Name: Opening Night
Start: 2024-03-06
End: 2024-05-18
Location: Gielgud Theatre

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Opening Night - LON [36785]

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Opening Night

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Production image of Opening Night in London starring Sheridan Smith in the lead role.

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Production image of Opening Night in London featuring Sheridan Smith and Hadley Fraser.

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Production image of Opening Night in London featuring full cast.

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The incomparable Sheridan Smith returns to musical theatre in the world premiere of Opening Night from the creative minds of Rufus Wainwright, one of the most acclaimed songwriters of his generation, and celebrated director Ivo van Hove. 


Born in Epworth, Lincolnshire in 1981,&nbsp;Sheridan Smith&nbsp;has performed in numerous television shows and musicals, earning an OBE in 2015 for services to drama.&nbsp;With a keen interest in drama from a young age, Smith studied dance and performing arts at every opportunity, but did not attend drama school. Smith made her television debut at 18 years old, playing Emma in the BBC series&nbsp;The Royle Family. Three years after, she landed the role of Janet Keogh in&nbsp;Two Pints of Lager and a Packet of Crisps, starring in the programme from 2001 to 2009.

Outside of theatre, she is best known for her roles in television. She has had roles in comedy shows such as Benidorm and Gavin and Stacey, in which she played Rudi, the sister of Smithy played by James Corden. She has also appeared in a number of dramas such as Mrs Biggs, which won her a BAFTA award, and The 7.39 alongside&nbsp;David Morrissey.

Smith played Audrey in Little Shop of Horrors at the&nbsp;<a href="/theatres/menier-chocolate-factory">Menier Chocolate Factory</a>&nbsp;in 2006, transferring to the&nbsp;<a href="/theatres/ambassadors-theatre">Ambassadors Theatre</a>.&nbsp;In 2009, she took on the role of Elle Woods in&nbsp;Legally Blonde&nbsp;at the&nbsp;<a href="/theatres/savoy-theatre">Savoy Theatre</a>, earning an Olivier Award nomination for Best Actress in a Musical.&nbsp;

In 2012, she played the title role in&nbsp;Hedda Gabler&nbsp;at the&nbsp;<a href="/theatres/old-vic-theatre">Old Vic</a>, and was then in a revival of the Terence Rattigan play&nbsp;Flare Path at <a href="/theatres/theatre-royal-haymarket">Theatre Royal Haymarket</a>, winning an Olivier for Best Actress.&nbsp;The following year, she starred in&nbsp;A Midsummer Night’s Dream&nbsp;at the&nbsp;<a href="/theatres/noel-coward-theatre">Noël Coward Theatre</a>, alongside David Walliams.

In 2015, Smith went on to play the role of Fanny Brice in the musical&nbsp;Funny Girl, which initially ran at the&nbsp;Menier Chocolate Factory, before transferring to the&nbsp;Savoy Theatre and touring the UK. She was nominated for the Olivier Award for Best Actress in a Musical following the show’s West End transfer.

More recently, Smith has played Cilla Black in the ITV biographical drama&nbsp;Cilla, as well as releasing her debut album titled ‘Sheridan’ in 2017, with her second album ‘A Northern Soul’ a year later. She's recently starred in&nbsp;the West End revival of&nbsp;[Joseph and the Amazing Technicolor Dreamcoat](http://www.londontheatre.co.uk/show/joseph-and-the-amazing-technicolor-dreamcoat)&nbsp;as the Narrator, appearing alongside <a href="/actor-profile/jason-donovan">Jason Donovan</a>. 

In 2023, Smith will star in the one-woman play, *Shirley Valentine.*

Sheridan Smith - LON

The Gielgud Theatre is an iconic heritage venue located in the heart of London's bustling West End. Showcasing a wide array of performances ranging from dramatic plays, to musicals, to stand-up comedy, the theatre has been a magical place of storytelling since its doors first opened in the late 1800s. Upon entering the theatre, patrons are greeted by a stunning interior complete with opulent gold leaf detailing, royal red plush seating and ornate carved plaster. The plush Royal Circle boasts excellent sightlines, while the intimate, yet spacious Dress Circle and Stalls ensure every audience member feels close to the action. With a seating capacity of 986 spread across three levels, the theatre boasts an intimate atmosphere making every show a unique experience. 

**How to get to the venue:** Located at Shaftesbury Avenue, one of the easiest methods of reaching is by Tube. The closest station is Piccadilly Circus on the Bakerloo and Piccadilly lines. There are also many bus routes which stop close to the theatre making it easily accessible from all parts of the city. For those driving, a nearby Q-Park Theatreland car parking facility is available, though the theatre encourages use of public transport due to high congestion in the area.

Gielgud Theatre - LON

Gielgud Theatre

The Gielgud Theatre is an iconic, intimate London theatre, featuring lavish interiors, located in West End accessible by Tube, bus or car.

Shirley Valentine - LON

Shirley Valentine

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Watching [Sheridan Smith](https://www.londontheatre.co.uk/theatre-news/news/discover-sheridan-smith-theatre-roles-tv-performances-and-more) connect with an audience is truly mesmerising. Even while holding a West End stage, she makes every single person in attendance feel as if she’s sat at the kitchen table with them, chatting away like a lifelong friend. 

It’s a magic power ideally suited to Willy Russell’s 1986 one-woman play [*Shirley Valentine*](https://www.londontheatre.co.uk/show/27242-shirley-valentine), which relies on us investing heavily in his title character’s domestic troubles and modest, but ultimately cheer-worthy, ambitions.

Shirley is a working-class Liverpudlian housewife whose two children have left home. Her marriage barely exists; her belittling, semi-abusive husband only notices her when she makes him the wrong dinner (Smith actually cooks chips and egg live on stage). At 42, she’s completely lost her sense of self, and it takes a chance encounter with an old schoolmate to make her question: whatever happened to Shirley Valentine? 

Thankfully, her pal Jane (recently divorced, budding feminist) intervenes to give Shirley, who has never been abroad, a golden opportunity: a two-week holiday in Greece, without her family. Will Shirley find the nerve to go, and will the trip prove transformative? Well, suffice to say this isn’t a story that ever confounds expectations.

Russell’s piece operates like a direct-address monologue, although technically Shirley addresses her kitchen wall rather than us - indicative of her desperate loneliness. It’s an irritating but effective device, giving us a strong sense of how this relentless and isolating routine has ground her down over the years.

However, several elements of Russell’s script are inescapably dated. In particular, I felt bludgeoned by the endless old-school comic one-liners: “Marriage is like the Middle East - there’s no solution”; “Sex is like Sainsbury’s - overrated.” There’s also an interminable riff on the discovery of the clitoris, which feels hopelessly tame in a post-Fleabag world, and a nativity anecdote that would only really interest you if it was about your own child. 

But when Russell switches gear and has Shirley candidly, painfully expose her vulnerabilities - like recalling how a cruel headmistress damaged her confidence, making her feel that dreams were only for the clever or moneyed pupils - Smith (who has had her own struggles with mental health, famously during her run of *Funny Girl*) is in her element. She gradually dims Shirley’s determinedly sunny facade, conveying a wealth of emotion in just a wavering smile.

Annoyingly, Russell’s overwritten piece doesn’t trust her - or us. Just as we’ve inferred something obvious, like that Shirley pretended to hate everything in her teens because she hated herself, or that she hasn’t left her husband because she’s scared of the unknown, the script spells that out for us. It starts to conflict with the characterisation: if she’s so au fait with every feeling, as though she’s gone through years of intense therapy, why is she so paralysed? It would make more sense if she was telling this story in retrospect, but it’s meant to be played in the present. 

However, judging by the numerous chuckles and murmurs of recognition on my night, plenty of Russell’s observations still chime with people — including the suspicion when a woman is sitting on her own in a restaurant, or (groan) the embarrassing antics of Brits abroad. The tale’s brief use of a fantastical Greek lothario is rather wince-inducing, though, and I longed for more grit. With Smith’s chirpy telling lacking the acid moments of Pauline Collins’s original Oscar-nominated version, it risks descending into broad sitcom-meets-cloying wish fulfilment. 

But then perhaps that cosiness is a tonic right now — and there’s no doubting the kitsch charm of Matthew Dunster’s production. Paul Wills supplies a 1980s mint-green kitchen (matched by Shirley’s trousers) and later a dazzling splash of blue sky, melting into a pink sunset - shimmering in Lucy Carter’s luscious lighting design. It’s basically [*Mamma Mia!*](https://www.londontheatre.co.uk/show/304-mamma-mia-tickets) without the ABBA.

But, even if the lessons about learning to love yourself and how (gasp!) women, too, can enjoy sex feel rather hoary, the core message of not leaving any “unused life” resonates deeply after Covid. And it’s a pleasure to see Smith back centre stage, once more casting her spell.

*Shirley Valentine is at the Duke of York's Theatre through 3 June.*

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=27242&content_product_id=27242&venue_id=116)

*Photo credit: Sheridan Smith in Shirley Valentine (Photo by John Wilson)*

'Shirley Valentine' review – Sheridan Smith casts a spell in this endearing, if dated, one-woman play

Read our three-star review of *Shirley Valentine* at the Duke of York's Theatre, starring Sheridan Smith, running through 3 June. Get *Shirley Valentine* tickets on London 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.

Funny Girl [993]

Funny Girl

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

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

## Additional Information 

Venue opens 1hr 30min before showtime.

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

Savoy Theatre - LON

Savoy Theatre

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

The smash-hit musical is back with a dream cast including Jason Donovan

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Joseph and the Amazing Technicolor Dreamcoat [18933] Palladium - LON

Joseph and the Amazing Technicolor Dreamcoat

Joseph and the Amazing Technicolor Dreamcoat [18933] Palladium - LON Product Media

Go go go Joseph! Andrew Lloyd Webber's latest work, <a href="https://www.londontheatre.co.uk/show/cinderella">Cinderella</a>, is still yet to open thanks to the pingdemic, but his very first is up and running again. Laurence Connor's buoyant revival of Lloyd Webber and Tim Rice's Biblical musical charmed audiences back in 2019, and remains an absolute winner. If we can't go to the ball quite yet, at least we've got this technicolour dream.Connor and choreographer JoAnn M Hunter, who also collaborated with Lloyd Webber on School of Rock and Cinderella, understand&nbsp;how to balance the heart and the sublime silliness of Joseph. Essentially a summer panto, it retains its DNA as a school show, with designer Morgan Large scaling up the classic nativity styling that transforms a child purely via a fake beard, a tea towel on their head, and the goodwill of the audience.The theatrical inventiveness is delightful - from the camel bike riding to the toy sheep on skateboards and acrobatic goat (new Olympic events?) - as is the integration of children into the cast, including, on the night I was there, scene-stealing moppet Ethan Sokontwe as a tiny imperious Potiphar. That fits beautifully with the accessible, hyper-efficient storytelling, courtesy of an agile pastiche score and Rice's witty lyrics. It's effortless fun.Yet the lead role requires an awful lot of effort. Connor's version substantially bulks up the Narrator; as well as guiding us through the story, she now plays several characters and leads the dance numbers. It was built around Sheridan Smith and her vaudevillian talents, but gets a very different spin from its new inhabitant, <a href="https://www.londontheatre.co.uk/actor-profile/alexandra-burke">Alexandra Burke</a>.While Smith did too much mugging for my taste, Burke is almost the opposite: she largely plays it straight, treating the drama seriously. When the brothers misbehave, she really takes them to task, and her Jacob is genuinely grief-stricken. The former Strictly finalist is also a dynamite dancer, sharp and grounded, and particularly at home in the hip-hop-fuelled Megamix.Yet there are also times where she's visibly battling the material. Rice's gags are a strain (lots of gesticulating with the hands, not enough enunciating), and there are some wobbly vocals in the fast sections. "A Pharaoh's Story" is more convincing, allowing Burke to let loose with vocal runs and big, belting notes, but that's a rare diva moment for the Narrator.Still, many will likely warm to her inviting and sincere performance, while Joseph purists can, on a few shows, catch Linzi Hateley, who last played the Narrator 30 years ago - and is somehow better than ever. It's a cheering sign that this role is now a boon to actresses of all ages, and I hope we see plenty of creative casting in future.Hateley's early 1990s Joseph was <a href="https://www.londontheatre.co.uk/actor-profile/jason-donovan">Jason Donovan</a>, who is back hamming it up as the Elvis-esque Pharaoh. It's a generously self-deprecating turn; he groans when he has to stand up, knees cracking. And <a href="https://www.londontheatre.co.uk/actor-profile/jac-yarrow">Jac Yarrow</a>, the drama graduate who, like the title character, became a star thanks to Joseph's dreams, returns with a more mature performance and superbly controlled vocals. His "Close Every Door" is just as emotive, but with added power.Steffan Lloyd Evans and Bobby Windebank are standouts as, respectively, brothers Reuben and Simeon, the athletic chorus excel during Hunter's high-voltage hoedown and can-can numbers, and John Cameron's orchestrations, jauntily delivered, are like a vibrant new lick of paint. A few problems remain, though: the calypso is simply irredeemable, and there's a dismaying tendency to use the female ensemble as sexy set dressing.However, from its opening minutes, in which the Narrator begins her fireside tale for the children, there's a lovely emphasis on the pleasures of collective storytelling. It's just the tonic after our long separation. That, and being part of a full-capacity theatre audience all up and dancing to the Megamix. Go go go join the party.<a href="/show/joseph-and-the-amazing-technicolor-dreamcoat">Joseph and the Amazing Technicolor Dreamcoat&nbsp;is at the London Palladium to 5 September. Book Joseph and the Amazing Technicolor Dreamcoat tickets on LondonTheatre now.</a>Photo credit: Jason Donovan and Jac Yarrow in Joseph and the Amazing Technicolor Dreamcoat (Photo by Tristram Kenton)

'Joseph and the Amazing Technicolor Dreamcoat' at the Palladium is a jubilant, joy-filled revival

Read our review of Joseph and the Amazing Technicolor Dreamcoat at the London Palladium on London Theatre.

Joseph and the Amazing Technicolor Dreamcoat at the London Palladium Review | London Theatre

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.

Read all about Sheridan Smith (Gavin and Stacey, Cilla, The C Word) and her latest appearances on stage at LondonTheatre.co.uk

Sheridan Smith - Stars on Stage | London Theatre

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Born in 1980 in Windsor, Hadley Fraser is a West End actor. Fraser returns to the West End to star in *The Lehman Trilogy* at the Gillian Lynne Theatre.

After graduating with a Bachelor of Arts from Birmingham University, Fraser then enrolled at the Royal Academy of Music. Following his postgraduate studies, Fraser made his West End debut as Marius in *Les Misérables*, alongside Carmen Cusack and Rosemary Ashe. Following *Les Misérables*, he then played Curly in *Peter Pan* and Frederic in *The Pirates of Penzance*, both at the Savoy Theatre.

In 2006, Fraser made his Broadway debut in *The Pirate Queen*. He played Tiernan, a young sailor who is in love with Grace, played by Stephanie J. Block. The musical ran on Broadway for two months. [Read *The Pirate Queen* New York reviews.](https://www.newyorktheatreguide.com/reviews/the-pirate-queen)

Shortly after, Fraser returned to his *Les Misérables* roots, playing Grantaire in the 25th anniversary concert at the O2 Arena. Fraser starred alongside Ramin Karimloo, [Samantha Barks](https://www.londontheatre.co.uk/stars-on-stage/samantha-barks), and Alfie Boe. He continued the concert trend by playing Raoul in *The Phantom of the Opera*, once again alongside Karimloo as The Phantom, and Sierra Boggess as Christine Daae.

In 2011, Fraser returned to *Les Misérables* in the West End, taking over the role of Javert for a year. He then played the Army General of the National Guard in the *Les Misérables* film.

In 2013, he then starred in a regional production of *The Pajama Game* in Chichester. The following year, he then found a London home at the Donmar Warehouse: *Coriolanus* starring Tom Hiddleston, *City of Angels* directed by Josie Rourke, and *The Vote* in 2015.

Fraser was then a part of Kenneth Branagh’s season of plays at the Garrick Theatre, starring in *The Winter’s Tale* and *Harlequinade*. [Read our *Harlequinade* review on London Theatre.](https://www.londontheatre.co.uk/reviews/harliquinade-all-on-her-own) He then returned to the Donmar Warehouse, playing Dunois in *Saint Joan.*, and went back to the Garrick Theatre for *Young Frankenstein.* 

Fraser’s recent theatre credits include *The Antipodes* at the National Theatre, the original cast of *2:22 A Ghost Story* alongside [Lily Allen](https://www.londontheatre.co.uk/stars-on-stage/lily-allen), and a *Chess* concert. He will return to the West End to star in *The Lehman Trilogy* at the Gillian Lynne Theatre.

Hadley Fraser - LON

Ages 12+ (recommended). Under 4s will not be admitted. Under 16s must be accompanied by an adult.

The Lehman Trilogy - LON [25743]  

The Lehman Trilogy

The Lehman Trilogy - LON Product Media 

On a cold September morning in 1844, a young man from Bavaria stands on a New York dockside dreaming of a new life in the new world. He is joined by his two brothers, and an American epic begins. 163 years later, the firm they establish - Lehman Brothers - spectacularly collapses into bankruptcy, triggering the largest financial crisis in history. 

The Gillian Lynne Theatre, formerly known as the New London Theatre, is a prestigious performance venue in the West End of London. Located in Covent Garden, the theatre is home to an array of world-class performances, ranging from musical theatre, plays, and concerts. The theatre was renamed in 2018, in honour of the renowned British ballerina and choreographer, Dame Gillian Lynne. The architecture of this unique venue is innovative and captivating, with a circular auditorium that offers an immersive viewing experience. The theatre is also known for its state-of-the-art facilities, excellent acoustics, and a seating capacity that can accommodate over 1,000 spectators.
 ### How to get to the Gillian Lynne Theatre:
 The Gillian Lynne Theatre is accessible through various means of transportation. The closest underground station is Holborn, which is a short five-minute walk to the venue. Alternatively, you can also reach the theatre by bus, with the following routes: 1, 59, 68, 91, 168, 171, 188, 243, and 521 stopping near the venue. If you prefer to drive, the nearest car park is located at the Bloomsbury Square Car Park.
 Please note that due to the theatre's central location, it is advisable to check for any possible travel disruptions or roadworks before your journey.

Gillian Lynne Theatre - LON

Gillian Lynne Theatre

The Gillian Lynne Theatre is a prestigious venue in London's West End, offering world-class performances and excellent facilities. It's easily accessible via public transportation.

Anyone under the age of 16 has to be accompanied by an adult aged 18+.

Chess - The Musical In Concert - LON

Chess - The Musical In Concert

Chess - The Musical In Concert - LON Product Media

Built in the seventeenth century, the Theatre Royal Drury Lane houses a rich history of iconic performances, innovation, and dramatic scenes both on and off stage. Often considered one of the world's most beautiful theatres, it's located in the heart of London's West End. Across the centuries, the Theatre Royal Drury Lane has hosted a variety of performances, from Shakespearean classics to contemporary musicals. The theatre is known for its stunning architecture, featuring a grand staircase, eye-catching murals, and a magnificent auditorium abundant in regal blues and gold. \n \nOver the years, the theatre has been reconstructed several times and it's currently in the hands of Andrew Lloyd Webber, who has restored it to its former glory. The atmosphere within the theatre is electric, with audience members finding themselves immersed in the magic of the performances within this historic venue.\n\n**Getting to the Theatre Royal Drury Lane:**\nLocated in Covent Garden, it is very accessible by public transport. The closest tube station is Covent Garden on the Piccadilly Line. Alternatively, Leicester Square station on the Northern and Piccadilly Lines is a short walk away. Buses that stop nearby include 1, 4, 11, 13, 15, 68, 98, 171, 176, 188, 242, and RV1. There are also a number of carparks nearby for those preferring to drive.

Drury Lane Theatre Royal - LON

Drury Lane Theatre Royal

The Theatre Royal Drury Lane, a historic and beautiful theatre in London's West End, offers a variety of performances.

Age guidance: 14+ Please note the performance contains strobe lighting, flashing lights, loud sound effects, smoke effects and periods of darkness in the auditorium.

DNU - 2:22 A Ghost Story - Criterion - LON

2:22 A Ghost Story - Criterion

2:22 A Ghost Story - Criterion - LON Product Media

<a href="/actor-profile/lily-allen">Lily Allen</a> shrieks before she even says a word in <a href="/show/222-a-ghost-story">2:22: A Ghost Story</a>, which tips you off immediately as to the way Danny Robins's debut West End play is due to proceed. But the name-grabbing debut on view is, of course, singer-songwriter Allen, who was due some years back to be penning a major musical of Bridget Jones's Diary from which she parted company along the way.Instead, here Allen is, looking sleek and glam and very much forming part of the four-person ensemble that has been assembled by the director Matthew Dunster (of Hangmen renown, amongst other titles) in a putative scare-fest that is at heart the story of two couples in crisis. That shifting dynamic finds itself in thrall to numerous tropes of the genre - tricks of sound and light and sudden screams intended to elicit the same from the audience and which you'll either find nerve-shredding or cheesy, depending on your susceptibility to such things. To my mind, none of the jump-scare moments rival the frissons I recall from the comparatively undemanding likes of <a href="https://www.londontheatre.co.uk/show/the-woman-in-black">The Woman in Black</a>, but 2:22 A Ghost Story to its credit has far more on its mind, including a meditation on the debilitating legacy of loss that stays with you long after the collective nervous laughter from the crowd has ceased.Allen knows her way around a stage and is part of an acting family, so it's not much of a surprise that this isn't the deer-in-the-headlights moment some might have feared. (Madonna's Broadway and London stage runs, both of which I saw, have been cited by way of comparison but aren't really relevant.) In fact, Dunster keeps the actor whooshing around designer Anna Fleischle's attractive set, as Allen's character, Jenny, tries to make sense of footsteps she has been hearing in baby daughter Phoebe's room at 2:22 across successive mornings. (Quite why they don't simply bring Phoebe downstairs until the very final scene, rather than leaving her so long unattended, is left unanswered.)To try and make sense of this recurring conundrum, Jenny has enlisted over risotto and quite a lot of wine an assist from her sceptical, hyper-rationalist husband Sam (Hadley Fraser, the musicals veteran in expert form) along with Sam's longtime American psychoanalyst chum Lauren (Julia Chan) and her builder-boyfriend, Ben, who showed up to do Lauren's bathroom and evidently never left. That role seems intended as comic relief and is rather belligerently played as such by Jake Wood until such time as the character darkens and all bets are off. At one bizarre moment, Ben ends up in spiritualist mode rather like an EastEnders equivalent of <a href="https://www.londontheatre.co.uk/show/blithe-spirit">Blithe Spirit</a>'s Madame Arcati.Robins commendably has plenty on his mind, in marked contrast with usual shows of this kind: you don't expect societal commentary, for instance, from Deathtrap. But I'm not sure it's in the best of taste to compare ghosts to refugees, given the very real suffering experienced by the latter, and some of the angst is very clunkily expressed: "I want to be more than just a sponge," Jenny protests well into the second act, around the same time that we get the cod-philosophical "life is pointless and life is final."&nbsp;Elsewhere, Julia responds to the rising tensions by proffering herself as "Switzerland" in human form - evidence of a script that gathers humour into its fearful embrace.The evening is on stronger ground layering the strangeness on view in a stylish home whose skylight is singled out as a thing of beauty and whose sliding door seems to give way to a landscape of foxes whose piercing night cries (indices of copulation, we are told) are used several times to fearmongering effect. Add to all this a dodgy boiler, windows that seem mysteriously to open, and the unexplained presence of white spirit in the sink, and it's no wonder that Jenny is soon striding about with a hammer when, that is, one or another character isn't heard demanding the impossible from a mobile phone. (Alexa is given enough of a workout to merit inclusion on the payroll.)"This isn't The Exorcist," Sam maintains at one point, noting the absence of ectoplasm from an increasingly shouty narrative that wants to disturb on a human level well away from the familiar horror-landscape theatrics. (The film Ghost gets its own name check.) There's plenty said about the trauma of childbearing and class and marital tensions, not to mention the primacy in our psyche that is granted to fear over love, to command attention well before the sounds of thunder arrive seemingly on cue. If 2 22: A Ghost Story is remembered as the play that posited Lily Allen as a viable theatrical presence, its primary debt is owed less to the likes of, say, Andy Nyman's Ghost Stories than to the eternal challenge, at times truly fearful, that most of us will recognise inherent in simply being alive.<a href="/show/222-a-ghost-story">2: 22 A Ghost Story is at the Noel Coward Theatre to 16 October.</a>Photo credit: Julia Chan, Lily Allen, Hadley Fraser and Jake Wood in 2:22 A Ghost Story (Photo by Helen Murray)

Lily Allen makes an admirable stage debut in the scary and shouty '2:22: A Ghost Story'

Read our review of 2:22 A Ghost Story starring Lily Allen at the Noel Coward Theatre at London Theatre.

2:22 A Ghost Story starring Lily Allen Review | London Theatre

The Criterion Theatre is a gem of Victorian architecture located in the bustling heart of London, nestled within the world-famous Piccadilly Circus. Hidden away underground, this grand and storied venue brims with rich history and elegance. Built in 1874 by architect Thomas Verity, and designed in a striking Italian Renaissance style, the theatre seats 588 people across three levels. Notably, it is constructed predominantly from concrete, a characteristic unusual for its time. The theatre's magnificent gilded interior and treasured Criterion Bar sublimely enhance the overall patron experience.

Over the years, the Criterion Theatre has been the host to a variety of productions spanning several genres, including comedies, dramas, thrillers, musical concerts, and matinees. Its 'Criterion New Writing Programme' reflects its commitment towards nurturing potential playwrights and encouraging new work.

### How to Get There

The Criterion Theatre is conveniently served by several modes of public transportation. The nearest Tube station is Piccadilly Circus, served by the Piccadilly and Bakerloo lines, a mere two-minute walk away. Numerous bus routes run along Piccadilly, Regent Street, and Shaftesbury Avenue, making the venue easily accessible. However, due to its central location, parking is limited and it's advisable to use public transportation if possible. The venue is within London’s Congestion Charge Zone, and for those choosing to drive, nearby parking is available at Q Park Chinatown in Newport Place.

Criterion Theatre - LON

Criterion Theatre

The Criterion Theatre is a historic Victorian theatre in London's Piccadilly Circus, easily accessible by tube and bus services.

City of Angels [19484]

City of Angels

City of Angels [19484] Product Media

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.

Young Frankenstein [6170]

Young Frankenstein

Young Frankenstein [6170] Product Media

Carousel In Concert [16213]

Carousel In Concert

Carousel In Concert [16213] Product Media

Cadogan Hall is a captivating concert venue located in Sloane Terrace, London. With a capacity of 950 seats, the charismatic venue plays host to a diverse range of events from classic orchestral concerts to contemporary pop performances, thrilling audiences with its acoustically superb auditorium. The Hall, radiating Edwardian features, was formerly a Church which was later transformed into a premium venue for entertainment in 2004. Its remarkable architectural beauty, adorned with a Byzantine style mosaic dome, is a sight to behold for any first-time visitor or regular concert-goer alike. As the chosen venue for the world-renowned, 'BBC Proms' Cadogan Hall’s brilliance extends beyond its physical features, marking a stamp on the international cultural scene. **Getting to Cadogan Hall:** The theatre is located in Chelsea, easily accessible by tube, bus and train. The nearest tube station is Sloane Square from where it’s a mere 3-minute walk to the venue. Various bus routes including number 11, 19, 22, 137 and 211 also stop nearby. For those traveling from outside London, Victoria train station is within walking distance. Parking is limited around the venue but several pay and display options are available.

Cadogan Hall - LON

Cadogan Hall

Cadogan Hall is a prestigious 950-seater London concert venue, notable for its diverse performances and superior acoustics. Transport links include nearby tube and bus routes.

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.

Dirty Rotten Scoundrels in Concert - LON [41148]

Dirty Rotten Scoundrels in Concert

Dirty Rotten Scoundrel - Product Media

Get ready to be utterly charmed by the West End’s favourite dynamic duo, Ramin Karimloo and Hadley Fraser, as they swindle this uproarious tale of tricks and comic brilliance to dizzying new heights.

Read more about Hadley Fraser in the West End and book tickets to see shows starring Hadley Fraser.

Hadley Fraser - Stars on Stage | London Theatre

Hadley Fraser - LON - 124x124px

Gielgud Theatre LON

Gielgud Theatre - TodayTix

The Gielgud Theatre opened on 27 Dec. 1906, and was built for Seymour Hicks. The Gielgud was built as a pair with the [Sondheim Theatre](https://www.londontheatre.co.uk/theatres/sondheim-theatre).

The house was renamed the Globe Theatre in 1909 by its new manager, Charles Frohman from America. It was known as the Globe Theatre for the next 85 years until a 1994 name change to avoid confusion with [Shakespeare’s Globe Theatre](https://www.londontheatre.co.uk/theatres/shakespeares-globe-theatre) on the South Bank. It was then that the theatre received its current name, the Gielgud.

Hit shows at the Gielgud Theatre include Simon Stephens' [*The Curious Incident of the Dog in the Night-Time*](https://www.londontheatre.co.uk/show/the-curious-incident-of-the-dog-in-the-night-time), Jez Butterworth's *The Ferryman* and a gender-swapped revival of Stephen Sondheim's *Company*.  Delfont Mackintosh Theatres own the Gielgud Theatre.

## Gielgud Theatre Seating Information

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

The Stalls offers very good sightlines with each row being offset from the one in front. The overhang of the Dress Circle becomes apparent from Row R onwards.

The Dress Circle doesn’t have a strong rake. The stage is not obstructed by the overhang of the Upper Circle.

The Upper Circle seats offer good legroom. The seats curve inwards towards the stage.

## Where is *To Kill a Mockingbird* in the West End? 

*To Kill a Mockingbird* is at the Gielgud Theatre. The Gielgud Theatre is located on Shaftesbury Avenue, and is one of six theatres on the West End road.

Gielgud Theatre - London Theatre

The Gielgud Theatre, opened in 1906, was renamed the Globe Theatre in 1909. It received its current name in 1994 to avoid confusion with Shakespeare’s Globe Theatre.

Opening Night Tickets

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Sheridan Smith

Hadley Fraser

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