Posts with the label plays
Showing posts with label plays. Show all posts
Showing posts with label plays. Show all posts

Sunday 17 March 2024

Instructions for a Teenage Armageddon at the Garrick Theatre REVIEW: Charithra Chandran makes a moving stage debut


Instructions for a Teenage Armageddon
Garrick Theatre

In a transfer from the Southwark Playhouse to to the Garrick Theatre, Instructions For a Teenage Armageddon sees Charithra Chandran making her stage debut after her notable appearance on screen in Bridgerton.

Written by Rosie Day (who previously starred as Girl), Teenage Armageddon revolves around a witty, introspective teenager coping with the loss of her sister amidst the tumult of teenage betrayal, manipulation, and trauma. Despite the dark undertones, Day lightens the mood by framing each section with the protagonist's quest for new scout badges. The story is moving, if at times predictable and is a good way of supporting teens and putting them at the forefront of a story.

In this 75-minute journey directed by Georgie Staight, Chandran deftly navigates through a poignant social satire, tackling a myriad of emotional themes. Her characterisation is good, breathing life into a variety of personas throughout the performance. While her comedic and emotional timing may not always deliver the biggest punch, Chandran's portrayal remains commendable, particularly given the emotional depths demanded by the role; and it's highly impressive that her first foray into theatre is with a one-girl-show.

Having seen the show in its previous iteration I knew what to expect but this version certainly felt different. Mainly in terms of staging, the show has moved away from the campfire setting as it's main framework and instead the action physically takes place in a muted bedroom which doubles as all the other locations. Video projections by Dan Light add depth and interest, especially with the extra on screen characters played by Shelley Conn (Mum), Philip Glenister (Dad) and Isabella Pappas (Ella). At times the show does feel a little too staged and as though its lost some of the real childishness which was so charming during its last run, however it retains it's heart and sincerity which really make it sparkle.

The show is adorned with quick, clever prose and such dark humour, you never quite feel certain you should be laughing as loudly as you are. The play is a poignant exploration of real childhood trauma, with relatable themes that will certainly resonate with audiences, particularly girls and women navigating societal pressures and concealing pain behind humour.

Instructions For a Teenage Armageddon serves as a cautionary tale, urging for open conversations about mental health and the importance of supporting one another. Chandran's performance is really admirable and the show's West End transfer is a testament to Rosie Day's brilliant writing.

★★★★
Reviewed on Sunday 17th March 2024 by Olivia
Photo Credit: Danny Kaan

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

Instructions for a Teenage Armageddon at the Garrick Theatre REVIEW: Charithra Chandran makes a moving stage debut

Sunday 17 March 2024

Thursday 8 February 2024

War House to Embark on New UK Tour


The acclaimed War Horse production, adapted from Michael Morpurgo's beloved novel and originally directed by Marianne Elliott and Tom Morris, is set to embark on an extensive 18-month UK Tour starting from September 5, 2024, and continuing until 2026.
 
Opening at the New Wimbledon Theatre from September 5 to 14, the tour will then move to various venues including The Lowry in Salford (September 18 to 28), Mayflower Theatre in Southampton (October 8 to 19), The Marlowe in Canterbury (October 22 to November 2), Sunderland Empire (November 5 to 16), Theatre Royal Plymouth (November 26 to December 7), and New Theatre Oxford (December 10, 2024, to January 4, 2025), with additional dates and locations to be announced.

This captivating story follows young Albert and his horse Joey against the backdrop of World War I. War Horse, celebrated for its innovative puppetry by South Africa's Handspring Puppet Company, has garnered more than 25 major awards and has been witnessed by over 8.3 million people globally. Co-produced by Michael Harrison, Fiery Angel, and Playing Field, this new tour promises to deliver the same awe-inspiring experience.

Led by Tom Morris and revival director Katie Henry, with redesigned sets by Rae Smith and additional music by Adrian Sutton, the production features puppetry by Basil Jones and Adrian Kohler, lighting design by Rob Casey, and movement choreography by Toby Sedgwick. Animation and projection design are by Nicol Scott, while John Tams provides musical contributions and Christopher Shutt manages sound design. Casting details are yet to be announced.

Having premiered at the National Theatre in 2007, War Horse has since captivated audiences worldwide, with productions spanning across continents. For more information and ticket bookings, visit WarHorseOnStage.com. The tour will also include visits to Theatre Nation Partner venues, such as The Lowry in Salford and Sunderland Empire, with assisted performances available throughout the run at each venue.

War House to Embark on New UK Tour

Thursday 8 February 2024

Tuesday 6 February 2024

Tom Holland to Play Romeo in Jamie Lloyd's Romeo and Juliet


The Jamie Lloyd Company today announces its new West End production of Shakespeare’s Romeo & Juliet, starring Tom Holland as Romeo, and directed by Jamie LloydRomeo & Juliet runs at the Duke of York’s Theatre, Saturday 11 May – Saturday 3 August 2024.
 
Further casting to be announced. Tickets go on sale to those signed up for priority booking and ATG+ members on Tuesday 13 February at 8am; general booking opens on Tuesday 13 February at 12pm.
 
Sign up for priority booking here: www.romeoandjulietLDN.com
 
The Jamie Lloyd Company also continues its commitment to accessibility, offering 10,000 tickets priced at £25 and under, with 5,000 of these exclusively for under 30s, key workers and those receiving government benefits. Further information to be announced. 
 

Jamie Lloyd said today:

“Tom Holland is one of the greatest, most exciting young actors in the world. It is an honour to welcome him back to the West End.”


Text edited by Nima Taleghani; Set and Costume Design: Soutra Gilmour; Lighting Design: Jon Clark; Sound Design; Ben and Max Ringham; Video Design and Cinematography: Nathan Amzi and Joe Ransom; Composer: Michael 'Mikey J’ AsanteCasting Director: Stuart Burt CDG; Movement Directors: Sarah Golding & Yukiko Masui (SAY); Intimacy Coordinator: Ingrid Mackinnon; Associate Director: Jonathan Glew; Associate Designer: Rachel Wingate
 
Violent delights have violent ends.

 

Photo Credit: Isaac Anthony / AUGUST

Tom Holland to Play Romeo in Jamie Lloyd's Romeo and Juliet

Tuesday 6 February 2024

Sunday 17 December 2023

Stranger Things: The First Shadow, Phoenix Theatre London | REVIEW


Stranger Things: The First Shadow
Phoenix Theatre 

As someone who ventured into the realm of Stranger Things: The First Shadow without much prior experience with the series, aside from watching a few episodes and a recap, I was pleasantly surprised and thoroughly captivated by this spectacular supernatural spectacle. The Duffer Brothers, with Jack Thorne and Kate Trefry have crafted a story that effortlessly drew me into the mysterious world of Hawkins, Indiana, even as a newcomer to the Stranger Things universe.

From the very first applause inducing scenes, I found myself immersed in the gripping narrative that skilfully combines elements of suspense, nostalgia, and the supernatural. The show's ability to seamlessly introduce me to its characters and the intricacies of their relationships made it easy to connect with the story, and I was quickly invested in the fates of these intriguing personalities.

The prequel introduces both beloved characters and fresh faces, each receiving substantial development and individuality. The performances are exceptional, characterised by universally nuanced and emotionally charged portrayals. Louis McCartney, in his striking West End debut as Henry Creel, delivers a chilling performance that combines twisted actions with an alarming charm. McCartney's masterful physicality, full of spasms and contortions, adds an extra layer of intensity to the role- I can only imagine how much physio he'll need during the run! Isabella Pappas embodies Joyce with fierce brilliance, seamlessly incorporating Winona Ryder's iconic traits while infusing the character with her own spin. Pappas creates a captivating, headstrong persona that garners unwavering support. Alongside her, Oscar Lloyd portrays James Hopper Jr. with suave charisma, delivering witty one-liners and exuding an aura that captivates throughout.

The brilliance of this show lies in the meticulous attention and craftsmanship dedicated to shaping the intricate backstories of every character. Each member is endowed with distinct intentions and personality traits, allowing for intrigue at every turn. There isn't a single weak link to be discovered, but special recognition is deserved for the performances of Christopher Buckley as the endearing Bob Newby and Michael Jibson, who delivers haunting moments as the tormented Victor Creel. Max Harwood as Alan Munson, injects copious amounts of humour, energy, and vitality into the narrative, fashioning a persona that practically begs for its own enthralling spin-off storyline; whilst Patrick Vaill brings eerie menace to the stage as Dr Brenner.

In the hands of Stephen Daldry and Justin Martin, the play unfolds like a blooming flower, or more aptly, the opening mouth of a demogorgon. It moves seamlessly between the whirlwind of action and the rich tapestry of each thoughtfully crafted scene. High-school hallways and bathrooms, the mundane backdrop of everyday life, transform into breathtaking alternate worlds in the blink of an eye, all thanks to the nimble touch of Miriam Buether's set design. Jon Clark's lighting is like a choreographed dance, shifting between mysterious shadows and warm sunlight, mirroring the transformative journey of the characters.

The story takes a deep dive into the shadows, embracing a genuinely dark undertone with jumps and eerie sounds reminiscent of horror films, all expertly blended into the production by Paul Arditti's exceptional sound design. Yet, within the darkness, there's a contrasting brightness—a nostalgic, retro Americana that permeates the air. Sprinkled with snippets of song, it adds layers of emotion and complexity to this multidimensional theatrical experience, making it a journey that feels both supernatural and believable.

Stranger Things: The First Shadow is a testament to the storytelling prowess of its creators. As someone unfamiliar with the series, I can confidently say that this instalment stands alone as a brilliant and engaging piece of theatre. It has ignited my curiosity about the series as a whole, and I am now eager to explore the it to uncover the mysteries that follow this captivating chapter. Whether you're a seasoned fan or a newcomer like myself, this show is a spectacle that you must see. Full of drama, amazing performances and genuine sincerity, it's a Creel-y Creel-y great piece of theatre.

★★★★★
Reviewed on Friday 15th December 2023 by Olivia Mitchell
Photo Credit: Manuel Harlan

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Stranger Things: The First Shadow, Phoenix Theatre London | REVIEW

Sunday 17 December 2023

Tuesday 28 November 2023

My Neighbour Totoro at the Barbican Centre Review: Whimsical, Enchanting and Idealistic


My Neighbour Totoro
Barbican Centre

After a hugely applauded and successful run last year, My Neighbour Totoro has returned to the Barbican Centre and is as highly anticipated as ever. The 1988 Japanese animated fantasy film is much loved around the globe, but having never seen it personally I was intrigued how this stage adaptation would affect me. Thankfully I was blown away by the story and staging and can see why it's a tale so close to people's hearts.

Brought to the stage by producers Joe Hisaishi and the Royal Shakespeare Company, the show is a perfect combination of animation style moments and theatrical wonder. As a whole, it does a masterful job of capturing the essence of childhood wonder and innocence in a way that's relatable to adults and children alike. The colours are vibrant, the details meticulous, and the animation style timeless. From the moment the logo comes to life, the enchanting world of Totoro wakes up and takes the audience on a whimsical, wonderful journey.

The story, a heartfelt tale of two sisters, Satsuki and Mei, and their mischievous encounters with forest spirits, is simple but encompasses a range of emotions. The emotional depth and universal themes of family, friendship, and the magic of nature are portrayed with a subtlety and grace that I'm learning is very typically, Studio Ghibli. It's not the most intriguing of tales and is definitely more of a visual treat but the pacing is perfect, and allows the audience to savour every moment whilst keeping engaged throughout.

Tom Pye's ingenious design, paired with the creative direction of Phelim McDermott, has given life to an awe-inspiring and intricately detailed set, with hidden aspects and elements that come swooping in to create magical moments. The intricacy of this production's design serves as a testament to the limitless potential that the enchanting world of theatre can bring to life and even more special, is how throughout, it also manages to retain a sense of cosiness and intimacy.

The truly mesmerising part of My Neighbour Totoro is of course the astounding puppets crafted by Basil Twist. The production fearlessly showcases the puppeteers, adding a unique layer to the wonder and escapism of the performance. Far from diminishing the magic, the visible puppeteers become an integral part of the spectacle, stopping to bow during the show, often breaking the fourth wallk and culminating in a genius curtain call that is it's own whimsical show that's truly unexpected and brilliant.

The music in My Neighbour Totoro is the beating heart of the production, thanks to the enchanting vocals of Ai Ninomiya. Her performance provides a mesmerising soundtrack that weaves seamlessly with the unfolding events. The original film score by Joe Hisaishi, expertly re-orchestrated by Will Stuart, and the adapted lyrics by Tom Morton-Smith and Hilmi Jaidin which blend delicate Japanese and English verses, all add layersof depth to this beautifully intricate production. The perfect harmony between music and storytelling creates an immersive experience, and furthers the impact of the tale.

The amazing cast assembled feels like a tight-knit family on stage. Mei Mac and Ami Okumura Jones, portray the lively sisters Mei and Satsuki, effortlessly taking the audience on an emotional rollercoaster with their youthful energy and seamless chemistry. Dai Tabuchi and Emily Piggford give endearing performances as the caring parents, Tatsuo and Yasuko. What's truly remarkable is that, beyond their main roles, each cast member (bar Mei and Satsuki) also step into the role of puppeteer, showcasing the incredible versatility and talent that defines this consistently outstanding ensemble.

Whether you're a long-time Studio Ghibli fan or experiencing the magic for the first time, My Neighbour Totoro at the Barbican Centre is an absolute must-see. It's a theatrical gem that touches hearts and transports audiences to a world where imagination knows no bounds. Five stars simply don't do justice for this enchanting experience.

★★★★★
Reviewed on Monday 27th November 2023 by Olivia
Photo Credit: Manuel Harlan

Tickets for My Neighbour Totoro are available at London Box Office

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My Neighbour Totoro at the Barbican Centre Review: Whimsical, Enchanting and Idealistic

Tuesday 28 November 2023

Friday 20 October 2023

Dear England at the Prince Edward Theatre review: An Ode to the Nation


Dear England
Prince Edward Theatre

It could be argued that James Graham is the master of creating works which capture the intricate fabric of contemporary Britain, and his most recent opening, Dear England does just that, emerging as a heartfelt, thought-provoking piece. This engaging production eloquently delves into British identity, the echoes of history, dreams for the future, and the nation's relationship to football.

Dear England artfully blends past and present, transporting audiences through time in a seamless and captivating manner. This storytelling technique offers a unique lens through which we can view the profound influence of history on our present. The play focusses on Gareth Southgate's journey as manager of the England football team, linking in his own personal history, as well as the histories of his team and England as a whole. It's a very cleverly done show which feels completely relevant, modern and necessary.

The characters, portrayed by a talented ensemble cast, come alive with vibrant, authentic performances. These characters represent a rich tapestry of contemporary Britain, showcasing immigrants, soldiers, activists, and politicians. Joseph Fiennes outstandingly leads the show as Gareth and helps to cultivate the entire cast's emotional depth, forging a genuine connection between the characters and the audience. 

Es Devlin's set design is typically National Theatre and incredibly well done, seamlessly transporting us from one time to another. The use of multimedia elements, including videos, adds depth and texture to the storytelling. With each shift in the backdrop, the mood and ambiance evolve, underscoring the diversity and complexity of the themes explored.

Graham's writing is sharp and insightful, with sprinkles of humour throughout to balance the gravity of the themes. Dear England explores national identity, migration, patriotism, and the ever-relevant question of what it truly means to be British. The dialogue is simultaneously poetic and genuine, prompting the audience to reflect on their own connection to the nation.

It's fair to mention that the play occasionally teeters on the edge of trying a bit too hard, with the odd scene not being as impactful as you'd hope. Nevertheless, this is a small price to pay for a production that aims to encapsulate the very essence of a nation and overall Dear England is a touching and timely exploration of the British identity. It masterfully navigates the waters of history, politics, and human experience, leaving audiences with a deeper understanding of what defines their nation.

This production is a testament to the incredible power of theatre to mirror, challenge, and celebrate our shared story. With its compelling storytelling, exceptional cast, and innovative design, Dear England is a need-to-see performance, that hopefully will engage and resonate with both regular and not so regular theatregoers. 

★★★★
Reviewed on Thursday 19th October 2023 by Olivia Mitchell
Photo Credit: Marc Brenner

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

Dear England at the Prince Edward Theatre review: An Ode to the Nation

Friday 20 October 2023

Thursday 19 October 2023

Hamnet at the Garrick Theatre review: Emotional, engaging and enchanting


Hamnet
Garrick Theatre
★★★★

Presented by the Royal Shakespeare Company, and based on Maggie O'Farrell's book of the same name, Hamnet is a truly remarkable production that's captivating, moving and ever so slightly whimsical.

The show's unique take on Shakespeare's life and the emotional journey it explores is nothing short of brilliant. The creative team, with adaptation by Lolita Chakrabarti and direction by Erica Whyman, manage to delve into the personal life of one of history's greatest playwrights, offering a fresh and emotionally charged perspective. The seamless blending of historical accuracy and artistic interpretation is commendable, making Hamnet a compelling experience for theatre enthusiasts and Shakespeare aficionados alike.

The performances are simply outstanding. The cast's commitment to their roles and the intensity of their portrayals completely transport you from pouring Charing Cross road to the world of Hamnet and his family. The emotional depth brought to the characters is both touching and thought-provoking. Madeleine Mantock gives an astoundingly moving performance as Agnes, showing amazing development and growth that has the audience really rooting for her and therefore feeling her pain to the nth degree in the second act. Tom Varey is witty but complex as William whilst Alex Jarrett really comes into her own and provides some of the most understated but emotionally impactful moments of the show. Universally the chemistry and energy among the actors is palpable, with the whole team creating an atmosphere of authenticity that draws the audience in, you couldn't ask for a stronger team of performers.

The set design (Tom Piper) and production values are top-notch. The stage design, lighting (Prema Mehta), and soundscapes (Oguz Kaplangi) add a layer of immersion that transports us to the Elizabethan era. The careful attention to detail in recreating this period is truly impressive, and contributes significantly to the overall atmosphere of the play.

The show is mostly paced well but there are a few moments which pull slightly. While the slower tempo is fitting for the introspective nature of the play, there are moments where a bit more dynamism would've helped. Nevertheless, this is a minor quibble in an otherwise exceptional production.

Hamnet is a theatrical triumph, offering a profound and emotional exploration of the Shakespearean legacy. With powerful performances, and a thought-provoking narrative, it is a must-see!

Reviewed on Wednesday 18th October 2023 by Olivia Mitchell
Photo Credit: Manuel Harlan

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Hamnet at the Garrick Theatre review: Emotional, engaging and enchanting

Thursday 19 October 2023

Wednesday 4 October 2023

Life of Pi on Tour at the New Victoria Theatre Review: A Painful Story Vibrantly Brought to Life


Life of Pi (Tour) 
New Victoria Theatre 
★★★★★

Before last night I had no prior exposure to Life of Pi. I hadn't read Yann Martel's acclaimed novel or watched Ang Lee's award-winning film. Approaching the play with no preconceptions, I found it enchanting. While it may not resonate with everyone, I personally adored the captivating production by playwright Lolita Chakrabarti. It held my attention from the very beginning to the end of the performance. I found myself deeply engrossed in Pi's perspective on faith, humanity, survival, brutality, and mankind, and I even wished there hadn't been an interval as I was so enthralled.

The narrative revolves around Piscine "Pi" Patel, the son of a zookeeper in Pondicherry, who claims to have survived a shipwreck on a life-raft with a Bengal tiger as his companion.

Some readers might initially think this story isn't their cup of tea, but let me assure you that the magic lies in the simplicity of the stage design, the visual effects, and the lighting that interweaves the tale. The incredible collection of large puppets portraying the captive animals from the zoo adds to this magic.

The play centers around Pi, portrayed by Divesh Subaskaran in his impressive professional debut. Divesh truly shines in this role, immersing the audience in Pi's world. I was particularly impressed by his performance, seamlessly transitioning from a mischievous young man-boy to an overwrought, delusional individual grappling with the world's cruelty. He later revealed a kinder, gentler side, yearning to believe in the world of storytelling and escape the horrors of the boat's events. The two actors who questioned the young Pi about his experiences greatly complemented Divesh's portrayal, contributing to the unraveling of the story with their strong performances.

Credit must be given to the entire cast. The stage was always vibrant with energy, the performers transforming it in seconds as Pi recalled flashbacks of his voyage. The mastery of the remarkable puppeteers, animating butterflies, shoals of fish, a hyena, a zebra, an orangutan, and the Bengal tiger, was truly commendable. Special acknowledgment goes to those who skillfully maneuvered the Bengal Tiger, creating a sense of predatory readiness on the boat.

For me, the imaginative world that offers solace from the world's atrocities, coupled with the magical animals brought to life through outstanding puppetry, are the true stars of this show. This made the theatrical event a thoroughly enjoyable experience for everyone.

Reviewed on Tuesday 3rd October 2023 by Glenys Balchin

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Life of Pi on Tour at the New Victoria Theatre Review: A Painful Story Vibrantly Brought to Life

Wednesday 4 October 2023

Friday 7 July 2023

Matthew Kelly and Denise Welch to star in world premiere of The Gap at Hope Mill Theatre


Hope Mill Theatre is thrilled to announce the world premiere of a captivating new play, titled The Gap, written by Jim Cartwright and featuring the talented duo of Matthew Kelly and Denise Welch. Directed by Anthony Banks, this highly anticipated production will grace the stage of Hope Mill Theatre from February 9th to March 9th, 2024, for a limited engagement. Mark your calendars as tickets go on sale starting July 8th.

The Gap delves into the audacious adventures of Walter and Corral, two individuals who haven't crossed paths in half a century. Once inseparable during the vibrant '60s in Soho, Walter finds himself up north while Corral remains down south. However, a chance phone call reunites them for one magical night, and before they know it, they're immersed in their old tricks once more.

Matthew Kelly, renowned for his exceptional performances on both stage and screen, graces us with his presence in this production. With an illustrious career that includes memorable roles such as the original Stanley in Funny Peculiar, Waiting For Godot alongside Ian McKellen and Roger Rees, and a captivating portrayal of Lennie in Of Mice and Men, for which he earned an Olivier Award for Best Actor, Matthew Kelly's talent shines brightly. His recent theatre credits include Noises Off, The Habit Of Art, and The Dresser, among others, showcasing his remarkable versatility. Not only a master of the stage, Matthew has also made his mark on the screen, with notable appearances in various TV shows and presenting credits on beloved programs such as You Bet! and Stars in their Eyes.

Joining Kelly is the esteemed actress Denise Welch, whose upcoming engagement in Diana: The Musical at The Eventim Apollo has already garnered significant attention. Denise's theatrical repertoire boasts impressive performances in productions like Calendar Girls the Musical, The Rise and Fall of Little Voice, and Steel Magnolias, to name a few. Her television career includes series regular roles in shows like Coronation Street, Waterloo Road, and Hollyoaks, solidifying her presence in the industry. As a regular panellist on ITV's Loose Women since 2001, Denise continues to captivate audiences with her engaging presence and insightful commentary.

Playwright Jim Cartwright and director Anthony Banks express their excitement about collaborating once again after their successful ventures with Mobile Phone Show in 2013 and Raz in 2016. They eagerly anticipate witnessing the extraordinary lives of Walter and Corral come to life through the exceptional talents of Denise Welch and Matthew Kelly, spanning five decades of change.

Matthew Kelly, filled with anticipation and enthusiasm, exclaims, "Dear Manchester, I'm coming home, and what better reason to return than with actress Denise Welch and playwright Jim Cartwright. We will star in the world premiere of Jim's remarkable new play, THE GAP, at Manchester's prestigious venue, Hope Mill Theatre. This funny, moving, and exquisitely crafted play will showcase the superb talents of Denise Welch, and I will be right by her side, shining throughout. Directed by Anthony Banks, this top-tier team embarks on an exceptional project at an extraordinary venue. I couldn't be more thrilled and excited. I invite you all to join us and be a part of this unforgettable experience. Sincerely, Matthew Kelly off the Telly."

Denise Welch expresses her elation, stating, "I am incredibly excited to return to my first love, theatre, and collaborate with the fantastic team at Hope Mill Theatre next year. Working opposite Matthew Kelly in a new play by Jim Cartwright is truly a dream come true. I hope each and every one of you will come and witness what promises to be an outstanding production."

The Gap is produced by Hope Mill Theatre

photo credit:

Matthew Kelly and Denise Welch to star in world premiere of The Gap at Hope Mill Theatre

Friday 7 July 2023

Wednesday 31 May 2023

Unmissable Summer Theatre Ticket Sale From London Box Office | ad


*this post contains sponsored content*

As the days grow longer and the temperature rises, the vibrant spirit of summer fills the air. And what better way to embrace the season than by indulging in the magical world of theatre? London Box Office, the hub for all things stagey, and trusted ticket provider has announced an unmissable summer theatre ticket sale that will have you seeing your favourite shows for less. Whether you want to see something new or visit an old faithful, London Box Office's summer sale promises to get you there with the best prices.

The Summer Theatre Ticket Sale which runs from 29th May to 11th June brings you a host of incredible shows that promise to leave you spellbound. From iconic long-running musicals to critically acclaimed plays, they've curated a selection of the best performances the West End has to offer. Whether you're a fan of heartwarming stories, adrenaline-pumping dramas, or toe-tapping musical numbers, there's something for everyone.

London Box Office is committed to making theatre accessible to all, and their Summer Theatre Ticket Sale ensures that you can witness these world-class productions without breaking the bank. With exclusive discounts and tickets from £25, you can enjoy incredible savings. Don't miss out on this chance to experience the magic of the West End - book your tickets today and get ready for an unforgettable summer of entertainment!

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Unmissable Summer Theatre Ticket Sale From London Box Office | ad

Wednesday 31 May 2023

2:22 A Ghost Story at the Apollo Theatre review: A tremendously tense night out


2:22 A Ghost Story
Apollo Theatre 
★★★★

2:22 A Ghost Story is quickly carving its name out in the UK theatre scene. Having played a number of runs at various West End theatres to much acclaim and with a touring version coming up, it's certainly a show which knows how to spook and entertain audiences.

Based on experiences had by the play's writer, Danny Robbins, this haunting production takes you on a thrilling journey into the supernatural, exploring themes of love, loss, and the unbreakable bonds that transcend time. The storyline is quite masterfully crafted, keeping you on the edge of your seat but equally including lots of humour which really works well and in fact makes the whole thing feel even more realistic. The pacing is solid, with suspense building at the right moments, and unexpected twists that keep you guessing. Sometimes the sound effects are a bit over obvious and aren't particularly scary but as a whole this is a really solid production.

Set at a dinner party, with minimal set or moving pieces, this really is a character driven piece and the cast do well at creating a truthful atmosphere that perfectly portrays a boozy evening. Sophia Bush's performance as Lauren is a really wonderful one; she is effortlessly sarky and charming and also has some tender moments that bring layers of complexity to the role. Ricky Champ plays her partner, Ben and is absolutely fantastic, his comedic timing is perfect and his intriguing character is so enjoyable to watch and try to work out. Taking on the role of Jenny, the tormented protagonist, Jamie Winstone brings depth and vulnerability and comes across quite genuinely terrified, with Clifford Samuel as her husband Sam the pair showcase an interesting dynamic which really takes you on a journey and shows you that families aren't always what they seem on the outside. 

Whats great with this show is that it's more than a surface level thriller; it also comments on social and economic issues, as well as beliefs and science vs supernatural. There are times when the commentary comes across as a bit forced and out of left field but for the most part, topics are broached well and really elevate the production to be more socially nuanced and topical. The chemistry among the whole cast is palpable, adding an extra layer of realism to the relationships portrayed on stage.

Anna Fleischle's set design leaves space for lots of spooky moments but is also perfectly mundane and fitting for the setting of the show. The Apollo Theatre really looks like it's had an open plan kitchen dropped into it and the attention to detail really captures the essence of a family home. Combined with atmospheric lighting by Lucy Carter, the ghostly tale has a perfect backdrop.

If you're a fan of thought-provoking theatre 2:22 A Ghost Story is a definite must-see. From the superb performances to the captivating storyline, this play transports you to a realm where the lines between the living and the dead blur, and where love and loss intertwine in ways you never thought possible. Running for two hours which fly by, this is theatrical experience that will linger in your mind like a persistent ghost long after the final curtain falls.

Reviewed on Tuesday 30th May 2023
photo credit: Helen Murray

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2:22 A Ghost Story at the Apollo Theatre review: A tremendously tense night out

Wednesday 12 April 2023

The Mousetrap (Tour), New Victoria Theatre | Review


The Mousetrap (Tour) 
New Victoria Theatre 
★★★★ 

“The World’s longest running play”, The Mousetrap is a classic whodunit play that has been running for 70 years in London’s West End and is now embarking on a UK tour. Seeing this touring iteration, it's easy to see why it has stood the test of time and continues to charm audiences.

The play is well-written and tightly plotted, with plenty of twists and turns to keep the audience guessing until the very end; Agatha Christie proves again why she continues to be one of the most lauded and loved mystery writers. The characters are interesting, and the performances by the cast are generally strong. Todd Carty as Major Metcalf and Kieran Brown as Mr Paravicini give especially strong performances and really engage the audience.

One of the things that impressed me about The Mousetrap is how it manages to keep you engaged and guessing throughout the entire performance. The play does an excellent job of setting up the mystery and then slowly unraveling it, with each new revelation leading to more questions and intrigue. Not only this, but sprinkled amongst the mystery of it all, are some really humorous moments which go down very well and make the pacing really work.

The set design and staging of the play are simple yet effective, and the use of lighting and sound helped to create a suitably ominous atmosphere, without being gimmicky or over the top.

Overall, The Mousetrap is a fantastic play that is definitely worth seeing for two hours of escapism. Whether you're a fan of murder-mysteries or just enjoy a good story, this play will not disappoint. I would highly recommend it to anyone looking for a thrilling and entertaining night out at the theatre. Find out for yourself Whodunit at your local touring theatre!

Reviewed on Tuesday 11th April 2023 by Valerie Field

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

The Mousetrap (Tour), New Victoria Theatre | Review

Wednesday 12 April 2023

Tuesday 4 April 2023

Vikki Stone on her Olivier Award Win | Hey Duggee Live | Interview



Vikki Stone is a British composer, comedian, actress and musician who has had huge success in tv, radio and theatre. She recently won an Oliver Award for her adaptation of the popular children's TV show, Hey Duggee. Vicki sat down to talk to us about her process when taking something from screen to stage, and how important it is for young people to experience theatre...

Firstly, congratulations on being an Olivier Winner 2023! Where were you when you found out you were nominated?
I was at the gym. (I didn’t share my excitement with anyone around me, as I’m not sure they’d have fully understood what I was excited about.)

You won for Hey Duggee which is a show that entices young audiences/families to the theatre, perhaps for the first time. What was the process like for creating a show, made to entertain and engage children?
Hey Duggee is a well loved kids TV programme, and there are 300+ episodes, so the very first thing myself and co-adaptor Matthew Xia did was sit down in a room with a massive whiteboard and write down all the things that audiences would expect to be in the show. We also wanted to surprise audiences, and deliver an experience that lifts the 2D cartoon into a 3D theatre world. We were also aware that this show would be many people’s first time in the theatre, so we wanted to make it magical and memorable too. We kept that list of audience expectations in our minds throughout the whole process and I think it paid off.

Why do you think it’s so important to involve people of all ages in theatre?
Family co-viewing, which is where Hey Duggee Live sits, is such an important genre of theatre. Those shows where 3 year olds can sit* down with parents, and grandparents and everyone has a good time.

*In Hey Duggee Live there’s no pressure that the under fives have to sit. There’s probably more bouncing around with joy, than sitting.

Within theatre you’ve had a pretty diverse career, what draws you to a project?
When I first started writing theatre it was whoever would pay me! There’s an advantage in the arts for those that can write without the pressure of needing to earn a living, and they can afford to be more choosy, I was not one of those people. I don’t think we talk about that enough in the arts. I wrote anything and everything. These days I do have passion projects that I’m working on that don’t have any finance attached, and you have to believe in those much more, and hope that at some point in the process someone will come along and help get it off the ground.

If you could create your next dream job, what would it include?
I’ve got something “in development” that is pretty much my dream job. I’d really like to work on an on-screen musical theatre show next! Watch this space.

What advice would you give to other female writers who want to break into the industry and forge out a path like yourself?
My advice would be to keep pushing and pivot if necessary. My whole career has been formed out of pivoting, and all the skills I gathered along the way - classical music, stand-up, composing - all form part of who I am as a writer now.

Thank you so much, congratulations on the award!

Vikki Stone on her Olivier Award Win | Hey Duggee Live | Interview

Tuesday 4 April 2023

Sunday 2 April 2023

For Black Boys..., Apollo Theatre | Review


For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy
Apollo Theatre
★★★★

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy is powerful and thought-provoking production which offers a unique perspective on the challenges faced by young black men in today's society. The exceptionally strong play tackles heavy topics such as mental health, racism, and police profiling, all with a skilful blend of humour and heart that keeps the audience engaged from start to finish. For Black Boys... is a must see in its limited run.

The performances from the cast, made up of Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand Aruna Jalloh and Kaine Lawrence are universally strong, with each actor bringing a unique and enticing angle to their role. Ryan Calais Cameron's writing is equally impressive, with sharp dialogue and powerful monologues that strike you whilst watching and also stay with you long after the play has ended. What's so effective is how the show flawlessly integrates spoken word, music, and dance to create an immersive and multifaceted experience. The whole thing is utterly seamless and flows with such a strong balance of urgency and intimacy.

The set design (Anna Reid) and lighting (Rory Beaton) add to the immersive experience, transporting the audience to the therapy room, without feeling basic; and the use of multimedia elements and striking choreography (Theophilus O. Bailey) add extra layers of depth to the production. As a whole it feels incredibly modern, relevant and powerful; a stunning representation of why new British Theatre is so necessary.

The show tackles important and sometimes taboo topics surrounding mental health, masculinity, and the experiences of young Black men and it's often incredibly moving; but what works so well is how these important social issues are balanced with humour and light. The authenticity which runs through the piece makes it feel so personal, and the audience really go through the journey with the performers.

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy is a deeply moving and important work of art that, is a must-see for those interested in social justice, mental health, and ultimately, the power of storytelling. When the ensemble come together, they create some of the most powerful theatre seen in the West End in a long time.

Reviewed on Saturday 1st April 2023 by Olivia Mitchell
photo credit: Ali Wright

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

For Black Boys..., Apollo Theatre | Review

Sunday 2 April 2023

Wednesday 22 March 2023

The Way Old Friends Do, Park Theatre | Review


The Way Old Friends Do
Park Theatre
★★★★

The Way Old Friends Do is a heartwarming play set to the backdrop of ABBA, that has you feeling an array of emotions and having a really good time. Written by Ian Hallard and under the expert direction of Mark Gatiss we are taken on the journey of music, friendship and found family.
 
The talented ensemble cast that bring each character to life in a charming way. Rose Shalloo is a complete stand out, continually bringing an infectious energy and providing some of the most endearingly humourous moments. James Bradshaw and Ian Hallard give well thought out performances and have an excellently witty chemistry with one another.

Janet Bird's set design is simple but effective, allowing the focus to remain on the actors and their performances. The revolving set cleverly transforms to a number of rooms whilst maintaining the ABBA-ness of it all.

This is a heartfelt play explores themes of love, loss, and friendship in a way that feels both universal and deeply personal. The story is filled with moments of both joy and sadness, that feel mostly natural and have you invested in the lives of the characters. The second act does suddenly take a turn to drama and comes across somewhat rushed, without enough development to truly hit home but overall things are well paced, and it's a sweet tale that celebrates friendship.

Overall, The Way Old Friends Do is a production that I highly recommend. It's a touching, well-crafted play that will stay with you after the final curtain call and have you wanting to create your own ABBA tribute group!

Reviewed on Tuesday 21st March 2023
photo credit: Tristram Kenton

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

The Way Old Friends Do, Park Theatre | Review

Wednesday 22 March 2023

Saturday 18 March 2023

Further Than the Furthest Thing, Young Vic | Review


Further Than the Furthest Thing
Young Vic
★★

The Young Vic's current revival production of Further Than the Furthest Thing is somewhat adventurous, with some redeeming qualities; but ultimately it's piece that falls short of providing any truly moving or effective moments. The production has some visually stunning aspects and some really impressive performances, however, the pacing and overall coherence leaves much to be desired, and has you exiting the theatre feeling somewhat dazed.

Zinnie Harris’ 1999 play tells the tale of a remote island who's peaceful world is upended by the evils of the wider world. Based on the 1960s history of Tristan da Cunh, the source material provides some interesting insights but the script itself is disjointed, and often makes the story hard to follow. The themes of colonialism and displacement are important, and there are some comments which really stand out, but the overall execution lacks depth and nuance and keeps any solid points from being made. The transitions between scenes are also clunky and disrupt the flow of the play, leading to a sense of confusion and continual detachment from the characters.

Furthermore, the sound design and lighting choices are often distracting and do not add to the overall experience. At times, the sound effects are overly loud and jarring, while the lighting feels gimmicky and unnecessary. Soutra Gilmour's set offers some moments of visual excitement. The clever projections make the piece feel almost like an immersive art installation and the revolve allows all angles to be shown to the audience, but there's never enough oomph to really bring the show to life.

That's not to say the performers don't do a solid job with what they've been given. Jenna Russell especially gives a captivating performance, bursting with charm and charisma. Gerald Kyd is mysterious as Mr Hansen and Cyril Nri has some of the best character development, as well as great chemistry with Russell.

Overall, Further Than the Furthest Thing has some admirable aspects, but they are very much outweighed by the weaknesses in the production. It's truly a tale of two acts, which could work on their own but the general lack of cohesion really hinders the strong messages trying to be portrayed. While it may appeal to some theatre-goers, I personally found it underwhelming and would not recommend it as a must-see performance.

Reviewed on Friday 17th March 2023
photo credit: Marc Brenner

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

Further Than the Furthest Thing, Young Vic | Review

Saturday 18 March 2023

Wednesday 15 March 2023

Girl From The North Country (Tour), New Wimbledon Theatre | Review


Girl From The North Country (Tour)
New Wimbledon Theatre
★★★★★

Set to Bob Dylan’s poetic and politically charged back catalogue, Girl from the North Country introduces us to a rabble of lost souls at Nick Laine’s destitute guesthouse in 1930s Minnesota. Laine’s wife Elizabeth, adopted daughter Marianne and son Gene live alongside a host of wayward drifters, all with their own secrets and stories to share. Connor McPherson’s book is simple yet elegant; tragic anecdotes unravel across the next two and half hours, each punctuated by a song from Dylan’s discography. The musical numbers do not necessarily move the plot forward but are instead perfectly used to capture microcosmic moments in time.

Girl from the North Country is a real character piece, allowing a talented ensemble cast to individually shine. Frances McNamee gives a heartbreaking turn as Nick’s sick wife Elizabeth, masterfully shifting between moments of lucidity and child-like tantrums. Her performances of ‘Rolling Stone’ and ‘Forever Young’ are particularly spellbinding. Justina Kehinde shines as the spirited and effervescent Marianne, whilst Eve Norris (Katherine Draper) and Gregor Milne (Gene Laine) deliver an easy, understated version of ‘I Want You’ in Act one.
Dylan’s best known songs have been transformed tremendously by Simon Hale. Many take on an almost choral quality, including a stunning acapella section which closes the show and numbers lead by the soulful Maria Omakinwa as long-term resident and Nick’s lover, Mrs Nielsen. Other numbers are jaunty and percussive, creating a wonderfully varied musical landscape.

Rae Smith’s set and costume design are austere and efficient but entirely period appropriate, whilst Mark Henderson’s clever use of recurring spotlights against a backdrop of haunting silhouettes give several numbers an almost confessional feel. Time appears to stop still as interior monologues are shared under a stark beam of light. A twenty-strong ensemble fills an otherwise sparse stage; they execute Lucy Hind’s choreography with gumption, convulsing in sync as if we’re witnessing an evangelical awakening.

This production feels prophetic, visceral and cathartic all at once. Like an open wound, it pours with the voices of the lonely and disenfranchised during one of America’s darkest decades. However, there are several revelatory, uplifting moments and welcome flashes of caustic humour. Girl from the North Country is a moving testament to the tenacity of the human condition and a truly class act.

Reviewed on Tuesday 14th March 2023 by Hope Priddle

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Girl From The North Country (Tour), New Wimbledon Theatre | Review

Wednesday 15 March 2023

Monday 6 March 2023

London Theatre Week Extends! | ad


If you haven't snapped up a stagey bargain yet, what are you waiting for?! The good news is that you've got a bit of extra time because London Theatre Week has been extended. You've now got until 12th March to book your favourite show. It's the perfect time to treat yourself or someone you know to a show.

There's so much on offer, but our favourites would include:
Back To The Future
Bonnie and Clyde
Oklahoma
Matilda

London Box Office aim to include all West End shows as well as off-West End and fringe theatre so there's certain to be something for you!

The shows available include: 
Back to the Future: The Musical, Wicked, Disney's The Lion King, Disney's Frozen the Musical, TINA - The Tina Turner Musical, Dirty Dancing, Pretty Woman: The Musical, Newsies, OKLAHOMA!, Mamma Mia!, Crazy For You, Harry Potter and the Cursed Child, The Mousetrap, Matilda the Musical, Grease The Musical, To Kill a Mockingbird, The Book of Mormon, The Great British Bake Off, Groundhog Day, Peaky Blinders: The Rise, Only Fools and Horses The Musical, Sylvia, Jersey Boys, We Will Rock You, Bat Out of Hell, Witness for the Prosecution, The SpongeBob Musical, George Takei's Allegiance, The Choir of Man, Bonnie & Clyde, Heathers The Musical, Cinderella in-the-round, 42nd Street, Symphony of Sorrowful Songs - English National Opera, The Dead City - English National Opera, The Rocky Horror Show, The Walworth Farce, Windfall, Titus Andronicus, Brilliant Jerks and more...

Let us know what you decide to see!

London Theatre Week Extends! | ad

Monday 6 March 2023