Name: Annie Get Your Gun in Concert
Start: 2023-04-07
End: 2023-04-07
Location: London Palladium

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No Under 5’s. Under 16’s to be accompanied by an adult.

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Rachel Tucker is best known for playing Elphaba in over 1,000 performances of *[Wicked](https://www.londontheatre.co.uk/show/wicked)*, both on the West End and Broadway.

Born in Belfast in 1981, Tucker got her start on the stage as a child via the cabaret show circuit with her father and sister. As a kid she was featured on multiple competition shows including the Irish version of *Popstars* and Michael Barrymore’s *My Kind of Music*.

After training in London at the Royal Academy of Music, Tucker was chosen as a finalist on the 2008 Andrew Lloyd Webber-judged series *I’d Do Anything* where she competed alongside actors like [Samantha Barks](https://www.londontheatre.co.uk/actor-profile/samantha-barks) and [Jessie Buckley](https://www.londontheatre.co.uk/actor-profile/jessie-buckley).

In late 2008 came Tucker’s West End debut as Meat in the jukebox musical *We Will Rock You*. Following a year in that role, she was cast to replace Alexia Khadime as Elphaba in *Wicked* on the West End. Tucker led *Wicked* in London for over two years, making her the UK’s longest-running Elphaba. After leaving the West End production in 2012 she went on to be Broadway’s Elphaba in 2015 before returning to the West End *Wicked* stage in 2017 in the production’s 10th anniversary cast. Beyond *Wicked*, Tucker has starred in *Farragut North* in London, *John & Jen* at the [Southwark Playhouse](https://www.londontheatre.co.uk/theatres/southwark-playhouse), and on Broadway in Sting’s *The Last Ship*.

In 2018, Tucker joined the original West End cast of *[Come From Away](https://www.londontheatre.co.uk/show/come-from-away)* as Beverley and others. For this performance she received a Laurence Olivier award nomination for Best Supporting Actress in a Musical. Tucker then brought this performance to Broadway when *Come From Away* reopened in New York in 2021.

Tucker will play Annie Oakley in an *Annie Get Your Gun* concert at the London Palladium.

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John & Jen

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The <a href="https://www.londontheatre.co.uk/theatres/southwark-playhouse">Southwark Playhouse</a>'s smaller second stage makes a fitting attic. Natalie Johnson's set is simultaneously cramped and expansive, a naturalistically cluttered backdrop packed with boxes and lovingly detailed detritus of a suburban American life from 1980 to the present, a fit for the intimacy of the venue (which is perhaps unfortunately cramped—there is no distancing in place, and masks are not required).Andrew Lippa and Tom Greenwald's two-person musical about the changing relationship between a brother and sister originally debuted in 1995, and the play's plot points have been shifted forward from catalyzing around the Vietnam War to 2001 and the American war in Iraq. This explains the lack of specificity in the politics, which seriously undermines the show's ability to express any nuance about the events it depicts, or to allow its characters to seem genuinely rooted in their time period. The show strives to be a collage-esque chamber musical — I frequently found myself thinking of The Last Five Years and Fun Home, which much more successfully attempt a musical musing on the intersections of past and present — but the effect is rushed and disjointed.We leap decades between songs, and there is never time to settle in or deal with the emotions raised by one song before we're shuttled along to the next. The result is that the characters seem to change not because of one another, or due to choices they make in their lives, but simply because of the relentless and inevitable passage of time.The second act is far superior to the first, gesturing at a compelling and complicated story about how unresolved grief for her lost brother risks poisoning the titular Jen's relationship with her son — but again, the determination to take a whistle-stop tour of the characters entire lives rather than fully exploring any given conflict or turning point means the effect is an intellectual understanding of what the show is doing rather than an emotional experience of it.<a href="/actor-profile/rachel-tucker">Rachel Tucker</a> plays Jen throughout her life, while Lewis Cornay plays both Johns, brother and son. Both have bright, classic musical theatre voices, which suit Lippa's habit of falling back on traditional-feeling patter and layering counterpoints to convey the siblings' parallel stories. They are done a disservice by the play's limited casting, as both seem much more comfortable when playing their own age (Tucker must spend the entire first act as a teenager, Cornay spends a long time playing both Johns under age twelve), and thus don't really get to fully shine until late in the second act.All in all, it feels like a production that shows too much of its work: it's obvious what it's trying to do with its casting, its structure, director Guy Retallack's alternatingly naturalistic and surreal staging, but none of it genuinely connects. Given that the time was taken to do a partial rewrite, it feels even more like a missed opportunity.<a href="/show/john-and-jen">John and Jen is at Southwark Playhouse to 21 August. Book John and Jen tickets on LondonTheatre.co.uk.</a>Photo credit: Rachel Tucker and Lewis Cornay in John and Jen (Photo by Danny Kaan)

A rewritten 'John and Jen' feels like a missed opportunity

One of the most exciting venues in London, Southwark Playhouse Borough theatre, is a powerhouse of ingenious stage productions that indubitably captures the spirit of community theatre. Nestled within the heart of London's cultural hub, this enchanting venue exudes an intoxicating charm, enticing theatre fans from across the globe. Lauded for its versatile stages, the 'Little' and 'Large', the Playhouse stages an impressive array of works spanning classics, contemporary plays, and rousing musicals. A distinctive feature is its commitment to nurturing young talents along with presenting productions by experienced performers. The venue houses the Drama Desk Award-winning production 'Shockheaded Peter' and critically acclaimed musical 'In the Heights'. Savor the spellbinding ambiance of this dynamic venue which is ingeniously furnished to retain its historic essence while resonating with a modern vibe. The affable staff, state-of-the-art amenities, and the on-site bar brewing a delightful gamut of refreshments make your rendezvous with Southwark Playhouse truly memorable.

__**How to get to the venue**__:
Reaching Southwark Playhouse Borough Theatre is quite simple. If travelling by tube, it is just a short walk from the Borough tube station on the Northern Line or Elephant & Castle tube station on the Bakerloo and Northern Lines. Bus routes 35, 40, 133, 343 and 344 have stops nearby. Limited metered street parking is available nearby, though public transport is recommended due its convenience.

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Southwark Playhouse Borough

Southwark Playhouse Borough theatre is a historic yet modern venue featuring versatile stages, nurturing young talents, with easy accessibility via tube and bus.

Come From Away [11535] - LON 

Come From Away

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<a href="/show/come-from-away">Come From Away</a> lost out in the Tony race for most of the seven awards it was nominated for to <a href="/show/dear-evan-hansen">Dear Evan Hansen</a>, apart from Christopher Ashley who won the award for Best Director of a Musical. Both shows are coincidentally transferring to the West End this year in replica versions of their original Broadway productions, along with <a href="/show/waitress">Waitress</a> and <a href="/show/on-your-feet">On Your Feet</a>. But <a href="/show/come-from-away">Come From Away</a> is in a category of its own: a genuinely original musical, based on real-life events that took place in the immediate wake of 9/11, that is full of heart, truth and genuine emotion.&nbsp;This feel-good show about a feel-bad world-shattering event is also a little show with a big heart. It revolves around a tiny community in Newfoundland, Canada, who found themselves offering hospitality, food and friendship to nearly 7,000 people who were on some 38 aeroplanes headed to the US but who were diverted to Gander airport when American airspace was shut down on that fateful day... and for the succeeding four days, until they could resume their delayed journeys. &nbsp;As created by husband and wife team Irene Sankoff and David Hein, who wrote the book, music and lyrics after attending the 10th anniversary commemoration of the crisis and met many of those who had been diverted - the plane people, or 'come from aways' as they became known - as well as the locals who embraced them.&nbsp;They have carefully distilled and dovetailed some of those stories into an alternately poignant and uplifting musical, embedded in a rich folk score that draws on authentic Canadian influences.For once, this is a genuinely original musical, not drawing on a pre-existing film or book, but based on true-life events that give it a powerful resonance. This was emphasised on opening night by the presence in the theatre of some of the real-life people it is based on, who joined the cast playing them for the curtain calls.&nbsp;A tight-knit ensemble company of just twelve actors, all of whom play multiple roles, lend it fierce commitment and bring a spellbinding individuality to each character they pick up along the way. These include pilots, like American Airlines pilot Beverley (spectacularly sung by Rachel Tucker), locals like mayor Claude (Clive Carter) and Bonnie (Mary Doherty), and passengers like Kevin and Kevin who are coupled when they arrive but will split up afterwards (David Shannon and Jonathan Andrew Hume), and Diane and Nick (Helen Hobson and Robert Hands), who meet and couple up while they are on the island.&nbsp;It's a show with an impact that's difficult to describe: it feels like it creeps up on you unawares, before flooring you with emotion. I was just overwhelmed - and judging by the cheers and tears on the opening night, most of the audience seemed to be, too.&nbsp;<a href="/show/come-from-away">Come From Away</a> is booking at the <a href="/theatres/phoenix-theatre">Phoenix Theatre</a> until 14th September.<a href="/show/come-from-away">Come From Away tickets</a> are available now.&nbsp;&nbsp;<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>COME FROM AWAY REVIEW ROUND-UP</h2></div></div></div>"'Come from Away' creates a kind of temporary utopia: a little world where (almost) everyone is forced, by earth-shattering events hundreds of miles away, to come together and build a community based on principles of generosity and care." Alice Saville, <a href="https://www.timeout.com/london/theatre/come-from-away-review" target="_blank">Time Out</a>, ★★★★★"In Christopher Ashley's nimble production, a cast of 12 switch between playing the locals and the stranded travellers who have — in Newfoundland parlance — "come from away". It's an approach that heightens the sense of the groups happily merging, and the songs, mostly choral and propulsive, have a crowd-pleasing warmth as well as a Celtic accent (think pipes, fiddle and drum). " Henry Hitchings, <a href="https://www.standard.co.uk/go/london/theatre/come-from-away-review-phoenix-theatre-a4070281.html" target="_blank">Evening Standard</a>, ★★★★"See the show in the West End, and it takes all of ten seconds to be in its generous embrace. You stay there for the next 100 minutes: laughing, tapping your foot, wiping away tears, feeling good about humanity — what a rare, welcome feeling that is these days — without ever feeling you're just being sold gloopy musical-theatre good cheer." Dominic Maxwell, <a href="https://www.thetimes.co.uk/article/review-come-from-away-at-phoenix-theatre-wc2-0dj2s0b5p" target="_blank">The Times</a>, ★★★★★

Review - Come From Away at the Phoenix Theatre

Discover the remarkable true story of a small town that welcomed the world.

Winner of every major UK award for Best New Musical, Come From Away shares the incredible real-life story of the 7,000 air passengers from all over the world who were grounded in Canada during the wake of 9/11, and the small Newfoundland community that invited these ‘come from aways’ into their lives.

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

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

**How to get to the venue:**

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

**Additional Information**

Venue opens 1hr 30min before showtime.
Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

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Phoenix Theatre

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

Ages 7+. Under 16s must be accompanied by and sat next to an adult (18+). Children under 5 years will not be admitted. All persons attending, regardless of age, must have a ticket.

Wicked - LON [313]

Wicked

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As Glinda descends from the rafters in her bubble, the audience cheers immediately. As Elphaba defies gravity as she flies over the stage, the audience gasps with disbelief. It’s impossible not to be swept away in *Wicked*’s pure theatricality. More than 15 years after Wicked flew into the West End, the Olivier Award-winning musical is still an evening of sheer musical theatre bliss. 

Over 11 million people have visited the land of Oz across 6,000 performances and counting. The musical has won 13 awards, including the Olivier Award for Most Popular Show, and *Wicked* has become one of the most successful musicals of all time. Often when a show has been playing for a long time, it can lose some of the initial magic, but *Wicked* is still as lively and dynamic as ever.

Based on Gregory Maguire’s prequel novel of the same name, *Wicked* imagines an Oz before Dorothy followed the yellow brick road, one in which the “Wicked Witch” Elphaba and the “Good Witch” Galinda are roommates at school. *Wicked* is a story of an unlikely friendship and how the truth isn’t always what meets the eye. Add spine-tingling ballads, a dragon, and stage magic into the mix, and Wicked sets the bar for what musical theatre can be.

Winnie Holzman’s multilayered book peels back L. Frank Baum’s *The Wizard of Oz* to shine more light on what happens along the way. Every time you watch Wicked, you’ll hear a new line, or see a new character approach that uncovers more information; it’s no wonder that Wicked fans — Ozians — visit the land of Oz dozens of times to unpick the hidden truths about the lion, the scarecrow, and the tin man.

*Wicked* wouldn’t be complete without [Stephen Schwartz’s influential score](https://www.londontheatre.co.uk/theatre-news/news/stephen-schwartz-musicals); and songs like “For Good” now transcend popular culture as pop stars, like Leann Rimes and Delta Goodrem, cover the iconic duet. But there’s no place like home, and that’s hearing Schwartz’s anthemic songs live, complete with a 23-piece orchestra. Pair Schwartz’s music with Wayne Cilento’s explosive choreography, especially in the show-stopping “Dancing Through Life” when the students go to their first dance, and Wicked is poetry in motion.

Eugene Lee’s intricate and moody scenic design extends into the auditorium, thanks to a giant smoking dragon and flying monkeys climbing up the walls. Kenneth Posner’s lighting design and Tony Meola’s sound design amplify the tension, especially when the animated wizard mask comes alive and the wizard’s booming voice reverberates around the auditorium. But there’s plenty of brightness too, especially in Susan Hilferty’s viridescent Ozian costumes and Galinda’s kaleidoscopic wardrobe.

Elphaba has become a coveted role for thousands of performers. From Idina Menzel winning the Tony Award for originating the role on Broadway to Kerry Ellis, Rachel Tucker, and Louise Dearman, each performer has put their own spin on the role and the iconic ballads: “The Wizard and I,” I’m Not That Girl,” “Defying Gravity,” and “No Good Deed”. Lucie Jones comes into her own as the green witch, deftly moving from frustration to sweetness to fury, as Elphaba navigates the world around her and quickly learns that not everyone means what they say. Helen Woolf is bubbly perfection as Glinda, with her sweet soprano and dry wit.

There’s something in *Wicked* for everyone. From the childlike wonder at the magical world of Oz to the political undertones about our leaders’ role in society to the universal message that true beauty lies within, *Wicked* leaves the audience with food for thought and also, wanting more. It’s no wonder that the musical has captured the hearts of so many over the years and will continue to do so for many years to come. *Wicked* is certainly here to stay in the West End for good. 

*Wicked is at the Apollo Victoria Theatre. Book Wicked tickets on London Theatre.*

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‘Wicked’ review — the West End hit flies high at the Apollo Victoria Theatre 

Read our five-star review of *Wicked,* the Stephen Schwartz musical starring Lucie Jones and Helen Woolf, at the Apollo Victoria Theatre. Get *Wicked* tickets now.

“London’s No.1 show” (LBC) is back! Celebrating 16 triumphant years at the Apollo Victoria Theatre

The Apollo Victoria Theatre is a world-renowned venue located in the heart of London. Since its inception in 1929, the theatre has been staging a myriad of performances, constantly exuding a vibrant atmosphere. With its striking art deco interior and a capacity of 2,304, the theatre continues to provide a rich sensory experience for all attendees. The Apollo Victoria Theatre is especially famous for hosting long-lasting musicals including 'Wicked' which has been running since 2006. The theatre provides state-of-the-art sound and light systems which complement the dynamic and innovative performances that grace its stage. Its enviable location, in the vicinity of Victoria Station, makes it effortlessly accessible to both local and international patrons.

__Getting to the Venue__ 

The Apollo Victoria Theatre is conveniently located at 17 Wilton Rd, London. It can be easily reached by numerous means of public transportation. Victoria Station, which services the Victoria, District and Circle Lines, is just opposite the theatre. Numerous buses also stop near the theatre including routes 38, 73, 8, amongst others. For those preferring to drive, the theatre is part of the Q-Park Scheme offering a 50% discount on car parking in some locations.

__Additional information__

Venue opens 90 minutes prior to the performance with bars, kiosks and toilet facilities available.
Auditorium opens for seating 55 minutes prior to the performance.
Latecomers can only be admitted into the auditorium at a suitable break in the performance, which is approximately
25 minutes after curtain-up.

Apollo Victoria Theatre - LON

Apollo Victoria Theatre

The Apollo Victoria Theatre is a major London venue known for its long-running musicals, state-of-the-art facilities, and easily accessible location near Victoria Station.

The London Palladium is one of the most famous and prestigious theatres in the heart of London. Steeped in history, the venue first opened its doors in 1910 and has since welcomed millions of visitors. Boasting a grand architecture with a capacity of over 2,200 people, it has played host to a range of world-class performances, ranging from theatrical productions to musical concerts, ballets, and even popular TV shows, such as the 'Sunday Night at the London Palladium'. The interior of the theatre is known for its ornate design, featuring a beautiful proscenium arch and stunning ceiling décor. The venue also offers a glamourous and sophisticated atmosphere, perfect for a night out in the city. Notable past performers at the London Palladium include Sir Bruce Forsyth, Bing Crosby, and Sir Elton John.

 **How to Get to the London Palladium:**

The London Palladium is conveniently located in the West End of London. The closest tube station is Oxford Circus, which is only a short walk away from the venue. Oxford Circus station is served by the Bakerloo, Central, and Victoria lines. Alternatively, the theatre can also be reached by several bus routes that stop near Argyll Street. If you are traveling by car, the nearest car park is the Q-Park in Cavendish Square.

London Palladium - LON

London Palladium

The London Palladium is a historic and prestigious theatre in London's West End, known for hosting world-class performances. It's easily accessible via public transportation.

Rachel Tucker is best known for playing Elphaba in over 1,000 performances of Wicked, both on the West End and Broadway. Born in Belfast in 1981, Tucker got her start on the stage as a child via the cabaret show circuit with her father and sister.

Rachel Tucker - Stars on Stage | London Theatre

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The London Palladium opened on 26 Dec. 1910. The 1955 television hit *Sunday Night at The London Palladium* cemented the public’s affection for the venue, and made stars of Bruce Forsyth, Norman Vaughan and Jimmy Tarbuck who hosted the show. 

From the early 1990s, the theatre housed longer runs of several large scale musical productions, starting with the [Jason Donovan](https://www.londontheatre.co.uk/actor-profile/jason-donovan)-led revival of *Joseph and the Amazing Technicolor Dreamcoat* in 1991. Owned by the Really Useful Theatres Group from 2000, Andrew Lloyd Webber has produced musical revivals of *The Sound of Music* in 2006 and *[The Wizard of Oz](https://www.londontheatre.co.uk/reviews/the-wizard-of-oz)* in 2010, both of which cast their leading ladies through audience-voted talent shows broadcast on BBC1. 

After an absence of 29 years, pantomime returned to the Palladium in 2016, which has now become an annual Palladium Christmas tradition.

## London Palladium Seating Information

The auditorium has three levels – Stalls, Royal Circle and Upper Circle. In the Stalls, the view of the stage is slightly obscured by the overhang of the Royal Circle from Row S onwards, and the seats further back do suffer from a slightly lower ceiling. The seats are raked from Row D of the Stalls.

In the Royal Circle, the top of the stage is slightly obscured by the overhang of the Upper Circle in Row J onwards. The Royal Circle is raked and generally has an excellent view from all seats.

In the Upper Circle, the view from the central block of seats is still very good.

London Palladium - London Theatre

The London Palladium, opened in 1910, is known for its TV hit show and large scale musical productions, and features three seating areas.

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Annie Get Your Gun in Concert Tickets

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