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Gielgud Theatre London Tickets, News & Reviews

To Kill a Mocking Bird 2020Harper Lee’s Pulitzer Prize-Winning American classic To Kill a Mockingbird comes to the West End from Broadway in a new adaptation by Aaron Sorkin, directed by Bartlett Sher

Inspired by Lee’s own childhood in Alabama, To Kill a Mockingbird features one of literature’s towering symbols of integrity and righteousness in the character of Atticus Finch, based on Lee’s own father. The character of Scout, based on herself, has come to define youthful innocence – and its inevitable loss – for generation after generation of readers around the world.

Published in 1960, Harper Lee’s debut novel To Kill a Mockingbird was an immediate and astonishing success. It won the Pulitzer Prize and quickly became a global phenomenon, with more than 50 million copies in print to date. Considered one of the great classics of modern literature, the novel has never been out of print since its original publication.

PLEASE NOTE: Rhys Ifans will perform in the role of Atticus Finch until Saturday 10 October. Additionally, he will not perform between 7-12 September inclusive.

35-37 Shaftesbury Avenue, London, W1D 6AR
Gielgud Theatre Seating Plan

Gielgud Theatre Box Office Opening Hours:
Gielgud Theatre Box Office Telephone: 0844 482 5130
Monday - Saturday: 10am - 7.45pm

Venue and Travel Information
Nearest Tube: Piccadilly Circus (approximately. 250m), Charing Cross (approx. 550m)
Nearest Tube Lines: Bakerloo, Piccadilly
Directions from nearest tube:  Take Shaftesbury Avenue along the side where the famous illuminated signs are. The theatre is on the left after about 100 metres.
Nearest Railway Station: Charing Cross (approximately. 550m)
Bus Numbers: (Shaftesbury Avenue) 14, 19, 38
Car Park: Brewer Street (3 minutes)
Within Congestion Zone: Yes
Venue Facilities:  Air-conditioned, Bar, Disabled toilets, Infrared hearing loop, Toilets, Wheelchair accessible

The Gielgud Theatre London Brief History
Gielgud Theatre
The theatre opened on 27th December 1906 as the Hicks Theatre after actor, manager and playwright Seymour Hicks, for whom it was built. Designed by W G R Sprague in the style of Louis XVI, the theatre had 970 seats. The theatre was constructed as one of two with the Queen’s Theatre, which subsequently opened in 1907 on the adjacent street corner.

The first performance at the theatre was a musical called The Beauty of Bath by Hicks and Cosmo Hamilton. Another Hicks musical My Darling, followed in 1907, with the Straus operetta after that and then A Waltz Dream in 1908. During the run of the theatre’s next major work, The Dashing Little Duke (1909), Hicks’ wife Ellaline Terriss, played the title role (a woman playing a man), and when she missed several performances due to illness, Hicks stepped forward into the role.

In 1909, the American impresario Charles Frohman became manager of the theatre and renamed it The Globe Theatre and then reopened with His Borrowed Plumes written by Winston Churchill’s mother, Lady Randolph Churchill. Another Globe Theatre, situated on Newcastle Street, had been demolished in 1902 to make way for the construction of the Aldwych, and so the name became available. Several celebrated productions followed which included Call It A Day by Dodie Smith which opened in 1935 and ran for 509 performances, and was considered extremely successful for this period.

Terence Frisby’s There’s a Girl in My Soup, opening in 1966, running for 1,064 performances at the theatre, a record that was not passed until Andrew Lloyd Webber’s Olivier Award-winning comedy Daisy Pulls It Off by Densie Deegan which opened in April 1983 to run for 1,180 performances, which remains the theatre’s longest run. In 1987 Peter Shaffer’s play Lettice and Lovage was a huge hit with Maggie Smith and Margaret Tyzack starring and running for two years. The Globe was at one time the home of a resident theatre cat named Beerbohm. The cat’s portrait hangs in the corridor near the stalls. Beerbohm appeared on stage at least once during each production, causing the actors to improvise. The cat occupied certain actors’ dressing rooms while they were at the theatre, including Peter Bowles, Michael Gambon and Penelope Keith. Beerbohm was mentioned several times on Desert Island Discs, and he was the only cat to have a front page obituary in the theatrical publication, The Stage. Beerbohm died in March 1995 at the grand old age of 20.

The theatre was refurbished in 1987, which included extensive work on the gold leaf in the auditorium. The theatre is renowned for its beautiful circular Regency staircase, oval gallery and tower. The theatre has presented a number of Alan Ayckbourn premieres, including 1990′s Man of the Moment. Subsequently, Oscar Wilde’s classic comedy, An Ideal Husband (1992) and One Flew Over the Cuckoo’s Nest (2004) which saw notable revivals.

In 1994, in preparation for the 1997 opening of a reconstruction of Shakespeare’s Globe Theatre on the South Bank by Sam Wanamaker, the theatre was renamed in honour of British actor John Gielgud. In 2003, Sir Cameron Mackintosh announced plans to refurbish the Gielgud, including a joint entrance foyer, with the adjacent Queen’s Theatre, looking out on to Shaftesbury Avenue. Mackintosh’s Delfont Mackintosh Theatres took control of the Gielgud from Andrew Lloyd Webber’s Really Useful Theatre Group in 2006.

Work on the front of the theatre started in March 2007 and the interior restoration, including reinstating the boxes at the back of the dress circle, was completed in January 2008.

Full casting announced for Sweat by Lynn Nottage

March 29, 2019 Last updated: October 7, 2019 7:23 pm By Admin

Leanne Best (Jessie), Martha Plimpton (Tracey), Clare Perkins (Cynthia) in Sweat at the Donmar Warehouse directed by Lynette Linton, designed by Frankie Bradshaw. Photo Johan Persson.
Leanne Best (Jessie), Martha Plimpton (Tracey), Clare Perkins (Cynthia) in Sweat at the Donmar Warehouse directed by Lynette Linton, designed by Frankie Bradshaw. Photo Johan Persson.

The Donmar Warehouse’s production of the Pulitzer Prize-winning Sweat by Lynn Nottage announces casting for the West End transfer to London’s Gielgud Theatre for a limited 6 week run from Friday 7th June 2019 for 50 performances only.

Returning from Lynette Linton’s acclaimed original Donmar run are Leanne Best (Jessie), Osy Ikhile (Chris), Wil Johnson (Brucie), Stuart McQuarrie (Stan), Clare Perkins (Cynthia), Martha Plimpton (Tracey), Sule Rimi (Evan) and Sebastian Viveros (Oscar).

Sweat has been nominated for the BEST NEW PLAY award in the 2019 Olivier Awards, with the winner to be announced on Sunday 7th April.

In 2011, Lynn Nottage began spending time with the people of Reading, Pennsylvania: officially one of the poorest cities in the USA. During the following two years, she dug deep into the forgotten heart of middle America, finding a city divided by racial tension and the collapse of industry. Sweat is the Pulitzer Prize-winning play that Lynn Nottage wrote following her experience.

Centered around the friendships of factory workers and set in an all-American bar, the play explores the relationships, resentments and fears of a community left divided by de-industrialisation. Simmering racial tensions and mounting anger lead to a devastating outcome for the residents of Reading, Pennsylvania.

Sweat receives its West End transfer following its sold-out UK premiere at the Donmar Warehouse. Across its West End run over 350 tickets per performance will be made available at £25 or less.

SWEAT LISTINGS:
Mark Rubinstein, Gavin Kalin, Joe Baker, Karl Sydow, Louise L Gund, Micah Frank, James Quaife, Dave McNeilly present
the Donmar Warehouse Production of
Sweat
By Lynn Nottage
Director Lynette Linton
Designer Frankie Bradshaw
Lighting Designer Oliver Fenwick
Sound Designer and Composer George Dennis
Associate Director Tom Bellerby
Movement Director Polly Bennett
Video Designer Gino Ricardo Green
Fight Director Kate Waters
Casting Director Amy Ball CDG
Cast: Leanne Best (Jessie), Osy Ikhile (Chris), Wil Johnson (Brucie), Stuart McQuarrie (Stan), Clare Perkins (Cynthia), Martha Plimpton (Tracey), Sule Rimi (Evan) and Sebastian Viveros (Oscar).

Gielgud Theatre, Shaftesbury Avenue, London W1D 6AR
Friday 7 June – Saturday 20 July 2019

Tagged With: GielgudTheatre

Sweat by Lynn Nottage at London’s Gielgud Theatre

February 8, 2019 Last updated: October 7, 2019 7:58 pm By Admin

Sweat by Lynn NottageThe Donmar Warehouse’s sold-out production of the Pulitzer Prize-winning Sweat by Lynn Nottage will transfer to London’s Gielgud Theatre for a limited 6 week run from Friday 7 June 2019.

Martha Plimpton will reprise her role as Tracey in Lynette Linton’s acclaimed production, with further casting to be announced.

Speaking about the transfer, Sweat Playwright Lynn Nottage said: “I’m beyond thrilled that this beautiful and haunting production of Sweat will have the opportunity to be in dialogue with a larger audience in the West End.”

Josie Rourke, Donmar Warehouse Artistic Director, said: “We are overjoyed to be able to bring Lynette Linton’s scorching production of Lynn Nottage’s great play to a bigger audience. We’re grateful for the people who have worked to make it happen.”

In 2011, Lynn Nottage began spending time with the people of Reading, Pennsylvania: officially one of
the poorest cities in the USA. During the following two years, she dug deep into the forgotten heart of middle America, finding a city divided by racial tension and the collapse of industry.

Sweat is the Pulitzer Prize-winning play that Lynn Nottage wrote following her experience.

Centered around the friendships of factory workers and set in an all-American bar, the play explores the relationships, resentments and fears of a community left divided by de-industrialisation. Simmering racial tensions and mounting anger lead to a devastating outcome for the residents of Reading, Pennsylvania.

Sweat is the first production of Artistic Director Josie Rourke’s final season at the Donmar, followed by Berberian Sound Studio in February and her revival of Sweet Charity in April. Sweat receives its West End transfer following its sold-out UK premiere at the Donmar Warehouse and is directed by Bush Theatre Artistic Director and former Donmar Resident Assistant Director Lynette Linton.

SWEAT LISTINGS:
Mark Rubinstein, Gavin Kalin, Joe Baker, James Quaife, Micah Frank, Dave McNeilly present the Donmar Warehouse Production of
Sweat
By Lynn Nottage
Director Lynette Linton
Designer Frankie Bradshaw
Lighting Designer Oliver Fenwick
Sound Designer and Composer George Dennis
Movement Director Polly Bennett
Video Designer Gino Ricardo Green
Fight Director Kate Waters
Casting Director Amy Ball CDG
Casting Martha Plimpton as Tracey, further casting to be announced.

Gielgud Theatre, Shaftesbury Avenue, London W1D 6AR
Friday 7 June – Saturday 20 July 2019
Website www.sweattheplay.com

Buy Tickets

Tagged With: GielgudTheatre

Les Misérables Concert: Starring Michael Ball, Alfie Boe, Carrie Hope Fletcher and Matt Lucas

February 6, 2019 Last updated: April 26, 2020 2:41 pm By Admin

Michael Ball
Michael Ball

Cameron Mackintosh today (6 February 2019) announces that for 16 weeks only Michael Ball (Javert), Alfie Boe (Jean Valjean), Carrie Hope Fletcher (Fantine) and Matt Lucas (Thénardier) will lead a large cast and orchestra of over sixty-five in the concert version of Les Misérables. Katy Secombe also joins to play Madame Thénardier and for three performances a week, the role of Jean Valjean will be played by John Owen-Jones. Further casting will be announced shortly. Click here for cast biographies.

This spectacular staging of the legendary concert, previously seen in London at the Royal Albert Hall and the O2 Arena, will run from 10 August – 30 November 2019 at the intimate Gielgud Theatre next door to the current home of Les Misérables at the Queen’s Theatre. Public booking opens at 12noon (GMT) on Thursday 7 February 2019.

Cameron Mackintosh said: “The success of Les Misérables continues to amaze me and break new ground. Despite the fact the show continues to play to 95% capacity we have been obliged to close the production at the Queen’s Theatre for 16 weeks this Autumn to do much-needed work. This includes restoring the ceiling plasterwork and the auditorium, adding many more lavatories, as well as carrying out major renovations backstage, which haven’t been touched since the 1940s. The theatre was heavily damaged during World War II and has never been properly restored and brought up to modern standards.”

Carrie Hope Fletcher - credit Darren Bell Photography
Carrie Hope Fletcher – credit Darren Bell Photography

“Les Misérables is the only musical ever that has been equally successful on stage, film, in concert and in the classroom. Its spectacular staged concerts are legendary successes, just as popular as the stage show. I am thrilled that the plan to keep Les Misérables running in London with a staged concert version on Shaftesbury Avenue during the enforced closure period has attracted such a stellar cast, with Michael Ball, Alfie Boe, Carrie Hope Fletcher, John Owen Jones, Matt Lucas and Katy Secombe, who all have a very close personal connection to the history of the show. Of course, I am a bit miserable that Michael, the gorgeous young actor that created the student Marius in the original production, is now for the first time old enough to play the implacable inspector Javert, an amazing match for Alfie’s career-defining portrayal of Jean Valjean.”

“I know fans are in for a unique and amazing experience from our huge Company who will be performing in the glorious intimate theatrical space of the Gielgud Theatre.”

Produced on stage by Mackintosh, Les Misérables is the world’s longest-running musical now in its 34th year in London. Its celebrated score includes the songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Produced on screen also by Mackintosh (along with Working Title and Universal), Les Misérables is now the most successful movie of an ‘original’ stage musical.

The Original London production currently at the Queen’s Theatre (following runs at the Barbican and the Palace Theatre) will play until 13 July 2019 when the theatre will then close for four months of rebuilding work both backstage and in the auditorium as well as adding many much-needed new lavatories to the front of house. This work will also restore architect W.G. Sprague’s original boxes and loges which, along with the entire front of house, were destroyed by a bomb in 1940 and caused the theatre to be closed for 20 years. The restored Queen’s Theatre will reopen in December of 2019 with a new production of Les Misérables continuing its phenomenal run indefinitely, with a new West End company being put together now.

The new production of Les Misérables, with a separate company, is currently on a record-breaking international tour, sold out a year in advance through to January 2020 which has now been extended to Autumn 2021. Box office for the additional dates will open shortly.

Cameron Mackintosh’s production of Les Misérables is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel with additional material by James Fenton and adaptation by Trevor Nunn and John Caird.

LISTINGS INFORMATION
Les Misérables – The Original Production
Queen’s Theatre, Shaftesbury Avenue, London, W1D 6AR
Booking until 13 July 2019
Monday – Saturday at 7.30pm, Wednesday and Saturday at 2.30pm

Les Misérables – The All-Star Staged Concert
Gielgud Theatre, Shaftesbury Avenue, London, W1D 6AR
10 August – 30 November 2019
Monday – Saturday at 7.30pm, Wednesday and Saturday at 2.30pm
At certain performances John Owen-Jones will be performing the role of Jean Valjean

Les Misérables – The New Production
ON SALE AT 10AM ON 25 MARCH 2019
Queen’s Theatre, Shaftesbury Avenue, London, W1D 6AR
From December 2019
Monday – Saturday at 7.30pm, Wednesday and Saturday at 2.30pm

Les Misérables tickets booking for the Queen’s Theatre.

Tagged With: GielgudTheatre, LesMisérablesCast, SondheimTheatre

Les Misérables announces West End move dates…

January 8, 2019 Last updated: April 26, 2020 2:42 pm By Admin

LES MISERABLES. Barricades - Photo by Michael Le Poer Trench. Copyright CML
LES MISERABLES. Barricades – Photo by Michael Le Poer Trench. Copyright CML

LES MISÉRABLES, the World’s longest running musical produced by Cameron Mackintosh, continues its astounding success into its 34th year, confounding the British critics who dismissed it when it first opened.

The acclaimed New production was created for the show’s 25th Anniversary in the UK in 2009 and has gone on to enjoy huge success around the world all over again, including returning to Broadway. The New touring production which has just opened to rave reviews in Dublin has already taken a record-breaking advance of over £30 million with most dates sold out until January 2020, including Edinburgh, Manchester, Birmingham, Cardiff and Plymouth. There are just a few seats remaining in Milton Keynes, Bradford, Newcastle and Liverpool.

Southampton goes on sale early in February and details of further UK and European dates will be announced shortly.

The Original 1985 production of LES MISÉRABLES can now only be seen at the Queen’s Theatre, London where it continues its record-breaking run, still playing to 95% capacity and nightly standing ovations. It previously played at the Barbican and Palace Theatres. The recent Christmas weeks broke all box office records at the Queen’s.

LES MISÉRABLES and THE LION KING are the most financially successful productions in the history of the West End. Last year this production distributed a further 280% return of profit, giving the original investors a total return of over 3500% on their original investment – an unprecedented feat for any musical in its fourth decade.

LES MISÉRABLES has been performed in 52 countries and 22 languages and won over 100 international awards. The combined audience for the show and the Academy Award-winning film is 120 million people. The film is one of the 10 biggest movie musical box office successes of all time.

The Original London production at the Queen’s Theatre will play until 13 July 2019. The theatre will then close for four months of rebuilding work both backstage and in the auditorium as well as adding many much-needed new lavatories to the front of house. This work will restore architect W.G. Sprague’s original boxes and loges which, along with the entire front of house, were destroyed by a bomb in 1940 and caused the theatre to be closed for 20 years.

The restored Queen’s Theatre will reopen in December of 2019 with the New production of LES MISÉRABLES, continuing its phenomenal run indefinitely. A brilliant company is now being put together and bookings will open in February.

While the Queen’s Theatre is being restored, LES MISÉRABLES will continue in performance on Shaftesbury Avenue with exciting plans being announced shortly for a four-month season at the Gielgud Theatre from the end of July 2019.

In America, the current tour of the New production, which is playing major cities across the US and Canada until 2021, continues to play to 95% attendance and has grossed over $250million at the box office to date.

Cameron Mackintosh said “I am continually amazed that LES MIS in its fourth decade continues to break new ground and new records. The show’s astonishing success is tribute to the story’s power to move and inspire which is at the heart of both the original novel and the musical. Tomorrow will always come for LES MIS!”

Victor Hugo would have been amused by the social media storm created by the BBC’s “song-free” adaptation of the novel and thrilled that when NOTRE DAME DE PARIS, the musical version of The Hunchback of Notre-Dame returns to London later this month at the Coliseum (frequent home to his other much revived musical hit RIGOLETTO), he will have two musicals running in the West End!

Les Misérables tickets booking for the Queen’s Theatre.

Tagged With: GielgudTheatre, SondheimTheatre

Company ‘is an absolute delight’ at the Gielgud Theatre | Review

October 17, 2018 Last updated: May 5, 2019 12:40 am By Peter Yates

Company London West EndThe clamour, over recent years, for more roles, substantial roles, for women in plays and musicals has led to the current trend of re-writing/re-modelling established shows for female leads rather than males. In the vanguard of this movement, last year at the National, we saw Simon Godwin’s superlative Twelfth Night, that mother of all cross-dressing extravaganzas, staged with Tamsin Greig being boldly, and outstandingly, cast as Malvolio. Did it work? Oh, yes; and some.

It has to be said that Godwin, despite his apparently super-hero-type powers as an interpreter of Shakespeare, was not able to call upon any input from the Bard in his quest for re-interpretation. Unlike Marianne Elliott whose invigorating production of Company has landed with triumphant aplomb on the West End stage. The thirty-five-year-old male marriage-phobic Bobby has been transmogrified into Bobbie, the thirty-five-year-old female marriage-phobic and Elliott sought, and crucially I believe, obtained the input of genius of our times Stephen Sondheim, creator of the original musical masterpiece and blessing-conferrer on this latest incarnation.

With a book written by George Furth and originally staged in 1970 Company is “contemporary” writ large despite the 48-year lag and not simply because of the gender re-assignment. In the same way that Shakespeare still speaks
with full unmitigated force to the audiences of today, so does Sondheim. He’s relevant with a capital “R” and now with a capital NOW. Elliot gets this and, in wanting to identify “good parts for women – not romantic ingénues but roles for older women” she has mined what is unquestionably a rich seam of pertinence via the modern penchant for self-awareness. Interestingly Elliot’s idea germinated at the National and she pitched the notion of Bobby becoming a woman to Rosalie Craig in the lunch queue. On re-reading the script Craig loved the concept: later, as she was getting off the tube, Elliott said: “Oh, and I want you to play Bobbie”. That turned out to be a very smart tube-disembarkment. Craig, as well as being positive and sassy, has this slightly distracted air of someone who is always outside-looking-in, someone who can’t quite put her finger on what it is that makes her different – and unmarried – to her circle of friends. She seems to be in a kind of chocolate-box reverie – a box where all the good ones have been taken and she doesn’t fancy the ones that are left. And throughout this Craig sings like a dream. She is well-supported by the coterie of marrieds/almost marrieds: it’s a vibrant collection of strong characters who, as a chorus, handle Sondheim’s magnificent but challenging music well and the slickly clever staging by Bunny Christie never allows interest to flag. And on top of all this is the wondrous Patti Lupone. In my view, Lupone is the star of the show precisely because she is NOT the star of the show and never does she attempt to commandeer that limelight. Generous to a fault with her co-cast members she snuggles comfortably into the Sondheim eiderdown with no airs, no graces and no hint of the luvvie-look-at-me persona that some great “stars” take on when they step onto the stage. Earthy and real she’s a big team-player here: I was lucky enough to see her as Evita on Broadway way back and I can confirm that the mellow honey and lemon voice still reaches the emotive goose-bumps that other singers cannot reach.

Joel Fram directs a superb 16 piece orchestra, suspended high above the action – sound reproduction by Ian Dickinson and Autograph is faultless. Neil Austin’s Lighting design is subtly complementary and the choreography – by Liam Steel – in the room-limited settings, is all energetic confinement.

The show is an absolute delight and will wow audiences to the end of its run: – which means one thing is certain – if you can get to the Gielgud to see it, you will be in good company.

5 Star Rating

Review by Peter Yates

At Bobbie’s (Rosalie Craig) 35th birthday party all her friends are wondering why isn’t she married? Why can’t she find the right man and Why can’t she settle down and have a family? Featuring Stephen Sondheim’s award winning songs Company, You Could Drive a Person Crazy, The Ladies Who Lunch, Side by Side and the iconic Being Alive.

Starring Rosalie Craig as Bobbie, Patti LuPone as Joanne, Mel Giedroyc as Sarah, Jonathan Bailey as Jamie, George Blagden as PJ, Ashley Campbell as Peter, Richard Fleeshman as Andy, Alex Gaumond as Paul, Richard Henders as David, Ben Lewis as Larry, Daisy Maywood as Susan, Jennifer Saayeng as Jenny, Matthew Seadon-Young as Theo and Gavin Spokes as Harry.

Company
Gielgud Theatre
Shaftesbury Avenue, London-W1D 6AR
Booking From September 26, 2018
Booking To 31st March 2019

Tagged With: GielgudTheatre

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