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Richard II - LON [14375]

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Mrs. Doubtfire

LON | TT | App Carousel | STTFS | 29263 | Boxing Day Sale 2024

Ages 12+ (recommended). Under 16s must be accompanied by an adult. Under 5s not permitted.

Stranger Things: The First Shadow - LON [29263]

Stranger Things: The First Shadow

Brought to life by a multi-award-winning creative team, who take theatrical storytelling and stagecraft to a whole new dimension, this gripping new adventure will take you right back to the beginning of the Stranger Things story – and may hold the key to the end.


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LON | TT | App Carousel | WAISS | 39622 | Boxing Day Sale

LON | TT | App Carousel | WAISS | 39622 | Boxing Day Sale 2024

Ages 14+. Under 16s must be accompanied by an adult.

Why Am I So Single? - LON [39622] 

Why Am I So Single?

From the writers of SIX, Toby Marlow and Lucy Moss, Why Am I So Single? is a brand-new British musical where the lonely little lives of two BFFs are transformed into an all-singing, all-dancing extravaganza about dates, mates, and celebrating love in all its forms.


LON | TT | App Carousel | Tina | 8547 | Boxing Day Sale 2024

Ages 14+. Contains scenes and language, which may be unsuitable for children under 14. Children under 5 are not admitted.

Tina - The Tina Turner Musical - LON [8547] 

Tina - The Tina Turner Musical

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race.

LON | TT | App Carousel | The Tempest | 43263 | Boxing Day Sale 2024

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

The Tempest - LON [43263]

The Tempest

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

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Musicals by Candlelight - LON [25037]

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Mrs. Doubtfire - LON [24395]  Product Media

Wonderful news, poppets! The beloved family film [*Mrs. Doubtfire*](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) about a cross-dressing nanny is just as joyful a watch in this new [stage musical incarnation](https://www.londontheatre.co.uk/theatre-news/news/everything-you-need-to-know-about-mrs-doubtfire-in-the-west-end), which had its Broadway premiere in 2020 and now looks set to become a popular West End fixture. Appropriately enough for a tale all about transformations – inside and out – it’s surprisingly inventive, refashioning the original just enough to make it thoroughly theatrical and a smart 21st-century show.    

Those tweaks include giving the women in the story more of a voice. The opening number, “That’s Daniel,” establishes struggling actor Daniel Hillard as the endlessly fun dad – but, by being a man-child, he piles pressure onto already-overburdened wife Miranda, as she explains to their therapist (Daniel has ditched their sessions). Not having boundaries is affecting their three kids, too: youngest Natalie is anxiously biting her nails, Christopher is getting poor grades, and Lydia wishes her dad would grow up.

That creates a more satisfyingly balanced narrative. Though she’s still a bit of a killjoy, Miranda isn’t the villain here; you sympathise with her making a difficult decision to divorce Daniel and break up the family, just as you then believe his sincerity in the sweet song “I Want to Be There,” in which he pleads with the judge to let him stay in his children’s lives.

Likewise, when Daniel first approaches his brother Frank for help in transforming him into an elderly Scottish woman, Frank’s husband Andre rightly calls him out on his shady plan to deceive Miranda. A later nightmare sequence, involving multiple Mrs. Doubtfires doing *Riverdance* (no, really), cleverly riffs on her name to point out that Daniel is “playing with fire.”

None of that takes away from the zany, high-energy farce in Jerry Zaks’s dynamic production; rather, it gives you permission to fully enjoy it. Gabriel Vick is simply astonishing in the title role, coming close to Robin Williams’s sheer genius as an impressionist, while also singing, dancing, managing numerous quick-changes, and putting in a strong dramatic performance. 

He’s both endearing and maddening, petty in his jealousy of Miranda’s new boyfriend Stuart, yet always a loving father, if misguided. The actual Mrs. Doubtfire latex mask is rather creepy, but Vick makes the character a lovely one: warm, a tad eccentric, but firm in her convictions and – unlike Daniel himself – a really good listener. She makes him a better man. 

The engaging adaptation by brothers Wayne and Karey Kirkpatrick and John O’Farrell features several contemporary updates (this *Mrs. Doubtfire* knows how to rein in the kids by switching off the Wi-Fi) and tailored British gags. Among Daniel’s impressions are Prince Charles squawking at a pen and Boris blustering about parties, while Glastonbury’s infamous loos get a shout-out.

When Daniel learns to cook by watching a video online, the host pops up in his kitchen and leads a lively tap number (exuberant choreography throughout by Lorin Latarro). A butter-stroking Nigella also appears – and is then interrupted by a commercial for IBS medication. It’s one of several instances where the creative team brilliantly finds a fresh theatrical, and modern, language for this familiar tale.

I also adored the ecstatically camp disco makeover number, inspired by Andre’s love for Donna Summers, which has winking fun with influential female icons – from Princess Di and Cher to Julia Child. Teenager Lydia gets an angsty rock song, buff  Stuart expresses his feelings while lifting weights (his gym buddies turn into earnest back-up singers), and Miranda, now a fitness wear designer, celebrates body positivity while leading a fashion parade. 

But the definite highlight is an uproariously over-the-top flamenco number that elevates the film’s infamous restaurant scene, with Daniel hopping between his two guises. Lisa Mathieson is an absolute riot as the singer lambasting the faithless ex who lied to her – further highlighting Daniel’s own dubious actions, but in a deliciously flamboyant way.

The whole company is strong here. As Miranda, Laura Tebbutt supplies powerhouse vocals; Cameron Blakely is hysterical as Frank, who involuntarily shouts when he lies (a fantastic farcical addition); and Marcus Collins is a showboating Andre, but also strikes a serious note when he talks of their struggle to adopt as a gay couple, while Daniel risks losing his own kids with his shenanigans. 

There’s also great support from Carla Dixon-Hernandez as a fiery Lydia, Samuel Edwards as sensitive hunk Stuart, Kelly Agbowu as Daniel’s suspicious case worker, Ian Talbot as the creaky kids’ entertainer Mr. Jolly, and Micha Richardson as a formidably humourless TV executive. On press night, Frankie Treadaway was very funny as Christopher, who seems to have inherited Frank’s panicked yelling, and Angelica-Pearl Scott was an adorable pipsqueak Natalie.

David Korins nods to the San Francisco setting with a stylish cityscape backdrop featuring the Golden Gate Bridge, and Catherine Zuber has a ball with the costumes. It all feels celebratory: of self-exploration and identity (although this is very clearly not a trans story, nor does it feel remotely prejudicial), of different types of families, and, finally, of honesty. Well, my dears, the truth is that *Mrs. Doubtfire* is this summer’s sizzling-hot ticket.

*Mrs. Doubtfire* is at the Shaftesbury Theatre. Book [*Mrs. Doubtfire* tickets](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) on London Theatre.

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=24395&content_product_id=24395&venue_id=127&product_type=show&qt=2)

*Photo credit: Mrs. Doubtfire. (Photo by Manuel Harlan)*

'Mrs Doubtfire' review – this exuberantly inventive musical adaptation is a sizzling-hot ticket

Read our four-star review of *Mrs. Doubtfire* in the West End, starring Gabriel Vick, currently in performances at the Shaftesbury Theatre.

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

**How to get to Shaftesbury Theatre**

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

Shaftesbury Theatre - LON

Shaftesbury Theatre

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

Stranger Things: The First Shadow - LON Product Media

The Phoenix Theatre is a West End theatre situated in the heart of London, embracing a rich history of over a century. With a seating capacity of 1,012, the venue emanates elegance with refined gold and bronze interiors along with lush red velvet seats. Known for its magnificent portrayal of widely acclaimed arts from across the globe, the theatre has famously exhibited spectacularly thought-provoking plays and dramatic productions.

Since its inaugural production of Noel Coward's 'Private Lives' in 1930, Phoenix Theatre has circulated a diverse repertoire, from Shakespearean classics to rock musicals like 'Blood Brothers' that ran for 21 years. It also attracts an impressive roster of acting talents, including legendary artists like Dame Judi Dench and Ian McKellen.

**How to get to the venue:**

Phoenix Theatre is easily accessible, just a two-minute walk from the bustling Tottenham Court Road Underground station, which serves the Central and Northern lines. Multiple bus routes through Charing Cross road also connect it well with the rest of the city. Additionally, the nearest NCP car park is situated in Shaftesbury. It's recommended to use public transport due to restrictions on parking in the area.

**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.

Phoenix Theatre - LON

Phoenix Theatre

The Phoenix Theatre in London's West End showcases a diverse repertoire of theatrical productions, is easily accessible via public transport.

Ages 10+. Under 16s must be accompanied by and sat next to an adult (18+). Children under 3 years will not be admitted. 

Mean Girls - LON [35503]

Mean Girls

Mean Girls | Savoy Theatre - LON [35503] Product Media

IT’S NOT LIKE A REGULAR MUSICAL. 
IT’S A COOL MUSICAL. 

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.

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Richard II

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Richard II - LON [14375] The Bridge Theatre

Shakespeare’s subtle, ambiguous and powerful play revolves round two startlingly modern figures: Richard, an autocrat who believes he is divinely sanctioned, and Henry Bolingbroke, a hard-headed pragmatist who has genuine authority.

Born in Oxfordshire in 1988, Jonathan Bailey is an Olivier Award-winning actor, best known for starring in *Company* and in the television series *Bridgerton*. Bailey returned to the West End in 2022 to appear in [*Cock*](https://www.londontheatre.co.uk/show/23844-cock) at the Ambassadors Theatre, alongside [Taron Egerton](https://www.londontheatre.co.uk/actor-profile/taron-egerton) and [Phil Daniels](https://www.londontheatre.co.uk/actor-profile/phil-daniels). 

As a young child, Bailey was interested in performing, thanks to seeing *Oliver!* at the age of five. At seven years old, he was scouted to play Child Scrooge/Tiny Tim in *A Christmas Carol* at the [Barbican](https://www.londontheatre.co.uk/theatres/barbican) for the [Royal Shakespeare Company](https://www.londontheatre.co.uk/actor-profile/royal-shakespeare-company), and two years later played Gavroche in [*Les Miserables*](https://www.londontheatre.co.uk/show/300-les-miserables) at the [Palace Theatre](https://www.londontheatre.co.uk/theatres/palace-theatre). As a teenager, he returned to the Royal Shakespeare Company, playing Prince Arthur in a production of *King John*. Clearly, his child acting career set him up in good stead for what was to come. 

After finishing his A Levels, Bailey was cast in many regional productions, including *Beautiful Thing*, *Pretend You Have Big Buildings* and *The Mother Ship*. He eventually made his West End debut in *Girl With a Pearl Earring* at the [Theatre Royal Haymarket](https://www.londontheatre.co.uk/theatres/theatre-royal-haymarket) in 2008. Read a review for *Girl With a Pearl Earring* starring Jonathan Bailey here. 

In 2011, Bailey was cast as Duffield in *South Downs* at the Chichester Festival Theatre, which later transferred to the [Harold Pinter Theatre](https://www.londontheatre.co.uk/theatres/harold-pinter-theatre) the following year. The Terrence Rattigan play was presented as a double bill with *The Browning Version*, and you can [read a *South Downs* review here.](https://www.londontheatre.co.uk/reviews/south-downs-browning-version-double-bill) A year later, Bailey starred in the world premiere of *American Psycho* at the [Almeida Theatre](https://www.londontheatre.co.uk/theatres/almeida-theatre) alongside [Lucie Jones](https://www.londontheatre.co.uk/actor-profile/lucie-jones). 

More recently, Bailey has become a West End leading man, starring in [*The Last Five Years*](https://www.londontheatre.co.uk/show/23117-the-last-five-years) at The Other Palace alongside [Samantha Barks](https://www.londontheatre.co.uk/actor-profile/samantha-barks), as well as *Certain Young Men* at the National Theatre and *The York Realist* at the Donmar Warehouse. His Olivier Award-winning performance came in 2018, cast as Jamie in a gender-swapped revival of [*Company*](https://www.londontheatre.co.uk/show/8093-company), winning the award for Best Actor in a Supporting Role in a Musical.

On television, Bailey is best known for playing Viscount Anthony Bridgerton in the Netflix series *Bridgerton*. He has also been in shows such as *W1A*, *Crashing*, *Chewing Gum* and *Me and Mrs. Jones*. 

Bailey returned to the West End in 2022, starring in a revival of Mike Bartlett’s [*Cock*](https://www.londontheatre.co.uk/show/23844-cock) at the [Ambassadors Theatre](https://www.londontheatre.co.uk/theatres/ambassadors-theatre). 

Jonathan Bailey - LON

Company [8093]

Company

Company [8093] Product Media

<a href="/show/company">Company</a>, first premiered on Broadway in 1970, was always a bold, brilliant musical: a series of brief vignettes (by George Furth) and dazzling songs (by Stephen Sondheim) about the challenges of dating and marriage and the fears of being trapped. The songs and scenes flow in and out of each other in an impressionistic haze as a man, about to celebrate his 35th birthday, confronts his deep-rooted fears about long-term relationships and the loneliness of being on his own.But in the show's third major West End outing, he is now she - Bobby has become Bobbie - and it is a perennially single woman who is wrestling with these issues.&nbsp; And by making this sly change, director Marianne Elliott and her thrilling star <a href="/actor-profile/rosalie-craig">Rosalie Craig</a> have given a deeply familiar and now nearly half a century old show a seemingly radical make-over that thrusts it into the here and now, yet with hardly any lyric changes required. (One of the few noticeable ones: instead of singing "my service will explain", it becomes "I'll text you to explain").Other character genders have changed, too: Amy, the anxious, jittery bride who is one of Bobby/Bobbie's best friends and desperately tries to cancel things on her wedding day, has become Jamie, running away from Paul.These switches are seamless to those of us who know the show intimately, yet it's also striking how newly modern and unfamiliar it makes it all seem, too. It's like seeing an old friend again after a long absence who has lost a ton of weight:&nbsp; they're still recognisably the same person, but yet also a different person from which layers have been taken away. We watch the show through fresh eyes - and ears. Yet the triumph is still Sondheim and Furth's, as well as the brilliance of their original director Hal Prince, to distil an emotional anorexic's palpable anxieties into a show that dares to tell its story so impressionistically yet tangibly, without the anchor of a plot beyond a surprise birthday party that bookends the show - and which our avoidant hero(ine) fails to show up for.<a href="/actor-profile/rosalie-craig">Rosalie Craig</a>, radiant in a ravishing red party dress, may be playing a tentative, emotionally disconnected character, but she pulls off the astonishing feat of making us connect with her. The character may be defined by her absence from her own life, but Craig brings a pulsing presence to her, one that fully explains the draw she has on her variously coupled friends Joanne and Larry, Harry and Sarah, David and Jenny, and Paul and Jamie, and how they wish she would allow her emotional armour to be taken off (and replaced with amour instead).Craig also brings an absolutely ferocious attack but also gorgeous musicality to such songs as "Marry Me a Little" and "Being Alive" that respectively end each act, as she comes to realise that she desperately craves making new choices.She is surrounded by a luxuriously cast group of supporting actors that includes the West End return of Broadway superstar <a href="/actor-profile/patti-lupone">Patti LuPone</a> as the brittle, pugnacious Joanne, who (following in the seemingly inimitable footsteps of the late, great Elaine Stritch) turns "The Ladies Who Lunch" into her own extraordinary anthem of defiance and resilience. LuPone has always been a great actor with a wild, unpredictable vocal attack; but the absolute revelation here is the clarity of her diction, which has frequently previously been less than sure.Also utterly thrilling: Jonathan Bailey's Jamie who spits out the fast and furious "Getting Married Today" at astonishing speed; Gavin Spokes, Richard Henders and Ben Lewis as the trio of husbands whose yearning "Sorry-Grateful" is the epitome of the show's themes of the contradictory impulses of marriage; and the brilliantly surprising (and eye-poppingly buff) Richard Fleeshman as the airline steward Andy that Bobbie dates.&nbsp;Elliott's production is also given a striking modern sheen in regular collaborator designer Bunny Christie's lightbox-framed moving boxes in which the action is set, with New York apartment bedrooms, balconies and street terrace exteriors summoned in an instant. A small, tight band under expert musical supervisor Joel Fram is visible throughout on a platform above the stage.There have been other wonderful productions of <a href="/show/company">Company</a>, including an indelible Donmar Warehouse revival in 1995 by Sam Mendes that starred Adrian Lester as Bobby, but this version is both a departure into new territory and a stunning reaffirmation of its brilliance.<hr /><a href="/show/company">Company</a>&nbsp;is at the Gielgud Theatre until 30th March 2019.<a href="/show/company">Company&nbsp;tickets</a> are available now.&nbsp;<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"Company was the first musical I saw on Broadway and has always had a special place in my affections. It is gratifying to see it not just being revived but also intelligently reimagined." Michael Billington, <a href="https://www.theguardian.com/stage/2018/oct/17/company-review-sex-switch-sondheim-gielgud-theatre-london" target="_blank">The Guardian</a>&nbsp;(four stars)"Elliott's production brilliantly underscores the existential nature of Sondheim's lyrics and George Furth's book. On Bunny Christie's striking set, Bobbie's adventures unfold in a series of glowing frames drifting through the inky dark." Andrzej Lukowski, <a href="https://www.timeout.com/london/theatre/company-review" target="_blank">Time Out</a>&nbsp;(five stars)"This is a take on Company that savours Sondheim's subtleties. In short, it's glorious." Henry Hitchings, <a href="https://www.standard.co.uk/go/london/theatre/company-review-theatre-marianne-elliott-sondheim-a3964531.html">Evening Standard</a> (five stars)"Elliott's production is fabulous - gorgeously sung, zippily performed and really, properly funny. I can't remember ever laughing more at a musical, in fact." Alice Jones, <a href="https://inews.co.uk/culture/company-gielgud-theatre-london-review-patti-lupone/">iNews</a> (five stars)&nbsp;

Review - Stephen Sondheim's Company is 'stunning' at the Gielgud Theatre

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.

Ages 8+. 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.

Born in Oxfordshire in 1988, Jonathan Bailey is an Olivier Award-winning actor, best known for starring in Company and in the television series Bridgerton.

Jonathan Bailey - Stars on Stage | London Theatre

Day of week	Matinee	Evening
Monday	-	7:30 PM
Tuesday	-	7:30 PM
Wednesday	-	7:30 PM
Thursday	2:30 PM	7:30 PM
Friday	-	7:30 PM
Saturday	2:30 PM	7:30 PM
Sunday	-	-

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