5 Guys Chillin’: 29 October – 28 November, 10pm (Thurs – Sat)

F*cking Men: 5 December – 9 January

Due to popular demand, the King’s Head Theatre are proud to announce extensions to their 5-star “fan-f*cking-tastic” (CultureFly) production of F*cking Men and Peter Darney’s verbatim 4-star “brave, bold, and thoroughly raw-nerve” (British Theatre) 5 Guys Chillin’.

5 Guys Chillin’ is a graphic, gripping, funny and frank verbatim drama exposing the gay chill-out scene, and will now be playing late night dates through November as part of our new writing festival #Festival45. Reviews have described the show as “beautifully done, bold and tackles issues that hit home to many” (Gay Times) and “an absolute must see for anyone who goes to the theatre to feel stirred, provoked and who cares deeply about the socio-political issues within our society” (Top London Theatre).

Artistic director of the King’s Head Theatre, Adam Spreadbury-Maher, says “This play tackles the most serious, urgent gay men’s health crisis since the outbreak of HIV in the early 80s. HIV and hepatitis infections are on the rise again due to shared needle use and unprotected sex on the chill-out scene, causing a huge strain on individuals, communities and the NHS. From just 3 nights at the Brighton Fringe, we are now extending the show into a second month to keep the conversation going about this crisis. We’re so thrilled to be doing such important verbatim work.”

***** “The King’s Head Theatre continue to amaze and surprise with the shows they stage – this is one of the best” Stephen Vowles, Boyz

This will be followed, in December, by a restaging of the smash success F*cking Men, which has already extended once since our August production and will now be entering a third month. The production will be undergoing changes, retaining artistic elements while streamlining the show for a sustainable touring future that will continue to provide employment for the artists involved.

Adam says “This new production has been praised for its universality across sexual orientations. We’re proud to be producing gay theatre that speaks to a universal audience!”

Now in its 45th year, The King’s Head Theatre is celebrating this anniversary with an exciting new artistic policy after the departure of OperaUpClose, becoming a crucible for new writing and critical rediscoveries. Work from Irvine Welsh, Richard Cameron, Richard O’Brien and Arthur Miller, as well as Mike Bradwell directing for the first time since the 1970s, guarantees that if it’s on here, you won’t see it anywhere else. Led by Adam Spreadbury-Maher, second artistic director following Dan Crawford (who set up the King’s Head as the first pub theatre in 1970), the theatre is the first unfunded venue to have an Equity agreement to pay theatre-makers fair wages since 2011, and continues to do so despite receiving no public funding.

Titus Andronicus Review

New Wimbledon Studio Theatre, 20th October – 14th November.  Reviewed by Claire Roderick

“A couple of chaps are mutilated and beheaded, another is stabbed and thrown in a pit. And to cap it all, some queen is made to eat her children baked in a pie… it’s hardly a comedy!”

Those words from Theatre of Blood, the glorious camp-fest of the best Shakespearean deaths (fab film for a wet autumn afternoon), are what made me read Titus Andronicus in the first place. It is my favourite play, and I think Aaron is the greatest villain ever written. Yes, it is violent and bloody, with political and personal vendettas that still resonate today in our world of tit for tat air strikes, honour killings and acid attacks, but above all, the whole thing is as mad as a box of frogs. And that’s why I love it.

So my heart sank when I looked at the programme and saw that Marcus Andronicus was now Marcia. What else would they be changing? Thankfully, not much. Perhaps the director thought that a female Andronicus would help balance out the power and make the Andronici less militaristic and cold hearted? Or maybe there just weren’t enough male actors in the company? Either way, Cornelia Baumann is an excellent actress, but the gender change adds nothing to the play – occasionally Marcia comes across as shrill as Tamora, rather than as the steadier, more political sibling. At least the director cut the dead fly scene – not one of Shakespeare’s finest moments.

Julie Taymor’s 2000 film loomed large in my memory as the first act began with young Lucius playing with his soldiers, and then silently watching the action, but the use of the character throughout was wonderful, leading up to a shocking and ambiguous final moment. Matthew Ward as Titus seemed to morph into Anthony Hopkins at times – which can’t be a bad thing.  

Tamora and her sons had just the right mix of malice and hedonism – the boy’s’ father apparently being Vyvyan from The Young Ones. I am still not sure about Aaron – Spencer Lee Osborne was magnificently oily and silver tongued manipulating those around him and revelling in his misdeeds, but when he was in captivity he was a little too teary and shouty for my liking – making his defiance seem like empty bravado rather than malicious disdain. But I have a very specific idea of what Aaron should be, and Osborne may now have changed that a little.

Shockingly, there was not that much blood in the production. The most disturbing deaths were silent and slow, carrying on in the background as the scenes unfolded. Using modern clothing and props enables some interesting touches. While a hedonistic party plays out in the background to the strains of Depeche Mode’s Personal Jesus, a wedding full of ritualistic gestures to the gods is carried out. Instead of messages tied to arrows, Saturninus (Gareth Kearns gleefully channelling Kenneth Branagh’s Gilderoy Lockhart) is terrified by the retweeting of young Lucius’ messages. The machinations leading up to the climactic feast are played out as a dumb show to a thumping beat with great comic effect.

So Inspector Boot of Theatre of Blood was wrong – amongst the blood, gore and spiral of tragic revenge, there is plenty of humour, albeit dark and twisted. Arrows and Traps have created a production with just the right mix of tradition and modernity. It is such a shame that last night the cast outnumbered the audience.

This is Shakespeare at his bloody best. Go and experience the madness. Take your friends. Take your teenage children. Tell them that THIS is what Game of Thrones wants to be when it grows up


What happens next in the iconic Puccini story? The son of Madam Butterfly has travelled to America to meet his father for the first time but he’s brought the ghost of his mother too. The play blends the music and myths from the original opera with a new score by one of the UK’s leading contemporary composers, Michael Finnissy (whose work was last heard in London at the Proms) and tells a new story using Japanese dance, masks, shadow work and physical theatre. Ignacio Jarquin sings and plays all the characters accompanied by an ensemble of four musicians on stage.
The show won 1st prize at the Scratch Night of the Casa International Latin American Theatre Festival and has been developed with Marlborough Theatre in Brighton, Tête-à-Tête Opera Festival, The Poly in Cornwall and Erin Arts Centre on the Isle of Man. Madam Butterfly Returnsdraws on Japanese Noh theatre for the dance and mask work and Naga Uta for the music.
Fast forward thirty years from the end of Puccini’s iconic opera, Tomisaburo, Butterfly’s son has travelled to America to meet his father for the first time. However Pinkerton, the former US naval officer is now Governor of Atlanta and in the middle of an election campaign: “purity of race and Christian family values” is his bill. The last thing he needs, in thirties America, is the arrival of his illegitimate mixed race son. How much does Tomisaburo know about the true nature of his parent’s marriage or his mother’s death? Will Governor Pinkerton reject or embrace his only child and how will his son react? Is Butterfly really only a far memory left in a far-away world?
Previous Reviews:
“Heartrending..” Camden Review
“Good tale excellently told…” Ham Life
“Jarquin is a great singer and a natural story-teller.” The Scotsman
“…a work of genius..” thelatest.co.uk
For production pictures, promotional video clip and more information about the show visit:http://madambutterflyreturns.com
Twitter: @MButterflyRtns

Landor Theatre, 70 Landor Rd, SW9 9PH

Performances: Wednesday – Saturday 8.00pm, Saturday and Sunday matinees 3pm & 6pm
Press Night: Thurdsay 5 November, 8.00pm
Tickets: £16/£14 Final week £18/£16 (Previews £12)
Box Office: www.landortheatre.co.uk| 020 7737 7276

Harry Potter and the Cursed Child dates and plot details announced

Priority tickets for JK Rowling’s brand new Harry Potter story will go on sale on Wednesday 28 October with public booking opening on 30 October, it has been announced today.

Harry Potter and the Cursed Child Parts I and II takes up where the seventh book finished in Rowling’s saga about the boy wizard.

Previews begin on 7 June 2016 at the Palace Theatre and throughout the run on Wednesdays, Saturdays and Sundays both shows will be performed with a matinee performance of part one and an evening performance of part two. The press performances will be on Saturday 30 July.

New artwork has also been released for the show, which shows a boy inside a bird’s nest with wings.

The price of tickets for each show start at £15 (with £10 for previews), with 250 tickets for every performance being sold at £20 (£15 for previews) or less for each show.

There will also be a lottery for reduced price tickets available for each performance.

The new episode in the Harry Potter story has been split into two plays. The plays have been written by Jack Thorne and will be directed by John Tiffany.

The play will follow the trials of a Harry Potter who works in the Ministry of Magic with a wife and three kids nineteen years later. His youngest son, Albus, is struggling with his family legacy. The show synopsis continues: “Both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places.”

There will also be four special preview performances at the end of May. Details on how to get tickets for these performances will be released in due course.

Rowling said: “The story only exists because the right group of people came together with a brilliant idea about how to present Harry Potter on stage. I’m confident that when audiences see Harry Potter and the Cursed Child they will understand why we chose to tell this story in this way.”

Casting is still to be announced. Sign up before the priority booking closes on Saturday 24 October.


How to get tickets to Harry Potter and the Cursed Child

Priority Booking

You must sign up to priority booking by 11.45am on Saturday 24 October to be eligible for early release tickets. Tickets for the first four months of performances, including previews (7 June to 18 September 2016) will go on sale online only at 11am GMT on 28 October 2015 on a first come first served basis to all who registered.

General On Sale

Keep your fingers on the mouse on 30 October 2015 at 11am GMT as tickets go on sale to the general public.

Prices for general tickets are as follow:

Previews: £20, £50, £80 or £100 for a seat for both Part One and Part Two of the play; £10, £25, £40 or £50 if bought separately.

Performances after opening night (30 July 2016): £30, £70, £100 or £130 for a seat for both Part One and Part Two of the play; £15, £35, £50 or £65 if bought separately.

Reduced price weekly lottery tickets

Every Friday at 1pm, once the run starts, there will be a weekly online release of 20 reduced priced tickets for each performance. These will be for the following week’s performances and situated in the stalls. Tickets will be £30 during previews and £40 after the show opens (30 July 2016) to purchase a seat for both Part One and Part Two.

Daily ticket lottery

There will be a daily ticket lottery, with 20 tickets in the stalls at £30 during previews and £40 after the show opens to purchase a seat for both Part One and Part Two. These will be available in person at the Palace Theatre Box Office on the day of the performance.

Performance schedule

Previews begin at the Palace Theatre, London on Tuesday 7 June 2016 and tickets can be secured at a reduced rate. Opening night for Part One and Part Two of the play will be on Saturday 30 July 2016 at 2pm and 7.30pm.

Four special preview performances are planned for the end of May 2016. Details of when these performances will go on sale will be announced at a later date.

For the schedule of performances check the official website.

Giggin4good Presents Best Of British A Celebration of British Musical Theatre

best-of-britishGiggin4Good present Best Of British a celebration of British Musical Theatre through the ages, at the Actors’ Church, Covent Garden on Sunday 15th November, with a fabulous cast of West End and Off-West End vocal talent, including 2015 Olivier Award winner (Lorna Want).

This will be the 8th charity concert produced by Giggin4Good since its commencement in 2010 to raise much needed money to support the vital palliative and life-saving work done at Great Ormond Street Children’s Hospital. Generally the money raised has been donated to a specific ward at the hospital. This year, as it is a few weeks before Christmas, all proceeds will go towards buying Christmas gifts for the children in the hospital.

The evening will celebrate the work of British musical theatre composers from the vintage to the modern – from Noel Coward and Ivor Novello to Andrew Lloyd Webber and George Stiles and Anthony Drewe. The concert will also feature some new British musical theatre writing, including songs from musicals My Land’s Shore and A Pebble For Aaron.

The cast (subject to change) will include:
Jemma Alexander (Wicked, Rent), Jamal Andreas (Bend It Like Beckham, Ragtime), Julie Atherton (Pure Imagination, I Love You You’re Perfect Now Change, Therese Raquine, Avenue Q), Marcus Ayton (Joseph & The Amazing Technicolour Dreamcoat), Katie Brennan (White Feather, The Spitfire Grill), Kieran Brown (The Phantom Of The Opera, Pipe Dream, Wicked, Love Never Dies), Michael Burgen (The Pirates Of Penzance, Spamalot), Michael Colbourne (Les Miserables, A Little Night Music), Matthew Croke (West Side Story, Wicked, Chicago), Tim Driesen (Jersey Boys, Rock Of Ages, Never Forget), Lauren Ingram (Gypsy, From Here To Eternity, Joseph & The Amazing Technicolour Dreamcoat), Keith Jack (HMS Pinafore, Sincerely Mr Toad, Joseph & The Amazing Technicolour Dreamcoat), Sejal Keshwala (Bend It Like Beckham, After The Tone), Jeremy Legat (Wicked, Therese Raquin) , Jordan Langford (Elegies For Angels, Punks & Raging Queens, Orton: The Musical) Leigh Lothian (Beautiful, Selkie, The Beautiful Game), Carolyn Maitland (Miss Saigon, Singing In The Rain, From Here to Eternity, Kiss Me Kate), Shaun McCourt (Warhorse, Joseph & The Amazing Technicolour Dreamcoat), Ian Mclarnon (Sunday in The Park With George, Forever Plaid, Sweeney Todd, Les Miserables), Kayleigh McKnight (Bend It Like Beckham, The Mikado, The Dreaming), Sarah McNicholas (Carrie, Evita, Whistle Down The Wind), Gary Mitchinson (Warhorse, The Witches Of Eastwick, The Fix), Michael Riseley (Les Miserables), Laura Tebbutt (Love Me Tender, Forbidden Broadway, The Wizard Of Oz), Lowri Walton (Warhorse) Lorna Want (Beautiful, Dreamboats And Petticoats, The Fantasticks, Romeo And Juliet) Scarlet Wilderink (Warhorse), Gary Wood (Infidel the Musical, A Chorus Line).

The compere for the evening – making his Giggin4Good debut – will be Ian Stroughair (Cats, Fame, Chicago), who is also widely known in his drag alter-ego, Velma Celli. The show’s musical director will be Huw Evans (The Lion King, Oliver!, Evita).

Giggin4good Presents Best of British- A celebration of British Musical Theatre
Sunday 15th November Time: 7pm
Venue: Actors Church, Covent Garden
Tickets: £25 (VIP) £20 (standard) £15 (student) http://www.etickets.to/buy/?e=13185

Fifteen hours of theatre to be broadcast on Saturday 31 October 2015

home-theatre280Home Theatre (UK), Theatre Royal Stratford East’s ambitious theatre project that had thirty one-person shows staged in thirty homes across London on Saturday 17th October, is to move into its second stage with a broadcast of all performances taking place on the theatre’s web platform stratfordeast.tv on Saturday 31st October, 2015. From 8am, one new performance will be released every thirty minutes, with more than fifteen hours of theatre in total.

Performances took place in a wide-variety of homes across the capital. Home Theatre (UK) went to a homeless charity in Canning Town, a care home in Newham, a Victorian terrace in Brockley and on to the roof of a flat in Ealing Broadway. The project participated in a surprise celebration for a wife in South Woodfood, a family reunion in Leytonstone and a gathering of neighbours and friends in Battersea.

Home Theatre (UK) took place following a summertime public call-out for hosts, where members of the public from across the capital applied to have a tailor-made performance created for them in their own home. The performances were bespoke and tailored to each of the 30 selected hosts and ranged as broadly as a play on multi-culturalism devised especially for children, to a piece for a journalist based loosely on his own writings.

Audience and host feedback:
Sharon Zhu, a performance host said: “THANK YOU to you and your colleagues for bringing a most memorable production to our house. David Mumeni (the performer) did a fabulous job, and all our audience members – adults as well as little ones – had a wonderful time”.

Paul Evans, a performance host at Genesis Housing Association said: “What a success. The event at Colin Winter House was amazing, Ashley Gerlach (the performer) and the team did a fantastic job. We had 30 people attend and all had a wonderful time.”

The performance artists were supported in the creation of their work by six directors and thirty third-year students from the University of Reading’s Film and Television degree course, who recorded all performances using iPads and iPhones ahead of the broadcast on Saturday 17 October.

Home Theatre is now an international project happening on a global scale working in different geographic contexts. The international Symposium took place on Monday 19 October at Theatre Royal Stratford East, supported by the Calouste Gulbenkian Foundation. Speakers from across the world came together to share their experiences of creating theatre in homes, and how to further develop the notion of using theatre to reach out to people in a non-theatrical setting. Speakers included:

Cora Bissett, Theatre Director and Actor
Simon Sharkey, Associate Director at National Theatre of Scotland
Dr John Gibbs, University of Reading (discussed the digital element of Home Theatre (UK))
Amal Khatib Ramallah Contemporary Dance Festival, Palestine
Mathilde Lopez Theatre Director discussing her works at National Theatre of Wales
Tessa Walker Associate Director Birmingham Repertory Theatre
Aubrey Sekhabi, Artistic Director of South African State Theatre, Pretoria
Marcus Faustini, Festival Internacional de Cenas em Casa, Rio de Janeiro

Kerry Michael, Artistic Director at Theatre Royal Stratford East said “Home Theatre (UK) is about telling great stories. It’s an opportunity for artists and London audiences to come together, share a meal and have an open dialogue about their stories and the project. With the International Symposium we took this further by opening up the debate and inviting other artists to come in, talk about what we’re doing and how they might also get involved. We want to share our experiences on this project with other people in the arts and help them to explore how they might use that in their own work with their audiences and communities. Our aim is to open up the arts, to broaden its appeal and reach. We want audiences who regularly experience theatre to do so in new ways, and also to reach out to people who have never been inside a theatre before, and enable them to experience new, something entertaining and hopefully something that will make them realise that theatre is for them. It’s for everyone.”

The International Symposium has generated further interest and is stimulating the conversation around Home Theatre, and how other organisations can learn from it.

The Home Theatre (UK) 2015 project will be streamed to www.stratfordeast.tv on Saturday 31 October from 8am onwards, in 15 hours of continuous broadcast. The broadcast is free of charge to watch.

The Clockmaker’s Daughter returns to the stage for one night

Set your watches – The Clockmaker’s Daughter is returning to the stage in London – for one night only!

Following an acclaimed world premiere season at the Landor Theatre, the original cast and creative team of The Clockmaker’s Daughter, a fabulous new British musical by Michael Webbon and Daniel Finn, are to reunite for a special one-off concert version in St. James Studio on Monday 2 November, 2015.

The Clockmaker’s Daughter was widely praised by critics and the production was nominated for 10 awards. It sold out for the majority of its run, had 4 and 5 star reviews and received support from the likes of Tom and Giovanna Fletcher (McBusted/hit blogger and novelist), Matt Lucas and #WestEndProducer (theatre impessario).

Overall, great music, great story, great set, great cast and therefore great show.
Spindlewood, like most towns of age, has its traditions. But no practice, custom or Old Wives Warning is so firmly adhered to as ‘The Turning of the Key’. Every year, on the last night of winter, as the first day of spring unfolds, the townsfolk gather to take part in a strange ritual. They meet in the centre of the town square, where a statue bearing the likeness of a young girl stands, poised and still, one hand raised as if to toast the sky. Constance has stood in the square for as long as any can remember. But she is never more lifelike than tonight. Spindlewood is also home to a clockmaker with a secret – something the simple folk of the town must never discover. Through methods hidden even to himself, the Clockmaker has created something much, much more than a machine…

Cast: Jennifer Harding, Alan McHale, Jo Wickham, Lawrence Carmichael, Alyssa Martyn, Alex Spinney, Rob McManus, Leah Pinney, Matthew McCabe, Natalie Harman, Clodagh Meany, Emily Peach, Paul Brangan, Paul Bradshaw, Kathryn Aitken, Colette Lennon, Max Abraham, Ryan Lynch,

Director: Robert McWhir. Musicians: Michael Webborn (MD), Lauren Forder (Violin), Alessandro Lombardo (Percussion), Doug Grannell (Double Bass).

Monday 2nd November at 8.00pm. Tickets: £15 – £25
St. James Studio Theatre, 12 Palace Street London SW1E 5JA

Cast announced for Four Minutes Twelve Seconds

He says they all do it. These kids, you know, they’ve got their phones. Film everything. Can’t say I blame them. I would at that age.

Following wide acclaim at Hampstead Downstairs last year, James Fritz’s Olivier-nominated debut play Four Minutes Twelve Seconds, directed by award-winning director Anna Ledwich, transfers to Trafalgar Studios in November, 2015.

Seventeen year old Jack is the apple of his mother’s eye. Di and David have devoted their whole lives to giving him every opportunity they never had and, as a result, Jack is smart, outgoing, and well on his way to achieving the grades to study Law at Durham University.

But, a startling incident outside the school gates threatens to ruin everything they’ve strived for – an incident that suggests a deep hatred of their son. As events begin to accelerate, Di and David struggle to find answers, doubting Jack’s closest friends, Jack himself and ultimately themselves. Who can they trust as faith in their son’s innocence begins to crumble?

In a world where smartphones are ubiquitous, James Fritz’s deeply provocative and desperately relevant drama throws light on the insidious opportunities new technology offers – where nothing dies online, except reputation.

Kate Maravan will star as Di (British comedy series Broken News, BBC TV series New Tricks). Playing alongside her will be Jonathan McGuinness as David (BBC production of Wolf Hall, Love’s Labour’s Lost (The Royal Shakespeare Company)), Ria Zmitrowicz as Cara (Arcadia (The English Touring Theatre), The Crucible (The Royal Exchange)), and joining them for his Hampstead and Trafalgar Studios debut is Anyebe Godwin as Nick.

Fritz recently received critical acclaim for his sell-out play Ross & Rachel starring Molly Vevers at this year’s Edinburgh Fringe, for which Vevers won The Stage Award for Acting Excellence.

He began writing Four Minutes Twelve Seconds following a conversation with his mother, questioning what he would have had to do for her to turn him in to the police. What followed was an exploration into the morality of having children and how parents’ relationships change as children become adults capable of making their own choices. What if those choices are wrong?

Four Minutes Twelve Seconds West End Trailer

Writer James Fritz says: “I can’t wait to see Four Minutes Twelve Seconds up on its feet again. The production at The Hampstead was such a thrill for me – to work with such an incredible team on my professional debut was more than I could have hoped, and I loved seeing the response from the audience night after night. I couldn’t be more excited to get that team back together and see what the production does to a whole new bunch of people.

Four Minutes Twelve Seconds earned Fritz an Olivier Award nomination and was runner-up for the Verity Bargate Award in 2013. This production is part of ‘Hampstead Theatre at the Trafalgar Studios’.


Four Minutes Twelve Seconds
Performance Dates Tuesday 10th November – Saturday 5th December 2015
Monday – Saturday 7.45pm, Thursday and Saturday matinees 3pm
Running time 90 minutes
Trafalgar Studio Two
14 Whitehall, London, SW1A 2DY

The Gruffalo returns for West End Christmas season

thegruffaloChildren’s favourite The Gruffalo is making its return to London this December for a family fun-filled Christmas season in the West End.

Following its run on Broadway, the popular stage show is coming to the Vaudeville Theatre for a limited engagement this Christmas from 15th December 2015 to 3rd January 2016.

Join Mouse on a daring adventure through the deep dark wood in search of hazelnuts, meeting the cunning Fox, the eccentric old Owl and the party mad Snake on the way. Will the story of the fabled Gruffalo save Mouse from ending up as dinner for these wily woodland creatures? Armed with only a nut map and a little courage, Mouse must outwit them all. After all, there’s no such thing as a Gruffalo – is there?

Tall Stories’ The Gruffalo is a musical adaption based on the award-winning children’s book of the same name, by Julia Donaldson and Axel Scheffler. Since its first performance back in 2001, the production has entertained audiences in the UK, US, Ireland, Poland, Canada, Germany, Australia, Hong Kong, Dubai, Chile and on many more stages all around the world. It was most recently seen in London earlier this year, when it played a 10-week summer season at the Lyric Theatre, Shaftesbury Avenue from 1st July to 6th September 2015. It then headed to the New Victory Theater on Broadway for a short run between 17th and 24th October 2015.

The production is set to play at the Theatre Royal, Windsor and the Cambridge Arts Theatre throughout November, ahead of its West End run the following month.

The Gruffalo is presented by Tall Stories Theatre Company, a registered charity, founded in 1997 by joint artistic directors Olivia Jacobs and Toby Mitchell. Jacobs is the director of The Gruffalo and Mitchell is Creative Producer. Design is by Isla Shaw, with Lighting Design by James Whiteside and Composition/Sound Design by JollyGoodTunes Productions.

The West End cast stars Owen Guerin as The Gruffalo, Ellie Bell as Mouse and Timothy Richey as Predators.

The Gruffalo: Live on Stage! Opens at the Vaudeville Theatre on 15th December 2015, following Dawn French’s solo show Dawn French: 30 Million Minutes. It runs throughout the Christmas season and is set to close on 3rd January 2016.


The Gruffalo at the Vaudeville Theatre
404 Strand, London, WC2R 0NH
Booking From: 15th December 2015
Booking Until: 3rd January 2016