and musicals, the theatre has housed a wealth of performances that have touched the hearts of millions. As you walk through its dignified corridors and lush seating areas, you can still feel the legacies of the great actors who graced the stage. One remarkable feature of the theatre is the royal box, which used to be reserved for royal figures. It provides an exceptional viewing experience that makes a trip to His Majesty’s Theatre truly unforgettable.

 **Getting to the Venue**

His Majesty's Theatre is easily accessible from any part of London. It is just a minute away from Piccadilly Circus tube station and many bus routes stop nearby. There are car parking facilities available in the vicinity as well.

His Majesty's Theatre - LON

His Majesty’s Theatre

His Majesty’s Theatre, a historical London venue, showcases exceptional dramatic art. It is centrally located near Piccadilly Circus tube station.

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.

Aspects of Love - LON

Aspects of Love

Aspects of Love - LON Product Media

The Lyric Theatre, located in the heart of London's West End, showcases an array of stunning productions that immerse spectators in captivating performances. Established in 1888, it is one of the oldest playhouses in the city, boasting of an ornate Victorian design. The gilded balustrades, multi-tiered balconies, and grand proscenium arch create an environment that harks back to the rich tradition of British theatre. Currently, it hosts over 900 spectators, promising an intimate experience. Over the years, it has featured renowned shows like ‘Cats’ and ‘Thriller Live’. 

## Getting to the Venue 

Situated on Shaftesbury Avenue, reaching the Lyric Theatre is straightforward. The nearest underground station is Piccadilly Circus, just a four-minute walk away. It's served by the Bakerloo and Piccadilly lines, offering convenient access from various parts of London. If travelling by bus, lines 14, 19, 22B, 38, 53, 88, 94, and 159 all stop nearby. For those driving, the closest car park is at Brewer Street, about a ten-minute walk away. Do take note of congestion charges when planning your visit.

Lyric Theatre - LON

Lyric Theatre

The Lyric Theatre, in London's West End, is a Victorian era theatre hosting mesmerising performances. Easy accessibility via public transport.

Michael Ball was born in Worcestershire in 1962 and has since established himself as an actor, singer and broadcaster, not only in the West End but also television and radio.

Michael Ball - Stars on Stage | London Theatre

Michael-Ball-124x124px

Jenna Russell - LON

The Bridges of Madison County [16371]

The Bridges of Madison County

The Bridges of Madison County [16371] Product Media

The Menier Chocolate Factory is a renowned theatre venue located in the heart of London, specifically nestled in the Southwark borough. The venue was established in 2004 and has since contributed significantly to the city's cultural scene. Housed in what was originally a chocolate factory, the venue carries immense historic appeal. The theatre's interior is uniquely styled, preserving certain elements of the original factory's architecture and imbuing the place with an unmatched retro vibe. The venue boasts of an intimate setting with its small yet charismatic studio theatre that often stages dramas and musicals and has a capacity of about 180 seats. In addition to the theatre, the venue comprises an upscale restaurant that serves delicious fare and an exquisite bar offering a curated selection of drinks. Often, the theatre plays host to a multitude of productions, both local and international, and has even pocketed awards for its outstanding delivery of art and culture. This quaint venue strikes a perfect balance between the industrial and the innovative, providing a stimulating aura for its patrons.

## Getting to the Menier Chocolate Factory
The theatre venue is easily reachable and well-connected to London’s public transport. It's about a 10-minute walk from Borough Market, London Bridge Station and the Shakespeare's Globe. Alternatively, one could use bus routes such as 344, 381 and RV1 that are near the venue.

Menier Chocolate Factory - LON

Menier Chocolate Factory

The award-winning Menier Chocolate Factory is a historic and intimate theatre venue in Southwark, London; easily reachable from Borough Market and London Bridge Station.

Fun Home [6152]

Fun Home

Fun Home [6152] Product Media

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.

Further than the Furthest Thing - LON

Further than the Furthest Thing

Further than the Furthest Thing - LON Product Media

Plays rarely get as out there — literally so — as [*Further than the Furthest Thing*](https://www.londontheatre.co.uk/show/27149-further-than-the-furthest-thing), the Zinnie Harris theatrical fantasia of sorts which opened in 2000 at the National and was seen off-Broadway, in a separate production, in 2002. Now considered a contemporary classic of sorts, not least for its compelling strangeness, Jennifer Tang revives the play into a prime case of elliptical beauty. 

Tang and a gifted design team, headed by the seemingly ubiquitous Soutra Gilmour here in minimalist mode, stage events in the round, with audiences encircling the action, and actors who sit between scenes in the aisles, directly next to playgoers. 

A deeply moving [Jenna Russell](https://www.londontheatre.co.uk/stars-on-stage/jenna-russell), taking a break from her storied musicals career, has the focal role of the islander Mill. We first encounter this sweet-voiced Scotswoman and her husband Bill (Cyril Nri) out in the remote climes of the South Atlantic archipelago of Tristan da Cunha, though the location is never specified in the script. 

The pair have a nephew, Francis (Archie Madekwe), who returns home from travels abroad after he was reviled for his unusual speech. (The islanders speak a distinctive, ungrammatical patois distinguished, amongst other things, by adding the letter H when saying things like “H’outside”.) Francis has a girlfriend, Rebecca (an impassioned Kirsty Rider), who is pregnant by someone else and who would quite like not to have the baby girl whose birth is evocatively depicted at the close of the first act. 

It’s 1961, and a volcanic eruption displaces this remote populace to the comparative bustle of Southampton, where we find ourselves after the interval — an incident that actually happened to this one-time British dependency. What transpires is an empathically imagined investigation into what we mean by “home”, folded into an often-grim parable of acculturation. 

The Anglo-Bangladeshi vocalist Shapla Salique adds to the play’s aural allure. 
Mill finds herself puzzling out “puddings” as if the very meaning of that British mainstay were somehow alien to her sense of self. The self-appointed chaplain of the island from which he has been evacuated, Bill gets tested in his own way — subsumed by grief and guilt as he and his wife discover a land of umbrellas and royalty, not seaweed seeping over one’s shoes. 

The play features a conjurer-villain of sorts in Gerald Kyd’s Mr. Hansen, a South African factory owner who is revealed to be less charming than first thought. A jar manufacturer, Mr. Hansen exists to upend tradition, bringing with him the promise of money which isn’t enough for such stalwarts as Mill, who exists in mourning for a vanished, and vanishing, way of life. 

The quintet on view is gradually seen to exist within the context of larger, impersonal forces — colonial misrule, for one thing — that flavours a play that may seem elusive at first but coalesces in the mind after the fact. 

That’s especially true of a staging as alert as this one to the imaginative reach of a text that unapologetically makes demands upon its audience: quite a few spectators disappeared at the interval, though those who stayed proffered a rousing response at the bows. Gilmour’s turntable design proffers an amphitheatre given shape and depth by Prema Mehta’s lighting and George Dennis’s sound design: joint contributors to the arresting otherness of the occasion. 

Ian William Galloway’s video design ramps up the atmospherics of a play that seems to have sprung from Harris in defiance of the time-honoured dictum to write what you know: the author on this occasion has been emboldened by inspiration and invention, not direct experience. 

Her play benefits no end from a cast who seem visibly affected by the tale they are telling: Russell, in particular, looked appropriately misty-eyed following a ravishing monologue to find musicality of an altogether different kind in the verbal idiosyncrasies at work here. This performer is given brief passages of song for those wanting a reminder of the career that has brought her to this place, to which she responds with a deeply visceral connection that finds meaning in the mysterious. Stick with it, and you may well, too.

*Further than the Furthest Thing* is at the Young Vic through 29 April. Book *Further than the Furthest Thing* 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=27149&content_product_id=27149&venue_id=173)

*Photo credit: Jenna Russell (centre), Gerald Kyd, Archie Madekwe and Cyril Nri in Further than the Furthest Thing at Young Vic (Photo by Marc Brenner)*

'Further than the Furthest Thing' review — a deeply visceral play finds meaning in the mysterious

Read our four-star review of Zinnie Harris's *Further than the Furthest Thing* starring Jenna Russell at the Young Vic, with performances through 29 April.

Born in London in 1967, the Olivier Award-winning actress Jenna Russell is best known for her critically-acclaimed performances in Sunday in the Park with George, Merrily We Roll Along and Fun Home.

Jenna Russell - Stars on Stage | London Theatre

Jenna Russell - 124x124px

Rosalie Craig - LON

Hex - LON [23951]

Hex - LON [23951] Product Media

This is not your average Sleeping Beauty. Part avant-garde fairytale, part children’s bedtime nightmare, *Hex* continually pricks its finger on a thorn to get wilder and weirder with every passing moment. 

The spin on the classic tale follows the traditional structure of a young princess who is cursed, or in this case “hexed,” to sleep when she pricks her finger on her 16th birthday until a prince comes to kiss her. But Rufus Norris and Katrina Lindsay’s creepy concept pivots the focal point to the Fairy, named just that here, who does the hexing, and explores the mysterious world surrounding the kingdom. 

That Fairy, played with a folksy and ethereal quality by Lisa Lambe, is a “low fairy,” i.e. one without wings. She’s deeply insecure about what she lacks, longing for beauty and flight like her counterparts, who descend from the rafters as if floating like jelly fish in Lindsay’s enchanting set and costume design. 

When the Queen’s secretary ventures into the forest searching for a fairy to produce a blessing for the new baby, he discovers Fairy and also an ogre hungry for humans. Fairy saves secretary Smith (Michael Matus) from becoming the creature’s dinner, and he, in turn, invites her to the palace to bless baby Rose.

However, when she arrives, her insecurities are brought to light, as the royals chastise her lack of wings and doubt her magical abilities, and in a moment of weakness, Fairy hexes the baby, cursing her to sleep at 16 as the story goes. 

But a hex is essentially the opposite of a blessing, and when a fairy produces a hex, they immediately lose all magic. So now, not only is the princess cursed to sleep in a palace surrounded by enchanted thorns who put any approaching person to sleep, but Fairy feels powerless to undo the evil she has done. 

*Hex* builds a chaotic imaginary world, and the immersive nature of this tragic, horrific universe spins throughout the musical. There were young children dressed in princess costumes peppered throughout the theatre, but this is *not* a show designed for kids. 

The cast is universally excellent, with Rosie Graham taking Rose on the journey from bright-eyed naivete to sudden loss of innocence and Michael Elcock embodying his character’s moniker as the winning prince Bert.

The standout is undeniably Victoria Hamilton-Barritt who has been making a welcome habit of playing sympathetic fairytale villainesses. She’s traded her Evil Stepmother eyebrows (in her Olivier-nominated performance in *Andrew Lloyd Webber's Cinderella*) for a different variety as an even more strange and dynamic creature Queenie. Without giving anything away, as her character is somewhat of a spoiler, Hamilton-Barritt takes the musical to alarming new heights in the second act as she, quite literally, chews up all the scenery in the most delicious fashion. 

There are some gaps in Norris and Lindsay’s concept and moments when the show quickly pivots from comedy to tragedy and back again. While Jim Fortune’s music (with lyrics by Norris) creates a moody atmosphere, some of the songs struggle to propel the narrative and the lyrics are routinely rote. Tanya Ronder's book comes across as more of an amalgamation of short stories, each with a different objective, tied together by standalone songs. 

For any fantasy and fairytale lovers, *Hex* is a welcome twist on the genre, giving us all permission to create worlds within our imaginations and find solace and sympathy in the most unexpected of places. There’s more to everyone than meets the eye, and embracing authenticity and individuality is the key to happiness. 

[Hex is running at the National Theatre until January 14. Book *Hex* tickets on London Theatre today.](https://www.londontheatre.co.uk/show/23951-hex-tickets) 

*Photo credit: Lisa Lambe (Fairy) and Victoria Hamilton-Barritt (Queenie) in Hex at the National Theatre. (Photo by Johan Persson)*


‘Hex’ review – A cursed spin on Sleeping Beauty at the National Theatre

Company [8093]

Company

Born in 1981, Rosalie Craig grew up in Nottingham before studying for a BA in Actor Musicianship at the Rose Bruford College of Theatre & Performance.

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