Name: The Wizard of Oz
Start: 2023-06-23
End: 2023-09-03
Location: London Palladium

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The Wizard of Oz

The Wizard of Oz Poster

Summer Theatre Sale

The producer of the smash-hit Joseph and the Amazing Technicolor Dreamcoat presents a brand-new production of THE WIZARD OF OZ, one of the world’s most beloved musicals.

Born in London in 1954, Harold Owen “Gary” Wilmot is a British actor, singer and comedian, who has appeared in West End productions for over 30 years. In his early years, Wilmot was inspired by his father’s love of singing; his dad Harry was a part of vocal harmony group The Southlanders. However, his dad’s death when Gary was just seven stopped his dream. As he grew up, Wilmot steered away from performing, instead working on building sites.

Wilmot’s big break came after entering *New Faces*, a reality television show that sought after undiscovered British talent. Being part of a comedy double act with Judy McPhee, Wilmot went on to appear in popular British shows — a star was born.

Wilmot’s West End debut came in 1989, playing Bill Snibson in *Me and My Girl* at the Adelphi Theatre. Even though he’d never had theatre experience, his performance was widely praised and even received an Olivier Award nomination. Subsequently, he starred in *Carmen Jones* and the world premiere of *Copacabana* as Tony.

In recent years, Wilmot’s West End credits include *The Pajama Game* at the Shaftesbury Theatre, *Dirty Rotten Scoundrels* at the Savoy Theatre, *The Wind in the Willows* at the London Palladium and *Mr Gum & The Dancing Bear* at the National Theatre. He also starred in the world premiere of *The Prince of Egypt* at the Dominion Theatre, originating the role of Jethro, and in *Anything Goes* at the Barbican. In 2022, Gary Wilmot joined the *Wicked* cast as The Wizard.

As well as West End musicals, Wilmot has become a pantomime regular, appearing in annual London Palladium pantomimes. So far, he’s played the dame roles in *Dick Whittington, Snow White and the Seven Dwarves, Goldilocks and the Three Bears* and *Pantoland at the Palladium*. 

In 2023, Wilmot will play the Wizard in *The Wizard of Oz* at the London Palladium.

Gary Wilmot - LON

Experience an epic musical of biblical proportions, literally

The Prince of Egypt [16687] - LON

The Prince of Egypt

Experience the epic emotion and soaring music of THE PRINCE OF EGYPT, the extraordinary new musical from three-time Academy Award-winner Stephen Schwartz (composer of the global phenomenon Wicked).

Goldilocks and the Three Bears at The London Palladium [16871]

Goldilocks and the Three Bears at The London Palladium

Dick Whittington - LON

Dick Whittington

Anything Goes [22732] - LON

Anything Goes

**Anything Goes** is the **‘musical equivalent of sipping one glass of champagne after another’** _(The Times)_

Recommended 7+. Under 16 must be accompanied by an adult (18+) and may not sit on their own. Children under 5 years will not be admitted. Please aim to arrive 60-90 minutes prior to the event. Latecomers will be admitted at a suitable point.

Wicked [313] - LON

Wicked

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

Parental discretion is advised due to innuendo. No under 4s admitted. Anyone under the age of 16 has to be accompanied by an adult aged 18+.

Jack and the Beanstalk - LON [25026]

Jack and the Beanstalk

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

At Last, It’s Summer - LON

At Last, It’s Summer

Find West End shows featuring Gary Wilmot, with tickets and other information at LondonTheatre.co.uk

Gary Wilmot - 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.

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London Palladium

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Entry Requirements (Nederlander)

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In 2017, a musical premiered on Broadway called Prince of Broadway. It celebrated the life and career of the powerful and prolific Broadway producer and director Harold Prince, whose career spanned nearly seven decades <a href="/theatre-news/west-end-features/reaction-to-death-of-legendary-broadway-director-harold-prince">before he died last year</a>, aged 91. That career retrospective turned out to be his final directing credit amongst shows that earned him a record 21 Tony Awards, including eight for directing the original landmark productions of <a href="/show/fiddler-on-the-roof">Fiddler on the Roof</a>, Cabaret, <a href="/show/company">Company</a>, <a href="/show/follies">Follies</a>, Candide, Sweeney Todd, <a href="/show/evita">Evita</a> and <a href="/show/the-phantom-of-the-opera">The Phantom of the Opera</a>.&nbsp;It's a long way, alas, from that roll call of honour to <a href="/show/the-prince-of-egypt-tickets">The Prince of Egypt</a>, a show that has nothing to do with the Prince of Broadway at all but is the latest animated cartoon feature to be adapted for the stage, in the wake of such Broadway and West End successes as Disney's The Beauty and the Beast (which coincidentally also played at the <a href="/theatres/dominion-theatre">Dominion</a>), <a href="/show/the-lion-king">The Lion King</a> and Aladdin. Unfortunately, this one is not even in the league of such box office flops as The Little Mermaid and (the non-Disney) Anastasia, both of which are yet to make a transfer to London.<a href="/show/the-prince-of-egypt-tickets">The Prince of Egypt</a>, based on the 1998 inaugural feature from Dreamworks Animation,&nbsp;is a biblical pageant that comes with all the weighty, earnest and portentous air of an end-of-year Nativity project, though on a considerably larger budget.Stephen Schwartz, who won an Oscar for the big power ballad "When You Believe" from the film score that became an enduring pop hit by Mariah Carey and Whitney Houston, has reprised his songwriting duties here, adding ten new songs to the film's original seven songs, five of which have been preserved here (albeit extensively revised). But sadly, after sitting through nearly two and a half hours of watching this turgid history story unfold, I couldn't join in "When You Believe"'s aspirational cry: "There can be miracles/ When you believe/ Though hope is frail/ Its hard to kill/ Who knows what miracles/ You can achieve/ When you believe somehow you will/ You will when you believe".By the time the familiar chords of this song struck up, I couldn't believe in any of it, let alone hold out any hope of a redemptive musical miracle occurring.&nbsp;It's not for lack of effort on the part of the creative team and hard-working cast, though: the leaden material just seems to resist theatrical adaptation. Sure, there's are moments of spectacle, like the parting of the Red Sea (and then its rushing in again over the Egyptian soldiers who are chasing the Hebrews towards their Promised Land), but Jon Driscoll's projections onto the multi-leveled set by Kevin Depinet don't exactly thrill or chill.&nbsp;It doesn't help that Philip Lazebnik's book, based on his own screenplay for the film that he also wrote, plods from one incident to another with little character or much narrative development. The actors are left not so much filling blanks but playing them. Accomplished musical theatre actors like Liam Tamne and Luke Brady -&nbsp;who are&nbsp;playing Ramses and Moses respectively, raised as brothers after the abandoned baby Moses is found in the bullrushes and find themselves on significantly different life paths -&nbsp;have little to wrestle with dramatically. Though I briefly thought of our own Prince William and Harry, their bigger challenge is to do a lot of emoting and delivering power notes from their terrific lungs.Similarly marooned in a dramatic wasteland are such brilliant musical theatre stars as Christine Allado (original cast of <a href="/show/hamilton">Hamilton</a>), Alexia Khadime (<a href="/show/the-book-of-mormon">The Book of Mormon</a>) and Debbie Kurup (The Bodyguard), while the superb RSC associate actor Joe Dixon and the always-reliable <a href="/actor-profile/gary-wilmot">Gary Wilmot</a> are strangely wasted in patriarchal roles.There's plenty of deeply repetitive though undoubtedly athletic choreography from Sean Cheesman to occasionally distract the eye, There's also full-bodied sound from Gareth Owen, and a busily lush-sounding orchestral accompaniment from a band under the musical direction of Dave Rose, but little imagination in the telling of the production from director Scott Schwartz (son of the composer).<a href="/show/the-prince-of-egypt-tickets">The Prince of Egypt</a> is booking at the <a href="/theatres/dominion-theatre">Dominion Theatre</a>&nbsp;until 31st October 2020.<a href="/show/the-prince-of-egypt-tickets">The Prince of Egypt tickets</a>&nbsp;are available now.&nbsp;

Review - The Prince of Egypt at the Dominion Theatre

The Dominion Theatre opened on 3 Oct. 1929. The theatre is located on the site of the former Horse Shoe Brewery, site of the 1814 London Beer Flood.

The theatre screened the premiere of Charlie Chaplin’s film, *City Lights* (with Chaplin himself attending). During its history, the Dominion Theatre hosted movies such as *South Pacific* and *The Sound of Music*, whilst interspersed with live performances, most famously the *Judy Garland Show*. In the 1980s, music stars played at the Dominion Theatre, including Dolly Parton, Duran Duran, Bon Jovi, David Bowie and U2.  

In the early 1990s, plans were set to convert the theatre into a car park, but this was not followed through. Now, the Dominion Theatre is home to large musicals, including *Grease,* a 12-year run of *We Will Rock You,* and *The Prince of Egypt.*

## Dominion Theatre Seating Information

The auditorium has two levels – the Stalls and Circle. It is a very large space and offers excellent views of the stage wherever you sit.

In the Stalls, the rake of the seating is very good, offering excellent views from most seats and the legroom is excellent too. 

In the Circle, the seats are strongly raked which offers a great view.

Dominion Theatre - LON

Dominion Theatre

[Poster] Goldilocks and the Three Bears 16871

The annual Royal Variety Performance has just seen its 91st show presented, 43 of them at the <a href="/theatres/london-palladium">London Palladium</a>, so it is by far its most established home.&nbsp;And the night after this year's show -&nbsp;filmed in the presence of Prince William - was broadcast on TV, another equally star-studded and outrageously impressive variety show took to the same stage for the fourth consecutive year: the now annual pantomime, which this year is (very loosely) based on the story of <a href="/show/goldilocks-and-the-three-bears-tickets">Goldilocks and the Three Bears</a>.But there's barely a plot, merely a patchwork framework to hang a lavish, eye-popping series of turns and speciality acts upon. In fact, the show pays explicit tribute to a former tenant of the London Palladium, which was the original West End home for the transfer of the Broadway musical Barnum in 1981 that made a musical theatre star of Michael Crawford. It's staged like a giant circus, complete with a series of variously amazing speciality acts that include an extraordinary magician Phil Hitchcock, a troupe of four motorcyclist daredevils called Peter Pavlov and the Globe of Speed who engage in a race around a small metal cage, and a pair of roller skaters called the Skating Medini.And just as Crawford famously walked a tight-rope across the stage in Barnum, so Matt Baker - the likeable TV presenter of shows like Blue Peter, Countryfile and The One Show - now achieves the same feat, as well as juggling and back-flips. He's a panto natural who could be the next Brian Conley.He is new to the company this year that is otherwise headlined by a now established repertoire company that sees Julian Clary, Paul Zerdin and Nigel Havers each returning for their fourth consecutive years, Gary Wilmot for his third, and Paul O'Grady for his second.They've now honed a unique way of working that relies on a fantastic rapport between them, countless running gags, and a bravura sense of confidence and subversive humour that will appeal to the adults on a different level entirely to the kids in the audience. The show itself does not so much walk a tightrope between different genres as send them hurtling into each other outrageously. From tap-dancing bears (step forward musical theatre ingenue Lauren Stroud) to Julian Clary making an entirely gratuitous entrance on a giant life-size elephant whose trunk spouts water over the front stalls, it is an evening of complete excess and utter success.As devised, directed and produced again by theatre's reigning king of panto Michael Harrison, managing director and now co-owner of Britain's biggest panto producers Qdos (this year responsible for 34 shows around the country, from Aberdeen to Wolverhampton), this may be the most irresistibly entertaining and spectacular panto yet staged by him.It has (almost) everything -&nbsp;and thanks to Gary Wilmot, it even tries to shoehorn in (almost) every musical theatre song ever written (or at least dozens of them), in a giant breathless medley that Wilmot himself devised, with orchestrations by the show's brilliant musical director Greg Arrowsmith. There really is something for everyone in it, too, with Paul Zerdin providing endless delight with his hilarious ventriloquism and Nigel Havers deliciously sending himself up on every appearance as Daddy Bear. &nbsp;But presiding over it all, with deadly sharp comic timing and a parade of ever-more outrageous costumes by Hugh Darrant, is Julian Clary, who puts the ring into ringmaster, cueing a reliably filthy stream of anal-themed jokes. He's now a one-man pantomime legend, who both sends up the form yet is also entirely true to it, too.Paul O'Grady can't quite compete in the comic stakes this year, and feels a little subdued. But there's nothing diminished about the rest of the show, from Ben Cracknell's retina-burning lighting to Ian Westbrook's palatial panto designs.There isn't a Christmas treat quite like it;&nbsp;I had one of the best theatre nights of the year here.&nbsp;&nbsp;<a href="/show/goldilocks-and-the-three-bears-tickets">Goldilocks and the Three Bears</a>&nbsp;is at the <a href="/theatres/london-palladium">London Palladium</a> until 12th January.<a href="/show/goldilocks-and-the-three-bears-tickets">Goldilocks and the Three Bears tickets</a>&nbsp;are available now.&nbsp;&nbsp;

Review - Goldilocks and the Three Bears at the London Palladium

Pre Visit Requirements (ATG)

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The Phoenix Theatre opened on 24 Sept. 1930. It was built on the site of the Alcazar Music Hall, a performance space that had fallen from grace into a casino.

Noël Coward’s *Private Lives* opened the Phoenix Theatre, starring Noel Coward and Laurence Olivier. On Coward's 70th birthday, the bar in the foyer of the theatre was given the name the Noël Coward Bar in his honour.

The theatre’s greatest success arrived in November 1991 in the form of *Blood Brothers*, Willy Russell’s musical. It ran for 21 years, finally closing on 10 Nov. 2012. The Phoenix Theatre was also home to the West End premiere of *Come From Away.*

## Phoenix Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle.

The seats in the Stalls offer very good views of the stage, with a light rake in the seating helping seats further back. 

The view from the Dress Circle is generally very good, though the rake of the seating is not as noticeable as in other theatres. 

The Grand Circle is surprisingly close to the stage, which is great for feeling involved in the show.


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Phoenix Theatre

Anything Goes Rush

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I unlocked £25 Rush tickets for Anything Goes on @TodayTixUK! https://www.todaytix.com/london/shows/22732?share=unlock

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One of the undoubted highlights of 2021 was Broadway director Kathleen Marshall’s sensational revival of [*Anything Goes*](https://www.londontheatre.co.uk/show/22732-anything-goes). With its gleefully silly ocean liner-set story, thrilling tap dances, irresistible Cole Porter score, and with American star [Sutton Foster](https://www.londontheatre.co.uk/theatre-news/news/8-quick-questions-for-anything-goes-star-sutton-foster) reprising her Tony-winning performance as Reno Sweeney, it was the perfect “Welcome back” to large-scale live theatre.

So, is this returning production, which features significant cast changes like [Kerry Ellis](https://www.londontheatre.co.uk/actor-profile/kerry-ellis) taking over from Foster, still a seaworthy vessel? Absolutely. My audience was deliriously happy, stopping the show cold for two standing ovations, and that same sense of wellbeing pervaded the room. This is de-lovely escapism as tonic, and it’s just as worthwhile as any lofty drama. God knows we all need it.

The plot remains madcap, with various romantic configurations tangled together during the crossing of the SS American - including Wall Street broker Billy pining for debutante Hope, while nightclub singer Reno longs for Billy, and Hope’s English aristocrat fiancé, Evelyn, is mainly entranced by US lingo. Add in mobsters on the run, a host of disguises, sailors and showgirls, dogs and puns, and you’ve got musical comedy bliss.

Of course, no human being can do exactly what Foster does, not least since Marshall’s production was specifically pegged to her otherworldly skill set. But if Ellis lacks her brand of sleek insouciance, she brings something just as wonderful: an infectious joy. This is a generous and inviting performance that seems to say “I’m having so much fun – aren’t you?”. There are fewer moments of solo brilliance than with Foster, but more of a sense of camaraderie.

It’s also a pleasure to see Ellis – best known for musicals like *Wicked* and *We Will Rock You* – getting to show a very different side of herself. Yes, she can tap dance, with both buoyancy and precision, and her creamy vocals are a delicious match for Porter’s jazzy score. Her Reno is sweeter and more easily wounded, pain flickering across her face as she sings “You obviously don’t adore me”, but she’s still believable as the savvy dame who can hang with gangsters.

Speaking of which, Denis Lawson (succeeding a laconic Robert Lindsay) gives us a motor-mouthed Moonface Martin, with a convincing accent and latent violent streak. Though he’s amusingly avuncular in his offer to kill anyone standing in Billy’s way, you also believe him. He throws himself into the numbers, forming a winning partnership with Ellis in the competitive "Friendship", and is a dab hand at the comedy too – like adopting a fake English accent that slides inexorably into South African.

[Bonnie Langford](https://www.londontheatre.co.uk/actor-profile/bonnie-langford) is luxury casting as Evangeline Harcourt, and she wrings every last drop out of that supporting role. Though sadly there are few chances to see her dance, she reminds us what a talented physical comedian she is – and does add a quick flourish during her curtain call. Simon Callow is another fantastic addition, giving the ever-soused Eli Whitney wonderful cascading speech patterns.

The returning cast are better than ever. Carly Mercedes Dyer, like Marilyn Monroe in *Some Like It Hot*, moves “like jello on springs”, and her vamp Irma is a symphony of squeals and cackles. Haydn Oakley is giving hands down the finest comic performance in town. When Evelyn unleashed his inner gypsy via Ministry of Funny Walks-style flamenco, I actually cried laughing.

Samuel Edwards is a pitch-perfect leading man and his Billy satisfyingly matures over the piece, while the golden-voiced Nicole-Lily Baisden has relaxed into the role of Hope. When the pair dance together in Fred and Ginger fashion, Baisden melting into his arms, their love is undeniable.

Marshall - quite rightly - won an Olivier Award for her choreography earlier this year, and her production numbers are still wondrous. It’s not just the scale or the intricacy of the work in the showstoppers like "Blow, Gabriel Blow" and the title song, but the way that they keep building and morphing. Just when you think she can’t top herself, she does.

Jon Morrell’s fabulous period costumes - the silks and satins, the crisp sailor suits, the gorgeous silhouettes - are perfectly matched by Derek McLane’s set, a gleaming white ship with eye-catching Art Deco detail. Hugh Vanstone’s lush lighting sets the romantic mood, and the orchestra does rousing justice to Porter standards like "I Get a Kick Out of You" and "All Through the Night".

There’s the odd contemporary parallel, like the satire of our obsession with celebrity, but, just like when it was first staged during the Depression, this is really about stepping into another world and leaving our troubles behind. Quite simply: it’s the top.

*Anything Goes is at the Barbican Centre to 3 September. Book Anything Goes tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://www.londontheatre.co.uk/show/22732-anything-goes)

*Photo credit: Kerry Ellis and cast in Anything Goes (Photo by Marc Brenner)*

'Anything Goes' review —  this fabulously escapist Cole Porter musical is still the top

Read our review of Anything Goes starring Kerry Ellis at the Barbican at London Theatre.

Anything Goes starring Kerry Ellis Review | London Theatre

After the Barbican site was destroyed by the blitz in World War Two, Queen Elizabeth II officially opened the renovated Barbican Centre on 3 Mar. 1982. The Barbican Centre contains a concert hall, two theatres, three cinemas, two art galleries, a public lending library and conversatory.

The Barbican was voted "London's ugliest building" in 2003. But its stand-out architectural design makes it an integral part of London's skyline. The largest venue inside the Barbican Centre is the Barbican Hall. The Barbican Hall seats 1,943 people, followed by the Barbican Theatre which seats 1,156. 

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Barbican Centre

Wicked Rush

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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.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=1587&content_product_id=1587&venue_id=138)

‘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.

The Apollo Victoria Theatre first opened as the New Victoria Cinema in 1930, and housed films, variety acts, and big bands. Closing at the start of World War II, the theatre reopened in May 1941 and shows continued to entertain audiences until it closed in 1976. 

The theatre reopened in 1981 with a Shirley Bassey concert. Since then, musicals at the Apollo Victoria Theatre include *The Sound of Music* starring Petula Clark, and an 18-year run of *Starlight Express* boasting a redesigned auditorium to allow for race tracks to go through the audience. *Wicked* opened at the Apollo Victoria Theatre in September 2006.

## Apollo Victoria Theatre Seating Information

The auditorium has two levels - Stalls and Dress Circle. This is a very wide auditorium. The overhang of the Dress Circle affects the view of the top of the stage from seats in Row Y and onwards.

The Dress Circle in this theatre is very deep, though the view is still excellent and the spectacle of the current production is still very much apparent from these seats. 

## Where is *Wicked* in London?

*Wicked* is at the Apollo Victoria Theatre in London. The Apollo Victoria Theatre is located on Wilton Road. It's close to West End theatres including the Victoria Palace Theatre, and The Other Palace.


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Apollo Victoria Theatre

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There are giants in the sky! And there are performing giants galore in [*Jack and the Beanstalk*](https://www.londontheatre.co.uk/show/25026-jack-and-the-beanstalk-tickets), the latest installment in a Palladium pantomime tradition that celebrates the best of old-school British humour with enough razzle dazzle to light up the West End.

Once again, director Michael Harrison sprinkles pantomime magic in the home of variety entertainment. A thinly-veiled story — in this case, Jack sells his cow for five magic beans and ends up with a beanstalk in his backyard, only for the gang to rescue King Nigel from the giant — acts as a ruse for filthy jokes, vaudevillian skits, and silliness. When the audience holler, clap, and cheer their way through two and a half hours of unadultered joy, it doesn't matter if the story could actually be told in 10 minutes; this lavish pantomime delivers the goods.

[Julian Clary](https://www.londontheatre.co.uk/stars-on-stage/julian-clary) is back as the loose “Spirit of the Beans”, parading around the stage in a variety of Hugh Durrant’s spectacularly designed bean-related outfits (French, runner, Mexican, Heinz) and enough phallic jokes to supply a lifetime of Christmas crackers. He keeps the story pulse going alongside “budget Miriam Margolyes” [Dawn French](https://www.londontheatre.co.uk/stars-on-stage/dawn-french) as a vulgar Dame Trot, the squeaky-clean Paul Zerdin as silly Simon, [Gary Wilmot](https://www.londontheatre.co.uk/stars-on-stage/gary-wilmot) as Queen Nigella, and [Nigel Havers](https://www.londontheatre.co.uk/stars-on-stage/nigel-havers) as the “principal character” King Nigel. 

Hallelujah then to [Alexandra Burke](https://www.londontheatre.co.uk/stars-on-stage/alexandra-burke), who plays a vampy, vicious giant's wife Mrs. Blunderbore in her Palladium debut — a trio of animatronic giants are her “bad boys” now. West End stars Louis Gaunt and Natalie McQueen delight as Jack and Jill, and Rob Madge a-moo-singly chews the scenery as Pat the Cow, a bovine who dreams of West End stardom. Gaunt and Madge delight in a “Crazy For You” inspired routine; a spritely ensemble dressed as dancing chickens performing Karen Bruce's showstopping choreography is a particular highlight.

Now in its sixth year, the pantomime suffers slightly from its self-awareness and leaning into stale territory. If you’re a newcomer, chances are you won’t get jokes that rely on moments in previous years. You’ve probably seen the skits in a previous iteration too: Paul Zerdin does a five-minute ventriloquist set, Gary Wilmot performs another "list song" (this time listing all the ailments and their respective remedies), and more. But again, this is pantomime, and pantomimes rely on similarities as a comforting way to tell a story. And we all need comforting on these cold winter nights.

There's added special elements this year, in the form of Jack climbing up a 40-feet plus beanstalk that soars up through the rafters — sit in the centre stalls and you may be closer to the beanstalk action than you'd first expect. But ultimately, this year's Palladium pantomime plays into its institution-level status. To quote Stephen Sondheim in *Into the Woods*, it justifies the beans.

*Jack and the Beanstalk is at the London Palladium through 15 January. Book Jack and the Beanstalk tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=25026&content_product_id=25026&venue_id=165)

*Photo credit: Jack and the Beanstalk (Photo by Paul Coltas)*

'Jack and the Beanstalk' review — an all-star pantomime justifies the beans

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It’s time to follow the Yellow Brick Road all the way down to see *The Wizard of Oz* in London. Join Dorothy and her friends this summer for a brand-new, musical production of the Academy Award-winning classic. Book *The Wizard of Oz* tickets on London Theatre now. 

Originally at The Leicester Curve, the hit revival of the 1939 film comes to the London Palladium with hypnotising costumes, a spectacular set, and a star-studded cast. This celebrated stage adaptation is an adventure for the whole family. 

Performer and choreographer Ashley Banjo makes his musical theatre debut as the Tin Man, alongside. Georgina Onuorah leads the cast as Dorothy, and the cast also includes Jason Manford as the Cowardly Lion, Gary Wilmot as the Wizard, and Dianne Pilkington as the Wicked Witch of the West. 

The magical production features the famous score by Harold Arlen and E.Y Harburg. It includes classic songs, from “Somewhere Over The Rainbow” to “Follow the Yellow Brick Road,” and new additions, written by Grammy and Academy Award-winning musical duo Andrew Lloyd Webber and Tim Rice.

Shay Barcley’s spectacular choreography, Scott Penrose’s cutting-edge illusions, and Colin Richmond’s magical set design bring the stage and story to life. 

Join Dorothy and her dog Toto for their marvelous and mystical adventure before the show embarks on a nationwide tour!

Tickets to *The Wizard of Oz* are available now. Book *The Wizard of Oz* tickets on London Theatre today.

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Join Dorothy and Toto on an unforgettable adventure as they are swept over the rainbow to the merry old land of Oz. The whimsical musical returns to the London Palladium in summer 2023. Are you ready to go down the yellow brick road? Learn more about *The Wizard of Oz* tickets.

*The Wizard of Oz* was last seen on the West End stage 12 years ago. The 2011 adaptation, by Andrew Lloyd Webber, Tim Rice, and Jeremy Sams, was nominated for Best Musical Revival at the 2012 Olivier Awards. 

This updated production, directed by The Leicester Curve’s artistic director, is a fresh take on the 1900s children’s novel by L. Frank Baum. Featuring new ways to amaze, this new musical adaption portrays all the classic and spectacular elements of this well-loved mystical story. 

The tale of Dorothy, her newfound friends, and their adventure into the Merry Old Land of Oz is an old family favourite. However, with the assistance of Magic Consultant, Scott Penrose (*Cats*, *QI*, *Hot Fuzz*), it is certain that this version will employ a kaleidoscope of tricks, special effects, and wizardry.

## What to Watch For

- Although *The Wizard of Oz* marks his musical debut, Ashley Banjo has appeared on the London Palladium stage before. The *Diversity* star and choreographer starred in *Pantoland at the Palladium* in 2020. 
- Andrew Lloyd Weber and Tim Rice, who wrote new songs for this production, have collectively won 49 awards between them and have collaborated on *Joseph and the Amazing Technicolor Dreamcoat*, *Jesus Christ Superstar*, *Evita*, *Cricket*, and *The Likes of Us*. 
- *The Wizard of Oz* began as a stage show in1902. The show premiered at the Chicago Grand Opera House on 16 June 1902, before moving to Majestic Theatre on Broadway, where it played for 293 performances.
- Following the show’s West End run, the magical production will embark on a UK tour, beginning at Liverpool Empire on 13 December 2023. 

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