Showing posts sorted by relevance for query book. Sort by date Show all posts
Showing posts sorted by relevance for query book. Sort by date Show all posts

Tuesday 18 July 2023

Talking at Night by Claire Daverley book review: A Captivating Journey into the Depths of Human Emotion

embraces the honesty of life, presenting stories that feel authentic and sincere"

Talking at Night by Claire Daverley
Published: 6th July 2023 by Michael Joseph
★★★★

Talking at Night by Claire Daverley is a beautifully quiet treasure of a book, taking readers on a heartfelt journey, through the complexities of human relationships. Daverley's storytelling is absolutely exquisite diving into the world's of her characters, leaving readers teary eyed and filled with a whirlwind of emotions.

The characters in Talking at Night are expertly crafted, with each one feeling genuine and relatable, baring their fears, insecurities and dreams for all to see. Daverley skilfully delves into their minds painting a picture of their struggles and victories. The protagonist, Rosie's, path of self discovery is captivating and truly inspiring while the supporting characters add a level of richness and depth that elevates the narrative and fully engages the reader.

The novel embraces the honesty of life, presenting stories that feel authentic and sincere. It beautifully showcases the significance of "normal" lives reminding us that they hold just as much magic and worth as those portrayed in larger than life media tales.

One of the books highlights is the interweaving of dual timelines featuring Will and Rosie, the leads. This technique enriches the plot and offers a reflection, on how our past shapes our present and future.

Daverley's poetic prose is another strong aspect of Talking at Night. Her use of words is incredibly powerful and she manages to captivate readers, by immersing them in the emotional world of the novel, never shying away from tackling difficult subjects. The exploration of themes like love, loss, forgiveness, and redemption are so thoughtfully handled, making the novel resonate on a profound level. The vibrant descriptions enable readers to feel the characters happiness and sadness as if they were personally involved resulting in a reading experience that's reminiscent of watching a film. Fans of Love, Rosie and Me Before You will certainly enjoy this tale.

My only slight reservation is that, in a few instances, the pacing felt slightly off and there was a slight lag. However, this is a minor flaw which doesn't really detract from how strong this book is, and in some ways could be seen as reflection of life and the up and down pacing of the real world off the page.

Talking at Night is an exceptional work of fiction that should be celebrated for its thought-provoking themes, remarkable character development, and lyrical prose. Claire Daverley has crafted a tale that tugs at the heartstrings and lingers in the mind, making it a must-read for anyone who appreciates a deeply moving and immersive literary experience. I wholeheartedly recommend this novel and hope that it will stay with you long after you've turned the last page.

Reviewed by Olivia Mitchell

{AD PR Product- book gifted in exchange for honest review}

Tuesday 21 April 2020

City of Girls, Elizabeth Gilbert | Book Review

Life is both fleeting and dangerous, and there is no point in denying yourself pleasure, or being anything other than what you are."

City of Girls by Elizabeth Gilbert
Published: 4th June 2019 by Bloomsbury Publishing
★★★★★

This book is just a dream. From page one I was completely absorbed in the glorious world Elizabeth Gilbert has brought to life. I was so wrapped up in it all, that I felt like I'd open my front door and be on the bustling streets of 1940s Manhattan... needless to say I could not open said door because #lockdown but what a welcome escape from all the craziness.

In 1940, nineteen-year-old Vivian Morris has just been kicked out of Vassar College, thanks to her lacklustre engagement in her studies. Her parents send her to New York to live with her flamboyant aunt Peg, who owns and lives in a crumbling theatre called the Lily Playhouse. It's here that Vivian's life changes as she's introduced to a host of charismatic and larger than life luvvies. Her life changes to a mile-a-minute wild ride that has it's fair share of highs and lows. Without giving too much away, this is a coming of age story and a love story that's a joy to read.

I inhaled this book for a few reasons, firstly because I love theatre and I love New York, so I just wanted more of the sumptuous descriptions of the wildly theatrical life Vivvie was living in the Big Apple. Secondly because of the writing itself; Gilbert gives so much life and energy to her characters that they really feel real. I actually cannot believe I can't google search them and endlessly find information about the stars mentioned. Each character is fantastically defined with differences, attractiveness and flaws that make them both vivid an truthful. 


With Mrs Maisel vibes in terms of the humour and boldness of it all, this is a dream for anyone wanting a bit of glamour in their life. If we weren't in lockdown I think I'd now be on the hunt for a whole new wardrobe and copious Gin Fizzes!

What's also miraculous about this book is that it manages to be utterly laugh out loud humourous and lighthearted, whilst also being profound and inspiring. I did find a few times when the story lagged and I certainly think I could have been cut down in length, but I still wolfed it down! 

This is a captivating, evocative, entertaining and moving read that I loved and would highly recommend for anyone wanting glamour, theatre and emotion.

Saturday 29 June 2019

On Your Feet!, London Coliseum | Review


On Your Feet
London Coliseum
Reviewed on Thursday 27th July 2019 by Olivia Mitchell
★★★★

The long summer nights are here and it's the perfect time for a fun, high energy musical that will have you tapping your toes and feeling good. Thankfully On Your Feet! is here to provide just that. Despite a flimsy plot, there's fun to be had, lights to dazzle and latin sounds to ensure you leave the theatre smiling.

Taking us from her childhood in Cuba, through her recording career and her near fatal accident, On Your Feet! is a real celebration of Gloria Estefan's career and determination, and is a real reminder to always stand up for what we believe in. The cast are as enthusiastic and sharp as you would hope, and provide some highly exciting moments, especially when dancing Sergio Trujillo's fiery choreography. Particularly impressive is the sandal tap dance which really wows and creates a rousing wall of sound that is fantastic to see and hear.

The main downfall of the musical is certainly Alexander Dinelaris' book which lacks much depth or emotional drama. Many of the more intense emotional scenes are quickly brushed over and it's not until act two that we really become absorbed in the story. Of course this is real life and it's the music of Gloria Estefan that we are celebrating, but there are several moments where the pacing feels too slow and too little happens. However, the scenes where Gloria and her mother are at odds with one another and when there is conflict between the Estefans and their record producer, are great at highlighting Gloria and Emilio's grit and the limited book is all performed well.


The direction by Jerry Mitchell does feel basic at times and sometimes highlights the flaws in the book, but he rightly places the wonderful music of Gloria and Miami Sound Machine at the heart of the musical. The high energy songs, including the Conga and On Your Feet make the audience feel uplifted and energised. It's hard not to feel swept up by the glorious Latin rhythms that make you want to grab a cocktail and swirl around.

Leading lady Christie Prades is confident and engaging in her performance. She delivers a performance which never waivers in energy or commitment; and vocals which wow and engage. Prades' chemistry with George Ioannides as Emilio Estefan is wonderfully nuanced and believable. George also provides strong vocals, which falter at times but mostly maintain the suave Latin feel. Karen Mann as Conseulo is delightfully entertaining as she pushes Gloria to achieve her dreams in any way she can, even if that includes bribing a club owner with Empanadas! Meanwhile, Madalena Alberto is sharp (and a vocal powerhouse) as she portrays Gloria's mother who begrudges her daughter, but of course, loves her regardless. Ensemble standouts include Dawnita Smith and Francesca Lara Gordon who catch the eye as they perform each moment with power and perfection. Little Gloria Emily Perra is also fantastic, with a magnetic stage presence and beautiful vocals.

The onstage band bring every song to life with an enthusiasm which radiates off the stage. Emilio Soso's floaty, colourful costumes just add to the party feel of the piece, as does Kenneth Posner's bold, bright lighting. Both aspects are equally strong when they dim themselves to fit the more emotive, atmospheric moments.

Overall On Your Feet! is an entertaining delight of a show. The book is hugely lacking but for fans of Gloria Estefan it's a perfect portrayal of her life and music. Transport yourself to the Miami sun and take a journey through the lives of Gloria and Emilio.

On Your Feet! is booking at the London Coliseum until August 31st

photo credit: Johan Persson

Thursday 23 March 2023

Eugenius!, Turbine Theatre | Review


Eugenius!
Turbine Theatre
★★★ 

After a London Palladium concert and subsequent runs at The Other Palace, the comic book tale of Eugenius! has been on the radar of many theatre lovers, and fans were thrilled to hear of the show's reworked return at the Turbine Theatre. The sweet characters and over the top tale are back like before, but somewhere along the way, the musical has lost some of the sparkle and infectious joy that previously made it such a charming production.

Eugenius! tells the story of Eugene, a self proclaimed geek who creates a comic book and gets thrown into a world of Hollywood movies and space dramas. Alongside him are his best friends Janey and Feris who are all trying to make it through school and retain their identities and friendship. With a number of witty side plots and caricature characters, there's lots to be enjoyed, but compared to previous versions of the show, there's not as much of a wholesome, uplifting vibe.

The small Turbine space which works so well for other shows, feels like a hinderance for Eugenius. There's not enough space for the show to reach its soaring potential and some of the bigger moments are squashed. This is through no fault of Andrew Exeter's set design which effectively brings the comic book world to life, as does Andy Walton's excellent video design which is wonderfully aesthetic and in keeping with the show; but nothing fully takes away from the feeling of the show longing for a larger space. Mention must also go to the really well thought out design of the foyer and entrance to the theatre which is adorned in every space with Tough Man posters, as well as comic book memorabilia and neon lights, all of which help to create an immersive experience and are a treat to explore.

Cast wise, the production is bursting with talent. Elliot Evans is endearing as Eugene, and brings a really lovely sense of vulnerability to the role whilst also providing stunning vocals, which especially soar in act two. As his partner in crime (who feels firmly in the friend zone) Jaina Brock-Patel gives a humourous performance and really leans into the comedy which is fun to watch. Equally humourous is James Hameed as Feris who is a funny character for the most part, but sometimes a bit one dimensional. The trio are strong and there are some touching moments. Their chemistry isn't bursting off the stage but they certainly do a good job and really come into their own towards the end of the show.

Dominic Andersen is fabulous in all his roles, especially as the movie star Gerhard who has some of the most laugh out loud moments in the show. As Super Hot Lady, Maddison Firth is great and her solo number is very high octane, although it's somewhat overpowered by so much happening on stage, so she doesn't truly get a chance to shine. There are also some sound issues which plague the show and mean a fair bit of dialogue is lost. The show as a whole is loud, perhaps too much so at points, but the vocals are often too quiet so we miss the talent of the cast.

The 80s-esque music that has references to lots of iconic songs, is really wonderful and you can't help but bop along to the self-aware, hilariously literal tunes. Ben Adams and Chris Wilkins have written some incredibly catchy pieces that continue to shine in this rendition of the show. They also have some sneaky cameos on bedroom posters and music videos which are a nice touch. 

It's definitely nostalgic and energetic but this isn't the best Eugenius! has been. There are some great moments but the musical never evokes the same feelings of feel good empowerment and unity that it did previously. Hopefully there will be future iterations of the show where are the stars can align to create the ultimate version.

Reviewed on Wednesday 22nd March 2023
photo credit: Pamela Raith

{AD PR Invite- tickets gifted in exchange for honest review}


Tuesday 22 August 2017

In Conversation With... Alexandra Silber | After Anatevka | Interview

If you've been on the tube in the last few months I'm sure you'll have spotted the marvellous Alexandra Silber's face plastered over the walls for Today Tix. Whilst Al's face is up there for her performances both on the West End and Broadway, she is also a beautifully eloquent lady and recently published her debut novel, After Anatevka, which tells the story of Hodel after Fiddler on the Roof

Alexandra was lovely enough to talk to Rewrite This Story about her writing process, After Anatevka, her transition from West End to Broadway and so much more. Make sure you read until the end to find out how you can win a copy of After Anatevka!



For anyone that doesn’t know, can you explain a little about your career and highlights so far?

I went to drama school in Glasgow at the Royal Conservatoire of Scotland before living in London and working the West End for several years. 

While I was in my final year at RCS, I was cast as Laura Fairlie in Andrew Lloyd Webber’s The Woman in White opposite Ruthie Henshall, Anthony Andrews and Damian Humbley

Among many other things, I have also played Julie Jordan in Carousel in the West End, made my Broadway debut opposite Tyne Daly in Terrence McNally’s Master Class, and have sung at Carnegie Hall, Disney Hall in Los Angeles, was nominated for a Grammy for singing Maria in a the first ever symphonic recording of West Side Story with the San Francisco Symphony, and of course, at Royal Albert Hall with the John Wilson Orchestra for the BBC Proms as the titular character in their production of Kiss Me Kate

Above all, I have been fortunate enough to play two of Tevye’s daughters, one on each side of the Atlantic— the first was in the West End, portraying After Anatevka’s protagonist Hodel (the second-eldest daughter of Shalom Aleichem’s Tevye the Dairyman who is the star of the 1964 musical Fiddler on the Roof) at the Sheffield Crucible and its West End transfer, and last year, played Tzeitl, Tevye’s eldest daughter on Broadway in the most recent Broadway revival. 

Portraying both characters for such lengths of time, and with such incomparable creative teams and casts, informed, inspired and shaped the writing of After Anatevka: it truly was a journey from stage to page. 




Have you always aspired to be a performer or did you have a different dream when you were younger?

I always knew I wanted to be a professional creative— I’m not certain that acting and singing professionally was the epitome of my dream. As a child and teenager I loved the theatre, felt at home and accepted amongst its “creatures” and had an outlet to explore new worlds, research new ways of life, get inside different people’s minds and heart, and to express so many of my deepest emotions. 

I’ve been thinking very deeply about “dreams coming true” recently— possibly because so many people are asking me about it. “Is publishing your novel a dream come true” they will ask, and I don’t entirely know how to answer that. Because of course it is, I have dreamed of sharing my stories with the wider world, to hold a book-shaped book, with actual binding and  I have written in my hands

The voices on Broadway cast recordings were not only my inspirations, but my companions, my teachers; I know many people for whom that is a familiar history. But I felt very much the same about characters in books. I was just as enamored with E.M Forster’s Margaret Schlegel as I was with the book and score of South Pacific. 



Other than writing, have you got any hidden passions you’d like to pursue?

I love the accordion and have taken several lessons, and I passionately want to visit Antarctica. 



What drew you to the roles of Hodel and then Tzeitel in Fiddler on the Roof— are the three of you alike in any ways?

There are too many to mention. I honestly feel this question is best answered within the pages of After Anatevka— and not only the similarities, but the differences, and the growth every human being hopefully acquires as they age and experience life. I had the uncanny joy of being able to understand each woman more deeply as I embodied the other— much like members of the same family come to more deeply understand their siblings as they all become adults. 

One of my most treasured passages from After Anatevka is from the penultimate chapter, an epistolary exchange from Tzeitel to Hodel:


Home, Hodelleh. That place beyond the place where we rest our heads every night. Where our centerpieces, our sewing, our carefully prepared meals, simply do not matter. Where our petty little differences and competitions with one another do not matter anymore.

And I thought of you.

It is odd, Hodelleh. Because I do not know if you shall ever read this, I feel compelled to tell you more than ever. Home—where love shall reign supreme. The kind of home you always held within your heart, my dear sister, the kind no meaningless skill of mine could ever fully capture. How I love you, Hodel. It aches within me that I failed to show you in so many ways. That I provided you with every comfort but the comfort of my heart.

Yet I know that we shall both, as we always did, return to each other. For the love beneath our struggle is so strong. Perhaps in time, the Lord shall reveal to us why it is so difficult.


My goodness, to embody two such women. What a privilege.  




Did you feel any extra responsibility or pressure playing one of the few Jewish female characters in musical theatre?

I believe that if you portray any character or story with honesty and vulnerability, the work will resonate. Our only responsibility as artists is to tell the truth. 


After Anatevka tells the story of Hodel after Fiddler. When you research for a role do you think about what happens to the character after the show ends as well as their backstory or was Hodel an exception?

Hodel was absolutely an exception. 

The Broadway community and wider world may know me as the most-recent Tzeitel,  from the 2016 Broadway revival of Fiddler on the Roof, but from October 2006 to February 2008, I played Tevye's second-eldest daughter, Hodel, in the last West End revival in London. That experience was, without exception, the most immersive and deeply felt of my artistic life thus far. It was like a “first love—” the kind one never forgets, and imprints itself upon you more deeply than any to follow it. Hodel’s strength and sense of purpose, your complex feminine spirit, her wit and determination, her devotion and loving heart. She offered me a chance to find all of these things within myself, and to grow with them. 

While all characters tend to endear themselves to you, Hodel haunted me— remained in my cells like an un-rinseable, inextinguishable fuel. Actors often embody traits of the characters they take on, but few characters weave in and out of the soul until you can scarcely detect the line between the emotional truths of one and the other. 


If you could write a continuation of any other musical theatre character, who would you choose and why?

Tzeitel. I think we can all agree that I’m now intensely involved in this family’s “future story—” I do feel compelled to finish what I’ve started. Additionally, I don’t think I’ve heard the last of Hodel. We leave her at quite a cliffhanger in After Anatevka

You’ve made the transition from West End to Broadway and from acting to writing so well. What would your advice be to people hoping to do similar?

Being a “multi-hyphenate” is simultaneously straightforward, and tremendously complex. 

To “do” something other than what is listed on, say, your tax return, there is very little required other than to just DO it. You want to write? Don’t wait for a permission slip from the Gods of Writing; just write. An essay. A blogpost. A Tweet. It does’t matter what you create as long as you actually create it, and create it from a place of authenticity. 



What’s your writing setup like? Do you have a certain playlist you listen to or a drink you always have?

Yes. I have a beautiful vintage pull-down writing desk! It has been handed down from my mother— she found it on the street when she was in college. When she discovered it, it was covered in layers of paint that she subsequently stripped away, to reveal a beautiful raw wood. The desk has been in my home since childhood, and the handle where you “pull-down” is the face of a lion, that I always thought was the face of Aslan from The Chronicles of Narnia

I write for about one hour every day, with a pot of tea poured from my perfect little tea pot (gifted to me by actress Lara Pulver), under the supervision of my cat, Tatiana. 



Whats a fun fact people might not know about you?

I’m an introvert. In fact, according to the Myers Briggs personality test I’m an INFJ (which is a very rare personality type, about 2% of the world’s population). Many people challenge me on this, based on their mis-impressions of not only me, but introverts in general. Introverts are not necessarily aloof, shy, people-hating trolls, we simply recharge our personal batteries in solitude. Despite my highly developed extrovert behavior, I still require (and enjoy!) lots of time alone to process life. 

Also, I have a (fabulous, diva, rescued) cat named Tatiana Angela Lansbury Romanov. She is a star (cue: Mama Rose music)!! She has her own Instagram page, which is: photographs of “Tati” (as I call her) with theatrical captions called @ifeelkitty.…..You’re welcome. 



What’s your best piece of advice for an aspiring performer?


For anyone, really: success is not about what you do, it is about how you feel about what you do. 


A massive thank you to Al for taking the time to do this interview. Read my review of After Anatevka here.

Interview by Olivia Mitchell, Editor

Tuesday 25 February 2020

On Your Feet! (UK Tour), New Wimbledon Theatre | Review


On Your Feet (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 24th February 2020 by Olivia Mitchell 
★★★★

Currently embarking on a UK tour after a summer stint at the London Coliseum, On Your Feet! is a celebration of Gloria Estefan continually thriving in the face of adversity. The musical has a flawed book, but there's heart in spades, glorious music and a real life story of endurance that is enough to warm your heart.

Transporting us from Gloria's childhood in Cuba, to her recording career and near fatal accident, it's truly inspiring to see how she rebuilt herself after physical trauma as well as always remaining true to what she believes in, even under the pressures of the music industry. The fairly small cast do an excellent job of filling every inch of the stage and perform with the energy and enthusiasm you could expect to see on the streets of Cuba. Consistently full out and precise in their movements, the cast are very impressive in their performance of Sergio Trujillo's intense choreography. 

It's the pacing of this musical that is the biggest downfall. Of course it's based on real life events, but Alexander Dinelaris' book often lacks development and therefore depth. The main focus is on the lighthearted moments, meaning the more intense scenes are sometimes glossed over quickly. Act two packs much more of a punch in terms of emotional impact, with Gloria's scenes with her mother proving particularly moving. Again, this is a musical which reminds up to stick up for our values and beliefs. This idea is woven throughout but is especially effective in the scenes where the Estefans are at odds with their record producer (played excellently and humourously by Robert Oliver).



As the Miami diva herself, Philippa Stefani excels, bringing Gloria to life with a truthful performance. She engages the audience and never falters in energy or performance. Stefani's transition from shy teenager to commanding performer is masterful to watch and really showcases her as an actress. More so than anyone, Stefani uses the limited book hugely to her advantage and performs as though she really is on a huge, sell-out headline tour.

Stefani's chemistry with George Ioannides as Emilio Estefan is believable and romantic. Since seeing the show at the Coliseum, it seems George has really grown into the role as he gives a suave, vocally assured performance. Vocal powerhouse and legend of the stage, Madalena Alberto gives an exceptionally strong performance as she simmers ready to bubble over in anger or despair at any time. Vocally she is fantastic and her interactions which every character, especially her daughter, are truly enjoyable to watch. 

The set design by David Rockwell is effective as it allows the action to transition from Cuba, to the USA and from kitchen to tourbus in a very simplistic but effective way. Quite a lot is left up to the imagination which, alongside having the band visible on stage, allows the true focus to be on the music. Like the ensemble, the band are full of an energy which fills the theatre and transmits amongst the audience. Kenneth Posner's bold lighting and Emilio Soso's bright costumes bring a carnival feel to the whole production which engages and entertains.

There are flaws to this musical for sure, but it's an uplifting piece of theatre which brings a little bit of Cuban sunshine to the streets of Wimbledon. For fans of Gloria Estefan this is a must-see, and for everyone else, it's a chance to tap your feet and imagine you're basking in the Miami sun. For a celebration of music, life and heritage, get On Your Feet and conga your way to see this tour.

On Your Feet! plays at the New Wimbledon theatre until 29 February and then continues its tour

Thursday 17 March 2022

Regent's Park Open Air Theatre Announces Principle Cast for Legally Blonde


Regent’s Park Open Air Theatre have today announced principal casting for their forthcoming production of Legally Blonde (13 May-2 July), along with the full creative team.

Courtney Bowman takes the central role of Elle Woods. Courtney previously appeared in SIX (Arts Theatre/Lyric), Everybody’s Talking About Jamie (Apollo/Sheffield Crucible), Blondel (Union) and The Wind in the Willows (UK Tour). Courtney can currently be seen as Small in the hit children’s CBeebies show Big Cook Little Cook.

Directed by Lucy Moss, co-director and co-writer of SIXLegally Blonde is written by Laurence O'Keefe and Nell Benjamin (music and lyrics), Heather Hach (book) and is based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture.

Also joining the cast are Michael Ahomka-Lindsay (Emmett), Lauren Drew (Brooke), Vanessa Fisher (Vivienne), Isaac Hesketh (Margot), Nadine Higgin (Paulette), Alžbeta Matyšáková (Enid), Eugene McCoy (Callahan), Grace Mouat (Pilar), Alistair Toovey (Warner), and Hannah Yun Chamberlain (Serena).

Full casting will be announced in due course.

Legally Blonde is created by Cassiopeia Berkeley-Agyepong (dramaturg), Cat Beveridge (musical supervisor), Jean Chan (costume designer), Shanaé Chisholm (casting assistant), Natalie Gallacher CDG for Pippa Ailion Casting (casting director), Tony Gayle (sound designer), Phillip Gladwell (lighting designer), Ainsley Hall Ricketts (assistant choreographer), Laura Hopkins (set designer), Barbara Houseman (voice & text and season associate director), Majella Hurley (dialect coach), Ellen Kane (choreographer), Ingrid Mackinnon (season associate: intimacy support), Lucy Moss (director), Priya Patel Appleby (associate director), Chris Poon (assistant musical director), Alexzandra Sarmiento (assistant choreographer), Amber Sinclair-Case (associate director) and Katharine Woolley (musical director).

Regent’s Park Open Air Theatre’s 90th Anniversary season also includes 101 Dalmatians (12 Jul – 28 Aug), a newly commissioned musical written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris, based on the book by Dodie SmithAntigone (3 – 24 September) by Barber Shop Chronicles writer Inua Ellams after Sophocles, is the second commission from the theatre in 2022, directed by Max Webster and co-directed by Jo Tyabji.
 

Monday 20 February 2023

Bag Yourself a Bargain This London Theatre Week | ad


*this post contains sponsored content*

There's one thing better than the theatre, and that's the theatre at an affordable price. Well thanks to London Theatre week, you can snap up an absolute bargain. From the 20th February to the 5th March, tickets are on offer for £15, £25, £35 or £45 which means there's something for many budgets. 

What's great about these offers is that you can see something which might otherwise but out of budget. Hugely popular shows such as Matilda, Book of Mormon, The Lion King and Wicked are available at these discounted prices, so it's the perfect time to check them off your list. London Box Office aim to include all West End shows so there's certain to be one for you, or even better, this is the ideal time to buy a gift for someone else without breaking the bank!

The shows available include: 
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So Honey Whatcha Waiting For? Get searching and grab yourself a ticket for your favourite (or soon to be favourite) show. With tickets for over 60 shows with London Theatre Week, available for a limited time only, there really isn't a better time to book! Happy stagey days!



Friday 4 February 2022

Cast Announced For Anything Goes


New star casting has been announced for ANYTHING GOES, the smash hit ‘show of the year’ which is sailing back to the Barbican for a return residency following its sold out run in summer 2021. The new cast includes: WhatOnStage Award Winner Kerry Ellis (Wicked/We Will Rock You) as Reno Sweeney and Olivier Award Winner Denis Lawson (Bleak House/New Tricks) as Moonface Martin. Joining them on board is Olivier Award Winner Simon Callow (Four Weddings & a Funeral/Amadeus) as Elisha Whitney and Musical Theatre Royalty Bonnie Langford (EastEnders/9 to 5) as Evangeline Harcourt. As well as its triumphant return to the Barbican, this glorious musical will also be visiting theatres in Bristol, Liverpool, Edinburgh, Canterbury and Manchester.

Last year ANYTHING GOES smashed multiple Box Office records at the Barbican Theatre including the single highest grossing performance week for a musical in the Barbican’s 39-year history and the highest sales across a weekend for a musical, as audiences flooded through the doors for the 15-week sold out season!

It was therefore no surprise that last year’s summer season of ANYTHING GOES saw audiences on their feet night after night, giving this multi–Tony Award winning show multiple standing ovations. This spectacular show has been described as the “musical equivalent of sipping one glass of champagne after another” (The Times) and “delightful, delicious, and as buoyant as helium” (Evening Standard).

Kerry Ellis said: “I am so excited to be taking on the role of Reno Sweeney in Anything Goes this summer. This glorious show is classic musical theatre at its very best. Reno is an iconic character in musical theatre. I can’t wait to get my tap shoes on and share this fabulous musical with audiences up and down the country.”

Denis Lawson said: “I’m delighted to be joining the cast of this great classic musical. Anything Goes is uplifting, energetic, and hilarious – with an unforgettable Cole Porter score. Audiences are in for a real treat.”

Simon Callow said: “Like everyone who saw Anything Goes last summer, I was swept away by it. The sheer joy of sharing its exuberance, wit and style with my fellow theatregoers - the perfect antidote to Covid and all its miseries. I couldn't be happier to be joining the show as we spread the joy around the country and back to the Barbican.”

Bonnie Langford said: “I simply adore this show. It’s vibrant, fun and bursting with a feel-good energy that is contagious both on and off stage. It really is musical theatre at its finest.”

Reprising their co-starring roles in this year’s UK tour and Barbican season are Samuel Edwards (Les Misérables / Wicked) as Billy Crocker, Carly Mercedes Dyer (A Chorus Line/The Color Purple) as Erma (a role in which she is nominated for a WhatsOnStage Award this year), Nicole-Lily Baisden (The Book of Mormon / Let’s Face The Music) as Hope Harcourt, Haydn Oakley (A Christmas Carol / An American in Paris) as Lord Evelyn Oakleigh. Further casting will be announced soon.

From spring 2022, the hilarious sold-out musical sensation returns giving audiences across the country the chance to enjoy the truly spectacular, multi-Tony Award winning, “show of the year!” (★★★★★ Daily Telegraph), as the S.S American will be heading to theatres in Bristol, Liverpool, Edinburgh, Canterbury on its way to the Barbican!

Producer Sir Howard Panter said: “We are delighted to be back with the glorious Anything Goes musical on tour this spring and at the Barbican this summer. I’m thrilled that this energetic and uplifting show will be led by Kerry Ellis, Denis Lawson, Bonnie Langford and Simon Callow, with an ensemble of the finest there is to offer, including tap dancing sailors, and a full-sized live orchestra. We are delighted to take this majestic show to audiences across the UK for the first time, so they can enjoy the glorious set design, breathtaking choreography and stage direction, and of course the wonderful score!”

ANYTHING GOES has music and lyrics by Cole Porter, an original book by P.G. Wodehouse & Guy Bolton with Howard Lindsay & Russel Crouse and a new book by Timothy Crouse and John Weidman. This production is directed and choreographed by three time Tony Award Winner Kathleen Marshall.

When the S.S. American heads out to sea, etiquette and convention head out the portholes as two unlikely pairs set off on the course to true love... proving that sometimes destiny needs a little help from a crew of singing sailors, a comical disguise and some good old-fashioned blackmail. This hilarious musical romp across the Atlantic featuring a collection of some of theatre’s most memorable songs - including ‘I Get A Kick Out of You’, ‘Anything Goes’, ‘You’re the Top’, ‘Blow, Gabriel, Blow’, ‘It’s De-Lovely’, ‘Friendship’ and ‘Buddie Beware’ - will take you back to the Golden Age of high society on the seas.

Heralded as “The antidote to everything” (The Guardian) and “The Spectacle of the Year” (The Times) ANYTHING GOES is set to sail away with audiences all over again and is destined to be the definitive feel good production of 2022.