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They will go the distance! The Disney musical [*Hercules*](https://www.londontheatre.co.uk/show/43135-disneys-hercules) has named its complete West End cast ahead of its 6 June opening at [Theatre Royal Drury Lane](https://www.londontheatre.co.uk/venues/theatre-royal-drury-lane). 

Joining the [previously announced](https://www.londontheatre.co.uk/theatre-news/news/hercules-reveals-lead-casting-in-the-west-end-luke-brady) Luke Brady as Hercules are, as the Muses, Candace Furbert
(Thalia),...

Full casting announced for 'Hercules' in the West End

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The stage musical adaptation of the hit Disney animated film will make its London debut at the Theatre Royal Drury Lane beginning this June.

History’s about to get overthrown… and *SIX* turns six in the West End this month! Toby Marlow and Lucy Moss’s show originated as a Cambridge University production at the Edinburgh Festival Fringe and has become an international sensation, captivating audiences in the US, Australia, South Korea, Hungary, Japan and, soon, Croatia.

The show brings history to life in the form of a pop concert, in which the six wives of Henry VIII form a girl group to tell their stories with plenty of modern slang...

Learn more about the Tudor history behind 'SIX'

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Read our beginners' guide to the turbulent events of the Tudor era before seeing Toby Marlow and Lucy Moss’s musical *SIX* in the West End.

We’re going not just way down, but also way back, as the hit West End musical *[Hadestown](https://www.londontheatre.co.uk/show/24465-hadestown-tickets)* welcomes four of the show’s original Broadway cast members to the production. Reeve Carney, Eva Noblezada, André De Shields, Amber Gray and Patrick Page are all reprising their acclaimed lead performances for a special limited run at London’s Lyric Theatre from February.

It’s an extra reason to catch – or revisit! – Anaïs Mitchell’s...

Meet the original cast of 'Hadestown'

Reeve Carney & Eva Noblezada in Hadestown

Broadway stars Reeve Carney, Eva Noblezada, André De Shields, Amber Gray and Patrick Page are going to be livin' it up in the musical's West End production.

Olivier Award winner Jack Lowden and Emmy, BAFTA, and SAG Award winner Martin Freeman will star in David Ireland's play *The Fifth Step*, at [@sohoplace](https://www.londontheatre.co.uk/venues/soho-place) in the West End. London performances run for 11 weeks only, from 10 May to 26 July. Press night is 19 May.

Lowden is best known for starring in the hit TV series *Slow Horses* (Emmy, Golden Globe nominations) and winning an Olivier for his performance in Henrik Ibsen's *Ghosts*.

Freeman is...

Jack Lowden, Martin Freeman to star in 'The Fifth Step' in the West End

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David Ireland's drama will have a strictly limited run at @sohoplace this spring, following its premiere at the Edinburgh International Festival last year.

One of the largest and most famous venues in the London’s West End, [Theatre Royal Drury Lane](https://www.londontheatre.co.uk/venues/theatre-royal-drury-lane) also boasts the title of the world’s oldest theatre still in use. It has hosted shows since 1663, and the numerous stars who have trodden the boards range from Nell Gwyn and David Garrick to Dame Julie Andrews, and, in the theatre’s current season, Sigourney Weaver, Tom Hiddleston, and Hayley Atwell.

The venue has gone through plenty of...

A complete guide to Theatre Royal Drury Lane

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Get to know this London icon: the world's oldest theatre still in use, and the West End's grand-scale star. Director Jamie Lloyd's Shakespeare season is currently playing at the venue.

Tom Hiddleston - LON

Betrayal [13758]

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Betrayal

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Director Jamie Lloyd has just finished a six-month season featuring seven rotating bills of all Harold Pinter's short plays, which proved to be a thrilling and frequently alarming journey into some of the playwright's lesser-known works. Now, Lloyd follows it with a blisteringly brilliant production of one of Pinter's best-known (but still brief) and most powerful and personal plays, <a href="/show/betrayal">Betrayal</a>, originally premiered at the National in 1978.I missed that first production as I was only 15 at the time and not living in London yet, but I've seen at least four West End revivals since and two in New York, with actors that have variously included Bill Nighy, Toby Stephens, Sam West, Kristin Scott Thomas, Juliette Binoche, Daniel Craig and Rachel Weisz. But I can confidently say Lloyd's is the most acute, spellbinding, and at times most surprising, I've ever seen.It fields its own impressive trilogy of star names, all of whom have strong stage pedigrees that each include previous appearances at the Donmar Warehouse and, in the case of Charlie Cox, a prior credit starring in a Pinter double bill of The Lover and The Collection, also directed by Lloyd, at this same address a decade ago. But if this fine younger actor has gone on to American TV fame in Daredevil, the real Hollywood star power comes in the form of <a href="/actor-profile/tom-hiddleston">Tom Hiddleston</a>, now most famous for his recurring role as Loki in the Marvel franchise of Thor and The Avengers, while rising film and TV actor Zawe Ashton completes the billing. &nbsp;They respectively play two best friends - a publisher (Hiddleston) and an agent (Cox) - and the wife of the publisher (Ashton) whom the agent has a long-established affair with (it lasts some seven years). To reveal this isn't a spoiler - as Pinter's play spools backwards from the end of the affair to somewhere near its beginning, we find this out in the opening minutes of the play. But this marital betrayal isn't the only betrayal in the play; there's also another in the friendship between the two men - and secrets held onto by each of the parties. &nbsp;The simmering - or variously spiralling - tensions multiply throughout the play, as we come to know more about what is known and unknown by each character. &nbsp;But more than any other production I've ever seen, it strips the play to its bare bones, both physically and emotionally: it is stylishly staged with minimal sets and props (four bottles stage left, three movable walls, and two chairs) that are placed on a revolve and reconfigure the space constantly.So, too, are the emotions (or sometimes lack of them) among the characters, who project an intoxicating combination of sexuality, hurt and damage. As Hiddleston's publisher first discovers his wife's affair, for instance, he is positioned against a wall that's right at the front of the stage, and his tears are visible.Also for the first time in my experience, Robert and Emma's child (alluded to in the script) makes a physical appearance, and suddenly the dramatic stakes and emotions are even higher.This is a magnificent, searing account of Pinter's most autobiographically charged play (inspired by an affair he had himself when he was already married), and it brings Lloyd's classy season of Pinter at the Pinter to an end with a fine flourish.<a href="/show/betrayal">Betrayal</a> is at the <a href="/theatres/harold-pinter-theatre">Harold Pinter Theatre</a> until 1st June.<a href="/show/betrayal">Betrayal tickets</a> are available now.Photo credit Manuel Harlan&nbsp;<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>BETRAYAL REVIEW ROUND-UP</h2></div></div></div>"While Tom Hiddleston is the big draw and gives a fine performance, what is striking is the spartan purity of Jamie Lloyd's production. Of the many versions of the play I've seen over the past 40 years this one goes furthest in stripping the action of circumstantial detail." Michael Billington, <a href="https://www.theguardian.com/stage/2019/mar/14/betrayal-review-a-haunting-reminder-of-deceptions-impact" target="_blank">The Guardian</a>, ★★★★☆"[Jamie Lloyd's [production] confirms Betrayal as a modern masterpiece, built to last, but reassures us that Hiddleston has got the theatrical acting chops to head up there among the greats." Dominic Cavendish, <a href="https://www.telegraph.co.uk/theatre/what-to-see/betrayal-review-harold-pinter-theatre-tom-hiddleston-displays/" target="_blank">The Telegraph</a>, ★★★★☆"There's an astonishing, long-held moment when Hiddleston looks at Ashton - his brow somehow a repository for years of bruised tenderness. In a silence, his eyes fill with tears, and it barely feels like acting at all. In moments such as this, Betrayal does illuminate the heart." Holly Williams, <a href="https://inews.co.uk/culture/tom-hiddleston-betrayal-review-harold-pinter-theatre/" target="_blank">iNews</a>, ★★★★☆"This sparse, elegant production closes Lloyd's revelatory and handsomely cast season of Pinter's shorter pieces in the theatre that bears the playwright's name... it's a surprising and unsparing interpretation, in which every detail counts." Henry Hitchings, <a href="https://www.standard.co.uk/go/london/theatre/betrayal-review-tom-hiddleston-london-theatre-pinter-a4091281.html" target="_blank">Evening Standard</a>, ★★★★☆"All three actors are at ease with the rhythms of Pinter's language and at filling the spaces between their words with meaning, be it loss, longing or recrimination. There's an ease and chemistry between them as a company." Natasha Tripney, <a href="https://www.thestage.co.uk/reviews/2019/betrayal-tom-hiddleston-zawe-ashton-charlie-cox-review-harold-pinter-theatre-london/" target="_blank">The Stage</a>, ★★★★☆"Betrayal is notionally Pinter's most accessible play, and is staged frequently, often with celebrity casts and safe productions. But I've never seen a production before that has made such sense of it for me, and has been so daring in the staging." Andrzej Lukowski, <a href="https://www.timeout.com/london/theatre/betrayal-review" target="_blank">Time Out</a>, ★★★★★

Review - Betrayal starring Tom Hiddleston at the Harold Pinter Theatre

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.

Read about Tom Hiddleston's theatre and screen career, and get tickets to see him live on stage in London in Harold Pinter's Betrayal.

Tom Hiddleston - Stars on Stage | London Theatre

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Hayley Atwell - LON

Rosmersholm [14757]

Rosmersholm

Rosmersholm [14757] Product Media

The National will soon be reviving Henrik Ibsen's sprawling epic Peer Gynt, but in one of producer Sonia Friedman's possibly boldest (or most reckless?) moves yet, she's giving commercial life to the Norwegian misery merchant's (very) rarely-seen 1886 play <a href="/show/rosmersholm">Rosmersholm</a>; even the title is off-putting and hardly trips off the tongue.The bigger wonder is that this isn't a transfer on the back of a sold out, already acclaimed run in a subsided theatre, as happened when Friedman transferred Ibsen's Ghosts to the Trafalgar Studios from the Almeida in 2014, or A Doll's House moved from the <a href="/theatres/young-vic">Young Vic</a> to the <a href="/theatres/duke-of-yorks-theatre">Duke of York's</a> a year earlier.Instead, this production has been launched cold directly into the West End, hoping to find a receptive audience on its own merits. And this is when critical support (so often redundant on commercial projects like <a href="/show/only-fools-and-horses">Only Fools and Horses</a>, where success doesn't necessarily depend on critics) will be important, as it helps an audience to find it.Given the added responsibility I now feel, it's a relief to be report that as played with a ferocious intensity by a cast led by Tom Burke as a recently widowed pastor and Hayley Atwell as his late wife's best friend and now his own confidant, a play about a crisis of faith and politics is truly electrifying.It also startlingly becomes a play for today in Duncan Macmillan's searing new version. Politics, as Rosmer's brother-in-law Kroll says, is "no longer the pastime of gentlemen, it's a blood sport."And with an election about to take place, he warns: "You see, this is what happens when the general public becomes engaged with politics - they get duped into voting against their own interests." And the press, of course, is darkly complicit: "Look, politics is complicated. The average working man doesn't have the time, inclination or education to fully understand it. So the papers sell them a lie that its actually very simple. That it's not about facts. It's about feelings."And there, of course, we have Brexit in a nutshell. Who'd have thought that the best Brexit drama in London would have been originally written over 130 years ago?The personal and the political collide on an epic scale in the tortured cultural and emotional wars being fought, internally as well as externally, by Burke's Rosmer and Atwell's West. Ian Rickson's powerful production amplifies them here with the contrast between the reserved anguish of Burke's handsomely bearded Rosmer and the wilder impulses for change being articulated by Atwell.Rae Smith's stunningly bleak drawing room setting has its own coup d'theatre that it wouldn't be fair to reveal; but this production is revelatory in many other ways, too. &nbsp;<hr /><a href="/show/rosmersholm">Rosmersholm</a> is at the <a href="/theatres/duke-of-yorks-theatre">Duke of York's Theatre</a> until 20th July.&nbsp;<a href="/show/rosmersholm">Rosmersholm tickets</a> are available now.&nbsp;

Review - Rosmersholm at the Duke of York's Theatre

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

**How to get to the venue:** 

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

**Additional Information** 

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

Duke of York's Theatre - LON

Duke of York's Theatre

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

Hayley Atwell is a British-American actress best-known for her screen roles in the Marvel Cinematic Universe, and on stage in plays such as Measure for Measure and A View From the Bridge.

Hayley Atwell - Stars on Stage | London Theatre

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Ages 12+. Children under the age of 4 will not be admitted and every customer must have their own ticket.

The Tempest - LON [43263]

The Tempest

LON | The Tempest | 43263

The Jamie Lloyd Company presents a joyous and captivating season of Shakespeare in London’s iconic Theatre Royal Drury Lane.

The Theatre Royal Drury Lane is among the most iconic and fascinating place of performance in London’s Covent Garden. The current building, which constitutes the fourth theatre on the site since 1663, navigates you through the mesmerising journey of nearly four centuries of British history under its majestic roof. Built by Benjamin Dean Wyatt, the theatre has proudly been a destination for legendary performances that left a substantial remark in the annals of theatre history. As the oldest and continuously used theatre in London, it has thrived as a symbol of resilience, being rebuilt after two devastating fires, and witnessing a multitude of evolution in the taste of the audience. Home to exceptional productions, the theatre has hosted national icons such as Laurence Olivier, Nell Gwynne and even King Charles II himself have trodden its boards. Its grandeur and rich heritage surely attract the ardent admirers of theatre from all around the globe.
## Getting to the Venue
The Theatre Royal Drury Lane is located in the heart of London’s West End and well-served by public transport. Nearest underground stations include Covent Garden and Holborn. Additionally, numerous bus routes pass close to the theatre. Alternatively, drivers can use the MasterPark at Park Street or NCP at Drury Lane.

Theatre Royal Drury Lane - LON

Theatre Royal Drury Lane

The Theatre Royal Drury Lane, in London's Covent Garden, is the city’s oldest working theatre with a rich heritage and excellent transport links.

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Mathew Horne - LON

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Tim Crouch’s groundbreaking *An Oak Tree* will be staged at the Young Vic this May to celebrate the play's 20th anniversary.

Written, performed, and co-directed by theatremaker Crouch, the play pioneered the idea of the theatrical ‘cold-read’, in which a performer steps on to the stage having never seen, read or rehearsed the play before.

Since its premiere in 2005, over 350 different guest artists including Frances McDormand, Geoffrey Rush, Sharon D Clarke, Alanis Morrissette, Sophie Okonedo,...

Indira Varma, Luke Thompson, and Russell Tovey among guest stars in Tim Crouch’s 'An Oak Tree'

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Since its premiere in 2005, over 350 different guest artists including Sharon D Clarke, Alanis Morrissette, Sophie Okonedo, and Peter Dinklage have performed in *An Oak Tree.*

Russell Tovey - LON

Four stellar and diverse pairings explore the infinite possibilities of the multiverse

Constellations - LON [23192]

Constellations

Constellations - LON [23192] Product Media

The inspiring multiple-cast run of Nick Payne's multiverse play&nbsp;<a href="https://www.londontheatre.co.uk/show/constellations-vaudeville-theatre">Constellations</a>&nbsp;continues to wow in the West End. Us lucky critics have already seen two pairs - Sheila Atim and Ivanno Jeremiah, and Zoë Wanamaker and Peter Capaldi (<a href="https://www.londontheatre.co.uk/reviews/constellations-vaudeville-theatre-sheila-atim-ivanno-jeremiah-zoe-wanamaker-peter-capaldi">reviewed here</a>) - as cosmologist Marianne and beekeeper Roland. In Payne's skilful dramatisation of the infinite variations in parallel universes, the couple variously get together or don't, break up for different reasons, get married or don't, and face a major health crisis.Now, it's the turn of the first same-sex casting, Russell Tovey and Omari Douglas, and probably the starriest pair yet, <a href="https://www.londontheatre.co.uk/actor-profile/anna-maxwell-martin">Anna Maxwell Martin</a> and <a href="https://www.londontheatre.co.uk/actor-profile/chris-o-dowd">Chris O'Dowd</a>. Once again, Michael Longhurst's impeccable revival (with vital creative work from Tom Scutt, Lee Curran and David McSeveney) shows the strength of this piece, which is powerful in every single reading, but flexible enough to allow for fascinating new interpretations.With her lightning-fast delivery and expressive face, Maxwell Martin conveys Marianne's brilliant mind perhaps best of all the performers in this season - and how that sometimes leads to a certain social awkwardness, as she shoots out a joke, then pulls an agonised expression when it bombs, or flips into hysterical giggles. It also makes the loss of that facility due to illness particularly horrifying: it's such an essential part of who she is. In the later scenes, Maxwell Martin accesses a raw agony.O'Dowd is her charming opposite, all warring insecurities and physical tics. There's perhaps an overreliance on bits of business (tying of shoelaces, doing exaggerated exercise warm-ups), but a neat example of how connection can click when two people are in the same headspace: on one date, O'Dowd's Roland is more drunk and Marianne, hot-tempered in Maxwell Martin's reading, quickly grows irritated; in another, they're both merrily tipsy and it eases them into further intimacy.O'Dowd lands the comic moments expertly, such as Roland having his mind blown by the notion of cosmic predestination, or suddenly finding there's an alarming audience for his fumbling proposal. Both actors could project their performances a little more, but there's plenty to enjoy here.However, for me, the out-and-out winner of this quartet is the pairing of Tovey and Douglas - the latter building on his superb work in recent TV hit It's A Sin. Douglas makes the most radical choice with the academic character, here changed from Marianne to Emmanuel: instead of making him prickly and closed off, he uses that brilliance to be playful and flirtatious.&nbsp;<div style="text-align:center"><figure class="image" style="display:inline-block"><img alt="" height="500" src="https://images.ctfassets.net/6pezt69ih962/2lo5Jy9Pe39BxpJEKcQFLz/7891bcdf346ebf94cc59e47bb8bfb571/Omari_Douglas_and_Russell_Tovey-Constellations_750x500.png" width="750" /><figcaption>Omari Douglas and Russell Tovey in&nbsp;Constellations&nbsp;(Photo by Marc Brenner)</figcaption></figure></div>There's an immediate heat between the two men, even as they tease out that extra layer of whether the other man is queer; Tovey refers first to a wife, then a husband. The elbow-licking opening salvo has never seemed quite so sexy, and the honey exchange is given a simmering subtext, along with little touches and articulate body language that conveys so much more. Their first kiss is all smouldering intensity; the marriage proposal draws cheers and applause.The sheer authenticity of that emotional connection raises the stakes of the whole play: you invest in them not just because you want this couple to beat the multiverse odds, but because you care about them wholeheartedly. And though of course our society has improved immeasurably when it comes to LBGTQ+ acceptance, there's a slight sense of fragility - that it's even more special when they find each other, and such happiness, and its potential loss is all the more tragic.There's also the most exciting variation here between each repeated scene, with both actors taking big swings - whether leaning into the darker conflict, including a moment of shocking violence, or revealing new shades of each character. The dancing sequence is a highlight, as is the sign language scene, and, later in the story, their wrestling against a terrible inevitability feels utterly human, and universal.This experiment has been an absolute triumph: a creative response to Covid necessity, and a reminder of the boundless magic of theatre. Bravo.<a href="https://www.londontheatre.co.uk/show/constellations-vaudeville-theatre">Constellations is running at the Vaudeville Theatre until 12 September. Book tickets to Constellations today.&nbsp;</a>Photo credit:&nbsp;Anna Maxwell Martin and Chris O'Dowd in Constellations (Photo by Marc Brenner)

‘Constellations’ continues to triumph with new acting pairs in the multiverse

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

Vaudeville Theatre - LON

Vaudeville Theatre

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

Born in Essex in 1981, Russell Tovey began acting at 11. At the age of 13, he had started his television career, appearing in the children’s series Mud on CBBC.

Russell Tovey - Stars on Stage | London Theatre

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Indira Varma - LON

Present Laughter [15410]

Present Laughter

Present Laughter [15410] Product Media

The West End seems to be full of 'weighty' plays recently; serious plays like <a href="/show/rosmersholm">Rosmersholm</a>, <a href="/show/bitter-wheat">Bitter Wheat</a> and <a href="/show/sweat">Sweat</a>, with serious messages, which is great. But the laughter which roared through the stalls at the Old Vic for most the duration of this hilarious <a href="/show/present-laughter">Present Laughter</a> is just so welcome. This production stars as a credit to the talent of both Noel Coward and its star <a href="/actor-profile/andrew-scott">Andrew Scott</a>.Okay. Let's deal with this early: a magnetic Scott delivers again. As Garry Essendine, the egotistical actor facing a midlife crisis, he takes a slight detour from his trademark intensity and gives a comedic performance you cannot take your eyes off. Even when he isn't centre stage, he's there, ticking along with a slacked-jaw, or grimace, or wide eyes. He is always switched on, always reacting, never just listening.While his comedy feels fresh, his roaring power explodes to the fore as Coward's character becomes tangled in a web of adultery and promiscuity, and Essendine's frustrations with those imposing on his life bubble throughout the play. There's great satisfaction every time one of those bubbles pops.Director Matthew Warchus' production strips out a lot of the pomp and class from the play; Garry is a successful actor, but he isn't portrayed as just a funny snob here. He's actually pretty tragic. When he's alone he hangs around the phone longing - sometimes literally begging - for company, and when it inevitably arrives, he can't stand it.What sets this production apart from its many counterparts is the special permission the Coward estate has given Warchus to employ some gender-swapping to the script: theatre producer Henry has become Helen, while his wife Joanna is now a man, Joe, presenting a queer plot twist to Essendine's womanising character.It seems relatively insignificant at first - almost as if it was done just for the sake of shaking the play up a bit - but as the pivotal scene progresses, it brings real gravity to Garry's decision: fame has left him a desperately lonely man seeking comfort from the most unexpected of places. Scott and Enzo Cilenti (Joe) don't quite have the chemistry to make it believable, but you can imagine Garry becoming adventurous. &nbsp;There's some terrific here support from Sophie Thompson as Monica, the secretary who keeps the actor's life together and in check with some zinging one-liners. As devoted almost-ex-wife Liz, Indira Varma keeps the ship running, pushing people in an out of the ever-revolving doors of Rob Howell's set.While Bitter Wheat was set up to be the must-see play of the summer about sex and showbiz, it's really being staged across the river at the <a href="/theatres/old-vic-theatre">Old Vic</a> which has dusted off an 80-year-old play and given it an intriguing modern twist.But, when all's said and done, the bottom line is: <a href="/show/present-laughter">Present Laughter</a> is as good an opportunity as any to marvel at <a href="/actor-profile/andrew-scott">Andrew Scott</a> as he is completely brilliant yet again.<a href="/show/present-laughter">Present Laughter</a> is at the <a href="/theatres/old-vic-theatre">Old Vic Theatre</a> until 10th August.&nbsp;<a href="/show/present-laughter">Present Laughter tickets</a> are available now.&nbsp;<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>REVIEW ROUND-UP</h2></div></div></div>'But this is Andrew Scott's show, and he gives a virtuoso performance. It's a fascinatingly detailed interpretation of a character who's flirtatious, stroppy and acerbic yet also drowning in melancholy. Scott achieves something genuinely audacious in making him both odious and adorable.' Henry Hitchings, <a href="https://www.standard.co.uk/go/london/theatre/present-laughter-review-old-vic-theatre-andrew-scott-a4175981.html" target="_blank">Evening Standard</a>, ★★★★★'Scott&nbsp;plays Gary Essedine, a spoilt, petulant actor who gluts himself on the sex and intimacy his fans offer, then sits soggily in the mess he's created. And he's frighteningly good at it.' Alive Saville, <a href="https://www.timeout.com/london/theatre/present-laughter-review" target="_blank">Time Out</a>,&nbsp;&nbsp;★★★★★'We knew - didn't we - that Andrew Scott was very good indeed...&nbsp;But something remarkable has now happened at the Old Vic that will surely make even his expanding congregation of worshippers sit bolt upright in extra excitement - a revelatory performance that turns a good year into an annus mirabilis.' Dominic Cavendish, <a href="https://www.telegraph.co.uk/theatre/what-to-see/present-laughter-review-old-vic-andrew-scotts-revelatory-performance/" target="_blank">The Telegraph</a>,&nbsp;★★★★★'The word "heyday" could have been invented by Noël Coward and that is the word that sprang to mind as I watched Andrew Scott here. He does not so much play the part of the vainglorious actor Garry Essendine as grasp it around the waist and do a hot-to-trot tango with it. His panache fills the entire theatre. The part feels made for him and he knows it.' Ann Treneman, <a href="https://www.thetimes.co.uk/article/83352e7c-979c-11e9-abb4-0b4b1e74d343" target="_blank">The Times</a>,&nbsp;★★★★★&nbsp;

Review - Present Laughter starring Andrew Scott at the Old Vic

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

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

The Old Vic - LON

Old Vic

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

The Seagull - LON [24126]

The Seagull

The Seagull - LON [24126] Product Media

Born in England in 1973, Indira Varma has enjoyed a glittering career across film, television and theatre. She’s appeared in stage productions for over twenty years.

Indira Varma - Stars on Stage | London Theatre

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Burlesque star Dita Von Teese will make her directorial debut and star in the world premiere of *Diamonds and Dust* at the West End's newest venue the Emerald Theatre this summer. Previews start on 16 June, with opening night on 3 July.

Together with the show's creator Tosca Rivola, Dee Parsons, and Julian Stoneman, Von Teese presents a story about the Wild West’s most notorious card dealer, finding her way in a man's world. The production promises "a thrilling blend of Old West lore, vintage...

Dita Von Teese's 'Diamonds and Dust' to open at new West End venue

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Dita Von Teese presents a story about the Wild West’s most notorious card dealer, finding her way in a man's world. The show will also feature experiential dining and late-night entertainment.

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

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

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

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

Juliet Stevenson - LON

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

Juliet Stevenson - Stars on Stage | London Theatre

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

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

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

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

Rosamund Pike - LON

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

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

Complete casting set for 'End' at the National Theatre

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

New Year's Theatre Sale in March 2025

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