Name: Aspects of Love
Start: 2023-05-12
End: 2023-08-19
Location: Lyric Theatre

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Michael Ball was born in Worcestershire in 1962 and has since established himself as an actor, singer and broadcaster, not only in the West End but also television and radio.

After studying at Guildford School of Acting, he caught his first break starring in *The Pirates of Penzance* at Manchester Opera House. Starring in *The Pirates of Penzance* got him cast in the London production of [*Les Miserables*](https://www.londontheatre.co.uk/show/300-les-miserables) at the [Palace Theatre](https://www.londontheatre.co.uk/theatres/palace-theatre) as Marius. Following this, Ball was invited to follow Steve Barton’s original portrayal of Raoul in the second casting of [*The Phantom of the Opera*](https://www.londontheatre.co.uk/show/308-the-phantom-of-the-opera) at [Her Majesty’s Theatre](https://www.londontheatre.co.uk/theatres/her-majestys-theatre). Other notable roles include playing Alex in *Aspects of Love* at the [Prince of Wales Theatre](https://www.londontheatre.co.uk/theatres/prince-of-wales-theatre) in 1989, and as Giorgio in Stephen Sondheim’s *Passion*. 

Ball’s one man show *Alone Together*, which was originally performed at the [Donmar Warehouse](https://www.londontheatre.co.uk/theatres/donmar-warehouse) was later reprised at the [Theatre Royal Haymarket](https://www.londontheatre.co.uk/theatres/theatre-royal-haymarket) in 2004. 1998 marked a busy year for Ball, performing in *The Fiftieth Birthday Concert of Andrew Lloyd Webber* at the Royal Albert Hall, *Sondheim Tonight* at the Barbican and *Hey, Mr. Producer: The Musical World of Cameron Mackintosh*. He returned to the theatre in 2002 as Caractacus Potts in *Chitty Chitty Bang Bang* at the [London Palladium](https://www.londontheatre.co.uk/theatres/london-palladium).

In 2004, Ball sang for the Queen and her guests for a one off special concert performance of [*Les Miserables*](https://www.londontheatre.co.uk/show/300-les-miserables) at Windsor Castle. The following year, he replaced Michael Crawford as Count Fosco in *The Woman in White*, a role which took him to the West End and Broadway. In 2007, Ball played Edna Turnblad in [*Hairspray*](https://www.londontheatre.co.uk/show/16216-hairspray) at the [Shaftesbury Theatre](https://www.londontheatre.co.uk/theatres/shaftesbury-theatre), winning an Olivier Award.

Following this, he starred in *Sweeney Todd: The Demon Barber of Fleet Street* alongside [Imelda Staunton](https://www.londontheatre.co.uk/actor-profile/imelda-staunton) at the [Adelphi Theatre](https://www.londontheatre.co.uk/theatres/adelphi-theatre). Ball was also part of the cast for the *25th Anniversary Concert of Les Miserables* at The O2 Arena along with [Matt Lucas](https://www.londontheatre.co.uk/actor-profile/matt-lucas), Alfie Boe and [Samantha Barks](https://www.londontheatre.co.uk/actor-profile/samantha-barks). The concert was telecast live to cinemas globally and later released on DVD.

Outside the theatre, Ball has released several solo albums from 1992 - 2014. He has also established himself as a presenter for shows such as *This Morning*, *The Michael Ball Show* and *The One Show*. He also appeared as a Judge in the talent television show *Soapstar Superstar* for series two in 2007. 

Recently, Ball has starred in *Chess* at the London Coliseum, and played Javert in [*Les Misérables - The All-Star Staged Concert*](https://www.londontheatre.co.uk/show/23144-les-miserables-in-concert) at the Gielgud Theatre. In 2021, he reprised his performance as Edna Turnblad in [*Hairspray*](https://www.londontheatre.co.uk/show/16216-hairspray) at the London Coliseum.

Ball will return to the West End in 2023 to star in *Aspects of Love* at the Lyric Theatre.

Michael Ball - LON

Ages 7+. 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.

Ages 8+. Anyone under the age of 16 has to be accompanied by an adult (18+). Under 4s will not be admitted.

The Phantom of the Opera - LON [308] 

The Phantom of the Opera

The Phantom of the Opera [308] - LON  Product Media

Stop a person on the street and ask them to name a West End musical, they'll probably say one of two things: <a href="/show/les-miserables">Les Mis</a>, or <a href="/show/the-phantom-of-the-opera">The Phantom of the Opera</a>. The latter has been impressively running non-stop at <a href="/theatres/her-majestys-theatre">Her Majesty's Theatre</a>&nbsp;for over 3 decades now, but does Andrew Lloyd Webber's musical still have the same sense of wonder as it did all that time ago.&nbsp;&nbsp;There's no question that it's a complete classic: the story tells of the titular phantom who haunts an opera house, the tales of his presence in the building are now common gossip amongst the casts. During rehearsals for the company's latest offering, an unknown chorus girl, Christine, is forced to thrust into the lead role, with the producers assured she has been taught well. Taught, it turns out, by the 'Angel of Music', the Phantom whose voice rings around in her head.During her triumphant performance, an old friend Raoul rekindles his love for Christine, while the Phantom reveals himself to Christine, luring her to his underground lair. As he tells her how she's been chosen to perform his work-in-progress opera, she lifts his mask to reveal his gruesomely disfigured face, and this begins a tale of jealousy and control.While its reputation as the ultimate romantic musical precedes it, watching the show in the #MeToo era throws up for a few uneasy moments. As the Phantom's manipulation and desire to control Christine become more and more apparent - through some pretty no-nonsense lyrics like "You will curse the day you did not do /All that the Phantom asked of you" - it's difficult not to feel for her as she is trapped and manipulated by a selfish, jealous man.It did create two of the most desirable roles for any musical theatre performer. Originated by Michael Crawford and Sarah Brightman, the production currently features an excellent leading cast of <a href="/theatre-news/interviews/ben-lewis-interview-meet-the-west-ends-new-phantom-of-the-opera">Ben Lewis</a> and Kelly Mathieson. Lewis commands every corner of the stage with the menace of the Phantom, while treating his more tender moments with the deluded pain the character demands. Mathieson plays Christine with the kind of innocent naivety that makes the part convincing, and nails some of the most challenging songs written for the stage.There is still something special about Lloyd Webber's score. Its songs were revelations that shook musical theatre, standards that entered the public consciousness. The '80s synth-opera fusion might seem a little dated, but there's no disputing that descending motif still conjures goose bumps. At the heart of "The Point of No Return" - the Phantom's composition - are the satisfying resolved phrases that are a trademark of the score.In 2018, it's difficult for one to imagine the reaction this production would have received in the '80s. It's wildly over the top - complete with its iconic set pieces, fireballs, and an elephant &nbsp;- and some of these elements raise a chuckle or two at the confidence it must have taken to pull them off. Some of the tricks wouldn't look out of place in <a href="/show/harry-potter-and-the-cursed-child">Harry Potter and the Cursed Child</a>, while others laid the groundwork for a show like <a href="/show/bat-out-of-hell-the-musical">Bat Out of Hell</a> to exist at the heightened level it does.While we could dissect the reaction the show would get if <a href="/show/the-phantom-of-the-opera">Phantom</a>&nbsp;was presented as a new work today, there's no question that it's still wild, it's still joyous, and it's still deserved of its place as the pride of the West End.<a href="/show/the-phantom-of-the-opera">The Phantom of the Opera</a> is currently booking at the <a href="/theatres/her-majestys-theatre">Her Majesty's Theatre</a>.

Review - The Phantom of the Opera at Her Majesty's Theatre

Read our review of The Phantom of the Opera starring Kelly Mathieson at Her Majesty's Theatre on London Theatre.

The Phantom of the Opera at Her Majesty's Theatre Review | London Theatre

This multi-award winning musical continues to captivate audiences at His Majesty’s Theatre in London’s West End, after more than 12,000 performances.

His Majesty’s Theatre is an iconic venue located in the heart of London. This historic venue's grandeur and legacy heighten the aura of the performances it hosts. Nestling in the Theatreland, the edifice is an embodiment of architectural finesse and historical significance, it is an epitome of classic Victorian design with hints of French Renaissance, designed by the celebrated architect Charles J. Phipps and first opened its doors to the theatre-loving public in 1897. Known for churning out some of the best works in dramatic art, the theatre serves as a platform for emerging stars and industry veterans alike. From local productions to international plays and musicals, the theatre has housed a wealth of performances that have touched the hearts of millions. As you walk through its dignified corridors and lush seating areas, you can still feel the legacies of the great actors who graced the stage. One remarkable feature of the theatre is the royal box, which used to be reserved for royal figures. It provides an exceptional viewing experience that makes a trip to His Majesty’s Theatre truly unforgettable.

 **Getting to the Venue**

His Majesty's Theatre is easily accessible from any part of London. It is just a minute away from Piccadilly Circus tube station and many bus routes stop nearby. There are car parking facilities available in the vicinity as well.

His Majesty's Theatre - LON

His Majesty’s Theatre

His Majesty’s Theatre, a historical London venue, showcases exceptional dramatic art. It is centrally located near Piccadilly Circus tube station.

Welcome to the '60s! Don't miss your final chance to see this big-hearted hit in the West End

Coliseum: Entry Requirements 

Hairspray [16216] - LON

Hairspray

Hairspray [16216] - LON Product Media

On a night of jubilation for English football fans, there was ample cause for celebration in the West End, too. Theatre came roaring back with a bright and big-hearted musical, ecstatically received by the <a href="https://www.londontheatre.co.uk/theatres/london-coliseum">London Coliseum</a> audience.As star <a href="https://www.londontheatre.co.uk/actor-profile/michael-ball">Michael Ball </a>pointed out in a post-show speech, we're not there yet: that audience was 1,000 instead of 3,000, with social distancing and capacity caps still in place. It was a smaller band, too, looking lonely in the cavernous pit. All of which exacerbated a mismatch between this genial but modest production and the enormous venue.&nbsp;Yet thanks to a phenomenally hard-working ensemble, dynamically delivering Jerry Mitchell's witty, inventive choreography, it did capture the <a href="https://www.londontheatre.co.uk/show/hairspray">Hairspray</a> spirit — capped by the irresistible final number, "You Can't Stop the Beat," which had everyone up and dancing together. You don't get that with a streamed show in your living room.&nbsp;The big draw of this revival — originally due to run last year — is Ball reprising his Olivier-winning turn as Edna Turnblad, laundress mother of the dance-crazy Tracy, who has yet to embrace '60s liberation. Ball has total command of the material, landing one-liners with aplomb, forming an endearing bond with Lizzie Bea's Tracy, and relishing this multifaceted drag role. He can both work a feathered hem and threaten to throw a punch.&nbsp;It's a performance that shifts into panto at times, especially when Ball ad libs to crack up Les Dennis, playing husband Wilbur. Dennis is a jolly presence, but vocally underpowered and clearly busking it during the dance numbers.Overall, Jack O'Brien's production needs more tonal consistency. Rita Simons and Georgia Anderson play the Von Tussles as cartoon villains — enjoyably so in the latter case, giving us a very funny, shrill Amber. But that's slightly at odds with more grounded work elsewhere, particularly from Bea as Tracy and Ashley Samuels as Seaweed J Stubbs. This show is a tricky balancing act: relishing its zany, colourful fun, without losing the heartfelt story at the centre.However, Bea is a delight as the plus-sized, giant-haired Tracy, determined to follow her dreams of dancing on her favourite TV show. She could make more of the comic possibilities, but gets great mileage out of Tracy's unbridled lust for crooner Link (a suitably appealing Jonny Amies).&nbsp;Michael Vinsen's Corny Collins amusingly lives up to his name, shiny trousers and all (glorious costumes by William Ivey Long), while, as Penny, Mari McGinlay proves to be an adept physical comedian. There's also a scene-stealing turn by Kimani Arthur as Little Inez, while Ashley Samuels makes Seaweed a genuinely exciting dancer — and imbues those smooth moves with real meaning, too.But the knockout performance comes from Marisha Wallace as Motormouth Maybelle, whose "I Know Where I've Been" begins as an intimate, bluesy number, sung to her children, and builds to a great cry, testifying about her experiences and beseeching the heavens for progress.While Mark O'Donnell, Thomas Meehan, Marc Shaiman, and Scott Wittman's show does minimise social injustice with its overly neat ending, in some ways it feels startlingly contemporary. There's an activist protagonist using her platform to enact change, a joke about how rigging the justice system to win a contest is "un-American" that plays differently in 2021, and the lyrics of "I Know Where I've Been" still confront us"&nbsp;"Just to sit still would be a sin" is the challenge issued by the Black Lives Matter movement to be more than a passive ally.Yet, ultimately, Hairspray is a great big hug of a show. With its catchy '60s songs and explosive dancing, it's a joyful welcome back to musical theatre audiences — and to a re-emerging West End.<a href="https://www.londontheatre.co.uk/show/hairspray">Hairspray is running through 30 September at the London Coliseum. Book Hairspray tickets in the West End on London Theatre today.</a>Photo credit: Lizzie Bea as Tracy Turnblad and Jonny Amies as Link Larkin (Photo by Tristram Kenton)<div>&nbsp;</div>

'Hairspray' brings the beat and a big heart back to the West End

The London Coliseum, located in the heart of London is the largest theatre in London's West End. Built by architect Frank Matcham and opening its doors for the first time in 1904, the theatre houses just under 2,359 seats, spread out over four levels. Stylistically, the design is Edwardian Baroque - known for its grandeur and detail-oriented style. A site of both historic and cultural importance, The Coliseum is famed for its variety of productions including musical comedies, variety shows, and classic dramas. Since 1968, it has been the London home of the English National Opera (ENO) and is also used by the English National Ballet during the Christmas period. Notably, The London Coliseum has a rich history, boasting a revolving stage and the first 'quadraphonic' sound system in Britain. Today, its programming is varied with everything from high-profile awards ceremonies, to film screenings, television broadcasts, and a selection of world-class operas, musicals, dance performances and concerts. Its motto is 'Pro Bono Publico' (For the public good).

## How to get to the venue
The London Coliseum is easily accessible by a variety of transport options. It is located at St Martin's Lane, London, WC2N 4ES. The nearest underground station is Leicester Square on the Northern and Piccadilly Lines whilst the Charing Cross station servicing the Northern, Bakerloo and the British Rail Lines is just a short walk away. Additionally, a variety of buses service the area including the routes 3, 6, 9, 12, 13, 15, 24, 29, 30, 53.

London Coliseum - LON

London Coliseum

The London Coliseum is the largest West End theatre, housing English National Opera and English National Ballet performances. Accessible from Leicester Square and Charing Cross stations.

The Lyric Theatre, located in the heart of London's West End, showcases an array of stunning productions that immerse spectators in captivating performances. Established in 1888, it is one of the oldest playhouses in the city, boasting of an ornate Victorian design. The gilded balustrades, multi-tiered balconies, and grand proscenium arch create an environment that harks back to the rich tradition of British theatre. Currently, it hosts over 900 spectators, promising an intimate experience. Over the years, it has featured renowned shows like ‘Cats’ and ‘Thriller Live’. 

## Getting to the Venue 

Situated on Shaftesbury Avenue, reaching the Lyric Theatre is straightforward. The nearest underground station is Piccadilly Circus, just a four-minute walk away. It's served by the Bakerloo and Piccadilly lines, offering convenient access from various parts of London. If travelling by bus, lines 14, 19, 22B, 38, 53, 88, 94, and 159 all stop nearby. For those driving, the closest car park is at Brewer Street, about a ten-minute walk away. Do take note of congestion charges when planning your visit.

Lyric Theatre - LON

Lyric Theatre

The Lyric Theatre, in London's West End, is a Victorian era theatre hosting mesmerising performances. Easy accessibility via public transport.

Michael Ball was born in Worcestershire in 1962 and has since established himself as an actor, singer and broadcaster, not only in the West End but also television and radio.

Michael Ball - Stars on Stage | London Theatre

Michael-Ball-124x124px

Lyric Theatre LON

Lyric Theatre - TodayTix

The Lyric Theatre opened on 17 Dec. 1888. From the twentieth century, the theatre's typically hosted plays and musicals. Notable shows include *The Royal Family* starring Laurence Olivier, and the original production of Willy Russell’s *Blood Brothers*.

In recent years, the Lyric Theatre has become heavily associated with Michael Jackson — the *Thriller Live* concert ran for 13 years. Michael Jackson then made way for Bob Marley with *Get Up, Stand Up! The Bob Marley Story.* Nimax Theatres has owned the Lyric Theatre since 2005.

## Lyric Theatre Seating Information

The auditorium has four levels – Stalls, Dress Circle, Upper Circle and Balcony. In the Stalls, the view of the stage is slightly obscured by the overhang of the Dress Circle in Rows Q and R. 

In the Dress Circle, there is a shallow rake.

The Upper Circle offers shallow legroom. The balcony does not hinder the view. 

The Balcony is very high up, but the seats offer a good view of the stage.

Lyric Theatre - London Theatre

The Lyric Theatre opened in 1888, hosting plays, musicals, and the long-running Thriller Live concert. The auditorium has four levels providing various views.

LyricTheatre-SeatingMap-730 x1342 px

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