Name: The Crown Jewels
Start: 2023-07-07
End: 2023-09-16
Location: Garrick Theatre

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The Crown Jewels - LON

The Crown Jewels LON

The Crown Jewels

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An all-star cast, including Al Murray, Mel Giedroyc, Neil Morrissey, Joe Thomas and Carrie Hope Fletcher lead this heist comedy of epic proportions.


Born in Harrow in 1992, Carrie Hope Fletcher is an actress, vlogger and author who has appeared in a number of West End shows, as well as releasing her own music and novels.&nbsp;Fletcher’s acting career began at the age of five, when she appeared in a Honey Nut Cheerios ident for Frasier on Channel 4. Her West End debut came in 2001 at the age of 7 as young Eponine in <a href="/show/les-miserables">Les Miserables</a>. Before she returned to the production in 2013 to play (grown-up) Eponine, she appeared in Chitty Chitty Bang Bang&nbsp;as Jemima Potts and Jane Banks in <a href="/show/mary-poppins">Mary Poppins</a>.

Fletcher then appeared in an arena tour of The War of the Worlds in the role of Beth from 2014, and returned to <a href="/show/les-miserables">Les Miserables</a> for a second time in 2015 for the show’s 30th anniversary. In 2016, Fletcher re-joined Chitty as Truly Scrumptious for a UK tour, and most recently played Wednesday Addams in a musical adaptation of The Addams Family.

In addition to her acting on stage, she has released an album called When the Curtain Falls, and a number of novels including All I Know Now: Wonderings and Reflections on Growing Up Gracefully, which is based on her blog and became a number one Sunday Times bestseller. She also has over 600,000 subscribers on her YouTube channel.&nbsp;Her brother, Tom Fletcher, is the lead vocalist and songwriter of McFly (and consequently McBusted), and Carrie appeared in the London production of his musical <a href="/show/the-christmasaurus">The Christmasaurus</a> in 2017.

In June 2018, Fletcher appeared in <a href="/show/heathers-the-musical">Heathers</a>, an adaptation of the 1988 film starring Christian Slater and Winona Ryder, at <a href="/theatres/the-other-palace">The Other Palace</a>.&nbsp;Fletcher played Fantine in&nbsp;<a href="/show/les-miserables-in-concert">Les Misérables - The All-Star Staged Concert</a>&nbsp;at the Gielgud Theatre, before reprising her role in the full production&nbsp;<a href="/show/les-miserables">Les Miserables</a>&nbsp;at the Sondheim Theatre in&nbsp;December 2019.

In February 2020, it was announced Fletcher would play the lead role in Andrew Lloyd Webber's new musical version of <a href="/show/cinderella">Cinderella</a>.&nbsp;Cinderella&nbsp;opened at the <a href="/theatres/gillian-lynne-theatre">Gillian Lynne Theatre</a> in 2021. 

Fletcher will soon star in the world premiere of *The Crown Jewels* at the Garrick Theatre.

Carrie Hope Fletcher - LON

Ages 8+. Children under the age of 16 must be accompanied by and sat next to an adult ticketholder (18+). Children under the age of 3 will not be admitted.

Les Misérables - LON [300] 

Les Misérables

Les Misérables [300] - LON Product Media

Another fantastic chapter in West End history has been gloriously (re)written, with not one but two spectacular reinventions -&nbsp;first of a theatre itself, in which the Queen's on Shaftesbury Avenue has been reincarnated as the <a href="/theatres/sondheim-theatre">Sondheim Theatre</a> and completely refurbished by its owner Cameron Mackintosh to restore it from a threadbare functionality to which it had previously been brought back 61 years ago from wartime bomb damage to a glowing and welcoming new warmth. Meanwhile, its current tenant -&nbsp;already the West End's longest-running musical -&nbsp;has itself been entirely overhauled, with Mackintosh taking the opportunity of its temporary 20-week closure for the theatre's refurbishment to replace the original landmark RSC production with a touring version that was first created for a UK tour as part of the show's 25th-anniversary celebrations in 2010. It was briefly seen in London that year at the Barbican - the show's original London home - running contemporaneously with the West End edition, and is even now on a new European and UK tour, currently playing in Zurich before it returns to continue across the regions in March. The first thing to say about it is that it still owes a lot to the original Trevor Nunn and John Caird production -&nbsp;the famous revolve of John Napier's original design may have gone, for instance, but now the actors merely mime the identical movement (originally the work of Kate Flatt, with musical staging now credited to Geoffrey Garratt, long an associate on the original production) as they advance across the stage in the ever-rousing Act One finale of "One Day More" as the iconic red flag is waved above them. Fans of the original will check off numerous such instances, including the indelible image of a dead Enjolras lying across the back of a cart. Crucially, too, the original costume designs of Andreane Neofitou are also retained, so visually there are plenty of references to the original production. There are also several cast veterans of the previous incarnation, including principals Bradley Jaden who was Javert in the final cast of the original and reprises that role now; Jon Robyns, previously Marius and Enjolras, who now graduates to the role of Jean Valjean; and <a href="/actor-profile/carrie-hope-fletcher">Carrie Hope Fletcher</a>, previously Eponine and now playing Fantine (and all three in spectacular voice); amongst others in the ensemble who also include fellow West End returnees Ciaran Bowling, Sarah Lark and Luke McCall. The show remains an ensemble effort, as it was when it was first created by Nunn and Caird. That establishes a welcome sense of continuity from past to present versions, but it is also given a fresh 21st-century inventiveness with Matt Kinley's sets being complemented by stunning painterly projections, inspired by Victor Hugo's own paintings, that have been niftily realised by Fifty-Nine Productions and Finn Ross, all of which are lavishly lit by Paule Constable. Mick Potter's sound is also thrilling, wrapping the theatre is swathes of sumptuous melody, richly played by the pit orchestra under the direction of Steve Moss. As both a producer and theatre owner, Cameron Mackintosh has always been about attention to detail; the reopening of this theatre and show gives him an opportunity to prove his meticulous care in both. But I also love fresh new details, whether it be the reintroduction of rear dress circle boxes that are newly named in honour of Maggie Smith and Judi Dench, or new cast members like West End regular Josefina Gabrielle, who - cast entirely against her usual sophisticated type as Madame Thenardier -&nbsp;is virtually unrecognisable and truly hilarious. The show remains a thrilling triumph. Here's to the next 35 years, as it looks set to become <a href="/show/the-mousetrap">The Mousetrap</a> of musical theatre; but unlike that murder mystery, there's hardly any mystery to why it's such an enduring success.<a href="/show/les-miserables">Les Miserables</a>&nbsp;is at the <a href="/theatres/sondheim-theatre">Sondheim Theatre</a>.<a href="/show/les-miserables">Les Miserables&nbsp;tickets</a> are available now.

Review - Les Miserables at the Sondheim Theatre

Read our review of Les Misérables at the Sondheim Theatre on London Theatre.

Les Misérables at the Sondheim Theatre Review | London Theatre

‘A THRILLING INSPIRATION’ The Guardian

The Sondheim Theatre, formerly known as Queen's Theatre, is a historic venue in London's bustling West End. Opened in 1907 and designed by famed architect W.G.R Sprague, the theatre is a testament to Edwardian Baroque architecture. Its luxurious red and gold interior hosts nearly 1100 attendees, offering a top-notch viewing experience regardless of seating location. The theatre is renowned for its legendary performance of 'Les Misérables', which ran for a record-breaking 35 years. In 2019, the theatre underwent substantial refurbishment and was reborn as the Sondheim Theatre, with advanced technologies enhancing its historic charm. Visitors can anticipate a memorable performance complemented by the theatre's state-of-the-art sound and lighting systems. **Getting to the Sondheim Theatre:** Situated at 51 Shaftesbury Ave, the theatre is easily accessible by various modes of transport. Piccadilly Circus station on the London Underground is a mere 3 minute walk, while Leicester Square station is an 8 minute walk. Numerous bus services stop nearby, such as numbers 14, 19, and 38. For those who prefer driving, the nearest Q-Park is in Wardour Street, with a concession rate available for theatre-goers.

Sondheim Theatre - LON

Sondheim Theatre

The Sondheim Theatre in London’s West End is an Edwardian Baroque building known for a record-breaking 'Les Misérables' run. Accessible by tube, bus, or car.

Legendary musical in a concert staging which loses none of its epic scale and majesty

Entry Requirements - DMT

Les Misérables: The Staged Concert [23144]

Les Misérables: The Staged Concert

Les Misérables: The Staged Concert [23144] Product Media

We aren’t able to admit any children under the age of 4 and every customer must have their own ticket. Please make sure your little ones are able to sit in their own seat without any assistance.  Please be advised there some swear words and adult themes.

LW Theatre - Entry Requirements 

Cinderella The Musical [21551] - LON

Cinderella The Musical

Cinderella The Musical [21551] - LON Product Media

We could all use a fairytale right now after the year (and a half) we've had. A little escapism to drown our troubles and remember that sometimes happy endings and dreams do come true.&nbsp;Well, Andrew Lloyd Webber's <a href="https://www.londontheatre.co.uk/show/cinderella">Cinderella</a> is a different kind of fairytale, one that, instead, reminds us of our humanity and that sometimes things turn out as you least expect them to. Who wants to ride off into the sunset anyway when you could make mistakes and learn some things along the way?That's certainly been the case for the show, which has had a journey to the West End full of stops and starts. From the postponed 2020 opening due to the pandemic to a twice rescheduled opening night, Cinderella finally raised the curtain at the <a href="https://www.londontheatre.co.uk/theatres/gillian-lynne-theatre">Gillian Lynne Theatre</a> on Wednesday night, its first with a full capacity audience, and even though this series of delays wasn't in the plans, there's some unexpected poetry and parallel to the show itself. Spoiler alert: Our titular heroine might make it to the ball but things don't turn out in conventional fashion.&nbsp;Emerald Fennell, in a triumphant West End debut as a book writer, has crafted a modern day princess, a "Bad Cinderella" as she calls herself, who has been outcast by the superficially perfect town of Belleville&nbsp;for her antics and pranks. Her seemingly two-dimensional step-sisters despise her, and the town has blacklisted her too, complete with torches and pitchforks.&nbsp;Cinderella's childhood best friend, Prince Sebastian (a charming and emotional Ivano Turco, in a beautiful West End debut), has just begrudgingly been named the Crown Prince after his elder brother supposedly died in battle. The pair meet in the woods, each afraid to publicly admit their affection for the other. &nbsp;All the makings of a traditional Cinderella are here. A conniving step-mother in the delicious Victoria Hamilton-Barritt who chews on every piece of Gabriela Tylesova's storybook scenery as she attempts to manipulate the proceedings. There's a doting and delirious queen (Rebecca Trehearn, channelling Marie Antoinette), and the duet between the two "I Know You" is a masterclass in musical comedy.The entire score is full of Lloyd Webber earworms, and I defy you to leave the theatre without humming any of them. Highlights include "Only You, Lonely You," "Bad Cinderella," and "Cinderella's Soliloquy," but there's not a dud in the bunch and the orchestrations soar, particularly at the ball. David Zippel's clever lyrics offer a surprising rhyme at every turn.&nbsp;You'll also find a fairy godmother, of sorts here, played with a devilish flair by Gloria Onitiri, only it doesn't take magic to transform Cinderella, rather, beauty treatments and ultimatums. Her number "Beauty Has a Price" is the one place where the show starts to get big Promising Young Woman vibes, Fennell's Oscar-nominated film, as the cost of what it takes to fit in and meet the male gaze is held under a microscope.&nbsp;And <a href="https://www.londontheatre.co.uk/actor-profile/carrie-hope-fletcher">Carrie Hope Fletcher</a> fits into this role as if it was made for her, which it seems to have been. Her grunge-punk princess is more Olivia Rodrigo than Disney, and Fletcher excels equally on emotional ballads and angry duets. She's a new kind of princess, one that little girls and big girls alike, could all use.&nbsp;Director Laurence Connor's production is neat and precise, complete with a jaw-dropping set piece during the ball and eye-popping costumes from Tylesova, and while Fennell's script wanders on and off course a bit at the end, with a few mini conclusions, isn't that a little bit like life? Full of stops, starts, endings, and new beginnings? Happily ever after is certainly due for the rebranding it's getting at the Gillian Lynne. Here's to a new kind of fairytale.&nbsp;<a href="https://www.londontheatre.co.uk/show/cinderella">Cinderella is playing at the Gillian Lynne Theatre. Book Cinderella tickets on London Theatre.&nbsp;</a>Photo credit:&nbsp;Carrie Hope Fletcher, Laura Baldwin, Victora Hamilton-Barritt, and Georgina Castle in Cinderella, (Photo by Tristram Kenton)

Andrew Lloyd Webber’s ‘Cinderella’ is the revisionist fairytale we all need

The much-anticipated World Premiere of ANDREW LLOYD WEBBER’S CINDERELLA begins performances at the Gillian Lynne Theatre on 25 June,  a new romantic musical comedy featuring an original story and book by 2021 OSCAR winner EMERALD FENNELL (Promising Young Women)and lyrics by Tony & Olivier award winner DAVID ZIPPEL (City of Angels). LAURENCE CONNOR (Joseph and the Amazing Technicolor Dreamcoat, School of Rock) directs with choreography by JOANNE HUNTER.

The Gillian Lynne Theatre, formerly known as the New London Theatre, is a prestigious performance venue in the West End of London. Located in Covent Garden, the theatre is home to an array of world-class performances, ranging from musical theatre, plays, and concerts. The theatre was renamed in 2018, in honour of the renowned British ballerina and choreographer, Dame Gillian Lynne. The architecture of this unique venue is innovative and captivating, with a circular auditorium that offers an immersive viewing experience. The theatre is also known for its state-of-the-art facilities, excellent acoustics, and a seating capacity that can accommodate over 1,000 spectators.
 ### How to get to the Gillian Lynne Theatre:
 The Gillian Lynne Theatre is accessible through various means of transportation. The closest underground station is Holborn, which is a short five-minute walk to the venue. Alternatively, you can also reach the theatre by bus, with the following routes: 1, 59, 68, 91, 168, 171, 188, 243, and 521 stopping near the venue. If you prefer to drive, the nearest car park is located at the Bloomsbury Square Car Park.
 Please note that due to the theatre's central location, it is advisable to check for any possible travel disruptions or roadworks before your journey.

Gillian Lynne Theatre - LON

Gillian Lynne Theatre

The Gillian Lynne Theatre is a prestigious venue in London's West End, offering world-class performances and excellent facilities. It's easily accessible via public transportation.

Heathers the Musical [24125] LON

Heathers the Musical

Heathers the Musical [24125] LON Product Media

'Dear Diary. July 12th, 2021.' Veronica Sawyer opens Heathers&nbsp;with the phrase "Dear Diary", so it feels fitting to mark the day I battled through the wind and rain to see Heathers&nbsp;in the West End.The growing domination of cult teen musicals is alive and well as the West End reopens. Be More Chill and Six are playing in their largest West End venues to date. Dear Evan Hansen is set to reopen in the autumn. But for all the shared playground politics in teen musicals, no show takes on adult themes quite like Heathers, back at the Theatre Royal Haymarket this summer. Don't be fooled by this youthful cast and expect an upbeat show; there's dark turns aplenty in this sinister musical. But for all its doom and gloom, this is a Heathers that feels closer to being age-accurate, even with its far-fetched storylines.Based on the 1980s film starring Winona Ryder,&nbsp;Heathers&nbsp;follows Veronica Sawyer, a reserved teen that's thrust into the spotlight when joining the 'Heathers' clique. Her relationships change when she falls in love with J.D., ultimately causing her to have a personal check-in and assess how her life has turned so quickly.&nbsp;The original West End's Veronica Sawyer, Carrie Hope Fletcher, left big boots to fill for its newest holder. Now the teenage outcast turned cool girl is played by Christina Bennington, who's sure to be idolised by a younger demographic. Approaching the role with the dewy-skinned mystery of a 17-year-old, it's easy to fall for her, laughing along with her as she fast-tracks to being the most popular kid in school.&nbsp;From the opening number "Beautiful" and beyond, there's never a sense that Bennington preempts Veronica's actions, leaving audiences in the palm of this blue-blazered teen. She's quirky. She's lovable. She's everything you'd want from a teen just trying to do good. Fletcher's conniving, calculated approach has been replaced by Bennington's unassuming approach. Both takes work well, but Bennington's reads closer to acting as if an actual high school dispute has spiralled out of control.&nbsp;And even though I saw the 2018 cast, I was still shocked by how Veronica behaves —&nbsp;a sign that Heathers has not only become slicker, thanks to direction by Andy Fickman,&nbsp;but also demonstrates Bennington's ability to breathe fresh air into an iconic role.She's balanced by Jordan Luke Gage, newly cast as the alluring J.D. This chiselled actor has the teenage heartthrob look down to a t, while turning the creepiness up to level 100 in the final scenes. You wouldn't want to meet this J.D. alone in an alleyway. Duets between Veronica and J.D. capture tender teenage love too; "Dead Girl Walking" has a possessive quality, later polarised by "Seventeen" where it's almost as if you can see the twinkles in their eyes.This musical is about the Heathers though, and this new trio of same-named women are definitely queen bees. Jodie Steele reprises her role as Heather Chandler, adding an exaggerated comedic lease of life into her performance, especially in "The Me Inside of Me." Bobbie Little (as Heather Duke) and Frances Mayli McCann (as Heather Macnamara) complete the trio to rival&nbsp;Mean Girls, sassily stomping all over the audience in their colour-coordinated looks.For all its bright lights and laughs, it'd be remiss to not acknowledge its questionable approach to discussing adult topics. In a sociopolitical climate that encourages body positivity and loving yourself, is placing characters throwing up to lose weight and pretending to commit suicide glamourising mental health crises? Considering the teenagers that flock to Heathers, does the musical inadvertently teach that it's okay to make fun of difference? Sure, the movie&nbsp;Heathers&nbsp;was written in the 1980s, when it is still set, and society has progressed considerably since. But Heathers is a contemporary musical, and being too on-the-nose could be triggering to its young fans.Heathers does have its moments of pure joy though. Olivier winner Lauren Ward steals the show as eccentric teacher Mrs. Fleming in "Shine a Light,"&nbsp;playing to an audience of 250 like it's 25,000. In "My Dead Gay Son,"&nbsp;Simon Bailey and Steven Serlin take audiences to church in a Leap of Faith-inspired number, where rising up is the key to getting through tough times. Clean, sharp choreography by Gary Lloyd is placed in all the right moments too, feeling organic and not like a Glee flashmob.Like a lot of teen musicals, its ending is wrapped up very quickly, simplifying struggles into just becoming friends again like nothing's changed. But few people come to see Heathers for its resolution. They're there for an evening of&nbsp;film nostalgia and imagining they're at Westerberg High. This Heathers cast really has made the musical their own, elevating this teenage tragedy into a razor-sharp show. To take a phrase from the Heathers themselves — how very.<a href="/show/heathers-the-musical">Heathers is at Theatre Royal Haymarket to 11 September. Book Heathers tickets on LondonTheatre.co.uk now</a>.Photo credit: Heathers cast (Photo by Pamela Raith)

'Heathers' returns as an elevated teen dark comedy with a fresh-faced cast

Read our review of Heathers the Musical at Theatre Royal Haymarket at London Theatre.

Heathers the Musical at Theatre Royal Haymarket Review | London Theatre

Following two smash hit London seasons and the WhatsOnStage award for BEST NEW MUSICAL, Heathers the Musical is back! 

The Other Palace - Main Theatre, located in the heart of London, is a stunning theatre venue known for its distinct interior design, seasoned performances, and unique ambiance. As a principal theatre of the city, it continues to draw in art lovers with its exceptional theatrical programming. The Main Theatre, bejeweled with sumptuous architectural charm and antiquity, houses 312 seats arranged to ensure an intimate setting and a clear-stage view from all corners. Upon entry, visitors are greeted by a grand foyer, leading to the spacious atrium draped in elegance. The stunning auditorium's red velvet seats, embellished with Edwardian era inspiration, set the mood for the night. Each performance at this theatre is a memorable experience, thanks to the state-of-the-art sound and lighting facilitation that promises immersive viewing. For refreshments, various bars on different levels cater to your needs, and the theatre also has provisions for wheelchair users. 

**How to get to the venue:** The Other Palace is well-connected by public transport. It's a short walk from Victoria Station, which is served by numerous buses, tubes, and trains, making it easily accessible from all parts of London. There are also various car parks nearby for those who prefer driving, like the Q-Park Westminster, which offers pre-booking options. 

Please note that due to its central location, traffic can get busy, so it is recommended to plan your journey in advance.

The Other Palace - LON

The Other Palace - Main Theatre

The Other Palace - Main Theatre in London is an elegant 312-seat theatre venue, known for diverse performances and unique ambiance, conveniently located near Victoria Station.

The Caucasian Chalk Circle - LON [24028]

The Caucasian Chalk Circle

The Caucasian Chalk Circle - LON [24028] Product Media

## The Rose Theatre Kingston
 Rose Theatre Kingston is a beautiful and vibrant theatre venue nestled in the heart of London. It was modelled on the original Elizabethan Rose Theatre on London's Bankside and includes a deep thrust stage, which brings the audience and performers closer together. With an 899-seat capacity, this theatre offers an intimate viewing experience. The theatre was officially opened in 2008 by Sir Peter Hall presenting a spectacular production of Chekhov's 'Uncle Vanya'. Every year, it hosts a wide variety of productions from gripping dramas to enchanting children's shows, making it a versatile space that caters to all ages and tastes. It's also reputed for its edgy and thrilling new writing, along with its re-imagination of the classics. With state-of-the-art technology, the Rose Theatre boasts of excellent acoustic and lighting systems, promising a full sensory experience. In addition to its performances, the theatre also provides a wide range of community programs, workshops, talks, and events.

 ## How to get there
 Located in Kingston upon Thames, the Rose Theatre is easily accessible by public transportation. The nearest railway station is Kingston, which is approximately 10 minutes' walk away. Several bus services also stop near the theatre. If you plan to drive, there are numerous pay-and-display car parks nearby, like the Rose Car Park. The theatre also provides bike racks for those who prefer cycling.

521 - Rose Theatre Kingston

Rose Theatre Kingston

The Rose Theatre Kingston is a well-acclaimed 899-seat venue in London, known for a diverse range of shows, community events, and excellent facilities. Easily accessible via public transport.

Anyone under the age of 16 has to be accompanied by an adult aged 18+.

Treason - The Musical In Concert - LON

Treason - The Musical In Concert

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The Theatre Royal Drury Lane is among the most iconic and fascinating place of performance in London’s Covent Garden. The current building, which constitutes the fourth theatre on the site since 1663, navigates you through the mesmerising journey of nearly four centuries of British history under its majestic roof. Built by Benjamin Dean Wyatt, the theatre has proudly been a destination for legendary performances that left a substantial remark in the annals of theatre history. As the oldest and continuously used theatre in London, it has thrived as a symbol of resilience, being rebuilt after two devastating fires, and witnessing a multitude of evolution in the taste of the audience. Home to exceptional productions, the theatre has hosted national icons such as Laurence Olivier, Nell Gwynne and even King Charles II himself have trodden its boards. Its grandeur and rich heritage surely attract the ardent admirers of theatre from all around the globe.
## Getting to the Venue
The Theatre Royal Drury Lane is located in the heart of London’s West End and well-served by public transport. Nearest underground stations include Covent Garden and Holborn. Additionally, numerous bus routes pass close to the theatre. Alternatively, drivers can use the MasterPark at Park Street or NCP at Drury Lane.

Theatre Royal Drury Lane - LON

Theatre Royal Drury Lane

The Theatre Royal Drury Lane, in London's Covent Garden, is the city’s oldest working theatre with a rich heritage and excellent transport links.

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

Once In Concert - LON

Once In Concert

Once In Concert - LON Product Media

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.

The Garrick Theatre is a renowned and historical theatre venue located in the heart of London, Charing Cross Road, near Leicester Square. Opened in 1889, it was named after the stage actor David Garrick. Designed by Walter Emden and C.J. Phipps, it is built with an exquisite blend of classical and baroque architectural styles, giving it a unique touch of elegance. The theatre boasts a theatrical heritage unrivalled in its history of performances, artists, and premieres, hosting a variety of world-class productions ranging from dramatic plays, farces, comedic performances, to Shakespearean plays. With a seating capacity of 656 spread across three levels - stalls, dress circle, and grand circle - the theatre offers an intimate atmosphere, drawing audience closer to the performances and making it a favourite venue for both theatre-goers and performers. Along with the splendid auditorium, the theatre contains bars at each level providing a comfortable space for refreshment. The theatre is equipped with state-of-the-art systems offering excellent audio and visual experiences. A visit to the Garrick Theatre is a step back into time, offering classic London theatre experience in a beautiful and iconic venue. 

## How to Get There
The Garrick Theatre is easily accessible by various modes of transport. If you are using the London Underground, the closest Tube stations are Leicester Square (Northern, Piccadilly) and Charing Cross (Bakerloo, Northern). By bus, several bus routes pass close to the theatre, including the numbers 24, 29 and 176. If driving, the nearest car park is Q-Park Chinatown.

Garrick Theatre - LON

Garrick Theatre

The Garrick Theatre is an iconic London venue, known for its architectural elegance, rich history, and hosting top-tier productions.

Ages 4+. Under 16s must be accompanied and sat with an adult (18+).

Carrie Hope Fletcher – Love Letters Live - LON [40981]

Carrie Hope Fletcher – Love Letters Live

Carrie Hope Fletcher - Love Letters Live - LON [40981]

Arguably the most recognisable West End performer of her generation, Author, Actress, Vlogger and award-winning sensation Carrie Hope Fletcher is heading back out on the road in Autumn of this year!

Born in Harrow in 1992, Carrie Hope Fletcher is an actress, vlogger and author who has appeared in a number of West End shows, as well as releasing her own music and novels.

Carrie-Hope-Fletcher-124x124px

Born in Epsom in 1968, Mel Giedroyc is a presenter, actress, and comedian. Although she’s best known for her television work, Giedroyc also performs in West End shows. She’ll return to the stage in *The Crown Jewels* at the Garrick Theatre. 

In 2007, Giedroyc played the fairy godmother — named Fairy Liquid — in *Jack and the Beanstalk* at the Barbican. A year later, she appeared as one of the presenters for *Eurobeat: Almost Eurovision!* at the Novello Theatre. 

In 2015, Giedroyc made a one-off appearance as the third Narrator in *The Rocky Horror Show* at the Playhouse Theatre. She then made her West End debut as Sarah in the gender-swapped *Company* revival, alongside Jonathan Bailey and Rosalie Craig. In a [*Company* review on London Theatre](https://www.londontheatre.co.uk/reviews/review-stephen-sondheims-company-is-stunning-at-the-gielgud-theatre), our critic said: “Elliott's production is also given a striking modern sheen… this version is both a departure into new territory and a stunning reaffirmation of its brilliance.” 

Following *Company*, Giedroyc dipped her toe into Shakespeare, playing Beatrice in *Much Ado About Nothing* at the Rose Theatre Kingston. 

In recent decades, Giedroyc’s become a beloved television presenter, best known for her work with collaborator Sue Perkins. The pair met while at Cambridge University, and notably hosted multiple seasons of *The Great British Bake Off*. In 2015, the pair had their own daytime chat show, titled *Mel and Sue*, which ran for 30 episodes. They then joined up again in 2017 to host a rebooted version of *The Generation Game*.

Giedroyc’s even displayed her musical prowess on television, playing Frau Schmidt in a live version of *The Sound of Music*.

Mel Giedroyc will star in the world premiere of *The Crown Jewels* at the Garrick Theatre in summer 2023. She’ll star alongside Al Murray, Neil Morrissey, Carrie Hope Fletcher, and Joe Thomas.

Mel Giedroyc - LON

Company [8093]

Company

Company [8093] Product Media

<a href="/show/company">Company</a>, first premiered on Broadway in 1970, was always a bold, brilliant musical: a series of brief vignettes (by George Furth) and dazzling songs (by Stephen Sondheim) about the challenges of dating and marriage and the fears of being trapped. The songs and scenes flow in and out of each other in an impressionistic haze as a man, about to celebrate his 35th birthday, confronts his deep-rooted fears about long-term relationships and the loneliness of being on his own.But in the show's third major West End outing, he is now she - Bobby has become Bobbie - and it is a perennially single woman who is wrestling with these issues.&nbsp; And by making this sly change, director Marianne Elliott and her thrilling star <a href="/actor-profile/rosalie-craig">Rosalie Craig</a> have given a deeply familiar and now nearly half a century old show a seemingly radical make-over that thrusts it into the here and now, yet with hardly any lyric changes required. (One of the few noticeable ones: instead of singing "my service will explain", it becomes "I'll text you to explain").Other character genders have changed, too: Amy, the anxious, jittery bride who is one of Bobby/Bobbie's best friends and desperately tries to cancel things on her wedding day, has become Jamie, running away from Paul.These switches are seamless to those of us who know the show intimately, yet it's also striking how newly modern and unfamiliar it makes it all seem, too. It's like seeing an old friend again after a long absence who has lost a ton of weight:&nbsp; they're still recognisably the same person, but yet also a different person from which layers have been taken away. We watch the show through fresh eyes - and ears. Yet the triumph is still Sondheim and Furth's, as well as the brilliance of their original director Hal Prince, to distil an emotional anorexic's palpable anxieties into a show that dares to tell its story so impressionistically yet tangibly, without the anchor of a plot beyond a surprise birthday party that bookends the show - and which our avoidant hero(ine) fails to show up for.<a href="/actor-profile/rosalie-craig">Rosalie Craig</a>, radiant in a ravishing red party dress, may be playing a tentative, emotionally disconnected character, but she pulls off the astonishing feat of making us connect with her. The character may be defined by her absence from her own life, but Craig brings a pulsing presence to her, one that fully explains the draw she has on her variously coupled friends Joanne and Larry, Harry and Sarah, David and Jenny, and Paul and Jamie, and how they wish she would allow her emotional armour to be taken off (and replaced with amour instead).Craig also brings an absolutely ferocious attack but also gorgeous musicality to such songs as "Marry Me a Little" and "Being Alive" that respectively end each act, as she comes to realise that she desperately craves making new choices.She is surrounded by a luxuriously cast group of supporting actors that includes the West End return of Broadway superstar <a href="/actor-profile/patti-lupone">Patti LuPone</a> as the brittle, pugnacious Joanne, who (following in the seemingly inimitable footsteps of the late, great Elaine Stritch) turns "The Ladies Who Lunch" into her own extraordinary anthem of defiance and resilience. LuPone has always been a great actor with a wild, unpredictable vocal attack; but the absolute revelation here is the clarity of her diction, which has frequently previously been less than sure.Also utterly thrilling: Jonathan Bailey's Jamie who spits out the fast and furious "Getting Married Today" at astonishing speed; Gavin Spokes, Richard Henders and Ben Lewis as the trio of husbands whose yearning "Sorry-Grateful" is the epitome of the show's themes of the contradictory impulses of marriage; and the brilliantly surprising (and eye-poppingly buff) Richard Fleeshman as the airline steward Andy that Bobbie dates.&nbsp;Elliott's production is also given a striking modern sheen in regular collaborator designer Bunny Christie's lightbox-framed moving boxes in which the action is set, with New York apartment bedrooms, balconies and street terrace exteriors summoned in an instant. A small, tight band under expert musical supervisor Joel Fram is visible throughout on a platform above the stage.There have been other wonderful productions of <a href="/show/company">Company</a>, including an indelible Donmar Warehouse revival in 1995 by Sam Mendes that starred Adrian Lester as Bobby, but this version is both a departure into new territory and a stunning reaffirmation of its brilliance.<hr /><a href="/show/company">Company</a>&nbsp;is at the Gielgud Theatre until 30th March 2019.<a href="/show/company">Company&nbsp;tickets</a> are available now.&nbsp;<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"Company was the first musical I saw on Broadway and has always had a special place in my affections. It is gratifying to see it not just being revived but also intelligently reimagined." Michael Billington, <a href="https://www.theguardian.com/stage/2018/oct/17/company-review-sex-switch-sondheim-gielgud-theatre-london" target="_blank">The Guardian</a>&nbsp;(four stars)"Elliott's production brilliantly underscores the existential nature of Sondheim's lyrics and George Furth's book. On Bunny Christie's striking set, Bobbie's adventures unfold in a series of glowing frames drifting through the inky dark." Andrzej Lukowski, <a href="https://www.timeout.com/london/theatre/company-review" target="_blank">Time Out</a>&nbsp;(five stars)"This is a take on Company that savours Sondheim's subtleties. In short, it's glorious." Henry Hitchings, <a href="https://www.standard.co.uk/go/london/theatre/company-review-theatre-marianne-elliott-sondheim-a3964531.html">Evening Standard</a> (five stars)"Elliott's production is fabulous - gorgeously sung, zippily performed and really, properly funny. I can't remember ever laughing more at a musical, in fact." Alice Jones, <a href="https://inews.co.uk/culture/company-gielgud-theatre-london-review-patti-lupone/">iNews</a> (five stars)&nbsp;

Review - Stephen Sondheim's Company is 'stunning' at the Gielgud Theatre

The Gielgud Theatre is an iconic heritage venue located in the heart of London's bustling West End. Showcasing a wide array of performances ranging from dramatic plays, to musicals, to stand-up comedy, the theatre has been a magical place of storytelling since its doors first opened in the late 1800s. Upon entering the theatre, patrons are greeted by a stunning interior complete with opulent gold leaf detailing, royal red plush seating and ornate carved plaster. The plush Royal Circle boasts excellent sightlines, while the intimate, yet spacious Dress Circle and Stalls ensure every audience member feels close to the action. With a seating capacity of 986 spread across three levels, the theatre boasts an intimate atmosphere making every show a unique experience. 

**How to get to the venue:** Located at Shaftesbury Avenue, one of the easiest methods of reaching is by Tube. The closest station is Piccadilly Circus on the Bakerloo and Piccadilly lines. There are also many bus routes which stop close to the theatre making it easily accessible from all parts of the city. For those driving, a nearby Q-Park Theatreland car parking facility is available, though the theatre encourages use of public transport due to high congestion in the area.

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Gielgud Theatre

The Gielgud Theatre is an iconic, intimate London theatre, featuring lavish interiors, located in West End accessible by Tube, bus or car.

Find out more about Mel Giedroyc in the West End. See West End shows with Mel Giedroyc and book tickets now.

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*The Book of Mormon* comes from South Park creators __Trey Parker__ and __Matt Stone__, and *Avenue Q* co-creator __Robert Lopez__. *The Book of Mormon*, winner of nine Tony Awards® and four Olivier Awards, including Best Musical for both, follows a pair of Mormon boys sent on a mission to a place that’s about as far away a from Salt Lake City as you can get. 

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