Name: Jack and the Beanstalk
Start: 2022-12-10
End: 2023-01-15
Location: London Palladium

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

Jack and the Beanstalk - LON [25026]

Genre: Play

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Jack and the Beanstalk

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Jack and the Beanstalk #1

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Jack and the Beanstalk #2

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Alexandra Burke was born in Islington in 1988. Her mother, Melissa Bell, was an R&amp;B singer who was a member of the group Soul II Soul, who scored chart hits with songs like "Back to Life (However Do You Want Me)", “Get a Life” and “Keep on Movin’”.

Whilst Burke’s early success came on The X Factor, she actually appeared on the talent show Star for a Night when she was twelve years old, in which she was the runner-up to eventual winner Joss Stone. Burke left school after completing her GCSEs to pursue a career in music, and auditioned for the second series The X Factor in 2005. She was whittled down to the last seven in the 16 – 24 category, but judge Louis Walsh decided against picking her for his final four on the basis that she was too young.

This spurred Burke on to have professional singing lessons for a number of years before being picked by Cheryl Cole in the 2008 series. Burke made the final, and beat the competition of Eoghan Quigg and JLS in the final which featured a duet with Beyonce and a rendition of what would be her first single, Leonard Cohen’s "Hallelujah".

Burke has since released two albums, with a third due out in 2018, and toured the world with hits such as “Bad Boys”, “Elephant” and “Start Without You”.

In June 2014, Burke made her West End theatre debut in The Bodyguard, taking over from <a href="/actor-profile/beverley-knight">Beverley Knight</a> who was starring in the production at the <a href="/theatres/adelphi-theatre">Adelphi Theatre</a>. After the production closed two months later, Burke toured the UK with the musical. She also played the role of Deloris in a UK touring production of Sister Act in 2016. In 2018, Burke played Roxie Hart in the West End revival of Chicago&nbsp;at the <a href="/theatres/phoenix-theatre">Phoenix Theatre</a>. In 2021,&nbsp;Burke played the Narrator in&nbsp;Joseph and the Amazing Technicolor Dreamcoatat the <a href="/theatres/london-palladium">London Palladium</a>, sharing the role with <a href="/actor-profile/linzi-hateley">Linzi Hateley</a>.

In 2024, Alexandra Burke will reprise the role of Deloris in *Sister Act* at the Dominion Theatre.

Alexandra Burke - LON

London&rsquo;s sure-fire hit Chicago stars the record-breaking number one artist and winner of The X Factor, Alexandra Burke, following her leading role in The Bodyguard and as a finalist on BBC&rsquo;s Strictly Come Dancing, now performing an extended run until 10 November. Starring alongside her in the role of Billy Flynn is Duncan James, multi-million-selling singer with the band Blue, and star of the West End&rsquo;s Legally Blonde, until 17 November.Winner of six Tony Awards, two Olivier Awards and a Grammy, the sexiest, sassiest, most sophisticated Broadway musical in history is still as dangerously exciting as ever.The dazzling tale of jazz slayer Roxie Hart, her cell-block rival Velma Kelly and the smooth-talking lawyer Billy Flynn has thrilled audiences across the world since 1996.With the original Broadway choreography by Ann Reinking in the style of Bob Fosse and a sizzling score featuring the classic songs &ldquo;Razzle Dazzle&rdquo;, &ldquo;Cell Block Tango&rdquo; and &ldquo;All That Jazz&rdquo;, Chicago is so good it should be illegal.Chicago is playing at the Phoenix Theatre until 5 January 2019.Book now, it&rsquo;d be a crime to miss it&hellip;

No under 16s permitted without adult.

Chicago [8337]

Chicago

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London&rsquo;s sure-fire hit Chicago stars the record-breaking number one artist and winner of The X Factor, Alexandra Burke, following her leading role in The Bodyguard and as a finalist on BBC&rsquo;s Strictly Come Dancing, now performing an extended run until 10 November. Starring alongside her in the role of Billy Flynn is Duncan James, multi-million-selling singer with the band Blue, and star of the West End&rsquo;s Legally Blonde, until 17 November.

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

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

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

## Phoenix Theatre Seating Information

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

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

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

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


Phoenix Theatre - LON

Phoenix Theatre

The smash-hit musical is back with a dream cast including Jason Donovan

LW Theatre - Entry Requirements 

Joseph and the Amazing Technicolor Dreamcoat [18933] Palladium - LON

Joseph and the Amazing Technicolor Dreamcoat

Joseph and the Amazing Technicolor Dreamcoat [18933] Palladium - LON Product Media

Go go go Joseph! Andrew Lloyd Webber's latest work, <a href="https://www.londontheatre.co.uk/show/cinderella">Cinderella</a>, is still yet to open thanks to the pingdemic, but his very first is up and running again. Laurence Connor's buoyant revival of Lloyd Webber and Tim Rice's Biblical musical charmed audiences back in 2019, and remains an absolute winner. If we can't go to the ball quite yet, at least we've got this technicolour dream.Connor and choreographer JoAnn M Hunter, who also collaborated with Lloyd Webber on School of Rock and Cinderella, understand&nbsp;how to balance the heart and the sublime silliness of Joseph. Essentially a summer panto, it retains its DNA as a school show, with designer Morgan Large scaling up the classic nativity styling that transforms a child purely via a fake beard, a tea towel on their head, and the goodwill of the audience.The theatrical inventiveness is delightful - from the camel bike riding to the toy sheep on skateboards and acrobatic goat (new Olympic events?) - as is the integration of children into the cast, including, on the night I was there, scene-stealing moppet Ethan Sokontwe as a tiny imperious Potiphar. That fits beautifully with the accessible, hyper-efficient storytelling, courtesy of an agile pastiche score and Rice's witty lyrics. It's effortless fun.Yet the lead role requires an awful lot of effort. Connor's version substantially bulks up the Narrator; as well as guiding us through the story, she now plays several characters and leads the dance numbers. It was built around Sheridan Smith and her vaudevillian talents, but gets a very different spin from its new inhabitant, <a href="https://www.londontheatre.co.uk/actor-profile/alexandra-burke">Alexandra Burke</a>.While Smith did too much mugging for my taste, Burke is almost the opposite: she largely plays it straight, treating the drama seriously. When the brothers misbehave, she really takes them to task, and her Jacob is genuinely grief-stricken. The former Strictly finalist is also a dynamite dancer, sharp and grounded, and particularly at home in the hip-hop-fuelled Megamix.Yet there are also times where she's visibly battling the material. Rice's gags are a strain (lots of gesticulating with the hands, not enough enunciating), and there are some wobbly vocals in the fast sections. "A Pharaoh's Story" is more convincing, allowing Burke to let loose with vocal runs and big, belting notes, but that's a rare diva moment for the Narrator.Still, many will likely warm to her inviting and sincere performance, while Joseph purists can, on a few shows, catch Linzi Hateley, who last played the Narrator 30 years ago - and is somehow better than ever. It's a cheering sign that this role is now a boon to actresses of all ages, and I hope we see plenty of creative casting in future.Hateley's early 1990s Joseph was <a href="https://www.londontheatre.co.uk/actor-profile/jason-donovan">Jason Donovan</a>, who is back hamming it up as the Elvis-esque Pharaoh. It's a generously self-deprecating turn; he groans when he has to stand up, knees cracking. And <a href="https://www.londontheatre.co.uk/actor-profile/jac-yarrow">Jac Yarrow</a>, the drama graduate who, like the title character, became a star thanks to Joseph's dreams, returns with a more mature performance and superbly controlled vocals. His "Close Every Door" is just as emotive, but with added power.Steffan Lloyd Evans and Bobby Windebank are standouts as, respectively, brothers Reuben and Simeon, the athletic chorus excel during Hunter's high-voltage hoedown and can-can numbers, and John Cameron's orchestrations, jauntily delivered, are like a vibrant new lick of paint. A few problems remain, though: the calypso is simply irredeemable, and there's a dismaying tendency to use the female ensemble as sexy set dressing.However, from its opening minutes, in which the Narrator begins her fireside tale for the children, there's a lovely emphasis on the pleasures of collective storytelling. It's just the tonic after our long separation. That, and being part of a full-capacity theatre audience all up and dancing to the Megamix. Go go go join the party.<a href="/show/joseph-and-the-amazing-technicolor-dreamcoat">Joseph and the Amazing Technicolor Dreamcoat&nbsp;is at the London Palladium to 5 September. Book Joseph and the Amazing Technicolor Dreamcoat tickets on LondonTheatre now.</a>Photo credit: Jason Donovan and Jac Yarrow in Joseph and the Amazing Technicolor Dreamcoat (Photo by Tristram Kenton)

'Joseph and the Amazing Technicolor Dreamcoat' at the Palladium is a jubilant, joy-filled revival

Read our review of Joseph and the Amazing Technicolor Dreamcoat at the London Palladium on London Theatre.

Joseph and the Amazing Technicolor Dreamcoat at the London Palladium Review | London Theatre

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

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

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

## London Palladium Seating Information

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

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

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

London Palladium - LON

London Palladium

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

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

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

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

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

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

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

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

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

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

Suitable for 12+. Children under the age of 5 cannot be admitted to the theatre. Children aged 15 or under must be accompanied by an adult (at least 1 adult per 10 children). All patrons, regardless of age, must have a valid ticket.

Sister Act - LON [28926]

Sister Act

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Based on the beloved film, this story of music, mishaps and nuns on the run is a joyous and uplifting tale of finding your voice and singing out, with your sisters by your side.

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

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

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

## Dominion Theatre Seating Information

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

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

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

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Dominion Theatre

Alexandra Burke was born in Islington in 1988. Her mother, Melissa Bell, was an R&amp;B singer who was a member of the group Soul II Soul, who scored chart hits with songs like "Back to Life (However Do You Want Me)", “Get a Life” and “Keep on Movin’”.

Alexandra Burke - Stars on Stage | London Theatre

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Actor and writer Dawn French was born in Holyhead, Wales in 1957, and went on to be educated at the Central School of Speech and Drama in 1977. Here, she met her future comedy partner <a href="/actor-profile/jennifer-saunders">Jennifer Saunders</a>. Both had similar RAF backgrounds growing up and were raised near the same base. They shared a flat whilst at college and were encouraged to delve into comedy. As they chatted and became friends, they began performing together.

French made her television debut on the Channel 4 series The Comic Strip Presents, which showcased the work of performers such as herself and Saunders, Rik Mayall, Robbie Coltrane and Adrian Edmondson. Her work with Jennifer Saunders saw the pair land their own TV show, French and Saunders, on the BBC in 1987. The series was a sketch show that also spoofed many pop culture references, such as the Harry Potter films.

French has also had a successful career in her own right, most notably playing The Reverend Geraldine Granger in The Vicar of Dibley on the BBC, which Richard Curtis wrote for her. Despite only 20 episodes being recorded, the show is a British comedy standard.&nbsp;Dawn French made her pantomime debut&nbsp;in the <a href="/theatres/london-palladium">London Palladium</a> production of <a href="/show/snow-white">Snow White</a>&nbsp;as&nbsp;The Wicked Queen.

Dawn French - LON

Snow White [13312]

Snow White

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Dawn French Is A Huge Twat! - LON

Dawn French Is A Huge Twat!

Dawn French Is A Huge Twat! - LON Product Media

Actor and writer Dawn French was born in Holyhead, Wales in 1957, and went on to be educated at the Central School of Speech and Drama in 1977. Here, she met her future comedy partner Jennifer Saunders.

Dawn French - Stars on Stage | London Theatre

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

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

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

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

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

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

Gary Wilmot - LON

Experience an epic musical of biblical proportions, literally

Entry Requirements (Nederlander)

The Prince of Egypt [16687] - LON

The Prince of Egypt

The Prince of Egypt [16687] - LON Product Media

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

Review - The Prince of Egypt at the Dominion Theatre

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

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

Goldilocks and the Three Bears at The London Palladium

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

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

Review - Goldilocks and the Three Bears at the London Palladium

Pre Visit Requirements (ATG)

Dick Whittington - LON

Dick Whittington

Dick Whittington - LON Product Media

Anything Goes [22732] - LON

Anything Goes

Anything Goes [22732] - LON Product Media

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Anything Goes starring Kerry Ellis Review | London Theatre

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

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

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

Barbican Theatre - LON

Barbican Centre

Ages 7+. Under 16 must be accompanied by an adult (18+) and may not sit on their own. Children under 5 years will not be admitted. 

Wicked - LON [313]

Wicked

Wicked - LON [313]  Product Media

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Apollo Victoria Theatre Seating Information

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

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

## Where is *Wicked* in London?

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


Apollo Victoria Theatre - LON

Apollo Victoria Theatre

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

At Last, It’s Summer - LON

At Last, It’s Summer

At Last, It’s Summer - LON Product Media

Ages 6+. Children under 4 years of age (including babes in arms) will not be admitted into the auditorium. All persons aged 16 or under must be accompanied by an adult and may not sit on their own within the auditorium.

The Wizard of Oz - LON [28217]

The Wizard of Oz

The Wizard of Oz - Assets

Following a smash-hit season at The London Palladium and a record-breaking UK & Ireland Tour, The Wizard of Oz returns to the West End for four weeks only this August.

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.

Gillian Lynne Theatre - LON

Gillian Lynne Theatre

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

Gary Wilmot - Stars on Stage | London Theatre

Gary-Wilmot-124x124px

Julian Clary was born in 1959 in Surbiton, Surrey. He attended Goldsmiths College at the University of London, studying English and Drama. He began his career in stand-up comedy, performing as “Gillian Pieface”, and later as “The Joan Collins Fanclub”. He went on many successful tours of his act, many being released on home video.

He made his first TV appearance back in 1989 on Trick or Treat, an ITV quiz show. Soon enough, he was offered his own show, Stick Moments, on Channel 4 which ran from 1990-1991. His other TV work includes&nbsp;All Rise, Just A Minute&nbsp;and&nbsp;Your Face Sounds Familiar.&nbsp;

In 2004, Clary made his West End debut, playing Leigh Bowery in the Boy George musical,&nbsp;<a href="/show/taboo">Taboo</a>. In 2007, he appeared in the Olivier Award winning production of Cabaret playing the role of the Emcee. He has also played roles in Canned Clary and For The Love of Coqs.&nbsp;In 2017, he starred in&nbsp;Le Grand Mort&nbsp;at Trafalgar Studios.

In 2016, Clary starred in the first <a href="/theatres/london-palladium">London Palladium</a> pantomime of this era, playing Dandini in Cinderella. He's appeared in many Palladium pantomimes since, including Dick Whittington, Snow White, Goldilocks and the Three Bears&nbsp;and Pantoland at the Palladium.

Julian Clary - LON

Deck the halls with boughs of hilarity as Panto returns this Christmas season. 

Pantoland at the Palladium [23882] - LON

Pantoland At The Palladium

Pantoland at the Palladium [23882] - LON Product Media

A self-aware show is&nbsp;always a good time, especially in panto season. So when Julian Clary introduces a scene in&nbsp;Pantoland at the Palladium by saying it's from&nbsp;Dick Whittington in 2017, everyone laughs it off, knowing full well this show isn't trying to be high art. A panto is simply for entertaining an audience and&nbsp;bringing families and friends together to laugh. Honestly who can blame Pantoland for being a night of much-needed light-hearted fun in these times?&nbsp;The best way to spread festive cheer is by congregating in a theatre, and this Christmas, <a href="/show/pantoland-at-the-palladium">Pantoland at the Palladium</a> is the place to do it.Before the show started, the audience were clearly in the mood for a good time. (I even saw a group of&nbsp;friends wearing Christmas lights around their necks. During the show, a woman got up and danced at every opportunity (maybe inspired by Emma Thompson at the Adele concert, staged at the Palladium just a few weeks ago?). Clearly the audience lapped up Pantoland: every joke, innuendo, corpse, dance move, and the crowd erupted in applause for all the ridiculous Nigel Havers costumes. But for a show called Pantoland at the Palladium, there's one thing this show isn't — and that's a pantomime.A pantomime is a family-friendly musical comedy, typically performed at Christmastime.&nbsp;Pantoland does honour the Palladium's history of pantomimes and iconic acts. Posters of decades-old shows adorn the proscenium arch, and Sophie Isaacs mentions Danny La Rue, who played Widow Twankey in a 1978 Aladdin pantomime, before a soaring Aladdin-inspired Act One closer from Clary and Jac Yarrow. The Tiller Girls are back at the Palladium too, high kicking their way through dazzling, Rockette-inspired numbers. Pantoland has a heart of gold, but it's a highlight reel of shows gone by, rather than offering anything new.&nbsp;Julian Clary, Nigel Havers, Gary Wilmot, and Paul Zerdin return for another year of Pantoland fun, guaranteeing a good time at the theatre. Between them, they have the audience in the palm of their hands — especially in a Gary Wilmot solo, where he sings the names of all 272 London Underground stations. Occasionally, Pantoland feels tiresome —&nbsp;Zerdin's skits dragged ever so slightly, and Clary's constant innuendos, hilarious as they were, became a bit much. Perhaps it's a flaw in the fact that Pantoland lacks a story that it can feel like they've fitted in too many gags without allowing for the free nature of audience interaction — a key part of pantomimes.&nbsp;There's one new addition to this year's celebrations. Donny Osmond as the "Wizard of Pantomime" brings magic to the Palladium, turning the audience into a gaggle of screaming teenagers. He's a panto natural, and in a scene with Paul Zerdin's puppet, Sam, there's plenty of "Puppet Love." The Act Two Donny Osmond greatest hits medley will simply remain a fever dream that I'll never fully process. I don't think this is the last we'll see of Osmond in a Palladium panto.&nbsp;Visually, Pantoland at the Palladium is a glossy, striking affair. Ian Westbrook's set design, Ben Cracknell's lighting design, and Hugh Durrant's costume design complement each other, resulting in a grand variety show to honour&nbsp;Palladium pantomime as an institution. Dig a little deeper into Pantoland, and it's almost too clean for comfort. The joy of pantomime can come in the mistakes, and with no room for error, Pantoland&nbsp;is too pristine for its own good.&nbsp;Even so, and to change a Donny Osmond lyric, I love theatre for a reason, let the reason be pantomime.<a href="https://www.londontheatre.co.uk/show/23882-pantoland-at-the-palladium">Pantoland at the Palladium is at the London Palladium to 9 January. Book Pantoland at the Palladium tickets on London Theatre.</a>Photo credit: Pantoland cast (Photo by Paul Coltas)

'Pantoland at the Palladium' review — Christmas with a little Donny Osmond flair

This Christmas the greatest entertainer on earth Donny Osmond and ultimate pantomime star Julian Clary will take you on a magical trip to Pantoland at The Palladium.

Taboo [23804] - LON

Taboo

Taboo [23804] - LON Product Media

​​Boy George’s award-winning musical Taboo returns to London for one night only to celebrate the 20th anniversary of the show’s original production.

10+. Guidance on Content: This performance uses prop guns and contains loud noises, haze and at points flashes of light.

Bleak Expectations - LON

Bleak Expectations

Bleak Expectations - LON Product Media

When the Criterion Theatre first opened in 1873, the space was designed as a concert hall. The Criterion Theatre is the only West End theatre to be situated almost entirely underground — even the Upper Circle is not at street level. 

The Criterion Theatre housed comic opera in its early years, including works by W. S. Gilbert and George Grossmith. A decade after opening, the theatre had to be renovated to meet the Metropolitan Board of Works standards for ventilation. This work also saw the installation of electricity to the theatre. The building surrounding the theatre was extensively rebuilt between 1989 and 1992, but the Victorian auditorium was well-preserved and still stands today. 

Notable shows at the Criterion Theatre include *The Complete Works of William Shakespeare (Abridged)* by the Reduced Shakespeare Company, the long-running play *The 39 Steps* and Mischief Theatre's *The Comedy About A Bank Robbery*.

## Criterion Theatre Seating Information

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

The front rows of the Stalls offers good views of the stage, though the seating is not raked steeply. 

The Dress Circle has specifically designated ‘restricted view’ seats due to the number of pillars supporting the Upper Circle in Row C.

The Upper Circle offers unrestricted theatre views.

Criterion Theatre - LON

Criterion Theatre

Read all about comedy star Julian Clary and his latest appearances on stage at LondonTheatre.co.uk

Julian Clary - Stars on Stage | London Theatre

Julian-Clary-124x124px

Born in London in 1951, Nigel Havers attended the Arts Educational School despite family tradition of attending Eton. He later went on to work for the Prospect Theatre Company.

Since 2007, Havers has appeared in many pantomime roles. He started his pantomime career in Cinderella at the <a href="/theatres/richmond-theatre">Richmond Theatre</a> where he played Baron Hardup. The following year, Havers played Abanazar in Aladdin at the Yvonne Arnaud Theatre. Twice he has performed in Jack and the Beanstalk,&nbsp;the latter performing alongside <a href="/actor-profile/lee-mead">Lee Mead</a> and <a href="/actor-profile/julian-clary">Julian Clary</a> at the Mayflower Theatre in Southampton.

In plays, Havers has starred in Art, See You Next Tuesday&nbsp;and Ricochet. In 2012, Havers starred in&nbsp;The Importance of Being Earnest&nbsp;at the <a href="/theatres/harold-pinter-theatre">Harold Pinter Theatre</a>.

Outside theatre, Havers is best known for his television acting, most famously as Lewis Archer in Coronation Street and Dr. Tom Latimer in&nbsp;Don't Wait Up. More recently, Havers has been in <a href="/theatres/london-palladium">London Palladium</a> pantomimes, alongside&nbsp;<a href="/actor-profile/paul-ogrady">Paul O’Grady</a>&nbsp;and&nbsp;<a href="/actor-profile/amanda-holden">Amanda Holden</a>. 
&nbsp;

Nigel Havers - LON

Read all about actor Nigel Havers (Don't Wait Up, Chariots of Fire) and his latest appearances on stage at LondonTheatre.co.uk

Jack and the Beanstalk Tickets

About Jack and the Beanstalk

Run time

Start date

End date

Categories

Venue

Age

24 Reviews

Steven 2341

Townseru

West End Laura

Beff

Important information

Stars on stage

Alexandra Burke

Dawn French

Gary Wilmot

Julian Clary

Nigel Havers

Jack and the Beanstalk cast and creative team

Venue

London Palladium

Directions

Tickets