CAMERON MACKINTOSH AND MUSIC THEATRE INTERNATIONAL ANNOUNCE
LET THE PEOPLE SING: LES MISÉRABLES 40thANNIVERSARY COMMUNITY PROJECT
FOR THE FIRST TIME EVER IN THE UK 11 AMATEUR COMPANIES HAVE BEEN INVITED TO PRESENT THEIR OWN STAGING OF THE FULL SHOW ACROSS THE COUNTRY IN 2025
Cameron Mackintosh and Music Theatre International (MTI) are delighted to announce LET THE PEOPLE SING, a UK-wide amateur theatre project celebrating the 40th anniversary of Boublil and Schönberg’s worldwide phenomenon, Les Misérables, throughout 2025.
The project, which runs from March 2025 to August 2025, will see 11 community-wide productions of Les Misérables: Let The People Sing being mounted in cities across the United Kingdom. The show, which has never previously been made available to amateur groups in the UK whilst it continues to play to packed houses in London’s West End, will be staged in: Belfast, Birmingham, Brighton, Bristol, Glasgow, Leeds, Liverpool, Nottingham, Norwich, Porthcurno (Cornwall) and Swansea.
Uniquely, 11 amateur societies will act as lead producers in each venue but will work with other local groups in a collaborative manner to produce the best possible community-wide productions of the show. Groups will also have the support and guidance of the show’s West End and international associate creative teams as they prepare their non-replica, original productions of the show.
Casting for all 11 productions will be via open casting calls, details of which will be released at local level in due course.
The critically acclaimed production of Les Misérablescontinues to play at the Sondheim Theatre, celebrating its 39th revolutionary year, and several other local language productions around the world.
Cameron Mackintosh commented: “The phenomenon of Les Misérablescontinues to break new ground, just as Victor Hugo’s novel has since it was first published in 1862.
The world’s longest running musical was first made available to students under 19 (in an edited schools’ edition) in 2002, to mark the bicentennial of Victor Hugo’s birth.
As we approach the extraordinary landmark of the 40th record-breaking year of the iconic musical’s London run, alongside countless productions around the world, we are delighted to invite 11 of our leading amateur companies in the UK to stage, for the first time, the entire show in their own productions. This will involve many hundreds of amateur performers around the country, becoming part of our own yearlong celebrations.
The success of this much-loved musical was famously made by the public – not the early critics – so what better way to enjoy this unprecedented event, than Let the People Sing!”
Sean Gray, Managing Director of MTI’s London office said: “MTI cherishes our amateur theatre companies. They bring our musicals to the whole country, including to towns and areas not regularly visited by national touring productions. They nurture and develop talent in a unique and invaluable way, as well as providing opportunities for everyone who loves performing and making theatre to be a part of productions on all the country’s stages. Many of the great shows live on in amateur productions, often decades after their initial productions in the West End or on Broadway.
Although we have been able to license thousands of productions of Les Misérables School Editionto schools and youth groups, the remarkable success of the West End production in London and on tour means it hasn’t been possible to offer the show to our major amateur companies. But for one year, we are thrilled to have this opportunity to invite amateur theatre companies across the UK to produce eleven local productions, which we hope will be genuine local community projects. We already know how much excitement the project will generate, and we are really looking forward to guiding everyone towards a great national amateur celebration of Les Misérables in 2025 to mark the 40th anniversary of the London production. Let the people sing!”
The producers of the award-winning and unordinary new musical THE CURIOUS CASE OF BENJAMIN BUTTON are delighted to announce that Olivier Award winner John Dagleish will star as Benjamin Button at the Ambassadors Theatre from Thursday 10th October 2024.
He will be joined by Matthew Burns, Jonathan Charles, Oonagh Cox, Anna Fordham, Philippa Hogg, Damien James, Ann Marcuson, Jack Quarton and Benedict Salter, all reprising their roles from the acclaimed run at Southwark Playhouse. Also joining the ensemble will be Elliot Mackenzie. Further casting to be announced in due course.
John Dagleish won an Olivier Award for Best Actor in a Musical for his role as Ray Davies in Sunny Afternoon. His other theatre credits include Sylvia and A Christmas Carol both at the Old Vic, Common at the National Theatre, A Midsummer Night’s Dream at the Young Vic, and The Winter’s Tale and Harlequinade at the Garrick Theatre. John’s film credits include the live-action adaption of Disney’s The Little Mermaid, Matilda The Musical, The Gentleman, Judy, Christopher Robin, Mary Poppins Returns and Justice League. His television credits include Lark Rise To Candleford, The Third Day and 3 Body Problem.
An electrifying journey through the timeless tale of a love that defies all odds, THE CURIOUS CASE OF BENJAMIN BUTTON is an enchantingly beautiful and truly unordinary musical that reminds us to make every second count. The productioncaptured hearts last year with its sold-out Southwark Playhouserun – winning Best Musical Theatre Production at the 2024 Off West End Awards.
With a breathtaking soundtrack brought to life by an extraordinary actor-musician ensemble, F. Scott Fitzgerald’s iconic short story is relocated to a fishing village on the north coast of Cornwall by writing team Jethro Compton and Darren Clark.
Under the light of a full moon, something most curious occurs… Benjamin Button is born old. Bound to the fate of growing younger each day, Benjamin wants nothing more than to live a little life. But will he ever find a place to belong? Only time and tide will tell…
THE CURIOUS CASE OF BENJAMIN BUTTON is based on the short story of the same name by F. Scott Fitzgerald, author of The Great Gatsby and The Beautiful and Damned. With Book & Lyrics by Jethro Compton and Music & Lyrics by Darren Clark. It is directed by Jethro Compton who also designs the stage, with co-music supervision, orchestration and arrangements by Mark Aspinall and Darren Clark, choreography by Chi-San Howard, costumes and associate stage design by Anna Kelsey, sound by Luke Swaffield, lighting by Zoe Spurr, musical direction by Mark Aspinall and casting by Ginny Schiller.
It is produced by ATG Productions, Gavin Kalin Productions, Gary Beestone Associates, Eilene Davidson Productions, Susan Edelstein Productions, Umeda Arts Theater, Rupert Gavin & Mallory Factor, Winkler & Smalberg and Jethro Compton Productions.
The scene is set by a live tabla player – drumming out what appeared to be authentic intricate rhythms – for ten minutes prior to the performance starting, as a tone-setter it worked nicely. The stage was very minimalistic with banking to one side and a backdrop that could be lit to look like trees in Afghanistan, then in the second act became the high rise buildings of San Francisco.
Throughout the performance there is a representation of a kite that drops, to give the effect of a different area or to illustrate an event in a previous time frame. Here too, lighting is used to add depth and feeling to a scene. There is the bright green of the wedding ceremony, and then projected images of some of the horrors in this thought provoking tale – they are just two of the ways its effect can be seen. Music and sound is also used to great effect, emphasising and adding to what is being played out on the stage. The Schwirrbogen and singing bowls add a real sense of atmosphere that transports you to where the play is set.
The story itself starts as two young friends, from very different backgrounds, play together in their – then peaceful – homeland of Afghanistan. Amir, the son of the wealthy Baba (Dean Rehman), is played with great passion throughout by Stuart Vincent and Hassan, the ethnic minority son of the servant to Baba and his family, is played by Yazdan Qafouri. Qafouri shows real vulnerability in his character and is adept at demonstrating the respect he holds for Amir, despite the way he has been treated.
A number of incidents with the local antagonist, Assef (Bhavin Bhatt), put their lives in danger and a bad adolescent decision by Amir not only has a terrifying outcome for Hassan, but also years of regret for himself after he puts his need to please and impress his father before the safety of his friend. As he struggles to come to terms with his choice he then finds out that he has to further exacerbate the situation in order hide his actions from his father, which result in Hassan and his father Ali, played by Tiran Aakel, leaving – something that causes Baba great distress.
In the following years the situation in Afghanistan deteriorates as the Taliban gains control, and Amir and his father have to flee the country and emigrate to San Francisco. Here Amir meets his future wife, Soraya (Daphne Kouma), and her overbearing father General Taheri, played by Ian Abeysekera. Soraya has secrets of her own, and their relationship starts to falter as her father constantly tries to control their decisions with regards to having a family.
Meanwhile, some bad news from home gives Amir a real insight into his father’s relationship with his old servant, and give him the opportunity to redeem himself as well as save his marriage at the same time.
‘The Kite Runner’ is definitely not what you’d call a ‘feel good play’, though – as in life – there are a number of humorous incidents within it, despite the sorrow. It is however, an incredibly thought-provoking and endearing piece of work that comes complete with an ending that is both poignant and emotional.
A great deal of thought has clearly been put into every aspect of this performance, which makes it a captivating watch. The subject matter is treated with a real respect, despite some of the horrors it reveals, and the cast are proficient at making you believe in the characters they portray.
Norwich Theatre Royal – until Saturday 8th June 2024
Reviewed by Boo Wakefield
4****
A performance that brought alive the childhoods of Generation X, this production of ‘Grease’ was a true delight to watch; energetic, sexy and fun. From extraordinary vocals to incredible costumes and dynamic set pieces, this performance made the audience want to join the student body of Rydell High School and don their own ‘Pink Ladies’ jackets. The entertaining character presented by Joe Gash was the audiences guide, taking us through the innocent (yet demanding) relationship of Danny Zuko (Marley Fenton) and Sandy Dumbrowski (Hope Dawe) and the raucous ups and downs of High School life. From fights between lovers and friends, to the need to prove oneself to those around them, Joe Gash’s energy was infectious and kept the audience involved throughout.
Credit is owed to those involved in the choreography of this performance alongside Dame Arlene Phillips (Choreographer). Richard Roe (Associate Choreographer) and Carly Miles (Resident Choreographer) truly outdid themselves, most notably during the scene of the High School Dance. This saw high intensity dancing with impressive stunts; they managed to capture the high sex drive of the play, whilst also encompassing an innocent humour. A big commendation to Deena Kapadia (Cha Cha) and Adam Davidson (Johnny Casino) whose dancing and vocals had my eyebrows nearly touching my hairline with how impressed I was.
Another aspect that requires recognition and a standing ovation are the vocals. Hope Dawe drew all of us into Sandy’s heartbreak during ‘Hopelessly Devoted to You’, singing the viral hit with just as much fervour as Olivia Newton-John in 1978. Imogen Malone (Jan) and Lewis Day (Roger) had the audience giggling with childish delight during the number ‘Mooning’, with Day taking the audience by surprise with an astoundingly stable high note. However, the lady who stole the whole show with her incredible vocals was Rebecca Stenhouse playing the role of Rizzo. A difficult pair of shoes to fill, Stenhouse encompassed the standout maturity and sexuality of Rizzo’s character and the unique emotions suffered by a young teen who thinks she may be pregnant, all through the power of her unique vocals and acting.
The dynamic set matched the tempo brilliantly with slick changes to the elevated retractable platform set within the backdrop of the stage, mobile staircases and even a full sized “Grease Lightning” car that the cast was able to dance on during the ‘Greased Lightning’ number. The incredible costumes solidified this image of the late 50’s through Converse high-tops and leather jackets. The most notable costumes and set had the audience taken to another world during the iconic number ‘Beauty School Dropout’. The entire cast wore huge pink wigs and pink leather tops, combined with wings to make them into ‘Teen Angels’. Casting the entire theatre with a pink hue, this scene was a credit to the variety and imagination of the costume and set designers behind this production.
All-in-all this performance of ‘Grease’ was full of smiles, laughter and nostalgia and was a credit to the iconic classic that played a role in many of the audiences’ childhoods.
Cambridge Arts Theatre, Cambridge – until Saturday 8th June 2024
Reviewed by Steph Lott
4****
Party Games, a play written by Michael McManus and directed by Joanna Read, recently took the stage at the Cambridge Arts Theatre, offering a satirical take on the world of politics.
In the context of the UK in 2024, and with a General Election looming, “Party Games” takes on a particular level of relevance. The play’s premise, centered around John Waggner, the newly elected leader of the centrist One Nation Party, trying to maintain power in a hung parliament amid a discontented electorate and striking cheese makers, feels all too plausible given the current political landscape.
The play’s exploration of the lengths to which politicians will go to cling to power, including relying on a Svengali spin doctor and questionable data, strikes a chord in an era where trust in government is often strained. The inclusion of the King, and a large spider as potential allies adds an absurdist element that underscores the desperation and chaos of the situation. Unfortunately, that desperation and chaos feel all too familiar these days.
As John (played with great comedic panache by Matthew Cottle) navigates the treacherous waters of political survival, he is surrounded by a cast of characters, including Svengali Seth (Ryan Early), his assistant Luke (Shaun Chambers), and three women who complicate his life in various ways: his wife Anne, (Natalie Dunne), the Deputy Prime Minister Lisa (Erica Tavares-Kouassi), and Candice (Krissi John). Actually, it’s four females if you count the AI Medianne….
The acting in “Party Games” was top-notch, with each performer bringing their character to life with skill and nuance. Director Joanna Read’s vision for the play was evident in the pacing, staging, and artistic choices. The production moved at a brisk pace, keeping the audience engaged and entertained throughout. The staging made clever use of the space, with fluid transitions between scenes that kept the momentum going.
The technical aspects of the production were well-executed, enhancing the overall experience. Lighting and sound design were used effectively to create atmosphere and punctuate key moments in the story., cleverly bringing the outside world in. The costumes were appropriate for each character, helping to define their roles and personalities.
While “Party Games” was undeniably funny, with a script that delivered plenty of laughs, for me its impact was somewhat diminished by the current political climate. As the UK approaches a General Election, the real-life drama unfolding in the political arena can make satirical takes on politics feel very uncomfortable. Some of lines uttered by the characters were, sadly, very close to real life. Rather than being funny, they feel like a dismal reflection on the dire state of British politics.
Overall though, “Party Games” is a well-crafted and entertaining production that showcases the talents of its cast and creative team. The performances are strong, the direction is skilful, and the script impressive. For me it was unfortunate timing that the play is being performed on the brink of a General Election. However, that is no-one’s fault, and the audience enjoyed plenty of chuckles at the antics on stage. “Party Games” is an enjoyable night at the theatre, offering a humorous escape from the real-life political drama unfolding beyond the stage.
I suppose like most people around at the time I can tell you what I was doing on September 11th 2001 when the terrorist attacks took place in the United States. But what I wasn’t aware of was what happened in Gander, Newfoundland, Canada on that day and the following few days. When the United States air space was closed, the planes that were in the air had to be diverted. Gander is a major international airport and during the 50’s and 60’s most of the transatlantic flights needed a refuelling stop so it had the room. 38 planes landed that day in September with nearly 7000 people on board and what happened next really restored your faith in humanity. The people of Gander take the people into their homes, schools, fed them and treat them like family or neighbours.
This is a brilliant production and you would think with such a sombre subject it would be quite depressing but no it was joyous, uplifting, very moving and fabulously performed. The book, music and lyrics are by Irene Sankoff and David Hein, with the show being directed by Christopher Ashley and I’m really not surprised that it has won numerous awards.
It would be very hard to pick out just one member of this outstanding cast, I don’t think I’ve seen so much talent on one stage. They all play multiple parts, from Gander residents, Air Crew to plane passengers. They seemed to change into the different characters seamlessly by simply using the props to make a plane, adding different clothes, changing their accent, they were just magnificent! This made the musical flow beautifully; it is fast paced and has it doesn’t have an interval you are drawn into the story. I really didn’t want it to end!
The songs are amazing, On the Edge, 38 Planes, Me and the Sky and many more and the on-stage band (led by Musical Director Andrew Corcoran) were excellent.
I don’t think I’ve heard such a cheer go up at the end of a show for a long time. The cast and band got a well-deserved standing ovation. I’d never seen this musical before and I would absolutely recommend it. So, if you’re a newbie like me or someone who has seen it numerous times just go and see it…you won’t be disappointed!!
Orange Tree Theatre today announces the full cast for the UK première of Lucas Hnath’s Red Speedo directed by Matthew Dunster.
The previously announced Finn Cole – best known for his roles as Michael Gray in Peaky Blinders and Joshua ‘J’ Cody in Animal Kingdom – is joined by Fraser James playing Coach, Parker Lapaine playing Lydia, and Ciarán Owens (Peaky Blinders, The Last Kingdom)playing Peter.
Red Speedo opens on 18 July, with preview from 13 July, and runs until 10 August.
Lucas Hnath’s
RED SPEEDO
Directed by Matthew Dunster
A co-production with David Adkin
13 July – 10 August 2024
Set Designer: Anna Fleischle; Associate Set Designer: Cat Fuller; Costume Designer: Cat Fuller; Lighting Designer: Sally Ferguson; Sound Designer: Holly Khan; Casting Director: Matilda James CDG; Fight Director: Claire Llewellyn for RC Annie; Accent Coach: Aundrea Fudge
Ray lives to swim. He is within touching distance of international glory and a life-changing sponsorship deal. But everything changes when performance-enhancing drugs are discovered in the club’s refrigerator. As tensions run high, Ray’s brother wants them destroyed, his coach wants to call the authorities, his ex-girlfriend doesn’t want to know, and Ray wants the drugs back. A thriller played at the breakneck pace of an Olympic sprint, Red Speedo tackles the unforgiving weight of success in a world where the only crime is getting caught.
Lucas Hnath is one of America’s most exciting contemporary playwrights, whose A Doll’s House, Part 2 was recently seen at the Donmar Warehouse. Matthew Dunster directs this UK première, fresh from his hit West End productions of Shirley Valentine, 2:22 A Ghost Story and Hangmen.
Lucas Hnath is an award-winning playwright whose other plays include A Doll’s House, Part 2 (South Coast Repertory and Broadway), The Christians (Humana Festival), A Public Reading of an Unproduced Screenplay About the Death of Walt Disney (Soho Rep), nightnight (Humana Festival), Isaac’s Eye (Ensemble Studio Theatre), and Death Tax (Humana Festival, Royal Court Theatre). He is the recipient of a Guggenheim Fellowship, a 2015 Whiting Award, a Whitfield Cook Award, two Steinberg/ATCA New Play Award Citations and a Windham Campbell Prize for Drama.
Finn Cole makes his professional stage debut as Ray. His television credits include Peaky Blinders (as series regular Michael Gray), An Inspector Calls and Animal Kingdom. For film his credits include Slaughterhouse Rulez, Dreamland, Here Are The Young Men, F9 and Locked In, and the forthcoming Last Breath.
Fraser James plays Coach. His theatre credits include The Seagull (Regent’s Park Open Air Theatre), Liberian Girl, King Lear (Royal Court Theatre), Wildefire, Chimps (Hampstead Theatre), Mogadishu (Royal Exchange Theatre, Lyric Hammersmith Theatre), Love the Sinner, President of an Empty Room (National Theatre), Troilus and Cressida, The Frontline and King Lear (Shakespeare’s Globe). His television credits include Endeavour, Double Busy, Origin Wolfblood, Loch Ness, Strikeback, Outnumbered, Robin Hood, Frankenstein, Love Lies Bleeding, Babyfather, Judge John Deed, Second Sight, In Exile, Life After Birth, The Affair, Guardians, The Healer and Prime Suspect; and for film, Terminator: Dark Fate, Yardie, Resident Evil: The Final Chapter, Hero, Birds of Heaven, Sometimes in April, The Purifiers, Wing Commander and Shopping.
Parker Lapaine makes her professional stage debut as Lydia. For television, her credits include the forthcoming second series of House of the Dragon.
Ciarán Owens plays Peter. He returns to the Orange Tree having previously appeared in The Brink. His other theatre credits include The Interview (Park Theatre), Farewell Mister Haffmann (Theatre Royal Bath), Cabaret (Lido de Paris), The Windsors: Endgame (Prince of Wales Theatre), The Duchess of Malfi (Almeida Theatre), Tumulus (Soho Theatre), Rutherford and Son, Love and Information (Sheffield Theatres), Disco Pigs (UK and Ireland tour), King John (Shakespeare’s Globe), So Here We Are (Royal Exchange Theatre), A Handful of Stars (Trafalgar Studios, Theatre503), Oh What a Lovely War (Theatre Royal Stratford East), Candide, A Mad World My Masters and Titus Andronicus (RSC). His television credits include Curfew, Ancient Empires, Father Brown, Peaky Blinders, Temple, Small Axe: Red White and Blue, Washington, Krypton, The Last Kingdom, Strike Back, Arthur and George, Crazyhead and Spotless; and for film, Red Joan, Where Hands Touch, Immaculate Heart, Mugs’ Arrows, New Gods and Widdershins.
Matthew Dunster’s directing credits include Shirley Valentine (Duke of York’s Theatre), 2:22A Ghost Story (Apollo Theatre), True West (Vaudeville Theatre), Oedipus (Bunkamura Theatre), Hangmen, (Royal Court Theatre, Golden Theatre), Liberian Girl (Royal Court Theatre), The Seagull, A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), Love’s Sacrifice (RSC), The Lightning Child, Doctor Faustus (Shakespeare’s Globe), The Love Girl and The Innocent, You Can Still Make a Killing (Southwark Playhouse), Mametz (National Theatre Wales), Before the Party (Almeida Theatre), A Sacred Flame (ETT), Saturday Night and Sunday Morning (Royal Exchange Theatre), Mogadishu (Royal Exchange Manchester and Lyric Hammersmith), The Most Incredible Thing (Sadler’s Wells), and The Two Gentlemen of Verona (Royal & Derngate, Northampton). His writing credits include Children’s Children (Almeida Theatre), You Can See the Hills and Two Clouds Over Eden (Royal Exchange Manchester).
Double bill – Shadows of the Evening and Come into the Garden, Maud Wednesday 5 June 2024 at 7.00pm: A Song at Twilight
Primary Shakespeare: HAMLET 3 June – 5 July 2024 (workshops and performances) Mon, Tue & Fri
RED SPEEDO
13 Jul – 10 Aug 2024
ABOUT THE ORANGE TREE THEATRE
We are a local theatre with a global reputation.
A show at the Orange Tree is close-up magic: live, entertaining, unmissable. We’re an intimate theatre with the audience wrapped around the stage. We believe in celebrating what it means to be human. We believe in putting people at the centre of the stories we tell. And we believe in the power of a writer’s words, an actor’s voice, and an audience’s imagination to transport us to other worlds and other lives.
We punch above our weight to create world-class productions of new and contemporary drama, revitalise classics and re-discoveries, and introduce children and young people to the magic of theatre.
We are deeply rooted in our local community in South West London. We work with thousands of people aged 0 to 100 in Richmond and beyond through participatory theatre, bringing generations together to build confidence, connection, and joy. Our ground-breaking Primary Shakespeare and Shakespeare Up Close projects pack the theatre with children and ignite a spark to last a lifetime.
We’re a registered charity (266128). With only 180 seats and no support from Arts Council England, we rely on the generosity of our audiences and donors to raise £500,000 a year. These funds support our outstanding work on stage and in the community and invest in the next generation of talent.
David Adkin Limited is a London-based theatrical production and general management company. Credits include: Hir (Park Theatre); The King and I (UK tour/Dominion); A Little Life (Harold Pinter/Savoy); The Crown Jewels (Garrick); The Best Exotic Marigold Hotel (UK tour); Blindness (Donmar Warehouse/UK tour/International); Clybourne Park, Disruption, Rothschild & Sons (Park); Blindness Live (Theatre Royal Carré, Amsterdam); After The End (Theatre Royal, Stratford East); The Realistic Joneses, Wild Goose Dreams, The Omission of the Family Coleman (Theatre Royal Bath); The Grinning Man (Trafalgar Studios); Operation Epsilon, Windfall, Straight White Men, Afterglow, The Life, Stalking the Bogeyman, Dessert, Next Fall (Southwark Playhouse); Our Friends the Enemy (UK tour/New York); Sweeney Todd (Twickenham Theatre); and Our House the Musical (Savoy).
Step into the pages of Barrett Wilbert Weed‘s diary at The London Palladium on September 1st, 2024.
Brace yourselves for a trip through the spooky corridors of her mind as Barrett brings her West End Debut show, DEAR DIARY to the iconic London Palladium.
The American actress and singer is best known for originating the roles of Veronica Sawyer in the Off-Broadway production of Heathers: The Musical and Janis Sarkisian in the Broadway production of Mean Girls. She also voices Octavia “Via” Goetia in the animated musical series, Helluva Boss.
Barrett welcomes you into her world, for an intimate look at the music, stories, ghosts and monsters that have shaped her life and career, as she rewinds her past ten years on Broadway.
We’re in for a weird and wonderful night of theatre and Barrett’s own playlist of indie pop in her first ever solo show.
Michael Harrison and the Really Useful Group are delighted to announce that in celebration of 85 magical years since the iconic cinematic debut of The Wizard of Oz, audiences have the chance to visit the yellow brick road with an extended number of seats available in the West End this summer for just £20. A strictly limited four-week summer season at the Gillian Lynne Theatre begins on Thursday 15 August following a record-breaking UK and Ireland tour. This offer is available only until June 10 and tickets can be booked HERE after 10am today.
The beloved musical, based on the iconic story by L. Frank Baum will play a strictly limited London season of 38 performances only at the Gillian Lynne Theatre from Thursday 15 August – Sunday 8 September 2024. The film lives firmly on as a family favourite and, as testament to its enduring legacy, this production will have been seen by more than 500,000 theatre lovers by the time it returns to London.
Producer Michael Harrison says: “The Wizard of Oz remains an all-time family classic and we are delighted to extend this offer in celebration of the film’s milestone anniversary, as the show returns to London and audiences have their very last chance to see this production. It’s a glorious summer holiday treat and we can’t wait to take you over the rainbow at the Gillian Lynne.”
The Wizard of Oz’s London run stars JLS sensation Aston Merrygold* as The Tin Man and RuPaul’s Drag Race UK winner and Dancing On Ice star The Vivienne as The Wicked Witch of the West, alongside principal company members also currently starring in the UK and Ireland touring production: Allan Stewart(Stones in His Pockets, West End, UK Tour, Toronto; STV Hello, Good Evening, Welcome) and Alex Bourne (Annie, West End, UK Tour, Toronto; Hairspray, UK Tour) as The Wizard,Aviva Tulley (Book of Mormon, UK Tour) as Dorothy, Benjamin Yates (ITV’s Emmerdale; Jersey Boys, West End) as The Scarecrow, Nic Greenshields (Love Never Dies West End; Les Misérables West End, International Tour) as The Cowardly Lion, Emily Bull (9 to 5, UK Tour; Matilda UK Tour) as Glinda The Good Witch and Abigail Matthews as Toto (Bleak Expectations, West End; War Horse, West End).* FemiAkinfolarin (Treason, UK Tour; Moulin Rouge! The Musical, West End) will appear as The Tin Man at all other dates. Please see website for performance details.
The company is completed by: David Burrows, Adam Craig, Cole Dunn, Tyler Ephraim, Olivia Kate Holding, Thomas Kalek, Sadie Levett, Kelsie-Rae Marshall, Martin McCarthy, Rose Ouellette, Fanja Parent, Alexandra Regan, Nathan Routledge, and Sydney Spencer.
The Wizard of Oz on tour is presented by Michael Harrison, Gavin Kalin Productions, David Mirvish, Crossroads Live, Rupert Gavin and Mallory Factor, Jake Hine, and Playing Field, by arrangement with the Really Useful Group Ltd. Originally produced at Curve.
Get the whole family into London theatre this summer as long-running audience development initiative Kids Week returns, offering free children’s tickets to participating shows.
Lovingly referred to as ‘the longest week in summer’, Kids Week now runs throughout the summer holidays with tickets available to select performances from Wednesday 24 July to Friday 6 September. During Kids Week, a child aged 17 and under can see a show for free when accompanied by an adult paying full price, plus an additional two children can attend for half price – and there’s no booking fees. Tickets go on sale at 10am on 11 June, only via OfficialLondonTheatre.com.
From exciting productions participating for the first time like Hamilton, Harry Potter And The Cursed Child, Guys & Dolls and MJ The Musical to established Kids Week favourites including Horrible Histories – Terrible Tudors, Disney’s The Lion King, RSC’s Matilda The Musical, Mrs Doubtfire, Shrek, Wicked and The Wizard Of Oz, there is something for all the family to enjoy.
Alongside the performances, shows are offering a range of free activities for Kids Week ticketholders, so look out for ‘Kids Week Curtain Calls’ where all Kids Week bookers in attendance can stay for a post-show Q&A or demonstration after the show, as well as more show specific offerings from dance and musical theatre workshops to puppet demonstrations.
This year, Mastercard cardholders can unlock special Kids Week exclusives, which include the chance to win tickets to English National Ballet’s Nutcracker this Christmas and a free digital activity pack, including a theatre themed wordsearch, spot the difference, guess the show from emojis and more. Mastercard cardholders will also have exclusive access to two Kids Week activity events with RSC’s Matilda The Musical and Shrek The Musical. Tickets to these exclusive events will only be available to purchase via priceless.com and will go on sale on 11 June.
Kids Week bookers with access requirements can complete the Access Priority Request Form before general on sale. The form will be available on theKids Week website from 4 June to 9 June. Eligible bookers who have completed the form will be contacted by the theatre box office on the morning of 11 June.
List of shows participating in Kids Week 2024
The 13 Storey Treehouse The 39 Steps Back To The Future – The Musical Beauty And The Beast Blippi: The Wonderful World Tour Brainiac Live Charlie Cook’s Favourite Book The Choir of Man A Chorus Line Errol’s Garden Fantastically Great Women Who Changed the World – The Musical Fireman Sam – The Great Camping Adventure Frankie Goes To Bollywood Fuerza Bruta: Aven The Gruffalo Guys & Dolls Hadestown Hamilton Harry Potter And The Cursed Child Hello Dolly! Horrible Histories – Terrible Tudors An Inspector Calls Kathy and Stella Solve a Murder! Kiss Me, Kate The Lion Inside Disney’s Lion King Mamma Mia! Marie Curie Mario The Maker Magician RSC’s Matilda The Musical Milkshake! Live On Holiday! Ministry of Science Live! Science Saved the World Les Misérables MJ The Musical The Mousetrap Mrs Doubtfire Next To Normal Peanut Butter & Blueberries The Phantom Of The Opera The Play That Goes Wrong Queenz: Live In London! Rough Magic Sam Wu Is Not Afraid of Ghosts Shrek The Musical Sister Act Six The Tiger Who Came to Tea Tina – The Tina Turner Musical Tweedy’s Massive Circus Two Strangers (Carry A Cake Across New York) Why Am I So Single? Wicked Witness For The Prosecution The Wizard Of Oz Your Lie In April Zog And The Flying Doctors
Age recommendations and restrictions for participating shows will vary. Please check the show listings on OfficialLondonTheatre.com for more information.
