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Piccadilly Theatre London News & Reviews

Pretty Woman The MusicalPretty Woman: The Musical

One of Hollywood’s most beloved romantic stories of all time is now coming to the West End!
Pretty Woman: The Musical features direction and choreography by two-time Tony Award® winner Jerry Mitchell (Kinky Boots, Legally Blonde, Hairspray), an original score by Grammy® winner Bryan Adams and his longtime songwriting partner Jim Vallance (“Summer of ’69”, “Heaven”) and a book by the movie’s legendary director Garry Marshall and screenwriter J.F. Lawton.

14th February 2020 to 2nd January 2021

Seating Plan & Ticket Bookings

Book Tickets for Piccadilly Theatre
16 Denman Street, London, W1D 7DY
Piccadilly Theatre Seating Plan
Venue and travel information:
Nearest Tube: Piccadilly Circus
Tube Lines: Bakerloo, Piccadilly
Directions from nearest tube: Pass the famous illuminated signs on your right to take Glasshouse Street/Sherwood Street where the theatre can be seen.
Railway Station: Charing Cross
Bus Numbers: (Shaftesbury Avenue) 14, 19, 38; (Regent Street) 3, 6, 12, 13, 15, 23, 88, 94, 139, 159, 453
Night Bus Numbers: (Shaftesbury Avenue) 14, N19, N38; (Regent Street) 6, 12, 23, 88, 94, 139, 159, 453, N3, N13, N15, N18, N109, N136
Car Park: Brewer Street
Within Congestion Zone: Yes
Venue Facilities: Air conditioned, Bar, Infrared hearing loop, Toilets and Wheelchair accessible

The Piccadilly Theatre London
The Piccadilly Theatre London in 2010

The Piccadilly Theatre London
The opening of the theatre was on 27th April 1928 with the musical Blue Eyes, by Jerome Kern and starring Miss Evelyn Laye.

The Piccadilly Theatre was at the time one of the largest theatres to be built in London, as its souvenir brochure of the time proclaimed “If all the bricks used in the building were laid in a straight line, they would stretch from London to Paris”.

In its early days, the Piccadilly operated as a cinema and made history when it premiered the first talking picture to be shown in Britain, which was The Singing Fool with Al Jolson. Jolson also opened the Jazz Singer in 1928, appearing on-stage after the show to sing Mammy.

When the theatre opened it was named The Piccadilly Theatre in a multi-purpose theatre used to house musicals, revue and films, the theatre reopened as The London Casino on 2nd April 1936 having been converted into a cabaret restaurant which became particularly noted for its lavish stage shows. During the Second World War it was used by servicemen under the name The Queensbury All Services Club.

There have been a number of Royal Shakespeare Company productions including Edward II, starring Ian McKellen. Henry Fonda made his West End debut in the solo play Clarence Darrow and Y. The 1990s witnessed an expansion in musicals, ballet and dance, which resulted in the most successful commercial ballet season ever to play in the West End, Adventures in Motion Pictures production of Swan Lake.

The Piccadilly Theatre has been home to a season of plays directed by Sir Peter Hall, starring famous actors and actresses such as Dame Judi Dench, Julia McKenzie, Michael Pennington and Eric Sykes. It has also hosted the smash-hit musical Spend Spend Spend starring the Olivier award-winning actress, Barbara Dickson, the sell-out run of Shockheaded Peter, together with one of the most successful plays ever, Noises Off starring Lynn Redgrave. Most recently closing is Annie and before that Jersey Boys, which had transferred from the Prince Edward Theatre.

Heartbeat of Home at the Piccadilly Theatre

May 7, 2019 Last updated: May 12, 2019 12:59 pm By Admin

Heartbeat of Home - Photo Credit Jim Byrne Riverdream Productions
Heartbeat of Home – Photo Credit Jim Byrne Riverdream Productions

The producers of Riverdance, are pleased to announce that Heartbeat of Home, their extraordinary dance and music extravaganza, embracing flavours and cultures from around the world, will open in the West End this September 2019. Previews at the Piccadilly Theatre will begin on 4 September 2019 with opening night on 11 September 2019.

Tickets are released for public sale at 9am on Friday 10th May, with O2 and ATG ticket presale tomorrow at 9am (8 May).

Heartbeat of Home is a spine-tingling, tantalizing, high octane, sexy, dance and music extravaganza. It is a heart–stopping tour de force that features the dynamic, vibrant components of traditional Irish, Latin, Hip-Hop, Afro-Cuban and Contemporary music and dance, uniting performers and audiences on journeys to find a home, wherever that may be.

Following sold-out performances at the London Palladium earlier this year and having thrilled audiences in Dublin, North America, China and Germany, the show is heading to the Piccadilly Theatre for an extended West End run due to popular demand.

Heartbeat of Home showcases 33 world-class dancers and live musicians from Ireland, U.S.A, Australia, Britain, Canada, Italy, Argentina and Spain. Produced by Moya Doherty, conceived and directed by John McColgan with award-winning Irish composer, Brian Byrne (who has worked with Katy Perry and Barbara Streisand), concept development and lyrics by award-winning Irish writer Joseph O’Connor and choreography by David Bolger.

The Heartbeat of Home creative team also includes John Carey (Irish Dance Choreography), Alan Farquharson (Set Design), David Torpey/Image Now and David Mattias/COSMO (Set Projection Design), Peter Canning (Lighting Design), Ciarán Byrne (Sound Design), Monica Ennis and Niamh O’Connor (Costumes Styling) and Padraic Moyles (Associate Director).

McColgan says: “We are thrilled that Heartbeat of Home is heading to the West End this Autumn. This is a show that fuses together Irish dance with flamenco, tap dancing, tango, salsa and hip hop. We want audiences to come out of the show energized and uplifted by this multicultural dance and music spectacle. We can’t wait to be back in London!”

Heartbeat of Home is produced in the West End by Riverdream Productions Limited.

For more information, please visit: Website: www.HeartbeatOfHome.com

Tagged With: PiccadillyTheatre

The Lehman Trilogy London Theatre Tickets Piccadilly Theatre

October 15, 2018 Last updated: October 7, 2019 9:05 pm By Admin

Simon Russell Beale, Ben Miles and Adam Godley in The Lehman Trilogy at the National Theatre. Photo by Mark Douet.
Simon Russell Beale, Ben Miles and Adam Godley in The Lehman Trilogy at the National Theatre. Photo by Mark Douet.

Following a sold-out run at the National Theatre, the NT and Neal Street Productions’ critically acclaimed The Lehman Trilogy will transfer to the Piccadilly Theatre in May 2019.

Simon Russell Beale, Adam Godley, and Ben Miles will reprise the roles they originated at the National Theatre in The Lehman Trilogy by Stefano Massini, adapted by Ben Power and directed by Sam Mendes, when it transfers to the West End from 11 May 2019, for a limited 12-week season at the Piccadilly Theatre.

Tickets for the transfer go on sale to the public from 2 November following a members’ booking period. The Lehman Trilogy is produced in the West End by the National Theatre and Neal Street Productions.

The story of a family and a company that changed the world, told in three parts on a single evening.

Directed by Sam Mendes (The Ferryman, Skyfall), The Lehman Trilogy weaves through nearly two centuries of Lehman lineage. On a cold September morning in 1844 a young man from Bavaria stands on a New York dockside. Dreaming of a new life in the new world. He is joined by his two brothers and an American epic begins. 163 years later, the firm they establish – Lehman Brothers – spectacularly collapses into bankruptcy, and triggers the largest financial crisis in history. Simon Russell Beale, Adam Godley, and Ben Miles play the Lehman Brothers, and a cast of characters including their sons and grandsons, in an extraordinary feat of storytelling.

The Lehman Trilogy features set designs by Es Devlin, costume design by Katrina Lindsay, video design by Luke Halls, lighting design by Jon Clark, and music and sound design by Nick Powell. The music director is Candida Caldicot, with movement by Polly Bennett.

The world premiere of Stefano Massini’s The Lehman Trilogy opened at the Piccolo Teatro in Milan in 2015. It turned out to be Artistic Director Luca Ronconi’s final production before his death. A long-term admirer of Ronconi’s, Sam Mendes was inspired to begin planning an English adaptation for Neal Street Productions. Ben Power, Deputy Artistic Director for the National Theatre, was commissioned to create a new version of this epic play, using a literal English translation by Mirella Cheeseman.

Director Sam Mendes said: “The Lehman Trilogy was developed over three years without the constraint of a schedule, or even a destination – I was allowed time to find its form, and to build a wonderful team with which to make it. One of the chief joys has been to work across borders with two great writers, and to invite three of the finest actors of their generation to work with us. We are indebted to the National Theatre and the Park Avenue Armory for their unstinting support throughout, and I couldn’t be more excited to show it to New York audiences and to be extending our London life in the West End.”

Lisa Burger, NT Executive Director said: “The Lehman Trilogy’s West End transfer, with all three of the Lehman brothers – Simon Russell Beale, Adam Godley and Ben Miles – continuing their extraordinary feat of storytelling, is a wonderful development in the life of this spell-binding production and a testament to the work created by Stefano Massini, Ben Power and Sam Mendes. The show has been a complete sell-out here, so it’s great to be working with Neal Street Productions to make sure that more people will have the chance to see it at the Piccadilly Theatre next year.”

The Lehman Trilogy transfers to the West End direct from the production’s New York debut, complete with the original cast, at the Park Avenue Armory. The Lehman Trilogy previews at the Piccadilly Theatre from 11 May 2019 and follows the National Theatre’s production of The Curious Incident of the Dog in the Night-Time at the venue, which opens in November 2018.

The Lehman Trilogy
Piccadilly Theatre, 16 Denman St, Soho, London W1D 7DY
From 11 May 2019 to 3rd August 2019

Tagged With: PiccadillyTheatre

Death of a Salesman London West End 2019

July 26, 2018 Last updated: October 8, 2019 11:50 am By Admin

Death of a SalesmanElliott & Harper Productions and Cindy Tolan are thrilled to announce the transfer of the highly acclaimed, sold-out Young Vic production of Arthur Miller’s Death of a Salesman to the Piccadilly Theatre from 24th October 2019 to 4th January 2020, with Press Night on Monday 4th November 2019.

Following her recent award-winning successes on Company and Angels in America, Marianne Elliott co-directs Death of a Salesman with Miranda Cromwell, who worked as Associate Director on both shows. Together, they bring a unique vision to one of the greatest plays of the twentieth century, seen through the eyes of an African-American family.

Wendell Pierce, who is best known for his roles in The Wire and Suits, will reprise his revelatory performance as Willy Loman with the Olivier award-winning Sharon D. Clarke reprising her heart-rending performance as Linda Loman. Full cast to be announced.

Joining directors Marianne Elliott and Miranda Cromwell on the creative team are designer Anna Fleischle, lighting designer Aideen Malone, sound designer Carolyn Downing, composer and musical director by Femi Temowo; with fight direction and additional movement support by Yarit Dor and casting by Charlotte Sutton CDG.

Arthur Miller (1915-2005) was born in New York City and studied at the University of Michigan. His plays include All My Sons, Death of a Salesman, The Crucible, A View from the Bridge, After the Fall, Incident at Vichy, The American Clock, Broken Glass, Mr. Peters’ Connections, and Resurrection Blues. He received the Pulitzer Prize for Drama in 1949. Other works include the novel Focus, the screenplay The Misfits, the memoir Timebends, and texts for the books In Russia, In the Country, and Chinese Encounters, in collaboration with his wife, photographer Inge Morath. Newly published collections include Collected Essays and Presence: Collected Stories.

Listings:
Elliott & Harper Productions and Cindy Tolan
present the Young Vic Production of
DEATH OF A SALESMAN
By Arthur Miller
Directed by Marianne Elliott and Miranda Cromwell

Piccadilly Theatre
16 Denman Street,
London,
W1D 7DY
Dates: Thursday 24 October 7.30pm to Saturday 4 January at 7.30pm
Matinees Wednesday and Saturday 2pm
Arthur Miller – Death Of A Salesman

 

Tagged With: PiccadillyTheatre

Strictly Ballroom The Musical Review | Piccadilly Theatre, London

April 25, 2018 Last updated: May 8, 2019 3:03 pm By Chris Omaweng

Jonny Labey and Zizi Strallen in Strictly Ballroom The Musical. Photo by Johan Persson
Jonny Labey and Zizi Strallen in Strictly Ballroom The Musical. Photo by Johan Persson

Imagine the two leading characters in a musical singing less than a verse between them. If that strikes you as odd, it’s precisely what happens in the West End version of Strictly Ballroom The Musical, a show that has undergone several reworkings since its inaugural run in Sydney in 2014. Scott Hastings (Jonny Labey) and Fran (Zizi Strallen) are highly talented and could do well to demonstrate so-called ‘triple threat’ skills if only they were given the opportunity.

Instead, the repertoire of musical numbers, which very nearly take the production into ‘jukebox musical’ territory, are given to Will Young’s Wally Strand to perform. Young, to his credit, does well, even if his Australian accent could do with some improvement. His role also involves explaining, where required, what is about to happen, whilst his character remains detached from the events in question and its characters. It would be akin to the Chorus in ancient tragedy plays, except the Chorus doesn’t maintain a ubiquitous presence. In the end, shows like this are, in part, about bums on seats, and if Will Young pulls the punters in, so be it.

Now, the motion picture ‘Strictly Ballroom’ (1992) pre-dates BBC Television’s ‘Strictly Come Dancing’ (first series 2004), though the change in format from ‘Come Dancing’, which ran from 1950 to 1998, somewhat mirrors an apparent need, demonstrated in the narrative of Strictly Ballroom The Musical, to get with the times and stop being so stuffy and insistent on rules and regulations. The concept of the ‘illegal lift’ remains, or so I’m reliably informed, on BBC’s ‘Strictly Come Dancing’ to this day, with the sort of squabbles that presumably make good television between members of the judging panel as to whether participants should be penalised for incongruent movements, and to what extent.

Barry Fife (Gerard Horan), the head of a ‘federation’ of Australian ballroom dancing, is keen for traditional standards to be maintained, passed down from generation to generation, with no variation in training methods or in dance movements from when they were first established (whenever that was). The costumes (Catherine Martin) are suitably gorgeous – one or two look a little overkill, but this may have been quite deliberate, to accentuate the larger than life personalities of certain characters.

The dancing is polished, and when it wants to be, extraordinary. The first half is relatively heavy on plot. In the second half, the narrative becomes too predictable. An increasingly frantic Fife tries to reassert traditionalism against a proverbial tidal wave of dynamic and passionate movement, and Scott’s mother Shirley (Anna Francolini), the show’s motormouth, is finally told by husband Doug (Stephen Matthews) to ‘shut up’ (something very similar happens in School of Rock The Musical, and elicits a similar overwhelmingly positive response from the audience). Oh, and don’t forget to follow your heart.

A ten-piece orchestra, led by Ben Atkinson, appear on stage throughout. I rather liked a slower than usual rendering of ‘I Wanna Dance With Somebody’. The stage seems too compact for a show with this much movement, and it seems ironic that a show that preaches that there is more to life than ballroom dancing competitions tries so very hard to be glitzy and glamorous. I didn’t care much for the enforced standing ovation just before curtain call, either.

Perhaps because of the imposition of ballroom rules, the show itself takes a while to get going, but just before the interval, a ‘Paso Doble’ is danced, and thanks to Rico (Fernando Mira) and Abuela (Eve Polycarpou) the show finally becomes riveting and spectacular. But I still say more could have been made of the fine singing voices of Strallen and Polycarpou – and others. The show is very silly and banal in places, but it knows it is. Much of the humour went over my head, but no matter – many in the audience guffawed away repeatedly. For those who enjoy off-piste ballroom dancing, it’s worth seeing. Everyone else can take it or leave it: it’s strictly satisfactory, nothing more and nothing less.

3 Star Review

Review by Chris Omaweng

Strictly Ballroom The Musical is the uplifting story that inspired the world to dance and is based on Baz Luhrmann’s multi-award-winning movie Strictly Ballroom. Featuring a company of over 30 led by Will Young (Mrs Henderson Presents, Cabaret) in the new role of Wally Strand, Jonny Labey (Winner ITV’s Dance Dance Dance, Eastenders) as Scott and Zizi Strallen (Mary Poppins) as Fran this new West End musical is a kaleidoscope of colour and fun.

When maverick championship ballroom dancer Scott defies all the rules of competition to follow his heart, he teams up with left-footed partner Fran to win the Pan Pacifics his way. The musical features the film’s classic break-into-song numbers such as Love is in the Air, Perhaps Perhaps Perhaps and Time After Time alongside electrifying new songs.

Drew McOnie (whose dazzling choreography for In The Heights earned him the 2016 Olivier Award) will direct and choreograph. Strictly Ballroom is based on the original Australian musical created by Baz Luhrmann and Catherine Martin, with a book by Baz Luhrmann and Craig Pearce.

Strictly Ballroom the Musical
Piccadilly Theatre

Tagged With: PiccadillyTheatre

Annie Musical London Tickets | Piccadilly Theatre

January 20, 2018 Last updated: October 7, 2019 11:43 pm By Admin

Craig Revel Horwood (Miss Hannigan) - Photographer Credit Matt Crockett
Craig Revel Horwood (Miss Hannigan) – Photographer Credit Matt Crockett

Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Meanwhile, spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search for her true family…

Annie has Book by Thomas Meehan adapted from the comic strip Little Orphan Annie, Music by Charles Strouse and Lyrics by Martin Charnin. The West End production has sets and costumes designed by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell, sound design by Richard Brooker and orchestration and musical direction by George Dyer.

Annie London Musical Songs

ACT ONE
Maybe – Annie
Hard Knock Life – Annie
Hooverville – The Homeless
Little Girls – Miss Hannigan
I Think I’m Gonna Like It Here – Annie, Grace, Warbuck’s Staff
N.Y.C. – Warbucks, Grace and NYC People
Easy Street – Miss Hannigan, Rooster & Lily
You Won’t Be An Orphan For Long – Annie, Warbucks, Grace & Warbuck’s Staff

Interval

ACT TWO
Entr’Acte – Orchestra
You’re Never Fully Dressed Without A Smile – Bert Healy, Boylan Sisters & Orphans
Easy Street (Reprise) – Miss Hannigan, Rooster & Lily
Cabinet Tomorrow – Annie, Warbucks & Ensemble
Something Was Missing – Warbucks & Annie
I Don’t Need Anything But You – Annie, Warbucks & Warbucks Staff
A New Deal For Christmas – Annie, Orphans, Warbucks, Grace & Company
Tomorrow (Reprise) – The Company

Annie Gala Night at the Piccadilly Theatre - Photo credit Craig Sugden
Annie Gala Night at the Piccadilly Theatre – Photo credit Craig Sugden

LISTINGS INFORMATION
Piccadilly Theatre, 16 Denman St, Soho, London W1D 7DY
Booking from 23rd May 2017 to 18th February 2018
Performances: Then Mondays, Wednesdays, Thursdays, Fridays and Saturdays at 7.30pm, Thursdays, Saturdays, and Sundays at 3.00pm

Tagged With: PiccadillyTheatre

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