Theatre to See in 2019 (in London & Beyond)!

Having looked back on my favourite theatre productions of 2018 and a little later than I planned (sorry about that!), I’m taking a look at some of the exciting theatre already announced for 2019. It’s worth bearing in mind that at this time of year, we still don’t know what shows will be arriving in many theatres in the back half of the year, but there are already a number of productions on the horizon that should be on your radar. I also admit that my list is always weighted towards London, as it’s my base, but I’m always keeping an eye on regional theatres and have included some I’m planning to see within this list (as well as a few NYC highlights).

So, here’s my snapshot of 19 shows I’m excited to see in theatreland in 2019!

1. All About Eve (Noel Coward Theatre, 2nd Feb – 27th April)

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Top of the list for 2019 for me is All About Eve, which moves in to the Noel Coward Theatre next month. There are a number of reasons I’ve been looking forward to this production. First and foremost, I’m a huge Gillian Anderson fan and having seen her in A Doll’s House and A Streetcar Named Desire (both here and in NYC), it’ll be thrilling to see her on stage once again. Throw in to the mix the director, Ivo van Hove, whose work I always find thrilling and I’m counting the days until my first visit.

2. Death of a Salesman (Young Vic, 1st May – 29th June)

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Arthur Miller seems to be the trendy choice in London theatres this year, with a couple on this list as well, but I’m probably most excited about the Young Vic’s new production of Death of a Salesman, an Arthur Miller classic that I confess I’ve never seen. Director Marianne Elliott’s work is always superb (from Curious Incident, to Angels in America and rewriting Sondheim for the new production of Company), plus the cast includes Wendell Pierce (which is exciting for me as a Suits fan) and Sharon D. Clarke (who is certainly having a busy theatre year; more from her later). The Young Vic is producing such brilliant work at the moment, that I’m sure this will be another hit.

3. All My Sons (Old Vic, 15th April – 8th June)

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The Arthur Miller continues just down the road at the Old Vic, which has assembled an impressive cast for London’s latest production of All My Sons, which includes Sally Field, Bill Pullman, Colin Morgan and Jenna Coleman. I always enjoy this play (the David Suchet one from 2010 my current favourite), so it’ll be fun to see how this one compares. If you’re hoping to pick up a cheaper ticket for this, then register for emails about the PwC previews, which will go on sale five weeks before the show starts, offering £12 tickets for the first few previews.

4. Three Sisters (Almeida, 8th April – 1st June)

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The Almeida is another one of my favourite theatres right now and I’m incredibly excited that the dream team of director Rebecca Frecknall and actress Patsy Ferran are back together again for their new production of Chekhov’s play, following the superb Summer & Smoke (which finishes on Saturday, so you still have a couple of days to see it).

5. Grief Is The Thing With Feathers (Barbican, 25th March – 13th April)

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There’s always something I was intending to book and then forget, only to find myself hoping for returns, or day seats later and on this list that award goes to Grief is The Thing With Feathers. I’d been tempted to try and go and see this in Dublin last year, so I’m kicking myself that, for the moment, this is sold out for its Barbican run. Cillian Murphy is a fabulous actor and I’d suggest that, like me, you keep your eyes peeled for tickets for this.

6. Betrayal (Harold Pinter Theatre, 5th March – 1st June)

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I admit, I’m not a huge lover of Pinter, but I actually rather enjoy Betrayal and having enjoyed his performance in Coriolanus at the Donmar, I’m looking forward to seeing Tom Hiddleston back on stage again (no, I don’t count the RADA Hamlet that was near impossible to get tickets for!) and directed by Jamie Llloyd. This will hopefully be a strong end to the current Pinter at the Pinter season.

7. Dear Evan Hansen (Noel Coward Theatre, TBC)

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Dear Evan Hansen was one musical I’d heard so much about and in 2016 I was fortunate to see it twice in NYC. It’s an emotional story, with a powerful message that no matter how low you feel, you’re never truly alone, if you reach out for support and I’m thrilled it’s finally making its way across the Atlantic. I’m sure the British cast will be fantastic and the musical’s message is universal, but I admit, as someone who saw Ben Platt in the lead role, I find it difficult to picture anyone else in the role of Evan.

8. Emilia (Garrick Theatre, 8th March – 15th June)

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Emilia was another production that I missed during its first run at Shakespeare’s Globe which, thanks to a West End transfer, I now get to enjoy. Everyone I know who saw this story about Elizabethan poet, Emilia Bassano, (who I confess I knew very little about before this play arrived in 2018), loved it. Bassano wrote the first published work of poetry by an Englishwoman and is rumoured to be the Dark Lady of Shakespeare’s sonnets, yet her life is just as fascinating and worthy of exploration and attention. I certainly won’t be missing out on this show again!

9. Blues In The Night (Kiln, 18th July – 7th September)

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Currently wowing audiences at the Playhouse in Caroline Or Change, Sharon D. Clarke is heading back to North West London (having opened Caroline Or Change at the Hampstead Theatre last spring), to the Kiln (formerly Tricycle) Theatre later in the year, to star in this revival of Sheldon Epps’ musical, which was last seen in London 30 years ago. This is after she’s stopped by the Young Vic for a previous entry on this list, so she’s certainly keeping busy! She has an incredible voice and the Kiln continues to be a wonderful venue following completion of its transformation work, so this should be a treat for the summer.

10. When We Have Sufficiently Tortured Each Other (National Theatre – Dorfman, 16th January – 2nd March)

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I have mixed feelings about this entry. It’s absolutely one of the most talked about productions of 2019, which caused a great amount of grumbling when tickets were only available by ballot. The combination of Martin Crimp, Katie Mitchell and Cate Blanchett is intriguing though and having been lucky in the ballot, I’ll be seeing what all the fuss is about next week. A limited number of day seats are available from the National each day.

11. Dear Elizabeth (Gate Theatre, 17th January – 9th February)

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This new play by US playwright Sarah Ruhl, whose In the Next Room (or “The Vibrator Play”) I saw a few years ago, has just started its run at Notting Hill’s Gate Theatre. The play will tell the story of poets Elizabeth Bishop and Robert Lowell, who exchanged regular letters for decades. The production is also choosing to switch its cast, with two different actors taking on the play each performance. The list includes some brilliant talent including Alex Jennings, Jonjo O’Neil and Tamsin Greig.

12. A Very Expensive Poison (Old Vic, TBC)

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No clear dates yet, but this forthcoming new play already sounds very promising and is certainly addressing current global tensions. It’s written by Lucy Prebble, whose wonderful work includes The Effect and ENRON and is set to tackle the story of the death of Russian spy, Alexander Litvinenko. This is certainly one to keep an eye on for further details.

13. Come From Away (Phoenix Theatre, from 30th January)

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Another Broadway musical opening shortly in London is Come From Away, which I thoroughly enjoyed a couple of years ago in NYC. Through just 90 minutes, it tells the heartwarming story of the community of Gander in Newfoundland, Canada which, on 11th September 2001, found itself the temporary home of thousands of stranded airline passengers. The link to 9/11 may make you think twice about booking, but it’s a lovely show, that reminds us of the goodness we are capable of, which is these crazy times, is something everyone needs to be reminded about.

14. Mother Courage and Her Children (Manchester Royal Exchange, 8th February – 2nd March)

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Manchester’s Royal Exchange is collaborating with the theatre company Headlong for this new adaptation of Brecht’s work, which will see Julie Hesmondhalgh taking on the role of Courage. The website suggests that this production will bring the story “bang up to date” and I’m intrigued to see exactly what they have in mind.

15. Standing At The Sky’s Edge (Crucible, Sheffield, 15th March – 6th April)

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I’m a huge fan of Sheffield Theatres, which continues to produce some fantastic shows and the one I’m most looking forward to from its upcoming season is Standing At The Sky’s Edge, which is a new musical about Sheffield itself, telling the story of the residents of Park Hill flats over 50 years (Doctor Who fans will recognise the buildings from the latest season too). Having grown up in the city, it’ll be fun to see a musical all about the lives of people in Sheffield!

16. Peter Gynt (National Theatre – Olivier, 27th June – 8th October)

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Further details of this production have been released today, but this is a show that I’ve been looking forward to for a while. No, I haven’t seen Peer Gynt before, but I have seen James McCardle on stage a number of times and he’s such a superb actor that I’ll see him in anything and this will see him take on one of Ibsen’s most famous characters in a new “radical” adaptation by David Hare. I imagine I’ll be seeing this one more than once!

17. Barber Shop Chronicles (Tour – multiple venues, 12th March – 25th August)

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The Barber Shop Chronicles is another show that I was stupid enough to miss during both its runs at the National Theatre (I know, I know, I’m rubbish), but this regional tour will mean others, as well as me, will be able to see this story about a group of African men, gathering and exchanging stories in barber shops in six different cities across the world. The tour will visit Manchester, Leicester, Bristol, Sheffield and London’s Roundhouse.

18. Richard III (Tour – multiple venues, 1st March – 25th May)

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Theatre company Headlong will be bringing their new production of Shakespeare’s Richard III to multiple venues this year. I’m a big fan of the work of Headlong, as they tend to find original ways of telling classic stories. In addition, this production is also stopping at the newly restored theatre at Alexandra Palace, which is a venue I’ve been waiting to be finished. It’ll be thrilling to step foot in the space, now it’s been restored to its former Victorian glory. The play will visit Bristol, Northampton, Cambridge, Manchester, Oxford and will finish at Alexandra Palace.

19. The Color Purple (Curve Theatre, Leicester, 28th June – 13th July & Birmingham Hippodrome, 16th July – 20th July)

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Having missed the original run of the Menier Chocolate Factory’s musical production of Alice Walker’s novel in 2013, I managed to catch it, including that superb performance by Cynthia Erivo, on Broadway and I loved it. I’ve always been surprised that a West End run didn’t happen and so it’s fantastic to see this musical will be making a return to the UK stage in Leicester and Birmingham in July.

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That’s already a promising list, with many more I could have included.

.…….And I haven’t even mentioned New York, although the first ones that spring to mind across the pond are:

(1) To Kill A Mockingbird, adapted for stage by Aaron “The West Wing” Sorkin, which continues its successful run until November;

(2) Ben Whishaw & Renee Fleming in Norma Jeane Baker of Troy, at new arts venue The Shed;

(3) Oklahoma at The Circle in the Square, which I’ve only heard good things about, following its run last year at Brooklyn’s St Ann’s Warehouse; and

(4) Hilary and Clinton, in which Laurie Metcalf and Nigel Lithgow, explore the dynamics of a certain political couple during 2008’s Presidential Primaries.

There’s also of course the transfer of the Almeida’s superb Ink, which I loved and of course, surely it’s only a matter of time before the incredible The Inheritance makes it way across to NYC?! If it does, I’ll certainly be following it (queue for day seats this Saturday for its final day in London if you can. You won’t regret it!).

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Excited yet? Hopefully there’s plenty on the stage this year to appeal to everyone. I’ll be getting back to reviewing more theatre in 2019, so keep an eye on the blog for my latest reviews!

 

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My 2018 Theatre Review – Productions of the Year!

Where has the last twelve months gone? I probably say that every year, but it means it’s time for me to look back on the last twelve months as a theatregoer. I’ll start by saying I’ve seen fewer productions this year than I expected to and I’ve seen far less regional theatre than I wanted to as well, which only gives me something to aim for next year.

That being said, my final total for 2018 was 60 shows, with revisits to six of those shows (including three Hamilton trips), resulting in a total number of theatre trips of 67. Not bad, but I’m well aware that I’ve missed a fair few shows I’d been hoping to see this year.

As I’ve already mentioned, my theatre trips outside of London have been low this year, with the exception of a theatre-packed NYC trip in the spring. London and New York aside, my regional visits have been limited to Chichester and Stratford-Upon-Avon and I fully intend to improve on this in 2019.

Finally, when choosing my favourites of the year, I think about which shows resonated with me on an emotional level, so I’m sure there are productions which appear on other lists, as ground-breaking or significant shows for other reasons, but which weren’t at the top of my list.

So, without further delay, here are my favourite productions of the last twelve months!

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1. The Inheritance (Noel Coward Theatre)

As in previous years, my list is in no particular order, with the exception of the top spot, which was clear to me as soon as I left the Noel Coward Theatre.

I’d had a ticket for a full Wednesday at the Young Vic to see The Inheritance, but due to work commitments, I had to give the tickets back. I was gutted at the time, as this promised to be something special and so the news of a West End transfer was wonderful.

I have been intending to write a specific review of this show ever since I saw it and yet I struggle to put in to words just how stunning it is on so many levels. I’m not a gay man, but nevertheless, I couldn’t fail to be moved by a story which reaches in to the past and connects it so beautifully with the present and the importance of a sense of community between the men on stage. Not only that, but the writing is just magical, as you are told a story of love, loss, compassion and forgiveness, which still captures moments of such fun and playfulness along the way and all of its 7+ hours is so superbly acted by the show’s cast. I laughed, I cried (many times) and having seen it twice, it continues to stay with me. I’ll be there for the final shows on 19th January and if you can go before it closes, you simply must. It’s that simple. (The Inheritance continues at the Noel Coward Theatre until 19th January 2019).

2. Summer & Smoke (Almeida & Duke of York’s Theatre)

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Credit: Marc Brenner

I was lucky enough to see this superb show during its initial run at the Almeida, before revisiting it in the West End only a couple of weeks ago, where I was still able to have a fabulous close-up view thanks to TodayTix. I wasn’t familiar with this play beforehand, having seen some of the better known and more regularly revived pieces by Tennessee Williams and yet I quickly fell under the spell of this hauntingly atmospheric production. I loved the simplicity of the set and the use of light to draw out the electricity between the two central characters. The stand out element though? An utterly compelling performance by Patsy Ferran, who I honestly felt transformed in to Alma before my eyes in such a nuanced portrayal of a character I was almost instantly invested in. Combined with strong support from Matthew Needham, Forbes Masson, Nancy Crane and all the cast, this again was a show that had a profound emotional impact on me and is one I won’t forget. (Summer & Smoke continues at the Duke of York’s Theatre until 19th January 2019).

3. Twelfth Night (Young Vic Theatre)

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Credit: Johan Persson

Twelfth Night is a Shakespeare play that I’ve seen quite often and I admit I was possibly a little tired of it. Yet, I’d heard so many glowing reviews about this production since it was staged in New York in 2016, that I couldn’t miss it when it arrived in London, as the first show during Kwame Kwei-Armah’s tenure as artistic director of the Young Vic. It’s one of the best decisions I made all year and is, without question, the best interpretation of this play that I’ve seen to date. Turning this well known Shakespeare story in to a musical was bold in itself, yet this show was inventive, colourful, fun and fresh and is easily one of the most fun nights I’ve ever had in a theatre, which brought the story to life in an entertaining, yet accessible way. Although the whole cast was great, the stand out has to be Gerard Carey as Malvolio. He was simply perfect. I might never need to see another version of this play, as I doubt this one will be beaten.

4. The Watsons (Minerva Theatre, Chichester)

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Credit: Manuel Harlan

I wasn’t quite sure what to expect when I travelled to Chichester to see Laura Wade’s latest play, but being a fan of her previous work and a lover of Jane Austen, I had high hopes that this would be right up my street and that certainly proved to be the case. I loved the cleverness of this script, as it’s not just an Austen story (one which Austen mysteriously never finished, despite it not being the last one she wrote), but it’s also a story about what it’s like to be a writer and it was this added element that really appealed to me, as an aspiring writer. I don’t want to give too much away for those not familiar with this play, as I’m certain it’ll have another life on stage before too long, but all I will say is that its mix of Austen and contemporary life resulted in a show that was a lot of fun to watch and had me leaving the theatre with a big smile on my face. All my fingers are crossed for a London transfer.

5. Three Tall Women (Golden Theatre, New York)

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Credit: Brigitte Lacombe

Having seen her brilliant return to the stage as King Lear after 23 years in 2016, I couldn’t miss the chance to see Glenda Jackson’s second show, this time in New York, during my visit in April/May and it was certainly a highlight of my trip. With a cast of just three (Jackson, Laurie Metcalf and Alison Pill), Three Tall Women tells the story of one fierce woman, whose life is cleverly told by herself at three different ages. It may have been short, but it certainly packed a punch and seeing Broadway so in awe of Glenda Jackson was wonderful.

6. The Prime of Miss Jean Brodie (Donmar Warehouse)

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Credit: Manuel Harlan

Over the years Lia Williams has become one of my must-see actresses and I’ll book anything she’s in and in this year’s Donmar production of The Prime of Miss Jean Brodie, she yet again proved what an incredible artist she is on stage. Having not read the novel, nor seen the film made famous by Dame Maggie Smith, I wasn’t sure what to expect, yet found myself caught up in the world of her and her students, as her desire to inspire them starts to become questionable as the play progresses. I’m only sorry I didn’t have the chance to go back for a second time.

7. Fun Home (Young Vic Theatre)

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Credit: Marc Brenner

Fun Home had been on my list of shows to see when I was in NYC a few years ago, but I just didn’t have time and had been wondering if it would ever make its way across the Atlantic. It’s clearly been a strong year for me when it comes to the Young Vic, with this beautifully touching musical being the third show from the theatre on my list. In a way it didn’t feel like a musical, but more of a play with songs, but regardless of how you categorise it, the story of one girl’s relationship with herself, her sexuality and her father left me rather emotional by the end and a return visit was essential. I admit, I’m still surprised there hasn’t been news of a West End run for the show. Hopefully 2019 will rectify that.

8. A Monster Calls (Old Vic Theatre)

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Credit: Manuel Harlan

I only had to walk a few minutes down the road for a similarly emotional theatre outing, this time to see the Old Vic’s staging of Patrick Ness’s tale of love, grief and forgiveness. I’m ashamed to say I still haven’t read the book, but I adored the recent film and found this adaptation equally powerful, as we see one young boy’s struggle to come to terms with his mother’s illness and death and the confusing emotions they stir up within him. It’s not an easy story to stage, with so much resting on the fantastical stories the monster tells him, but this production truly evoked the same emotions through its imaginative staging. It wasn’t an easy show to watch, but it’s one I wouldn’t have missed for the world.

9. I And You (Hampstead Theatre)

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Credit: Manuel Harlan

This was a lovely little surprise of a show at the Hampstead Theatre for me this year, which also saw the stage debuts of two wonderful acting talents, one I was very familiar with and the other I’ve now added to my “keep a look out for them” list. Lauren Gunderson’s play saw Maisie Williams, fresh from Game of Thrones as a sickly young teenager, cooped up in her room, who is forced to engage with the world through the arrival of one of her classmates, played superbly by Zach Wyatt, with a last minute poetry project centring around Walt Whitman’s Leaves of Grass. Yes, I worked out the ending quite quickly, but that didn’t take away from the emotional punch I felt at the end, as the lines from the poem they’d been discussing became so poignant. The production also saw the Hampstead Theatre testing out a new way of reaching new, younger audiences, when it was made available to stream for free on Instagram. Anything that encourages people to try theatre gets my support and the play was just as moving a second time on my small phone screen.

10. Girls & Boys (Royal Court Theatre)

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Credit: Marc Brenner

I’ve been hoping to see Carey Mulligan on stage for a few years now and this incredibly powerful one-woman play at the Royal Court finally gave me a chance to see her. This was another instance where I had no idea about the story before stepping foot inside the auditorium and what I loved most about this play was how it started as one thing and all of a sudden took a sharp turn down a much darker, devastating road. The power of such a play depends on the actress and Mulligan was simply outstanding as a mother telling the story of her life and that of her children to the audience, right down to the mimed interactions with her children, who I soon forget weren’t actually there on stage with her. This was yet another emotional experience and one that certainly stood out as a highlight this year.

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Special mentions also go to White Teeth at the newly reopened Kiln (formerly Tricycle) Theatre, which took me completely by surprise with how much fun it was, The Humans, which I was thrilled to see arrive at the Hampstead Theatre, complete with the full Tony Award-winning cast, The Lieutenant of Inishmore, which provided the type of black comedic fun I expect from Martin McDonagh and some wonderful performances (all of which I enjoyed from a £10 front row seat!), Lobby Hero in NYC, with wonderful performances by Micheal Cera and Chris Evans in particular, Sweat at the Donmar Warehouse, where the 2000 US setting felt just as relevant in 2018 Britain and The Madness of George III from the Nottingham Playhouse, which I was able to enjoy via NT Live.

Last year saw my list filled with plenty of musicals after a year in which I saw more than usual and although far fewer make the shortlist this year, there were certainly some musical highlights, in particular the recent NYC stagings of My Fair Lady and Carousel, the impressive Hadestown, here prior to its Broadway opening and the Old Vic’s much publicised Sylvia. Yes, it was rough and needs tightening up, but I expect the final form to be something rather special when it returns and it contained one of my theatre moments of the year (see my separate post for those coming soon).

Although I try and keep repeat trips to shows out of my annual favourites list, I couldn’t write this without giving special mention to some of the shows that I loved this year and which I’d already seen before. Top of this list was a joyous visit to Harry Potter & The Cursed Child in NYC, to see the original London seven back in their roles. Although I’ve enjoyed later West End casts, there’s something special about that group and in particular Jamie Parker as Harry and Anthony Boyle as Scorpius. My time in NYC also enabled me to revisit the National Theatre’s stunning production of Angels in America for a third time and spending another day wrapped up in these characters was a privilege. 2018 also saw Andrew Scott return to London in Sea Wall, which made my favourites list back in 2013 and was indeed a highlight of this year as well. It may be only 30 minutes long, but it remains one of the most emotional theatre experiences I’ve ever had. And of course, it would have been rude had I not returned multiple times this year to Hamilton, including the very special performance in August in aid of the charity Sentabale, attended by Harry & Meghan!

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So, that was my 2018 theatre year! Yes, I missed some shows that I wish I’d seen (The York Realist, Misty and Notes From The Field being at the top of that list), but overall, I enjoyed almost everything I saw this year and even those that I found disappointing had something I could appreciate (the Almeida’s current Richard II may not be my cup of tea, but Simon Russell Beale’s performance was very good and I may have found A Very Very Very Dark Matter disappointing, but the two central actors were great, as was the set). That’s certainly better than years when I’ve had a list of shows I’ve found truly painful!

Looking ahead, there are some fantastically promising shows arriving next year and I’ll be highlighting my 19 shows to see in 2019 in a separate post. In the meantime, I’d love to hear about your highlights from the last twelve months!

Tips for First Time Visitors to the Victoria Palace Theatre for Hamilton

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Hamilton has finally arrived in London, with previews beginning a few days ago. In 2015, I wrote a post on this blog containing tips for those travelling to London to see the Barbican’s Hamlet and as so many found it useful, I thought I’d try and think of some helpful tips for anyone new to the area, coming to see Hamilton. As I’ve already seen the show twice here, I can also give some insight in to the entry process. Oh and I’ve also written my thoughts, as a newcomer to the show, which you can read here if you’re interested.

1. Getting There

The Victoria Palace Theatre is very easy to get to, due to the fact it is located so close to the Victoria underground station! If you want to go straight to the theatre on arrival in Victoria, take the Cardinal Place exit from the underground station and you will exit on the same side of the road as the theatre, which will be to your right. The photo below shows this exit and the theatre is just hidden by the station itself. It is also worth downloading the Citymapper app to your phone, as this is an easy way of finding out the best route to somewhere in London.

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There is also a useful map via the Delfont Mackintosh website here: Area Map

and another here: Victoria Palace Theatre – Google Map

2. When to arrive?

The theatre recommends that you arrive 60 minutes beforehand, although it is opening 90 minutes before the performance time (6 p.m. for evening shows and 1 p.m. for matinees). The queue to enter does move quickly (provided you have the right documents ready – more on that below), but the advantage of arriving early is that you have more time to join the merchandise queues! There are kiosks on stalls and circle levels, but the queues do get quite long, so make time for it if you plan to buy anything. Hopefully an online shop and perhaps even a physical shop, as in NYC will open in the future, but for the moment, the kiosks are the only option.

3. Meeting the rest of your party?

As all of your party must be together before you are allowed to enter the theatre, you should arrange to meet at a designated spot. The area in front of the theatre can get quite busy the nearer it gets to show time, so I’d suggest standing to the side, or meeting outside the tube station.

4. What do you need to bring with you to enter?

On both of my trips to see the show this week, the process for entry has been very strict, but very efficient too. Unlike other shows where you are told you’ll need ID and then no one checks it, the Victoria Palace is very serious about its requirements, to try and dissuade people from buying inflated tickets on a secondary market.

Only join the queue to enter once all of your party has arrived, as you won’t be allowed entry until then. You will be asked to present your email ticket confirmation, photo I.D (passport or driver’s licence) and the credit/debit card that you paid with. After documents have been checked, you’ll be directed to a door to enter, on which your bag will be checked. Following the bag check, you’ll enter the theatre and your credit/debit card will be swiped and your souvenir ticket slip will be printed. At that point – you’re in!

5. Inside the theatre / Seating chart?

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The newly refurbished Victoria Palace Theatre is a lovely theatre, with plenty of bars on its various levels, as well as lots of toilets! Above is the Ticketmaster seating chart and a couple of my photos from the inside of the auditorium are below. I’ve also added a link to the indispensable resource that is Theatremonkey, which offers insight in to seats and their views of London’s theatres and will become very helpful once seat reviews of the newly refurbished building start to be submitted.

 

 

6. Food & Drink

There are plenty of places to eat around the area of the theatre, thanks to the regeneration that has been taking place for the last few years. There is everything on offer, no matter your budget or taste, for example sandwiches and snacks from Pret, Costa and Eat, or various restaurants including Bills, Browns, Jamie’s Italian, Zizzi, Wagamama. Oh and there’s also a Shake Shack for those in need of a good burger! A great site on the Victoria area can be found at the Create Victoria website: https://createvictoria.com/food-and-drink

7. Stage Door

The stage door itself is out of sight at the moment, due to the on-going building works. However, for those hoping for autographs, there is an area behind some barriers at the side of the theatre, where fans can gather to wait for any actors who exit that way, but there are no guarantees of who you will see and whether they will stop to sign. Wrap up warm though, as it gets very cold!

8. Still looking for tickets?

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Although most tickets for the first block of dates have been sold, you can still pick up tickets in a variety of ways:

(a) Official Website – Keep checking the website for availability, as the odd ticket is still available for certain performances until June 2018. Tickets for the next booking block (from July 2018 onwards) will be released in the next booking period. Visit the website here: Tickets

(b) Daily lottery – £10 tickets are available every day via the Hamilton lottery. To enter, you need to download the official Hamilton app from the website, or enter online. Lotteries open at 4 p.m. and close at 2 p.m. the following day. You can enter for a maximum of two tickets in each lottery draw.

(c) Late Release Premium Tickets – A limited number of premium-priced tickets will be released online at 12 noon every Monday for all of the following week’s performances.

(d) Standing Tickets – As yet, there are no standing tickets available, but the website refers to further details of the Grand Circle (top tier) stand-in tickets being announced at a later date.

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If I think of anything else that may be useful, I’ll be sure to add it to this post! Enjoy the show!

 

Theatre Review – Hamilton – I’ve joined the revolution, as this astonishing show explodes on to London’s theatre scene!

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Ever since Hamilton burst on to the New York theatre scene in 2015, with such universal praise and adoration, I have been intrigued. After ticket lottery failures when I’ve been in NYC and the rising Broadway ticket prices, I decided to wait for the London transfer to see the show for myself. So, before Thursday night, two weeks ago, I had not heard a single second of its soundtrack and I knew only the very basic historical facts. You couldn’t be more of a newcomer to this musical than I was.

The big questions people are now asking me: Could anything live up to the level of hype that Hamilton has (remember it has already won 11 Tony Awards and the Pulitzer Prize)? Would I want to go and see it again?

By the time I emerged from the Victoria Palace Theatre later on that Thursday night, the answer to both questions was a resounding YES!! In fact, I was so desperate to go again sooner than April (when I have my next ticket booked), that I bought a single ticket for the following Saturday’s first matinee to relive it all again! And now, on the eve of press night I’ve seen it four times (yes, I may have a slight problem….)!

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Jamael Westman & company. Photo: Matthew Murphy

Seeing four previews, also means that I have been lucky to already see both Alexander Hamiltons twice (Jamael Westman and Ash Hunter, including Hunter’s first two performances), so I can give my thoughts on both interpretations, which have formed more, the more I have seen the show.

So, for the uninitiated like me, inspired by the biography by Ron Chernow, Hamilton tells the lesser known story of one of America’s founding fathers, Alexander Hamilton, an immigrant from the Caribbean, who arrived in New York and went on to become one of the most vital individuals in the shaping of the foundation of the U.S.A; from his determination to help secure freedom from the British, to his defence of the new Constitution, to his creation of a financial system for a new nation as its first Treasury Secretary. It’s the story of a man who strived to achieve so much and has been, to a certain extent, overlooked by history.

Until now, that is! In fact, one of the finest achievements of Hamilton is that it is informing thousands of audience members about a period of history they may know little about, especially if they aren’t American. It’s the best history lesson you’ll ever have!

Why is it so incredible? Hamilton executes every element of the show to perfection. You may be thinking that the style of music isn’t for you, but you’ll likely by thrillingly surprised. It’s genuinely impossible to choose a favourite song, as the show moves so smoothly from one to the next that it’s hard to separate them. Each one adds to both the progress of the story and the emotional depth of the show. Very few musicals manage this, which is why very few truly capture my imagination. In this case, I left the theatre and immediately downloaded the soundtrack to listen to it all over again and to marvel at the intelligence, wit, passion and power of Lin Manuel Miranda’s music and lyrics. Heck, I now know a good few of them off by heart.

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Giles Terera & company. Photo: Matthew Murphy

As an ensemble, the Hamilton London company is also one of the slickest, most cohesive units I’ve ever seen on stage and that was even from their 2nd performance and two weeks later, they are even stronger! It’s as though they have been playing these roles together for years, which is a testament to their abilities!

The style of the music of Hamilton, which blends hip-hop, rap, RnB and more traditional-style musical numbers, dictates that the pace of the show is incredibly fast and yet, there is not a moment where the actors, detailed choreography, lighting or sound effects falter; all coming together under director Thomas Kail to bring to life so vividly what is the strongest production on any stage at the moment.

What is it that makes stories about revolutions so compelling to watch as musicals I wonder?! My all-time favourite has always been Les Miserables and Hamilton is the only one to rival it, in terms of its sheer power and emotional range it presents on the stage. Certain numbers gave me the same chill of excitement as Les Mis and that was a huge surprise for me. It’s a truly thrilling, exhilarating, exciting, emotional and uplifting experience, that very few shows will ever match. I honestly never expected it to, so decisively, exceed my expectations.

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Michael Jibson. Photo: Matthew Murphy

As the cast are all so strong, it’s difficult to pick out individual performances and each audience member will have their favourites. I loved the character of Angelica, who was the first one to bring a lump to my throat during “Satisfied”; a song which reveals something about her that I hadn’t expected. Rachel John is both a superb vocalist (having already impressed me in The Bodyguard) and actress in the role and really stands out in this show. Giles Terera’s charismatic portrayal of, as he says himself, the villain of the story, Aaron Burr, is also very good indeed, with “The Room Where It Happens” being some of my favourite moments in the production. His Burr feels much older than Hamilton and his friends and Terera brilliantly plays his growing frustration on the trajectory of his own life. Much like the best characters, he isn’t simply a villain, but a man who ultimately makes a tragic mistake.

Obioma Ugoala’s George Washington is a strong and likeable commander, who also commands the stage whenever he is at it centre, while Jason Pennycooke brings the humour and wit of Lafayette and then Thomas Jefferson to life. Although I preferred Angelica as a character to Eliza, who is far less interesting, I did find “It’s Quiet Uptown” between Hamilton and Rachelle Ann Go’s Eliza very moving, capturing two people dealing with loss in such a poignant way. Then of course there is the small, but hugely memorable role of King George, here played sublimely by Michael Jibson, who received huge applause from the audience after each brilliant appearance and is one of the highlights of the show.

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Rachelle Ann Go; Rachel John; Christine Allado. Photo: Matthew Murphy

As for the lead role, having already seen both actors who will be taking on that responsibility in London twice, the good news is that whether you see Jamael Westman or Ash Hunter, you will see a first-class performance. They both bring their personalities and little personal touches to the character, but are equally strong. Westman’s Hamilton is perhaps the grittier, cockier, big brother, when compared to Hunter’s younger Hamilton. He also perhaps more charismatic and has already settled down in to the role with confidence since I saw him two weeks ago. Ash Hunter however perhaps elicited a more emotional response from me; his Hamilton coming across as less arrogant and a little gentler. What really matters though, is that they are both already strong, confident and overflowing with enthusiasm, which shines on the stage.

So, to sum it up. At 7:29 p.m. on Thursday 7th December, I was a Hamilton newcomer, sceptical about the hype and fully prepared not to see the magic that seemingly captured every audience member who experiences it. Two weeks, four performances and multiple listens to the soundtrack later, I’m a fully paid up member of the revolution! My next pre-booked ticket for the show isn’t until April but, just like Aaron Burr, I want to be in the room where it happens far sooner than that!

Do anything you can to see this show. The ticket prices in London are nowhere near as steep as New York and the impressively tight ticket arrangement will hopefully limit the success of any extortionate secondary market. I’ll be writing a further post with information and tips for those either coming to London for the show, or for those looking for tickets, but my main message – Buy a ticket now and if you can, book two performances in one go, as you’ll undoubtably want to go back!

Welcome to London, Hamilton! Now that we have you and Harry Potter & The Cursed Child, we officially have the two happiest theatres in the world in this incredible city! If you do decide to come and are looking for tips for your visit, or are looking for tips getting tickets, I have also written a separate post that I hope will prove useful: Tips for First Time Visitors to the Victoria Palace Theatre for Hamilton

Hamilton continues its run at the Victoria Palace Theatre, with press night tomorrow (on 21st December 2017). There is limited availability until June 2018, with the next block of tickets to go on sale soon. For more information, visit the website here: http://www.hamiltonthemusical.co.uk

 

 

Mid-Year Theatre Review 2017

As we are now well in to July, my mid-year theatre review is well overdue. 2017 is already shaping up to be a fantastic year of theatre and there is still so much more to come (I’ll talk a bit about that at the end). I already anticipate my top ten of the year will be a difficult selection, so at least this way, more of the productions I’ve loved in 2017 will make it on to at least one of my lists!

So, these are the current highlights of my theatre year. They are in no particular order, as I always finding ranking productions that way quite difficult, unless something stands head and shoulders above the rest.

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1. Hamlet (Almeida / Harold Pinter Theatre)

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This production of Hamlet was probably my most anticipated show of 2017 and I’m thrilled it not only lived up to my expectations, but exceeded them, so much so that it’s probably my favourite Hamlet, a crown that has been Mr Tennant’s ever since 2008. It’s simply because Robert Icke’s decisions with the text and how to stage certain scenes is fresh and innovative. Watching this Hamlet had me experience the story and the motivations of certain characters in a whole new light. Thrilling, exhilarating and incredibly emotional, it’s ensemble cast are superb and it has one of the most beautiful endings I’ve ever seen on a stage. You have until 2nd September to see it. Go, go, go! Read my first review of this production here.

2. An Octoroom (The Orange Tree Theatre, Richmond)

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I bought a ticket to An Octoroom after reading so much praise for it on Twitter from theatregoers whose opinions I value more than any professional critic and I’m so pleased they brought it to my attention. Brandon Jacobs-Jenkins’s play was the complete theatre experience – surprising, inventive, powerfully emotive, yet funny in places too. The cast were superb (especially Celeste Dodwell as Dora) and the staging truly brought the play to life in the intimate space of the Orange Tree. I would love to see this have another life somewhere in the West End.

3. Dear Evan Hansen (Music Box Theatre, Broadway, NYC)

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Besides Hamilton, this is probably the most talked about show in New York at the moment and I was taken by surprise by how moved I was by it. It’s an emotional story about feeling alone, wanting to belong and giving people a hope that if they reach out, someone will help them and Ben Platt’s central performance is one I will never forget, so full of raw emotion, not to mention an impressive vocal. I don’t have the soundtracks to many musicals, but I listen to this one quite often. Read my full review here.

4. The Little Foxes (Samuel J. Friedman Theatre, Broadway, NYC)

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I was unable to see both versions of this play, in which Laura Linney and Cynthia Nixon alternate the roles, but despite this, it remains one of the strongest productions I’ve seen so far the year. I chose to Cynthia as Regina and Laura as Birdie and I wasn’t disappointed. Nixon was truly cold and calculating in the role, while Linney brought the tragedy of Birdie’s life to the stage. With a beautiful set and a strong ensemble, particularly Richard Thomas as Regina’s husband, who no doubt would have been happier with Birdie, this was a joy to watch. It would be lovely to see this play come across to London soon.

5. Angels in America (Lyttelton, National Theatre)

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I have a second trip to this epic two play event next month and I certainly cannot wait to experience every moment of it again. Told across 8 hours, this seminal play is certainly not an easy one to watch, but its story is one that we should all see. The cast is one of the finest you could wish for, with Denise Gough bringing yet another raw and stunning portrayal to the stage, together with Nathan Lane, Russell Tovey and James McArdle. However, it was Andrew Garfield that blew me away as Prior Walter, a character so full of life, whose journey is the axis of the story. It will be a production talked about for years.

6. The Ferryman (Royal Court Theatre)

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Jez Butterworth has already established himself as one of the best playwrights we have and he follows Jerusalem and The River with another powerful story, set in Armagh, Northern Ireland in 1981, which weaves The Troubles in to the story of one family and its struggles. Paddy Considine’s stage debut is certainly impressive and his chemistry with Laura Donnelly shines off the stage. You will laugh, cry and probably gasp before the three hours of The Ferryman has passed. Buy your tickets for its West End run (until January 2018) now.

7. Who’s Afraid of Virginia Woolf? (Harold Pinter Theatre)

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There are only two words really needed to explain why this production is on the list – Imelda Staunton, who is utterly outstanding as the acid-tongued Martha! To be fair though, that doesn’t do justice to the other fine performances (especially Conleth Hill as her weary husband George). There was something darkly entertaining about watching Martha and George tear shreds off each other and some of the sharp, biting dialogue had me laughing out loud, even as I grew more and more uncomfortable. I can imagine it’s easy to overdo the dramatics in this play and yet director James Macdonald’s production didn’t do this. In fact, in a frightening way, it feels very believable. Read my full review here.

8. Consent (Dorfman, National Theatre)

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Another success from the National this year was Nina Raine’s latest play, which focused on the powerful subject of rape and consent, in the context of a group of criminal barristers, whose professional and personal lives become caught up in what is a difficult topic to think about. Intelligently written and superbly acted by its cast, I was gripped by Consent from start to finish and wish I’d had the chance to see it twice.

9. Gloria (Hampstead Theatre)

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A second, but fully deserved, entry for Brandon Jacobs-Jenkins is a play that has such a powerful end to Act One that the programme has a sealed spoiler section! I’ve already seen this twice to fully appreciate the sharp, biting dialogue, which makes you laugh one minute even when you shouldn’t, before making you gasp the next. You have until Saturday to catch it if you can. Read my spoiler-filled review here, or the spoiler-free one here.

10. Shirley Valentine (UK Tour at Lyceum, Sheffield)

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A trip with my parents to the theatre to see this revival of Willy Russell’s production surprised me for the simple fact that I didn’t expect to enjoy it as much as I did. Effectively a one-woman show, in which Jodie Prenger brought the iconic Shirley Valentine to life, it made me laugh, but was also rather moving too, as this older woman bravely reaches for a fresh start in life. I left the theatre with a huge smile on my face and sometimes that’s exactly what you need.

 

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Special mentions so far this year also need to go to the continued magic of Harry Potter & the Cursed Child, whose original and new cast ensure the Palace is the happiest theatre atmosphere in town, The Glass Menagerie, which I managed to see before its run ended and a NYC return trip to the glorious Groundhog Day!

Coming up is Ben Whishaw back at the Almeida in Against, the arrival of the Follies at the National (even more Imelda Staunton!), the opening of a brand new London theatre in the Bridge Theatre, whose first show Young Marx stars Rory Kinnear and Oliver Chris, Apologia with Stockard Channing and the arrival of the Tony Award-winning Oslo, to name just a few.

Yes, there’s no denying the end of year review is definitely going to be tough in 2017!

 

 

 

Tips for First Time Visitors to the Palace Theatre or London for Harry Potter & the Cursed Child

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Prior to Benedict Cumberbatch opening Hamlet at the Barbican Theatre in London, I wrote a blog post providing what I hoped would be useful tips for the many fans travelling to London to see the show and visit the theatre, possibly for the first time, and a friend recently suggested that perhaps I should do the same for those coming from far and wide for Harry Potter & The Cursed Child.

So, below I’ve tried to include a few tips for directions, transport, places to eat, things to do nearby, tips for getting tickets and for when you arrive at the Palace for the show, as well as some Harry Potter-related suggestions (although I imagine most fans will have already planned those themselves)! I’ve also included links to maps and other useful information.

1. Getting There

The Palace Theatre is luckily in the heart of London’s West End and therefore there are plenty of ways to get to the show once you arrive in London. The nearest tube stations are:

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  • Leicester Square – Northern Line; Piccadilly Line (about 5 minutes away)
  • Tottenham Court Road – Central Line (about 5 minutes away)
  • Piccadilly Circus – Piccadilly Line; Bakerloo Line (about 10 minutes away)
  • Covent Garden – Piccadilly Line (about 7 minutes away)

The nearest train station is Charing Cross station. There’s a great map on LondonTown.com here: londontown-map and also others if you search “Palace Theatre” at: http://www.londontown.com/

A great resource is the Transport For London (TFL) website, on which you can plan routes and check on any tube closures / travel problems: https://tfl.gov.uk/plan-a-journey/

I also recommend downloading the CityMapper app to your phone, as it’s the most reliable route planning app for London. I use it every time I need to go somewhere new.

2. Still looking for tickets?

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If you haven’t been able to buy tickets, then don’t despair, as there are still ways of seeing the show during your time in London. Here are a few suggestions, plus visit the official website for more information: https://www.harrypottertheplay.com/ticket-information/

  • Friday Forty – the least effort option is the weekly online lottery. Click on the enter button at 1 p.m. every Friday to be entered in to the ballot for £40 tickets for shows in the following week.
  • Weekly Premium Seat Release – a limited number of premium seats at £95 (or £190 for both parts) are apparently released weekly on the website, so keep an eye on it if you can afford the higher prices.
  • Popping by the box office / checking the website – If you are flexible as to when you go, then it’s worth calling or popping by the box office and checking if there are any odd seats available. I know someone who asked if there was anything at all for July and picked up a stray seat. This will clearly be easier for solo theatregoers or those willing to sit separately. Tickets also occasionally pop up on the website, so keep an eye on it and you may pick up last minute tickets that way.
  • Returns – the Palace has 1,400 seats so the chances of returns are good. Picking up a return will involve a queue, so take a flask of hot tea, a blanket, a stool and head for the theatre. I know people who’ve queued in the early morning for any returns released as soon as the box office opens. Others are also queuing during the day, where there is more chance to pick up returns the nearer it gets to the start of the show as people arrive with spares. The brilliant Theatre Forum now has a thread about the returns queue, which can help you keep up to date with people’s experiences: http://theatreboard.co.uk/thread/1408/harry-potter-cursed-returns-thread

3. Box office collection

If you need to collect your tickets, the box office is on the Shaftesbury Avenue side of the buildingg. I’d recommend collecting them earlier in the day if you can, as that will save you having to queue at the box office when you arrive for the show (as you’ll likely have to then join the queue to enter the theatre too)! Make sure you take some ID and the card you used to pay for the tickets when you go to collect them.

4. Arriving for the show – Get there with plenty of time before it starts (especially if you want to buy merchandise)

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I’m sure you’ll have seen that the theatre is recommending everyone arrive an hour before it starts. I’ll start by saying don’t panic if you think you’ll arrive with less time than that! We arrived there at about 6:50 p.m. and that in fact worked out better, as those who had already started queuing before the doors opened had largely already gone inside, meaning the queue was much smaller and was already moving. Once the Palace Theatre opens, the queue to enter moves very quickly, so I don’t see the point of queuing for ages before then.

I would however say that you should give yourself enough time before the show starts to buy any refreshments and to queue for the merchandise. The merchandise kiosk is located in the entrance of the theatre and due to the lack of space and to ensure everyone is served quickly, there is a queue for the kiosk. It’s very orderly as Palace Theatre staff direct you and don’t let anyone push in, so you’ll find yourself queuing for about 15 minutes down the stairs inside the theatre foyer. I’d recommend buying anything from the kiosk either before the show starts or at the end, as the interval may not give you enough time and you don’t want to be rushing. I would say, don’t read the programme or souvenir brochure until after Part 2 if you want to be absolutely spoiler-free (the lovely theatre staff will say the same too).

There are refreshments available to buy at the theatre, but I took a bottle of water with me and I’d recommend buying some water, just in case you start coughing during the show, as it’ll be better for you and those around you! If you want to buy drinks in the interval, order them before the show starts to save you having to queue at the bar later on. Also don’t forget that large bags aren’t allowed in to the theatre (no larger than 41cm x 31cm x 16cm), so don’t arrive with your suitcase.

5. Seating Plan

I’m sure by now you all know where you are sitting, but if you need a reminder have a look at the seating plan on the play’s website here: seating-plan-v2

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The lovely Palace Theatre!

 

6. Food & Drink

Being in the middle of central London means that there are places to eat and drink nearby that should suit all budgets. If you only want something quick, the usual suspects of McDonalds and Pret are practically opposite the theatre entrance. If you have more time, then you could walk the 5 minutes in to the heart of ChinaTown for Chinese food, which again doesn’t have to cost you too much at all. The Foyles bookshop around the corner (at 107 Charing Cross Road) also has a great café on the 5th floor which is another option (plus you can also wander around this brilliant bookshop too).

The Cursed Child website has also helpfully compiled suggestions for a range of cuisines at nearby restaurants, which you can find here: https://www.harrypottertheplay.com/restaurants/

7. Stage Door

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For those keen to try and get an autograph from the actors after the play, then there is a stage door. It’s located on the corner of the theatre (the Greek Street / Shaftesbury Avenue side of the theatre). As you leave the theatre, go past the box office and you’ll soon spot the people waiting around the side door around the corner (see image above courtesy of http://www.aboutmaria.com). If you are in London for a few days, it may be worth trying for autographs on a day you haven’t seen the show. That way you aren’t rushing to leave the building and can time your arrival to just before the show finishes, giving you a better chance of being near the front of the crowd.

8. Things To Do nearby the theatre

I’m sure you all have lots of ideas for things to do during your time in London and there’s so many options (I live here and still haven’t done it all). Here are a few suggestions for nearby the Palace Theatre:

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  • Forbidden Planet – about a 5 minute walk from the theatre (179 Shaftesbury Avenue) is the home of sci-fi, fantasy, TV and film merchandise in London. Here, you can buy everything from books and comics to Funko Pops!
  • Covent Garden – There’s plenty to see in Covent Garden, whether you want to visit the Apple store, browse the market stalls or watch the street entertainers and soon its Christmas decorations will be up too. I also recommend exploring Seven Dials, which has lots of independent shops and places to eat.
  • Picturehouse Central Cinema & Café – about 10 minutes from the Palace (at the corner of Great Windmill Street and Shaftesbury Avenue) is the lovely Picturehouse Central cinema. Not only is it a great cinema, but it also has a fabulous café on the ground floor, with lots of seats. https://www.picturehouses.com/cinema/Picturehouse_Central

9. Other Harry Potter activities to do in London (because why not when you are here)!

 

If you are travelling to London to see the play, whether from elsewhere in the UK or abroad, you are clearly already a passionate Harry Potter fan, so this last section of tips may be old news to you. That being said, just in case, here are some other Harry Potter-related suggestions of things to do and see here!

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  • House of MinaLima – Just around the corner from the Palace Theatre (at 26, Greek Street) is the wonderful House of MinaLima; an exhibition and shop of the graphic art of the Harry Potter films, and other works, by the MinaLima studio. You can see props of books and letters used in the films, see the artwork of The Daily Prophet up close and even take prints home (or an exercise book in the style of those of the Hogwart’s students). It’s free to enter and open every day and will soon be adding a display from the new film Fantastic Beasts & Where To Find Them. http://store.minalima.com/house-of-minalima/
  • Warner Bros. Studios – I’m sure this is already on every visiting Harry Potter fan’s list. Located in Watford, the Warner Bros. Studios give you the opportunity to delve in to the film world of the series. See props, costumes and models and sample the Butterbeer too! See the website for more details: https://www.wbstudiotour.co.uk/
  • Platform 9 3/4 at King’s Cross station – a fun thing to do which doesn’t take too much time, is to visit King’s Cross station and get your photo taken pushing the luggage trolley through the wall! There is also a merchandise shop next to it for all your Harry Potter goodies. https://www.kingscross.co.uk/harry-potters-platform-9-34
  • Location spotting! – There are plenty of locations from the Harry Potter films to be found in London, from Leadenhall Market as Diagon Alley, to Hermione Granger’s  street in Hampstead. There is a great list of suggestions located at the Londonist website here: http://londonist.com/2016/06/harry-potters-London

So, hopefully this post has been useful and can be a resource before and during your trip. If I think of anything useful or there are any developments (such as tube strikes), I’ll update this post. In the meantime, feel free to read my spoiler-free review of the show.

I hope you all have a wonderful time!

Ticket Release Reminder – Harry Potter & The Cursed Child

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Unless you’ve been living under a rock over the past few months, you will be aware that the next chapter in the story of Harry Potter is currently delighting audiences in London’s West End (I’ll see what I think when I go in September).

However, if you weren’t able to nab yourself some of the 170,000 tickets that went on sale last time, then this post is a reminder that a further 250,0000 tickets are released tomorrow!

Here’s what you need to know before tomorrow morning! Good luck Muggles!

  • Tickets are being released for performances from 27 May-10 December 2017
  • Tickets go on sale via the official website at 11 a.m. (BST) tomorrow (4th August)
  • The website will be operating an online queuing system, which will open at 10 a.m. Just head to the website from 10 a.m. to be placed in the queue (at random, so if makes no difference if you join at 10:01 or 10:58 a.m.). You can of course still join the queue after 11 a.m.
  • At 11 a.m., tickets will go on sale and you’ll await your turn (watching the little wizard walk along the queue status bar if it’s like last time)!
  • Once you are in, if it’s like last time, there will be symbols showing the availability of each date. If you are flexible, I’d scroll down to those with the best availability, as you are then more likely to secure seats than fighting over earlier dates with fewer seats to go around.
  • No need to think about where to sit. Just decide on your price band in advance. To speed up the process, the system will automatically allocate you the best available for your chosen date.
  • Booking is limited to 6 per transaction (that’s 6 sets of tickets to see both parts 1 and 2).
  • If online is not an option for you, call +44 0330 333 4410.

In case it’s useful, here is a link to the theatre’s ticket infographic chart – Infographic Chart

There used to be price banding chart when deciding what seats you want to go for – it seems to have disappeared, so perhaps it’s changed a little, but in June it was roughly that the cheapest two bands were only available in the balcony, with the circle and stalls being the higher bands.

I hope that’s useful! Let me know how you get on!