Name: & Juliet
Start: 2019-09-10
End: 2023-03-25
Location: Shaftesbury Theatre

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& Juliet [14834] - LON

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& Juliet

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Tom Francis as Romeo plus ensemble in & Juliet LON

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[**_& JULIET_** ](https://www.londontheatre.co.uk/show/14834-and-juliet-tickets) 
**THE MOST FAMOUS LOVE STORY OF ALL TIME. REMIXED.**   

What if Juliet’s famous ending was really just her beginning? What if she decided to choose her own fate?

Join Juliet on this sensational journey of self-discovery and second chances, told through some of the most glittering pop anthems of the last three decades from legendary songwriter **Max Martin**, including …_Baby One More Time_, _Since U_ _Been Gone, Roar_, _Everybody (Backstreet's Back)_, _Love Me Like You Do_ and _Can’t Feel My Face,_ all brilliantly arranged by the Tony and Grammy Award-winning orchestrator **Bill Sherman**.

Born in London in 1994, Miriam-Teak Lee is an up and coming West End star. She’s best known for her Olivier Award-winning performance as the title character in [*& Juliet*](https://www.londontheatre.co.uk/show/and-juliet), originating the role in the world premiere production.

After training at Arts Educational School in London and the Morgan Aslanoff Dance School (of which she is now an ambassador of the latter), Lee made her professional debut in *On The Town* as Claire. For her performance, she won Best Actress in a Musical at the 2017 Stage Debut Awards. She later headed to the West End to star in the original cast of [*Hamilton*](https://www.londontheatre.co.uk/show/20561-hamilton). In [*Hamilton*](https://www.londontheatre.co.uk/show/20561-hamilton), she was part of the ensemble, also covering the four lead female roles: Angelica Schuyler, Eliza Schuyler, Peggy Schuyler and Maria Reynolds.

Lee’s career skyrocketed when she was cast as Juliet in [*& Juliet*](https://www.londontheatre.co.uk/show/and-juliet). After a pre-West End run at Manchester Opera House, she led the cast at the [Shaftesbury Theatre](https://www.londontheatre.co.uk/theatres/shaftesbury-theatre). In a [LondonTheatre.co.uk review](https://www.londontheatre.co.uk/reviews/review-max-martin-musical-and-juliet-shaftesbury-theatre) from Mark Shenton: “The company is led by the extraordinary Miriam-Teak Lee in the title role of Juliet, who brings a sizzling presence, incredible vocals and moves to turn her into a force of nature.”  For her performance, she won the Olivier Award and the Black British Theatre Award for Best Actress in a Musical, both awarded on the same night. In concert, she’s sung in London Musical Theatre Orchestra’s *A Christmas Carol* at the [Lyceum Theatre](https://www.londontheatre.co.uk/theatres/lyceum-theatre).

Miriam-Teak Lee - LON

Ages 10+. Children under 16 must be accompanied and sat next to an adult ticketholder (18+). Children under the age of 3 won't be admitted. Everyone must have their own ticket to enter.

Hamilton - LON [20561] 

Hamilton

Hamilton [20561] - LON  Product Media

What's left to be said about <a href="/show/hamilton">Hamilton</a>&nbsp;that's not already been said? One of the central questions the show asks is precisely who the storytellers are of our personal and collective histories: "Who Lives, Who Dies, Who Tells Your Story", as the final number asks of the life story the show has just relayed and replayed of Alexander Hamilton, one of the key players in defining and refining the American constitution. By the same token, who is now telling the stories about the show it comes from? And can and should you believe them, as it has become probably the most hyped Broadway import of the century so far?<a href="https://www.londontheatre.co.uk/theatre-news/interviews/ben-brantley-chief-theatre-critic-of-the-new-york-times">Ben Brantley</a>, chief theatre critic of the New York Times, declared in the opening sentence <a href="https://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html" target="_blank">of his review when the show transferred to Broadway</a> from Off-Broadway's Public Theatre in the summer of 2015, "Yes, it really is that good." He added, "I am loath to tell people to mortgage their houses and lease their children to acquire tickets to a hit Broadway show. But <a href="/show/hamilton">Hamilton</a>&nbsp;might just about be worth it — at least to anyone who wants proof that the American musical is not only surviving but also evolving in ways that should allow it to thrive and transmogrify in years to come."And now the show has arrived in London - its first appearance on non-US territory - and it's even more thrilling than I - already an avid fan who has seen it four times in New York - could hope for. Just as <a href="/show/les-miserables">Les Miserables</a> has proved to be a universal story, stretching far beyond its deeply etched story of revenge, retribution and revolution to speak to a human need for healing and forgiveness, so <a href="/show/hamilton">Hamilton</a>&nbsp;captures the heartbeat and heartbreak of a nation trying to find itself - and relates it directly to a pursuit it is still engaged in trying to define anew today, maybe especially today, in the age of the 45th President Donald Trump. "Immigrants, we get the job done" is a line that gets the biggest cheer of the night - and it's just as relevant in Brexit England as it is in Trump's America right now.

"I'm just like my country, I'm young, scrappy and hungry, and I am not throwing away my shot," sings <a href="/show/hamilton">Hamilton</a>, and the show - composed and written by <a href="/theatre-news/interviews/interview-with-hamiltons-lin-manuel-miranda">Lin-Manuel Miranda</a>, who also originally played the title role - is equally young, scrappy and hungry, and determined not to throw away its shot.There's absolutely no chance of that happening in the dynamic, propulsive staging of director Thomas Kail and choreographer Andy Blankenbuehler, or the extraordinarily talented British cast assembled to perform it here.This show may be about history, but it also makes history itself: not just in the freshness and vivacity of its rap-based score that could come from the charts today, but also in the colour-blind diversity of its cast. Recent RADA graduate Jamael Westman is a riveting presence in the title role, with Rachelle Ann Go (most recently as star of Miss Saigon in the West End and on Broadway) vocally thrilling as Hamilton's wife Eliza. There are also scene-stealing, hilarious performances from Michael Jibson as King George and Jason Pennycooke as the Marquis de Lafayette, with robust performances, too, from Giles Terera as Aaron Burr, Tarinn Calendar as James Madison and Obioma Ugoala as George Washington.But it's also impossible to take your eyes off the amazing dance ensemble who move with utter fluidity.And if it's not enough to give the show a rave review, a separate one is also due to the <a href="/theatres/victoria-palace-theatre">Victoria Palace</a> - the theatre has been given a stunning make-over for <a href="/show/hamilton">Hamilton</a>'s arrival that has seen it almost entirely gutted and remodelled, with new box seating at the rear of the stalls and dress circles and extensive new public areas in a new extension that has added bars and toilets at every level.Both the show and the theatre are here to stay.<hr /><a href="/show/hamilton">Hamilton</a> is booking at the <a href="/theatres/victoria-palace-theatre">Victoria Palace Theatre</a>.<a href="/show/hamilton">Hamilton tickets</a> are available now.&nbsp;&nbsp;<hr /><h3>What the popular press said...</h3>"In the end, however, the power of Hamilton lies in its ability to make the past seem vividly present. It suggests its subject was an Icarus who flew too close to the sun. But it also shows that he was an outsider who believed in strong central government and an enlightened capitalism. Above all, Miranda has created an invigorating and original musical that, at a time of national crisis, celebrates America's overwhelming debt to the immigrant." Michael Billington, <a href="https://www.theguardian.com/stage/2017/dec/21/hamilton-review-musical-london-victoria-palace-lin-manuel-miranda?CMP=twt_gu">The Guardian</a>&nbsp;(five stars)"This musical is history in the re-making and I mean that quite literally." Ann&nbsp;Treneman, <a href="https://www.thetimes.co.uk/edition/news/theatre-review-hamilton-at-victoria-palace-sw1-xdshn0nhs">The Times</a> (five stars)"Whether or not Hamilton&nbsp;is the best musical of our generation - it clearly is, but whatever - it's been a hit for the only reason anything is a hit: because it is a great work of entertainment." Andrzej Łukowski, <a href="https://www.timeout.com/london/theatre/hamilton">Time Out</a> (five stars)"Reviewing it feels like sizing up the Mona Lisa or Beethoven's Fifth and, in truth, Hamilton&nbsp;lands on the London stage looking every inch the classic." Matt Trueman, <a href="http://variety.com/2017/legit/reviews/hamilton-review-london-west-end-1202647480/">Variety</a>&nbsp;""The Greatest Show on Earth", one paper declared the other day. C'mon! But seriously folks, there's going to be more where that came from, because - lock up your doubters: I have to report that it really is as good as we've been told." Dominic Cavendish, <a href="http://www.telegraph.co.uk/theatre/what-to-see/hamilton-west-end-review-believe-every-single-word-hype/?WT.mc_id=tmg_share_tw">The Telegraph</a> (five stars)"Hamilton is a touchstone. It's zeitgeist, youthquake, Momentum, it's woke, it's post-musical. From masculinity, power struggles and the small things on earth, it metastasises into a crying epic about legacy, principle, nations, all the incredible mongrel people within those nations, and how all those people - every single one - can change the world." Tim Bano, <a href="https://www.thestage.co.uk/reviews/2017/hamilton-review-victoria-palace-lin-manuel-miranda-theatre-london/">The Stage</a> (five stars)"Hamilton is a knockout, and its British cast is superb, with two star-making performances from Giles Terera and, in the title role, magnetic newcomer Jamael Westman." Henry Hitchings, <a href="https://www.standard.co.uk/go/london/theatre/hamilton-review-believe-the-hype-linmanuel-mirandas-musical-is-a-knockout-a3725301.html">Evening Standard</a> (five stars)"This has been the most frenziedly anticipated musical in London since The Book of Mormon and the implacable publicity blitz might lead even the most mildly rebellious soul to wonder if anything could possibly live up to this degree of hype. I'm delighted to report that, for the most part, Hamilton manages to do so - quite exhilaratingly..." Paul Taylor, <a href="http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/hamilton-victoria-palace-theatre-london-review-a-magnificent-achievement-thomas-kail-the-book-of-a8122091.html">the Independent</a> (five stars)

Review - Hamilton is 'here to stay' at the Victoria Palace Theatre

Read our five-star review of *Hamilton* at the Victoria Palace Theatre. This review refers to the original cast, including Jamael Westman and Giles Terera.

The multi award-winning West End production of HAMILTON is now playing at London’s Victoria Palace Theatre.

HAMILTON is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and helped shape the very foundations of the America we know today. The score blends hip-hop, jazz, blues, rap, R&B and Broadway – the story of America then, as told by America now.

HAMILTON is the winner of 11 Tony Awards including Best Musical, 7 Olivier Awards, the 2016 Pulitzer Prize for Drama and the 2016 Grammy Award for Best Musical Theater Album.

**Victoria Palace Theatre** is a timeless traditional theatre located in the heart of London with an enduring appeal that keeps audiences returning time and again. Its regal exterior and opulent interiors, dating back to 1911, hold their own stories often parallel to the mesmerising performances it has staged. For more than a century, the theatre has been home to some of the world's greatest musicals and plays, and is currently the home of Broadway smash-hit, Hamilton. The theatre offers remarkable acoustics and unobstructed views, accommodating up to 1550 guests in its intricate architectural design. Other than the grandeur, its reputation has been built on the excellent quality of performances delivered by top-notch actors and performers from around the globe. Every theatre-goer is bound to savor the taste of London's rich history in the Victoria Palace Theatre.

**How to get there:** Victoria Palace Theatre is conveniently located near Victoria Station in the City of Westminster, making it easily accessible by public transport. If coming by train or underground, simply get off at Victoria. On exiting the station, cross the street and you'll see the theatre next to Victoria Street. There are numerous bus routes passing through Victoria and nearest car parks are located at Rochester Row or Semley Place.

Victoria Palace Theatre - LON

Victoria Palace Theatre

Victoria Palace Theatre, a century-old London venue, is known for its grand architecture, top-notch performances, and easy accessibility near Victoria Station.

The biggest hit, by far, of the current Broadway season, so far, is Moulin Rouge, a compilation musical that folds extracts from over 70 pop songs, from multiple sources, into telling a story set in the eponymous Parisian nightclub. Now, the new musical <a href="/show/and-juliet">&amp; Juliet</a> that has just received its world premiere in the West End after a try-out run in Manchester, tries to replicate some of the same formula, only using a more economical track listing of some 30 songs. It is also likewise set in Paris - and yes, the Moulin Rouge and its windmill are even referenced in an onstage set model, too, plus the use of similarly prominent title signage.But this time the songs are heard in more complete (if not necessarily as complex) versions than the songs in Moulin Rouge, though there's a similar relentless and restless forward propulsion to how they're integrated into the plot by David West Read's book, which has Shakespeare (with a big assist from his wife Anne Hathaway) re-writing Romeo and Juliet in a way that keeps both of them alive - and gives Juliet a lot more agency. It also throws in a new gay subplot for good measure.But this is no Kiss Me, Kate, the 1949 classic which gave a backstage musical spin to a troubled out-of-town production of Shakespeare's The Taming of the Shrew, set to one of Cole Porter's most scintillating scores; nor is it West Side Story, which already adapted Romeo and Juliet to the streets of 1950s New York to Leonard Bernstein's sinewy, brassy music.Here, instead, all the songs originate from a single songwriting source, the Swedish pop hitmaker Max Martin, whose songs for the likes of Britney Spears, the Backstreet Boys, Katy Perry, Celine Dion, NSYNC&nbsp;and Justin Timberlake, amongst others, have placed him behind only Paul McCartney and John Lennon in achieving the global record for number one singles on the Billboard charts (22, to McCartney's 32 and Lennon's 26).That ensures a high level of familiarity for pop fans (and even me, who doesn't follow the genre much); like the songs of ABBA&nbsp;that kicked off the penchant for folding existing pop catalogues into new stories with <a href="/show/mamma-mia">Mamma Mia!</a>, there's already a lot of identification and love for material that has been impossible to avoid in popular culture. &nbsp;And this likeable and sometimes spectacular production - directed by Luke Sheppard and choreographed by Jennifer Weber with vigour and discipline, gives them a full-bodied and full-blooded outing. Frequently resembling a series of pop videos come to life - thanks to performance platforms that come out of the floor, or benches that take on an aerial life of their own in Soutra Gilmour's sets, aided by Andrzej Goulding's dazzling projections - it is performed with a glinting knowingness and powerful pop theatre voices.The company is led by the extraordinary Miriam-Teak Lee in the title role of Juliet, who brings a sizzling presence, incredible vocals and moves to turn her into a force of nature.&nbsp;There's also powerful vocal work from two of our best pop theatre performers, Oliver Tompsett and Cassidy Janson, as William Shakespeare and Anne Hathaway, and likeable support from Jordan Luke Gage as Romeo, Melanie La Barrie as Juliet's Nurse and Arun Blair-Mangat and Tim Mahendran as the gay couple. &nbsp;A popular hit made from popular hits has been born.<a href="/show/and-juliet">&amp; Juliet</a> is booking at the <a href="/theatres/shaftesbury-theatre">Shaftesbury Theatre</a> until 30th May 2020.&nbsp;<a href="/show/and-juliet">&amp; Juliet tickets</a>&nbsp;are available now.&nbsp;

Review - Max Martin musical & Juliet at the Shaftesbury Theatre

**Shaftesbury Theatre** is an iconic theatre venue in the heart of London's West End. It's been a central part of London's theatre scene since its opening in 1911, boasting more than a century of remarkable performances. Widely esteemed for its architectural grandeur, it ordinarily retains a capacity of 1,400 seats that remain filled with regulars and tourists from around the globe. The theatre has primarily focused on musical-style performances but has also accommodated some premium works of drama over the years. Its historic record includes hosting some of the longest-running shows in London, like 'Hair’ and 'Hairspray'.

**How to get to Shaftesbury Theatre**

Located in the London Borough of Camden, Shaftesbury Theatre is easily accessible by various modes of transport. By Tube, the nearest station is Holborn, a short 6-minute walk away on Kingsway road. Alternatively, for those preferring to travel by bus, various routes stop near the theatre including numbers 1, 8, 19, 38, 55, 98, 242, and N98. If you're driving, parking facilities can be availed at Bloomsbury Square Car Park just 5 minutes away with a pre-booked parking space. If walking or biking, the theatre is within easy distance of several central London locations.

Shaftesbury Theatre - LON

Shaftesbury Theatre

The Shaftesbury Theatre is a historic London venue known for musicals, easily reached by tube and bus, with nearby parking.

Born in London in 1994, Miriam-Teak Lee is an up and coming West End star. She’s best known for her Olivier Award-winning performance as the title character in &amp; Juliet, originating the role in the world premiere production.

Miriam-Teak Lee - Stars on Stage | London Theatre

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Born in Oxfordshire in 1981, Oliver Tompsett is an acclaimed West End actor. He’s currently playing William Shakespeare in *& Juliet*, and will soon take over as Edward Lewis in *Pretty Woman: The Musical*. 

After graduating from Arts Educational School, Tompsett made his West End debut in 2002 in the Olivier-winning Madness musical, *Our House*, at the Cambridge Theatre. He then joined the ensembles of *Mamma Mia!* at the Prince of Wales Theatre (2003), and *Notes from New York* at Trafalgar Studios (2004), before playing Caliph in *Kismet* (2005).

Tompsett starred in three shows in 2006. Firstly, he played Harry Lyton in the biographical musical *Over My Shoulder: The Story of Jessie Matthews* at the Wyndham's Theatre. He then played Ben in Peter Shaffer's *The Royal Hunt of the Sun* at the National Theatre, directed by Trevor Nunn. 

In September 2006, he was a part of the original *Wicked* London cast, led by Idina Menzel as Elphaba. After understudying Fiyero for a year, Tompsett took over the role from Adam Garcia, playing Fiyero from 2007 to 2010. 

Following *Wicked*, Tompsett found himself in back-to-back rock musicals. In 2011, he played Drew Boley in the West End premiere of *Rock of Ages* at the Shaftesbury Theatre, alongside Simon Lipkin as Lonny, Shayne Ward as Stacee Jaxx, and Zizi Strallen. The following year, he took over as Galileo in *We Will Rock You,* continuing with the show to its eventual 2014 closure.

After a short stint playing Phil Davis in *White Christmas* in Leeds, Tompsett returned to the West End in 2016, cast as Sky Masterson in *Guys & Dolls.* That same year, he appeared in gala performances of the comedy musical *Disaster!* alongside Sally Ann Triplett, Alice Fearn, and Seth Rudetsky.

In 2017, Tompsett succeeded Killian Donnelly and David Hunter as Charlie Price in *Kinky Boots*. He then went on to originate a role, cast as William Shakespeare in *& Juliet*. He starred in the Manchester premiere, and continued in the West End show, performing from 2019 - 2023. In an [*& Juliet* review on London Theatre](https://www.londontheatre.co.uk/reviews/review-max-martin-musical-and-juliet-shaftesbury-theatre), our critic said: "There's also powerful vocal work from two of our best pop theatre performers, Oliver Tompsett and Cassidy Janson, as William Shakespeare and Anne Hathaway."

After *& Juliet*, Tompsett will play Edward Lewis in *Pretty Woman: The Musical*, succeeding Danny Mac in the role. Tompsett is in *Pretty Woman: The Musical* from April to June 2023, staying with the show until it closes.

Oliver Tompsett - LON

Kinky Boots [299] - DNU

Kinky Boots

Kinky Boots [299] Product Media

The Adelphi Theatre, located in London's West End, is a historic venue recognised for its rich contribution to London's vibrant theatre scene. Exquisitely built in Art Deco architectural style, the Adelphi boasts an impressive history of notable performances and theatrical debuts since it first opened its doors in 1806. With a seating capacity of around 1,500, the venue ensures a sumptuous viewing experience enhanced by modern equipment, tastefully restored interiors, and comfortable seating that allows audiences to get lost in the art unfolding onstage. Over the years, the venue has hosted a range of compelling performances, be it dazzling musicals, thought-provoking dramas, or riveting mystery thrillers, contributing to its reputation as a central hub for quality theatre. Some of the famous shows to grace its stage include Chicago, Joseph and the Amazing Technicolor Dreamcoat, Evita, and more recently, Waitress. **How to get to the Adelphi Theatre**: Located on The Strand, the theatre is just a short walk away from various bus stops, tube stations, and railway stations. The nearest tube station, Covent Garden, is only a 5-minute walk away, while Charing Cross, the nearest railway station, is a 7-minute walk. Several bus routes service The Strand, making the theatre readily accessible from all parts of London.

Adelphi Theatre - LON

Adelphi Theatre

The historic Adelphi Theatre in London's West End hosts notable performances in 1,500-seating capacity auditorium, and is easily accessible via public transport.

Ages 7+. Under 16s must be accompanied by and sat next to an adult (18+). Children under 5 years will not be admitted. All persons attending, regardless of age, must have a ticket.

Wicked - LON [313]

Wicked

Wicked - LON [313]  Product Media

As Glinda descends from the rafters in her bubble, the audience cheers immediately. As Elphaba defies gravity as she flies over the stage, the audience gasps with disbelief. It’s impossible not to be swept away in *Wicked*’s pure theatricality. More than 15 years after Wicked flew into the West End, the Olivier Award-winning musical is still an evening of sheer musical theatre bliss. 

Over 11 million people have visited the land of Oz across 6,000 performances and counting. The musical has won 13 awards, including the Olivier Award for Most Popular Show, and *Wicked* has become one of the most successful musicals of all time. Often when a show has been playing for a long time, it can lose some of the initial magic, but *Wicked* is still as lively and dynamic as ever.

Based on Gregory Maguire’s prequel novel of the same name, *Wicked* imagines an Oz before Dorothy followed the yellow brick road, one in which the “Wicked Witch” Elphaba and the “Good Witch” Galinda are roommates at school. *Wicked* is a story of an unlikely friendship and how the truth isn’t always what meets the eye. Add spine-tingling ballads, a dragon, and stage magic into the mix, and Wicked sets the bar for what musical theatre can be.

Winnie Holzman’s multilayered book peels back L. Frank Baum’s *The Wizard of Oz* to shine more light on what happens along the way. Every time you watch Wicked, you’ll hear a new line, or see a new character approach that uncovers more information; it’s no wonder that Wicked fans — Ozians — visit the land of Oz dozens of times to unpick the hidden truths about the lion, the scarecrow, and the tin man.

*Wicked* wouldn’t be complete without [Stephen Schwartz’s influential score](https://www.londontheatre.co.uk/theatre-news/news/stephen-schwartz-musicals); and songs like “For Good” now transcend popular culture as pop stars, like Leann Rimes and Delta Goodrem, cover the iconic duet. But there’s no place like home, and that’s hearing Schwartz’s anthemic songs live, complete with a 23-piece orchestra. Pair Schwartz’s music with Wayne Cilento’s explosive choreography, especially in the show-stopping “Dancing Through Life” when the students go to their first dance, and Wicked is poetry in motion.

Eugene Lee’s intricate and moody scenic design extends into the auditorium, thanks to a giant smoking dragon and flying monkeys climbing up the walls. Kenneth Posner’s lighting design and Tony Meola’s sound design amplify the tension, especially when the animated wizard mask comes alive and the wizard’s booming voice reverberates around the auditorium. But there’s plenty of brightness too, especially in Susan Hilferty’s viridescent Ozian costumes and Galinda’s kaleidoscopic wardrobe.

Elphaba has become a coveted role for thousands of performers. From Idina Menzel winning the Tony Award for originating the role on Broadway to Kerry Ellis, Rachel Tucker, and Louise Dearman, each performer has put their own spin on the role and the iconic ballads: “The Wizard and I,” I’m Not That Girl,” “Defying Gravity,” and “No Good Deed”. Lucie Jones comes into her own as the green witch, deftly moving from frustration to sweetness to fury, as Elphaba navigates the world around her and quickly learns that not everyone means what they say. Helen Woolf is bubbly perfection as Glinda, with her sweet soprano and dry wit.

There’s something in *Wicked* for everyone. From the childlike wonder at the magical world of Oz to the political undertones about our leaders’ role in society to the universal message that true beauty lies within, *Wicked* leaves the audience with food for thought and also, wanting more. It’s no wonder that the musical has captured the hearts of so many over the years and will continue to do so for many years to come. *Wicked* is certainly here to stay in the West End for good. 

*Wicked is at the Apollo Victoria Theatre. Book Wicked tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=1587&content_product_id=1587&venue_id=138)

‘Wicked’ review — the West End hit flies high at the Apollo Victoria Theatre 

Read our five-star review of *Wicked,* the Stephen Schwartz musical starring Lucie Jones and Helen Woolf, at the Apollo Victoria Theatre. Get *Wicked* tickets now.

“London’s No.1 show” (LBC) is back! Celebrating 16 triumphant years at the Apollo Victoria Theatre

The Apollo Victoria Theatre is a world-renowned venue located in the heart of London. Since its inception in 1929, the theatre has been staging a myriad of performances, constantly exuding a vibrant atmosphere. With its striking art deco interior and a capacity of 2,304, the theatre continues to provide a rich sensory experience for all attendees. The Apollo Victoria Theatre is especially famous for hosting long-lasting musicals including 'Wicked' which has been running since 2006. The theatre provides state-of-the-art sound and light systems which complement the dynamic and innovative performances that grace its stage. Its enviable location, in the vicinity of Victoria Station, makes it effortlessly accessible to both local and international patrons.

__Getting to the Venue__ 

The Apollo Victoria Theatre is conveniently located at 17 Wilton Rd, London. It can be easily reached by numerous means of public transportation. Victoria Station, which services the Victoria, District and Circle Lines, is just opposite the theatre. Numerous buses also stop near the theatre including routes 38, 73, 8, amongst others. For those preferring to drive, the theatre is part of the Q-Park Scheme offering a 50% discount on car parking in some locations.

__Additional information__

Venue opens 90 minutes prior to the performance with bars, kiosks and toilet facilities available.
Auditorium opens for seating 55 minutes prior to the performance.
Latecomers can only be admitted into the auditorium at a suitable break in the performance, which is approximately
25 minutes after curtain-up.

Apollo Victoria Theatre - LON

Apollo Victoria Theatre

The Apollo Victoria Theatre is a major London venue known for its long-running musicals, state-of-the-art facilities, and easily accessible location near Victoria Station.

Suitable for 12+, under 5's will not be admitted.

Pretty Woman [18613] - LON

Pretty Woman: The Musical

Pretty Woman [18613] - LON Product Media

There have been plenty of musicals about prostitution on Broadway, like the 60s classic Sweet Charity, set in a dance hall where the hostesses available for hire as dance companions say, "Who dances? We defend ourselves to music" and The Life, a 1997 show that portrayed a gritty, pre-Disneyfied Times Square and the hard realities of street sexual exploitation and its affiliations with drug interests. The Best Little Whorehouse in Texas, on the other hand, which premiered in 1978 and became a film with Dolly Parton starring as the whorehouse madame, offered a jiggling, country-and-western take on a brothel that presented it virtually as innocuous family entertainment.&nbsp;But <a href="/show/pretty-woman">Pretty Woman: The Musical</a>, based on the 1990 film that starred Julia Roberts as a Hollywood Boulevard street sex worker and Richard Gere as her billionaire investor executive client, is something else, seeking to combine a hard-edged reality with a real romance and happy ending (and not the kind that you might be offered in a massage parlour, either, on this same boulevard).&nbsp;In a post-Weinstein world, there are inevitably fears that the rich, entitled male might be seen to be exploiting the younger, more vulnerable female for his own purposes, seeking uncomplicated companionship and sex on demand during his time sealing a company take-over bid in LA, in return for a comparatively modest fee (for him). Early on, there's a slightly icky scene where she takes a cushion from the piano stool so that she can be more comfortable as she sinks to her knees to service him.&nbsp;But this is also a Cinderella-meets-Pygmalion story, in which the street prostitute is transformed into a society princess, cleaned up by a much-improved wardrobe (bought for her, of course, by the man) and eventually redeemed by acknowledging and meeting her needs as well as his. There may be a bit of wish-fulfillment to all of this -&nbsp;the score and book are both written by all-male teams, and the show its also written and directed by a man -&nbsp;but it also has a happy, eventually feel-good vibe to it.&nbsp;In the late Garry Marshall and JF Lawson's book (who respectively directed and wrote the original film), it is the woman who holds the cards -&nbsp;and the man who has the bigger journey to travel, from self-imposed isolation to finding real love.&nbsp; It's a relationship that ends up transforming them both -&nbsp;he even ends up making different, more moral business choices, too.&nbsp;But what makes it ultimately both digestible and credible are the sympathetic performances of the two leads. Yes, of course, it helps that <a href="/actor-profile/danny-mac">Danny Mac</a> is no physical monster in the style of Weinstein but easy on both the eyes and ears - and as with Sunset Boulevard in which he recently toured the UK, he removes his shirt for the undeniable pleasure of the audience. But Mac succeeds in having plenty of charm as well as pecs appeal. <a href="/actor-profile/aimie-atkinson">Aimie Atkinson</a>, in the Julia Roberts role of Vivian Ward, is ironically less objectified than him, and has a perfect combination of quirky vulnerability and the strength of a survivor; and there's good support from Rachael Wooding and Neil McDermott as friends to each of them. &nbsp;Jerry Mitchell, who has previously been responsible as director and/or choreographer to such film to hit stage properties as <a href="/show/kinky-boots">Kinky Boots</a>, Legally Blonde, The Full Monty, <a href="/show/hairspray">Hairspray</a> and Dirty Rotten Scoundrels, knows just how to make these transformations work. He ups the energy and momentum throughout. If Bryan Adams and Jim Vallance's score lacks serious break-out hits of its own, there's at least a curtain call reprise of Roy Orbison's famous 1964 hit single that gave the original film its title to send you out on a high. &nbsp;<a href="/show/pretty-woman">Pretty Woman: The Musical</a>&nbsp;is at the Savoy Theatre.&nbsp;<a href="/show/pretty-woman">Pretty Woman: The Musical tickets</a>&nbsp;are available now.&nbsp;&nbsp;

Review - 'Pretty Woman: The Musical' starring Danny Mac and Aimie Atkinson

It's time to head back to Beverly Hills and experience one of Hollywood’s most beloved romantic stories of all time live on stage at it’s glamorous new home - the Savoy Theatre. Get ready to fall in love London as the record breaking box office smash-hit musical returns.

London's Savoy Theatre is one of the most renowned theatre venues in the heart of the city. This cherished venue exhibits a rich history that dates back to 1881. The Savoy indulges its patrons with a variety of performances, including plays, musicals, ballet, and concerts. The attractive architecture and interior details give the attendees a sense of a grand theatrical experience. The Savoy Theatre prides itself on having introduced electric lights to the theatre world. Remarkable luminaries such as Gilbert and Sullivan have graced its stage. The theatre has a seating capacity of 1,158, split between the Stalls, Dress Circle, and Upper Circle. Dedicated to providing full accessibility, the venue offers services for those with mobility, hearing, and visual impairments.

## How to get to the Savoy Theatre 
The Savoy Theatre is centrally located in London and is easily accessible by both public and private transport. The theatre is easily reachable by bus, tube, and rail services. The nearest tube stations are Charing Cross (Bakerloo and Northern lines), Embankment (District, Circle, Bakerloo, and Northern lines), and Covent Garden (Piccadilly line). For those who prefer buses, services 6, 9, 11, 13, 15, 23, 87, 91, 139, and 176 stop near the theatre. For patrons driving private vehicles, the closest Q-Park car park is available at the nearby Chinatown. The theatre also participates in the Q-Park Theatreland Scheme, offering a 50% discount on parking.

## Additional Information 

Venue opens 1hr 30min before showtime.

Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

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Savoy Theatre

The Savoy Theatre is a historic London venue offering diverse performances. It's centrally accessible by tube, bus, and car.

Read more about Oliver Tompsett in West End shows. See Oliver Tompsett in London musicals.

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The Shaftesbury Theatre opened as the Princes Theatre on 26 Dec. 1911. The theatre changed its name to the Shaftesbury Theatre in 1962, reopening with the Broadway musical *How to Succeed in Business Without Really Trying* which became the theatre’s first long-running musical. 

The musical *Hair* opened in September 1968 when the ban on theatre censorship was lifted, and went on to a run of just under 2000 performances. The show and theatre were forced to close when parts of the ceiling fell in on 20 Jul. 1973. 

Reopening in 1974, the Shaftesbury's housed a line of musical productions, starting with *West Side Story*, *Rent* and *Hairspray.*

## Shaftesbury Theatre Seating Information

The auditorium has three levels – the Stalls, Royal Circle and Grand Circle.

The Stalls seats are on a very shallow rake which means that sightlines can be problematic

In the Royal Circle, the seats are gently raked which might impact on the sightlines depending on certain productions.

The Grand Circle does feel far away from the stage, but the central seats do offer good views of the stage.

Shaftesbury Theatre - London Theatre

Opened in 1911 as the Princes Theatre, it became Shaftesbury Theatre in 1962. Famous for long-running musicals, it has three seating levels with varying sightlines.

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