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Strictly ages 12+. Under 16s must be accompanied by an adult (18+). Under 12's will not be admitted.

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Titanique - LON [40903]

LON | All Retailers | 1600x1200 | Titanique | 40903

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LON | TT | App Carousel | Mrs. Doubtfire | 24395 | Boxing Day Sale 2024

Ages 7+. Under 16s must be accompanied by and seated next to an adult ticketholder (18+).

Mrs. Doubtfire - LON [24395]

Mrs. Doubtfire

LON | TT | App Carousel | STTFS | 29263 | Boxing Day Sale 2024

Ages 12+ (recommended). Under 16s must be accompanied by an adult. Under 5s not permitted.

Stranger Things: The First Shadow - LON [29263]

Stranger Things: The First Shadow

Brought to life by a multi-award-winning creative team, who take theatrical storytelling and stagecraft to a whole new dimension, this gripping new adventure will take you right back to the beginning of the Stranger Things story – and may hold the key to the end.


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LON | TT | App Carousel | WAISS | 39622 | Boxing Day Sale

LON | TT | App Carousel | WAISS | 39622 | Boxing Day Sale 2024

Ages 14+. Under 16s must be accompanied by an adult.

Why Am I So Single? - LON [39622] 

Why Am I So Single?

From the writers of SIX, Toby Marlow and Lucy Moss, Why Am I So Single? is a brand-new British musical where the lonely little lives of two BFFs are transformed into an all-singing, all-dancing extravaganza about dates, mates, and celebrating love in all its forms.


LON | TT | App Carousel | Tina | 8547 | Boxing Day Sale 2024

Ages 14+. Contains scenes and language, which may be unsuitable for children under 14. Children under 5 are not admitted.

Tina - The Tina Turner Musical - LON [8547] 

Tina - The Tina Turner Musical

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race.

LON | TT | App Carousel | The Tempest | 43263 | Boxing Day Sale 2024

Ages 12+. Children under the age of 4 will not be admitted and every customer must have their own ticket.

The Tempest - LON [43263]

The Tempest

The Jamie Lloyd Company presents a joyous and captivating season of Shakespeare in London’s iconic Theatre Royal Drury Lane.

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Musicals by Candlelight - LON [25037]

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Mrs. Doubtfire - LON [24395]  Product Media

Wonderful news, poppets! The beloved family film [*Mrs. Doubtfire*](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) about a cross-dressing nanny is just as joyful a watch in this new [stage musical incarnation](https://www.londontheatre.co.uk/theatre-news/news/everything-you-need-to-know-about-mrs-doubtfire-in-the-west-end), which had its Broadway premiere in 2020 and now looks set to become a popular West End fixture. Appropriately enough for a tale all about transformations – inside and out – it’s surprisingly inventive, refashioning the original just enough to make it thoroughly theatrical and a smart 21st-century show.    

Those tweaks include giving the women in the story more of a voice. The opening number, “That’s Daniel,” establishes struggling actor Daniel Hillard as the endlessly fun dad – but, by being a man-child, he piles pressure onto already-overburdened wife Miranda, as she explains to their therapist (Daniel has ditched their sessions). Not having boundaries is affecting their three kids, too: youngest Natalie is anxiously biting her nails, Christopher is getting poor grades, and Lydia wishes her dad would grow up.

That creates a more satisfyingly balanced narrative. Though she’s still a bit of a killjoy, Miranda isn’t the villain here; you sympathise with her making a difficult decision to divorce Daniel and break up the family, just as you then believe his sincerity in the sweet song “I Want to Be There,” in which he pleads with the judge to let him stay in his children’s lives.

Likewise, when Daniel first approaches his brother Frank for help in transforming him into an elderly Scottish woman, Frank’s husband Andre rightly calls him out on his shady plan to deceive Miranda. A later nightmare sequence, involving multiple Mrs. Doubtfires doing *Riverdance* (no, really), cleverly riffs on her name to point out that Daniel is “playing with fire.”

None of that takes away from the zany, high-energy farce in Jerry Zaks’s dynamic production; rather, it gives you permission to fully enjoy it. Gabriel Vick is simply astonishing in the title role, coming close to Robin Williams’s sheer genius as an impressionist, while also singing, dancing, managing numerous quick-changes, and putting in a strong dramatic performance. 

He’s both endearing and maddening, petty in his jealousy of Miranda’s new boyfriend Stuart, yet always a loving father, if misguided. The actual Mrs. Doubtfire latex mask is rather creepy, but Vick makes the character a lovely one: warm, a tad eccentric, but firm in her convictions and – unlike Daniel himself – a really good listener. She makes him a better man. 

The engaging adaptation by brothers Wayne and Karey Kirkpatrick and John O’Farrell features several contemporary updates (this *Mrs. Doubtfire* knows how to rein in the kids by switching off the Wi-Fi) and tailored British gags. Among Daniel’s impressions are Prince Charles squawking at a pen and Boris blustering about parties, while Glastonbury’s infamous loos get a shout-out.

When Daniel learns to cook by watching a video online, the host pops up in his kitchen and leads a lively tap number (exuberant choreography throughout by Lorin Latarro). A butter-stroking Nigella also appears – and is then interrupted by a commercial for IBS medication. It’s one of several instances where the creative team brilliantly finds a fresh theatrical, and modern, language for this familiar tale.

I also adored the ecstatically camp disco makeover number, inspired by Andre’s love for Donna Summers, which has winking fun with influential female icons – from Princess Di and Cher to Julia Child. Teenager Lydia gets an angsty rock song, buff  Stuart expresses his feelings while lifting weights (his gym buddies turn into earnest back-up singers), and Miranda, now a fitness wear designer, celebrates body positivity while leading a fashion parade. 

But the definite highlight is an uproariously over-the-top flamenco number that elevates the film’s infamous restaurant scene, with Daniel hopping between his two guises. Lisa Mathieson is an absolute riot as the singer lambasting the faithless ex who lied to her – further highlighting Daniel’s own dubious actions, but in a deliciously flamboyant way.

The whole company is strong here. As Miranda, Laura Tebbutt supplies powerhouse vocals; Cameron Blakely is hysterical as Frank, who involuntarily shouts when he lies (a fantastic farcical addition); and Marcus Collins is a showboating Andre, but also strikes a serious note when he talks of their struggle to adopt as a gay couple, while Daniel risks losing his own kids with his shenanigans. 

There’s also great support from Carla Dixon-Hernandez as a fiery Lydia, Samuel Edwards as sensitive hunk Stuart, Kelly Agbowu as Daniel’s suspicious case worker, Ian Talbot as the creaky kids’ entertainer Mr. Jolly, and Micha Richardson as a formidably humourless TV executive. On press night, Frankie Treadaway was very funny as Christopher, who seems to have inherited Frank’s panicked yelling, and Angelica-Pearl Scott was an adorable pipsqueak Natalie.

David Korins nods to the San Francisco setting with a stylish cityscape backdrop featuring the Golden Gate Bridge, and Catherine Zuber has a ball with the costumes. It all feels celebratory: of self-exploration and identity (although this is very clearly not a trans story, nor does it feel remotely prejudicial), of different types of families, and, finally, of honesty. Well, my dears, the truth is that *Mrs. Doubtfire* is this summer’s sizzling-hot ticket.

*Mrs. Doubtfire* is at the Shaftesbury Theatre. Book [*Mrs. Doubtfire* tickets](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) on London Theatre.

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=24395&content_product_id=24395&venue_id=127&product_type=show&qt=2)

*Photo credit: Mrs. Doubtfire. (Photo by Manuel Harlan)*

'Mrs Doubtfire' review – this exuberantly inventive musical adaptation is a sizzling-hot ticket

Read our four-star review of *Mrs. Doubtfire* in the West End, starring Gabriel Vick, currently in performances at the Shaftesbury Theatre.

**Shaftesbury Theatre** is an iconic theatre venue in the heart of London's West End. It's been a central part of London's theatre scene since its opening in 1911, boasting more than a century of remarkable performances. Widely esteemed for its architectural grandeur, it ordinarily retains a capacity of 1,400 seats that remain filled with regulars and tourists from around the globe. The theatre has primarily focused on musical-style performances but has also accommodated some premium works of drama over the years. Its historic record includes hosting some of the longest-running shows in London, like 'Hair’ and 'Hairspray'.

**How to get to Shaftesbury Theatre**

Located in the London Borough of Camden, Shaftesbury Theatre is easily accessible by various modes of transport. By Tube, the nearest station is Holborn, a short 6-minute walk away on Kingsway road. Alternatively, for those preferring to travel by bus, various routes stop near the theatre including numbers 1, 8, 19, 38, 55, 98, 242, and N98. If you're driving, parking facilities can be availed at Bloomsbury Square Car Park just 5 minutes away with a pre-booked parking space. If walking or biking, the theatre is within easy distance of several central London locations.

Shaftesbury Theatre - LON

Shaftesbury Theatre

The Shaftesbury Theatre is a historic London venue known for musicals, easily reached by tube and bus, with nearby parking.

Stranger Things: The First Shadow - LON Product Media

The Phoenix Theatre is a West End theatre situated in the heart of London, embracing a rich history of over a century. With a seating capacity of 1,012, the venue emanates elegance with refined gold and bronze interiors along with lush red velvet seats. Known for its magnificent portrayal of widely acclaimed arts from across the globe, the theatre has famously exhibited spectacularly thought-provoking plays and dramatic productions.

Since its inaugural production of Noel Coward's 'Private Lives' in 1930, Phoenix Theatre has circulated a diverse repertoire, from Shakespearean classics to rock musicals like 'Blood Brothers' that ran for 21 years. It also attracts an impressive roster of acting talents, including legendary artists like Dame Judi Dench and Ian McKellen.

**How to get to the venue:**

Phoenix Theatre is easily accessible, just a two-minute walk from the bustling Tottenham Court Road Underground station, which serves the Central and Northern lines. Multiple bus routes through Charing Cross road also connect it well with the rest of the city. Additionally, the nearest NCP car park is situated in Shaftesbury. It's recommended to use public transport due to restrictions on parking in the area.

**Additional Information**

Venue opens 1hr 30min before showtime.
Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

Phoenix Theatre - LON

Phoenix Theatre

The Phoenix Theatre in London's West End showcases a diverse repertoire of theatrical productions, is easily accessible via public transport.

Ages 10+. Under 16s must be accompanied by and sat next to an adult (18+). Children under 3 years will not be admitted. 

Mean Girls - LON [35503]

Mean Girls

Mean Girls | Savoy Theatre - LON [35503] Product Media

IT’S NOT LIKE A REGULAR MUSICAL. 
IT’S A COOL MUSICAL. 

London's Savoy Theatre is one of the most renowned theatre venues in the heart of the city. This cherished venue exhibits a rich history that dates back to 1881. The Savoy indulges its patrons with a variety of performances, including plays, musicals, ballet, and concerts. The attractive architecture and interior details give the attendees a sense of a grand theatrical experience. The Savoy Theatre prides itself on having introduced electric lights to the theatre world. Remarkable luminaries such as Gilbert and Sullivan have graced its stage. The theatre has a seating capacity of 1,158, split between the Stalls, Dress Circle, and Upper Circle. Dedicated to providing full accessibility, the venue offers services for those with mobility, hearing, and visual impairments.

## How to get to the Savoy Theatre 
The Savoy Theatre is centrally located in London and is easily accessible by both public and private transport. The theatre is easily reachable by bus, tube, and rail services. The nearest tube stations are Charing Cross (Bakerloo and Northern lines), Embankment (District, Circle, Bakerloo, and Northern lines), and Covent Garden (Piccadilly line). For those who prefer buses, services 6, 9, 11, 13, 15, 23, 87, 91, 139, and 176 stop near the theatre. For patrons driving private vehicles, the closest Q-Park car park is available at the nearby Chinatown. The theatre also participates in the Q-Park Theatreland Scheme, offering a 50% discount on parking.

## Additional Information 

Venue opens 1hr 30min before showtime.

Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

Savoy Theatre - LON

Savoy Theatre

The Savoy Theatre is a historic London venue offering diverse performances. It's centrally accessible by tube, bus, and car.

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Titanique

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NOTHING ON EARTH COULD COME BETWEEN JACK AND ROSE, EXCEPT CÉLINE DION 

Performer Layton Williams is about to star in Titanique at the Criterion Theatre in London, where he will appear as the Iceberg.

Williams established himself in musical theatre from a young age. His notable roles included Jamie New in *Everybody's Talking About Jamie*, Angel Schunard in *Rent*, and Billy in *Billy Elliot*. Recently, he played the Emcee in *Cabaret* at the Kit Kat Club. 

Layton Williams - LON

Ages 12+. At parent/guardian's discretion.

Cabaret - LON [23939]

Cabaret

Cabaret - LON [23939] Product Media

We have no troubles here. In here, life is beautiful.The<a href="https://www.londontheatre.co.uk/theatres/kit-kat-club"> Kit Kat Club</a> is the ultimate escape. After a difficult or even ordinary day, the fanfare, glitz, and glamour feel like a portal to another time, where you'll be greeted with complimentary schnapps, dancing chorus members, and a lascivious pre-show smorgasbord.&nbsp;From the gilded lobby, disco-lit basement, and everywhere in between, the space creates an all-encompassing atmosphere, right down to the aptly named cabaret tables, a design element director Sam Mendes also used in his 1993 production at the Donmar and later&nbsp;on Broadway, where it was revived in 2014.&nbsp;However, here, director Rebecca Frecknall levels up the concept, and maybe this time, the stakes are a little higher and a little more intense. Coupled with Tom Scutt's immersive design and Isabella Byrd's atmospheric lighting, this production feels like a world away from outside.&nbsp;Or does it really? The headlines feel eerily similar today as when Joe Masteroff, John Kander, and Fred Ebb wrote their iconic musical about an American writer and a struggling nightclub performer in 1920s Berlin, who find themselves torn between a struggle to survive in love and life amid the rising glare of Nazism. There are, in fact, many troubles here.&nbsp;And Frecknall doesn't pull any punches with her high-concept approach, which takes a cue from Christopher Isherwood's Goodbye to Berlin and John van Druten's 1951 play, on which the show is based. The approaching horror and absurdism of this escape is at the forefront, and her highly choreographed tableau feels like a ballet or a marionette show, where someone calculating is pulling all the strings.&nbsp;At the center of this circus stands the Emcee, played here with impish wackiness by Eddie Redmayne. Redmayne slithers around the stage, contorting his being every which way to almost distracting effect. Redmayne is not a commanding showman, as is a tempting take for the Emcee, but instead he uses gesture and sensuality to make the audience lean in. As the musical gets progressively darker, Redmayne's Emcee becomes more and more absurd, almost half American Horror Story: Freakshow and half Martha Graham dancer, and his final iteration is the most horrific.&nbsp;In contrast to Redmayne, Jessie Buckley is all bravado and belt. Her Sally Bowles is the ultimate starlet, taking a note or three from Liza Minelli's iconic film performance in the role, and she dominates the stage with effortless charisma and appeal. She's irresistible. Even in the quieter, heartbreaking moments, she conveys an emotional depth and density, and she nails the 11 o'clock title song. (While many may argue that Sally Bowles as a character is not supposed to be a good singer, neither this production nor Buckley respect that take.)This production highlights the ensemble nature of the show, featuring a chorus of extremely talented dancers, seemingly inventing new ways to move with Julia Cheng's choreography, and the supporting cast offers a deep emotional contrast to the more showy club scenes.&nbsp;As Fraulein Scheider and Herr Schultz, Liza Sadovy and Elliot Levey hold the beating heart of the piece and shatter it into pieces. Anna-Jane Casey stands out as Fraulein Kost, and Omari Douglas does his best naive fish-out-of-water as American writer Clifford Bradshaw.&nbsp;<a href="https://www.londontheatre.co.uk/show/23939-cabaret">Cabaret</a> feels like a story we need and also don't need right now. On the one hand, it's a glorious ode to escapism and forgetting the troubles that bind us. But some of the "troubles" we're going through right now aren't that far off from Jazz Age Berlin, with abortion legislation under fire in the United States and government oversight of Covid-19 brewing further division.&nbsp;And Frecknall's searing, haunting final stage portrait seems to imply that escapism only lasts so long. Sooner or later, if we don't face our troubles, our troubles will find us. After all, life isn't really a cabaret, old chum.<a href="https://www.londontheatre.co.uk/show/23939-cabaret">Cabaret is playing at the Kit Kat Club. Book tickets to Cabaret on London Theatre.&nbsp;</a>

'Cabaret' at the Kit Kat Club review — Come to the cabaret with Eddie Redmayne and Jessie Buckley

The Kit Kat Club at the Playhouse Theatre is an iconic venue rooted deep in London's cultural heart. Immortalized by the legendary play 'Cabaret', this famous locale comes alive every night, brimming with elegance, sophistication, and a richly provoking ambiance. The Satine interior design is steeped in history, featuring rich, dark reds and a stunning crystal chandelier. Parquet floors and large French windows looking out over the busy London streets further imbue the Kit Kat Club with an irresistible allure. Here, the sounds of decadence echo long into the night, as theatre fanatics, tourists, and curious wanderers seek solace in its welcoming atmosphere.

### Getting to the Venue

Centrally located, the Kit Kat Club at the Playhouse Theatre is easily accessible. The nearest underground station is Embankment (Circle, District, Bakerloo, Northern lines) which is just a short walk away. Also, Charing Cross Station (National Rail services, Northern and Bakerloo lines) is close by. Numerous buses service the Strand, and there are taxi ranks at Charing Cross. There are car parks at Trafalgar Square or on the South Bank. Whether by public transport, car, or on foot, getting to the Kit Kat Club at the Playhouse Theatre is convenient and effortless.

### Additional information

Venue opens 75min before showtime.

Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.
Please note that once the show begins, we cannot guarantee readmission to the auditorium if you need to leave your seat for any reason. This is for both your safety and the safety of the performers. It may be up to a 30 minute wait before you are allowed back to your seat. If you have any requirements which mean you're likely to need to leave the auditorium mid-show, please speak to member of staff before the show begins.

Kit Kat Club at the Playhouse Theatre - LON

Kit Kat Club at the Playhouse Theatre

The Kit Kat Club at the Playhouse Theatre is a historic, iconic theatre venue in London, easily accessible via multiple transport options.

Day of week	Matinee	Evening
Monday	3:00 PM	7:30 PM
Tuesday	4:00 PM	7:00 PM
Wednesday	-	-
Thursday	-	-
Friday	-	7:30 PM
Saturday	3:00 PM	7:30 PM
Sunday	-	5:00 PM

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