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

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Promotional terms for participants in the UK (any person who resides elsewhere is not eligible to participate in the 'TodayTix Rush' sales promotion).

The promoter of the 'TodayTix Rush' sales promotion is TodayTix, Ltd (the "Promoter"). This sales promotion is neither endorsed by nor in any way associated with: (i) Apple Inc.; (ii) Google Inc.; (iii) Facebook Inc.; (iv) Twitter Inc.; (v) any owner/licensor of any musical or theatrical performance for which tickets are available to purchase under the 'TodayTix Rush' sales promotion and/or (vi) the theatre in which it is performed.

By participating in the 'TodayTix Rush' sales promotion, a participant will be deemed to accept these promotional terms and the Promoter's UK Privacy Policy (which can be accessed here) and agrees that the decision of the Promoter is final and binding in all matters relating to the 'TodayTix Rush' sales promotion.

All references to "app" in these promotional terms refer to the "TodayTix – West End Tickets" mobile application which is compatible with iPhone, iPad and Android devices and can be downloaded from Apple's App Store (either iPhone or iPad version) or Google Play (Android version). Each participant must open a registered account via the app in order to participate in the 'TodayTix Rush' sales promotion – please see here [insert hyperlink] to open a registered account via the app.

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The Crown Jewels

The Crown Jewels poster

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.

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Suitable for ages 8+. Children under the age of 16 must be accompanied by and sat next to a ticketholder who is at least 18 years old. Children under the age of 3 will not be admitted.

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Les Misérables

‘A THRILLING INSPIRATION’ The Guardian

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

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Les Misérables: The Staged Concert

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.

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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.

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Heathers the Musical

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

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The Caucasian Chalk Circle

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

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

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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.

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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.

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Company

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

Mel Giedroyc - Stars on Stage | London Theatre

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The Garrick Theatre opened in 1889, and is named after actor David Garrick. When the theatre was built, architects discovered an underground river on the site!

The theatre became associated with comedy in 1982 with a four-year run of the farce *No Sex Please, We’re British*. This was the longest-running show at the Garrick, until J. B. Priestley’s *An Inspector Calls* transferred from the [Aldwych Theatre](https://www.londontheatre.co.uk/theatres/aldwych-theatre) in 1995 and resided for six years.

In recent years, a number of musicals have played here, including *A Little Night Music*, *Chicago*, and *The Scottsboro Boys*. In 2015, [Kenneth Branagh](https://www.londontheatre.co.uk/stars-on-stage/kenneth-branagh) took up residency at the Garrick for a year-long season of plays with his own theatre company. 

## Garrick Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle. In the Stalls, the view of the top of the stage is slightly obscured by the overhang of the Dress Circle from Row N onwards. 

In the Dress Circle, the view of the stage is not obscured by the overhang of the Upper Circle, but the ceiling can feeel low for those in the last row. The seats are designed in a horseshoe shape around the theatre and the Dress Circle offers good sightlines.

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One Day More. Photo by Johan Persson

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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

The Sondheim Theatre opened on 8 Oct. 1907. TThe Sondheim was built as a pair with the Hicks Theatre, now called the [Gielgud Theatre](https://www.londontheatre.co.uk/theatres/gielgud-theatre). 

The theatre was badly damaged in September 1940 when a World War II German bomb dropped directly on the building. The façade and front of house areas were destroyed. It took 20 years before the damage was repaired and the theatre reopened. Whilst the auditorium remained untouched, the exterior and foyer were rebuilt with a modern look.

The theatre has seen performances from several notable stars, including Fred Astaire, Noel Coward, and [Kenneth Branagh](https://www.londontheatre.co.uk/actor-profile/kenneth-branagh). 

The Sondheim Theatre is currently home to [*Les Misérables*](https://www.londontheatre.co.uk/show/les-miserables), where it's played since 2004.

## Sondheim Theatre Seating Information

The auditorium has three levels - Stalls, Dress Circle and Upper Circle.

The Stalls offers good views of the stage, helped by a noticable rake in the seating from Row H onwards. 

The Dress Circle offers good legroom, but the curving of the area means that the sightlines from the outermost seats to suffer. 

The Upper Circle has a very good rake in the seating allowing for good views.

## Where is *Les Miserables* in London?

*Les Miserables* is at the Sondheim Theatre in London. The Sondheim Theatre is located on Shaftesbury Theatre. It's close to West End theatres including the Lyric Theatre and the Gielgud Theatre.

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Sondheim Theatre

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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 Gillian Lynne Theatre originally opened in 1847 as the Mogul Music Hall. From 1919 to 1965, it was named the Winter Garden Theatre, but after renovations, the theatre opened as the New London Theatre in 1973. 

The theatre housed Andrew Lloyd Webber’s *Cats*, which was the longest-running musical in West End history when it closed in 2002.  It was also used as a television studio, and was the home of Masters Snooker for two years.

Since the closure of *Cats*, the theatre has hosted productions of Lloyd Webber’s *Joseph and the Amazing Technicolor Dreamcoat*, *School of Rock*, and *Cinderella*.

In 2018, Andrew Lloyd Webber announced the theatre would be renamed the Gillian Lynne Theatre, the first London theatre to be named after a woman. Lynne worked on productions with the English National Opera, Royal Shakespeare Company and many West End and Broadway shows. She collaborated with Andrew Lloyd Webber on *Cats, The Phantom of the Opera* and *Aspects of Love.* 

## Gillian Lynne Theatre Seating Information

The Gillian Lynne Theatre features a thrust stage that juts into the auditorium. Seats are on three sides of the auditorium. 

Some seats offer side views of the action on stage. But every seat guarantees a view that's close to the action.

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Gillian Lynne Theatre

Heathers Rush

Promotional terms for participants in the UK (any person who resides elsewhere is not eligible to participate in the 'TodayTix Rush' sales promotion).

The promoter of the 'TodayTix Rush' sales promotion is TodayTix, Ltd (the "Promoter"). This sales promotion is neither endorsed by nor in any way associated with: (i) Apple Inc.; (ii) Google Inc.; (iii) Facebook Inc.; (iv) Twitter Inc.; (v) any owner/licensor of any musical or theatrical performance for which tickets are available to purchase under the 'TodayTix Rush' sales promotion and/or (vi) the theatre in which it is performed.

By participating in the 'TodayTix Rush' sales promotion, a participant will be deemed to accept these promotional terms and the Promoter's UK Privacy Policy (which can be accessed here) and agrees that the decision of the Promoter is final and binding in all matters relating to the 'TodayTix Rush' sales promotion.

All references to "app" in these promotional terms refer to the "TodayTix – West End Tickets" mobile application which is compatible with iPhone, iPad and Android devices and can be downloaded from Apple's App Store (either iPhone or iPad version) or Google Play (Android version). Each participant must open a registered account via the app in order to participate in the 'TodayTix Rush' sales promotion – please see here [insert hyperlink] to open a registered account via the app.

Please note that in order to unlock and access the 'TodayTix Rush' section of the app, you will on each occasion first be invited (but not required) to post content about it to your registered account with Twitter or Facebook from within the app. Although such content will never involve your endorsement of a third party product or service (other than the then-current musical/theatrical performance featured on the locked screen of the 'TodayTix Rush' section of the app) please do not proceed to post such content unless you agree with all of it. Your decision to post content will not affect the ticket(s) available to you in the 'Rush' section of the app and/or their price. Regardless of whether or not you post content, the app will display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay to secure them.

Please note that the discounted price tickets sold through the 'TodayTix Rush' section of the app are for the stated performance time of the featured musical/theatrical performance which will always be later on the same date. The discounted price tickets are very limited in quantity and subject to availability sold on a 'first come first served basis'. If either there is:

less that 1 hour until the featured musical/theatrical performance; or all the discounted price tickets have been sold for it, then the 'TodayTix Rush' section of the app shall not be able to be unlocked from such point until the following date on which discounted price tickets are available for purchase through the 'TodayTix Rush' section of the app – either for the same or a different musical/theatrical performance.

PROMOTION PERIOD. You may purchase 2 discounted price tickets for the featured musical/theatrical performance from as soon as these are marketed within the 'TodayTix Rush' section of the app. The closing time/deadline for the purchase of such tickets is either: 1 hour until the featured musical/theatrical performance; or all the discounted price tickets have been sold. In either case the 'TodayTix Rush' section of the app shall not be able to be unlocked from such point until the following date on which discounted price tickets are available for purchase through the 'TodayTix Rush' section of the app.

Only 2 tickets may be purchased for any particular performance per person.

ELIGIBILITY. This sales promotion is open to anyone aged 18 years or over resident in the UK only, who selects the 'TodayTix Rush' section of the app, excluding employees of the Promoter and their families, the Promoter's service providers, agents and anyone professionally associated with this sales promotion.

HOW TO PARTICIPATE IN THIS SALES PROMOTION. To participate, please select the 'TodayTix Rush' section of the app and post the proposed content about this sales promotion to your registered account with Twitter or Facebook from within the app. If you decide to proceed and post such content then the app will then display a payment page to pay for the discounted price ticket(s). You must then pay for the ticket(s) without delay and always within 1 hour of the relevant performance to secure them (otherwise you will lose the opportunity to purchase them).

All instructions within the 'TodayTix Rush' section of the app will form part of these promotional terms.

THE PROMOTER'S LIABILITY. Except that the Promoter does not exclude or limit its liability for personal injury or death caused by its negligence or for fraudulent misrepresentation or any other liability that may not, by law, be limited or excluded, the Promoter accepts no liability in relation to a participant's participation (or inability to participate) in this sales promotion, including without limitation any use made by a participant of (or inability to use) the purchased ticket(s).

If this sales promotion cannot be executed as planned due to technical problems or circumstances beyond the Promoter's control, the Promoter shall not incur any liability and no payment or ticket(s) of any kind will be awarded.

The Promoter's determination and decision on all matters will be final and no correspondence will be entered into. Any dispute or situation not covered by these promotional terms will be resolved by the Promoter's management in a manner it deems to be the fairest to all concerned and, subject to the following section, that decision will be binding on all participants.

APPLICABLE LAWS AND JURISDICTION. This sales promotion and these promotional terms shall be governed by English law, and a participant agrees that any dispute between him/her and the Promoter regarding this sales promotion or these promotional terms will only be dealt with by the English courts, provided that, if a participant lives in a part of the United Kingdom other than England, the applicable law of that part of the United Kingdom will govern and any dispute will only be dealt with by the courts there.

If any part of these promotional terms is found to be unenforceable as a matter of law, all other parts of these promotional terms shall be unaffected and shall remain in force.

Any queries and comments concerning this sales promotion should be directed in writing to "TodayTix Rush", TodayTix Ltd, UK Limited, 5 New Street Square, London, EC4A 3TW United Kingdom

I unlocked £25 Rush tickets for Heathers on @TodayTixUK! https://www.todaytix.com/london/shows/24125?share=unlock

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Heathers LON SQ Poster

'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

Formerly the St. James Theatre, The Other Palace opened its doors in February 2017. It's a home and breeding ground for musicals at various stages of development. 

The Other Palace focuses on four key areas: programming, creative use of spaces, musical theatre development and audience engagement. West End premieres have taken place at The Other Palace, including *Amelie*, *Be More Chill* and *Heathers*.

## Where is *Heathers* in London?

*Heathers* is at The Other Palace in London. The Other Palace is located in Victoria. It's close to the Victoria Palace Theatre and the Apollo Victoria Theatre.

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The Other Palace - Main Theatre

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Rose Theatre Kingston aims to serve the population of Kingston, South West London, Surrey and beyond by entertaining and engaging audiences.

Rose Theatre's beautiful 900 seat circular auditorium is situated in the idyllic Royal Borough of Kingston Upon Thames, its circular design brings great intimacy and epic scale to all the productions that appear here.

The Rose works with internationally renowned theatre companies and directors to create and present world class productions that are accessible to all. Our education and community programmes ensures the theatre is for everyone, from all ages and tastes. We are proud to work closely with our volunteers from Kingston and South West London who are an integral part of the Rose community.

We are an artistic hub for the region and beyond by presenting a wide range of events; music, dance, comedy, circus, opera, fine art, talks, festivals and much more.

With a welcoming atmosphere and exciting work at affordable prices, Rose Theatre Kingston is truly a world class theatre on your doorstep

521 - Rose Theatre Kingston

Rose Theatre Kingston

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The Theatre Royal Drury Lane that we see today opened on 10 Oct. 1812. However, this was not the first theatre on this site – there have been four theatres at this location since 1663. Today’s building was designed by Benjamin Wyatt and is the only theatre in London to have two royal boxes in the auditorium. 

Over the life of this incarnation of the Theatre Royal Drury Lane, the venue has become heavily associated with musical theatre. Rodgers and Hammerstein musicals played in succession from 1947 starting with *Oklahoma!*, *Carousel* in 1950, *South Pacific* in 1951 and *The King and I* closed the series with a three year run ending in 1956. The transfer of musicals from Broadway continued in 1958 with Lerner and Loewe’s *My Fair Lady*, starring Julie Andrews and Rex Harrison. The writing duo followed this up in 1964 with their next musical, *Camelot*.

Another Broadway transfer danced its way into Drury Lane in July 1976 - the Pulitzer Prize winning *A Chorus Line* came to London with its original Broadway cast and played for almost three years, recasting roles with English talent throughout its run. Stephen Sondheim’s *Sweeney Todd – The Demon Barber of Fleet Street* also made the move across the pond in 1980.

Short runs of *The Best Little Whorehouse in Texas* and *The Pirates of Penzance* followed in 1981 and 1982 respectively, but it was the arrival of the tap-dance heavy *42nd Street* in 1984 that saw the theatre packed and reignited the flame for long-running shows. The show played for five years, before *Miss Saigon* moved in and played over 4,000 performances over a decade. 

Recent musicals at Theatre Royal Drury Lane include *[Charlie and the Chocolate Factory](https://www.londontheatre.co.uk/show/charlie-and-the-chocolate-factory)* and an acclaimed revival of *[42nd Street](https://www.londontheatre.co.uk/show/42nd-street)*. After two years of refurbishment, the Theatre Royal Drury Lane reopened in 2021 with the West End premiere of *[Frozen](https://www.londontheatre.co.uk/show/frozen)*.

## Theatre Royal Drury Lane Seating Information

The auditorium has four levels – Stalls, Royal Circle, Grand Circle and Balcony. 

The seats in Row S of the Stalls and onwards are affected by the overhang of the Royal Circle, but the Stalls do offer great views of the stage and the legroom is very good.

In the Royal Circle the view of the stage is affected from Row H onwards by the overhang of the Grand Circle. The seats do feel quite set back from the stage, but the view is generally very good.

The Upper Circle feels relatively close to the stage for its height and views from this level of the theatre are surprisingly good.

The Balcony is set very high up and although a strong rake helps to give good sightlines to the stage many people have suffered from vertigo at this level.

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Drury Lane Theatre Royal

Once In Concert Poster

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

[Poster] Company 8093

<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 opened on 27 Dec. 1906, and was built for Seymour Hicks. The Gielgud was built as a pair with the [Sondheim Theatre](https://www.londontheatre.co.uk/theatres/sondheim-theatre).

The house was renamed the Globe Theatre in 1909 by its new manager, Charles Frohman from America. It was known as the Globe Theatre for the next 85 years until a 1994 name change to avoid confusion with [Shakespeare’s Globe Theatre](https://www.londontheatre.co.uk/theatres/shakespeares-globe-theatre) on the South Bank. It was then that the theatre received its current name, the Gielgud.

Hit shows at the Gielgud Theatre include Simon Stephens' [*The Curious Incident of the Dog in the Night-Time*](https://www.londontheatre.co.uk/show/the-curious-incident-of-the-dog-in-the-night-time), Jez Butterworth's *The Ferryman* and a gender-swapped revival of Stephen Sondheim's *Company*.  Delfont Mackintosh Theatres own the Gielgud Theatre.

## Gielgud Theatre Seating Information

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

The Stalls offers very good sightlines with each row being offset from the one in front. The overhang of the Dress Circle becomes apparent from Row R onwards.

The Dress Circle doesn’t have a strong rake. The stage is not obstructed by the overhang of the Upper Circle.

The Upper Circle seats offer good legroom. The seats curve inwards towards the stage.

## Where is *To Kill a Mockingbird* in the West End? 

*To Kill a Mockingbird* is at the Gielgud Theatre. The Gielgud Theatre is located on Shaftesbury Avenue, and is one of six theatres on the West End road.

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