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May 30th

Legally Blonde at Milton Keynes Theatre

By Louise Winter

By Quentin Fox

Reviewed 28 May 2018Legally Blonde poster

The audience at the Milton Keynes Theatre returned a unanimous verdict on the courtroom spoof-fest that is Legally Blonde - The Musical: it’s a guilty pleasure so enjoyable that it could turn us into repeat offenders.

Most people will come to this show as fans of the 2001 movie that starred Reese Witherspoon as the ditzy Californian fashion major Elle Woods who, on being dumped for someone more serious, ups her intellectual game to follow him to Harvard Law School to try and win him back.

But here’s some advice: forget Reese and the film because the stage version brings out the huge comedic power of the show to much greater effect. It’s so good that it may actually spoil the movie for you – in the best way possible.

This is a musical that shows its historical pedigree from beginning to end: Broadway smash, West End winner of three Olivier awards and then world-wide accolades. In this, its most recent iteration, cast, book and design come together in a production of preposterous pink perfection.

Laurence O'Keefe and Nell Benjamin's words and music are distinctly ‘new school musical’ with little to offer in terms of show-stopping classics but much to give in terms of witty and punchy lyrics that will have you snickering on your way home: "Keep it positive/as you slap her to the floor. Keep it positive/as you pull her hair and call her whore," the sorority sisters of Delta Nu belt out in ‘Positive’, their hymn to peppy enthusiasm; or "Gay or European?/ So many shades of grey/ Depending on the time of day, the French go either way,” sing the courtroom throng in determining the how truth of the testimony of Nikos the pool boy. It’s a high-camp zinger. You get the feeling throughout the production that the writers had a blast putting it together and the cast are enjoying themselves too – it’s infectious stuff.

As Elle, X Factor & Eurovision entrant Lucie Jones shows the warmth, spirit and optimism that fuels the fluffy freshman. She’s got a great voice that could have been genetically designed for musicals but just as important in this show is her sense of comic timing. She’s not a born dancer but she admirably keeps up with the supremely well-drilled hoofing of the ensemble.

There’s more immaculate timing, too, from EastEnders’ Rita Simons, who excels as Paulette Bonafonte, the lovelorn beautician who first becomes Elle’s BFF and then first client. It’s a role that demands both hard-boiled and soft-hearted and she well merits the cheering that greets her every number.

Bill Ward, late (and I choose that word carefully) of both Coronation Street and Emmerdale is also on top form as Professor Callaghan, whose Rat Pack-style numbers are models of slickness and power but with a splendid underlying greasiness essential to the character.

A mention in dispatches, too, goes to Helen Petrovna who does a star turn with the skipping rope as fitness guru Brooke Wyndham. Note to producers: next time her abs get their own billing.

Legally Blonde: The Musical runs at Milton Keynes Theatre at 7.30pm from May 28 to June 2. Matinees are at 2.30pm on May 30 and June 2

Box office 0844 871 7652

Booking fee applies


May 30th

Moliere's TARTUFFE: Theatre Royal, Haymarket

By Elaine Pinkus

I would have loved to rejoice in this exciting experiment of Moliere’s Tartuffe, billed as the first dual language production to open in the West End, but sadly I was unable to do so. Disappointingly this production failed to meet my expectations on many levels.

Sebastian Roché and Paul Anderson (l-r) in Tartuffe. Photo by Helen Maybanks 192_preview.jpeg

Sebastian Roche as Orgon and Paul Anderson as Tartuffe: photograph Helen Maybanks

Written in 1664, Tartuffe set out to expose the hypocrisy and deception of religious zealots who manipulated those desperate to dedicate themselves to religious extremism and preyed upon their gullibility and naivety.This expose so enraged the church that it banned the play and it was not until five years later that this iconic French satire was performed to the delight of its audiences and has continued to entertain. Fast forward to our current day and its central theme retains its timeless quality. Manipulation of the gullible continues as does the violence of obsession, fanaticism and fundamentalism.

Adapted by Christopher Hampton and directed by Gerald Garutti,  and supported by the Institut Francais, Moliere’s Tartuffe is set in Los Angeles. Donald Trump has replaced the role of King Louis X1V and the versatile cast perform in both French and English. There are surtitles available for the audience on three separate screens. Whilst helping with understanding, these were a distraction and I found much of my time was spent checking the rhyming metre of the French couplets, the English blank verse and whether my French A level had equipped me with the skills of accurate translation.


So, to the tale: Film Tycoon,Orgon, is intent on attaining religious heights. So open to manipulation is he that he readily invites into his home the penniless and manipulative Tartuffe, a modern day American evangelist whose vile and deceptive ambition is to gain the worldly goods and chattel of his host for himself at the expense of the gullible and naive householder. Both Orgon and his mother, Madame Pernelle, will hear only what they want to hear, and see only what they wish to see. Nothing can convince them that Tartuffe is not what he says he is. And they, as the hierarchy of their household, enforce it on their family, rebuking them for their lack of faith. Taking advantage of the blind stupidy of the wealthy householder, Tartuffe sets about seducing both Orgon’s wife, Elmire and daughter Mariane, whilst cheating Orgon of his worldly wealth. It is only thanks to the cunning of Elmire and the strength of Dorine, the strongly feminist housemaid, that Tartuffe is exposed and finally taken away to jail, at the command of Trump’s aide.

At this point I can only wonder why both Garutti and Hampton chose to set the play in LA. As a comedy, this works well as a setting in a parlour or comfortable drawing room. The move to LA, using a set comprising a glass cube raised above sterile flooring with only a narrow table, lost the charismatic atmosphere so necessary to this observation of a family being torn apart. Where family members hid to spy on the attempted seduction of Elmire, they now had to wander/clomp round the glass cube, rather like Winnie the Pooh pacing around his honey tree. It felt awkward, clumsy and lost the farcical comedy of the trickery. When performing within the cube, lit with interesting colours depending upon the topic at that point, voices were muffled and unclear. It just didn’t work!

And that was the problem. The entire production felt uncomfortable. The moving between French and English lost the lyrical quality of the original; the wandering around the glass cube seemed pointless and added nothing to the theatre; the performances themselves were loud and at times simply noisy. Quel domage!


The cast of Tartuffe. Photo by Helen Maybanks 181_preview.jpeg

The cast of Tartuffe: photograph Helen Maybanks


Nevertheless, Audrey Fleurot (of ‘Spiral’ fame) looked stunning in her costumes, even though they restricted her movement to an extent. Sebastian Roche(London West End theatre debut) bravely performed his role as the naive tycoon (but was the chest baring scene necessary?) and Claude Perron as Dorine was strongly assertive. Paul Anderson (Peaky Blinders fame) was making his West End stage debut in Tartuffe, taking the role of this villain. But he lacked the credibility of this character and appeared ill at ease. (Again, was his chest baring scene necessary!) 

Paul Anderson and Audrey Fleurot in Tartuffe. Photo by Helen Maybanks 248_preview.jpeg Audrey Fleurot as Elmire and Paul Anderson as Tartuffe: photograph Helen Maybanks



Ending on a note of humour, albeit puerile, at the expense of Trump, twitters and all, the performance concluded. An interesting experiment but joyful, non!

Photography: Helen Maybanks

Theatre Royal Haymarket 

18 Suffolk Street




Friday 25 May – Saturday 28 July 2018





Mondays - Saturdays: 7.30pm 

Thursdays & Saturdays: 2.30pm



Prices from £15



020 7930 8800



Facebook: TartuffePlay

Twitter: @TartuffePlay




May 29th

Sherlock Holmes: The Final Curtain

By Clare Brotherwood

When it comes to casting for the part of Sherlock Holmes, Robert Powell wouldn’t have been my first choice.

Perhaps I live too much in the past. I still remember interviewing him in the Scottish Borders in the Seventies when he was making The 39 Steps. He had just become an overnight sensation for his award-winning role as Jesus of Nazareth and, even though he was standing at the head of a loch dressed as a tramp, I swear he was surrounded by an aura!

As for Arthur Conan Doyle’s celebrated sleuth, Jeremy Brett takes some beating.

But things aren’t always what they used to be in this new play by acclaimed playwright Simon Reade.

It’s now 30 years to the day since Moriarty - and, supposedly Holmes - fell to their deaths over the Reichenbach Falls; only Holmes is very much alive and living incognito on the South Coast when, coincidentally, a body is found on his private beach and he receives a visit from Mary Watson, the estranged wife of his right-hand man and biographer Dr John Watson.

What develops only the theatregoer will discover but, apart from a good helping of mystery, jealousy and revenge, Reade, the former literary manager for the Royal Shakespeare Company, has injected a wagon-load of humour into this quirky tale which also involves another of Conan Doyle’s interests… spiritualism. And with that come ghosts and special effects, courtesy of magic consultant John Bulleid. Even the curtain which sweeps slowly across the stage between scenes looks like a… haunting of ghosts?

The play is set in 1922 and Reade, together with director David Grindley, make the most of those revolutionary times, not as Conan Doyle would have presented it but a light-hearted entertainment nonetheless, and despite an almost bare stage except for when the action moves the familiar surroundings of 221b Baker Street.

The thread running through the production is Dr Watson’s account of the case in hand which he is transmitting to listeners on a new invention called the wireless. Timothy Kightley is the archetypal doctor: kindly, gentlemanly and somewhat bumbling, and not always au fait with modern gadgets, which adds to the fun of the evening.

As always, Liza Goddard is very much in command of her role: forthright and dominating; which leaves us with Robert Powell. I could never imagine him as the drug-raddled Holmes of Jeremy Brett, nor the animated Cumberbatch version, but then, in this production, Holmes is supposedly in his dotage – which leads us to another problem for although Powell is now in his 70s he doesn’t look or act old enough to be retired!

Only Roy Sampson, as Holmes’ older brother Mycroft, lives up to our expectations of a Conan Doyle character.

Sherlock Holmes: The Final Curtain is at the King’s Theatre, Edinburgh until June 2, and then continues touring.

May 22nd

The Case of the Frightened Lady at Milton Keynes Theatre

By Alison Smith

 A thriller by the Classic Thriller Theatre Company.

The play The Case of the Frightened Lady purports to be a thriller. It is not. It is dull and tedious. It was written by Edgar Wallace – the king of the modern thriller novel – at the beginning of the 20th century and then it may well have been thrilling, but in urce material of the play en thrilling, but the anytrethe 21st the material of the play is dated and irrelevant.

The first act is ponderous; the action takes place offstage – the murders, the screams, the affairs – and the audience is presented with much repetitive dialogue. The setting is the hall of a grand mansion owned by Lady Lebanon and her son. The doorways of this hall afford the cast the ability to exit and enter and eavesdrop continually. The story is simple Lady Lebanon (Deborah Grant) is obsessed with her family’s dynasty and so insists her son (Ben Nealon) marries his cousin, Isla ( April Pearson), although neither are keen on such an arrangement.

The play improves somewhat in the second act. There are revelations of blackmail, hidden marriages, murders in India and madness.  Finally the truth of the murders is disclosed and the culprit takes his own life – at last action on stage.

There are some positives – the setting is impressive, the costumes are appropriate and the actors all play their parts well. It is just a shame that the parts are not enthralling.

 The Case of the Frightened Lady is at Milton Keynes Theatre until Saturday 26th May.

0844871 7652

Booking fee applies


May 22nd

Thriller Live - King's Theatre, Glasgow

By Cameron Lowe


Review by Suzanne Lowe


Thriller Live makes a welcome return to Glasgow this week, once again entertaining audiences with iconic songs from the King of Pop.


More of a tribute show than a jukebox musical we are taken through the various eras of Michael Jackson’s back catalogue.  With incredible vocals, dance moves, staging and lighting this show does not disappoint.  Focusing only on his vast range of hits it does not explore the more turbulent times that Jackson had to endure.


Personally I preferred the original staging of the Jackson Five section at the start of the show.  While the lead vocalists were incredible I missed the crowd pleasing performance normally associated with the casting of a ‘young’ Michael.  The projection of a child singing ‘Rockin’ Robin’ with only the female dancers on stage just didn’t cut it for me and the applause from the audience would suggest this number was slightly underwhelming.


Led by the dynamically talented vocalist/resident director Britt Quentin - Shaquille Hemmans, Rory Taylor, Ina Seidou and Eddy Lima all gave outstanding performances bringing a unique element to each of the numbers.  I would find it difficult to single any of them out.  Truly talented people.


The cast of dancers performed each routine with an energy that has to be applauded.  Iconic MJ dance moves executed to perfection.  Hats off indeed to the stamina required to sustain these numbers at each performance.  Definitely one of the hardest working casts I have seen in a long time.


With the performance featuring a selection of Michael Jackson’s hit songs including Beat It, Dirty Diana, Bad (too many to mention really) the stand out number for me would have to be ‘Smooth Criminal’.  With perfect vocals, staging, dance and atmosphere, this number truly came together to be nothing short of spectacular.  A spine tingling moment came in the form of ‘Earth Song’.  The audience fell eerily silent as the first few lines of vocals were delivered.  A remarkable thought provoking song.  We all waited in anticipation for the title number ‘Thriller’ which was performed towards the end of the evening.  Classic moves and costumes ensured that this was worth the wait. 


The audience were definitely up for participating at every opportunity.  Encouraged by cast members at various intervals to get onto their feet they did not need much persuading.  Singing along and dancing this was an audience who left feeling happy and thoroughly entertained.  I would encourage you to go along and grab some of that happiness this week.


Thriller Live – King’s Theatre, Glasgow

21 – 26 May 2018

Evenings 7.30pm (Mon – Fri)

Saturday 4pm and 8pm 

0844 871 7648* calls cost up to 7 per minute plus your phone company’s access charge 


May 17th

Summer Holiday - Milton Keynes Theatre

By Louise Winter

Reviewed by Quentin Fox

16th May 2018

Summer Holiday

‘We’re going where the sun shines brightly, we’re going where the sea is blue…’ Now that’s a helluva promise to make on a less-than-balmy mid-May evening in MK, but this new production of Summer Holiday: The Musical gets us to a joyous destination even though ride is a bit bumpy from time to time. 

Based on St Cliff’s 1963 cinema smash hit, the lightest and frothiest of plots has become part of British culture and serves as a reminder of more innocent times, when to be young was to be possessed of boundless optimism and opportunity rather than weighed down with social media expectation and high rent. This background certainly makes the show a cut above often directionless jukebox musicals.

Faced with a grim, damp English summer Don and his fellow bus mechanic chums persuade London Transport to lend them a double-decker, which they kit out camper-style for a trip to the South of France. En route they rescue a plucky Brit female singing trio from breakdown hell. The gals have a gig in Athens to get to; the lads don’t need much convincing to oblige them with a lift. Add to the mix a runaway pop princess who stows away on the bus dressed as a boy (the pop princess, not the bus – do keep up) to avoid the pursuit of her pushy showbiz mum and her agent.

The show doesn’t start well: the choreography is ragged and the opening number, The Shadows’ Foot Tapper has been transformed from a catchy instrumental into a rushed nightmare of jumbled lyrics that the bus mechanics all but stumble over.

But the arrival of Ray Quinn’s wholesome Don immediately ups the game and the energy levels. Quinn is a stylish performer: a clear, pleasing voice and an athletic, graceful yet muscular dance style. He also affects one of those extraordinary transatlantic accents so beloved of Cliff and those other early 1960s icons such as Billy Fury and Marty Wilde – a real connection with the source of the show. He leads the ensemble into one dynamic and slickly performed set piece after another as well as getting the chance to belt out Cliff numbers such as Move It, The Young Ones and On The Beach that didn’t appear in the original movie.

That’s not to say he’s the star of the show. That accolade is reserved for the big shiny red bus that dominates the action and which well merited the round of applause it received from the audience. Honourable mentions, too, for Taryn Sudding as Stella, the showbiz mother from hell who handles her role with real comic aplomb, and Gabby Antrobus as Mimsie, leader of the girl trio, who impressively transforms from girl-next-door to black-clad vamp in a dream sequence.

A salute, too, for Bobby Crush as Jerry, the henpecked agent, who survived the delivery of gags that were passed over by Roman comedians of the third century BC. But in the end he got to tinkle his ivories and the audience delightedly got on its hind legs to bop to a slam-dunk finale.

Note to writers: we love the dancing, we love the songs, but the comedy needs a session in the vehicle bay before it gets its MOT and is on the road again.

Box office 0844 871 7652

Booking fee applies

May 16th

Monogamy @ The Waterside Theatre, Aylesbury

By Yvonne Delahaye


With a never-ending plethora of new musicals touring the UK, it’s not very often that we get the chance to see a new play.  In 1999 former actor Torben Betts was asked by Alan Ayckbourn to be his resident dramatist at the Stephen Joseph Theatre in Scarborough.   His first play, A Listening Heaven, was produced there and since then his plays have been translated into seven languages and been produced around the world. Torben’s new play Monogamy was commissioned by The Original Theatre Company and this is the world premiere tour of the UK.

Delving into the world of TV celebrity, Monogamy takes a look at how the pressure of sharing your life with millions of viewers affects your family relationships.  Caroline Mortimer is the nation’s favourite TV cook, owning a big house in Highgate with her rich husband, when their son returns from Cambridge University.  Press intrusion threatens to tear the family apart, as differing values and secrets start to surface.

Award winning actress Janie Dee (Follies), plays the TV cook whose life is thrown into turmoil as she sinks into an alcohol induced haze.  The play is witty and sharp, with lots of clever laugh out loud lines especially with Patrick Ryecart giving a brilliant portrayal of Caroline’s very un-PC husband Mike.   EastEnders fans will recognise Charlie Brooks, playing a distressed wife in search of the truth about her husband’s affair.

With quirky characters and situations, I often felt I was watching an Ayckbourn play and with an endorsement from him that reads ‘Torben Betts is the most exciting theatre writing talent I have come across in may a year’, you can’t get better than that.

There were some technical problems that meant a late start and I found the play a bit too wordy at times, taking some time to get to the point, so at nearly two and half hours running time I felt it could perhaps benefit from a few cuts!  Still it’s nice to see a new play and have some good laughs.

The play runs at The Waterside until Saturday 19th May.  Further information and tour dates can be found at

Reviewed by:

Yvonne Delahaye



May 14th


By Trevor Gent

My review from Thursday 10th May. Sorry for the delay in posting as unfortunately I have been laid low from food poisoning after eating a burger (something I seldom do and now I know why) on the evening of the show but thankfully I am much better now.

Soap described as a breath-taking fusion of world-class acrobatics and water – bath time will never be the same again! Suitable for all ages... It's good clean circus fun!

Staged in the round as cabaret style entertainment in a tent with a stage adorned with bath tubs. The ensemble opens with the Gnarls Berkeley number ‘Crazy’ and an Opera singer too. Quite an appropriate song as it’s not normally things you associate go together.

This show is a mixture of Cirque du Soleil, meets carry on and Trumpton. Some very clever moves in an out of the bath tubs but not much Soap. However there is water so be warned, a bit like going to see the Killer Whale at SeaWorld, those in the front rows may be get wet. There are comic elements too and the audience is involved on more than one occasion. Some amazing tricks in this show and it keeps you engaged throughout (as there is no interval).

As well as the opening number Soaps live and electric soundtrack includes The Doors, Sia, Tool, Goldfrapp, Beethoven, Mozart and The Beatles - and singing live, is the Soap Opera Diva (Jennifer Lindshield - Carnegie Hall, NYC) – taking singing in the bath to a whole new level.

There is juggling too and even a striptease (a real tease) and a first for me. The lady contortionist was very good but personally something creepy about how they can do those things with their bodies, clever as it is. The Swan Lake number with the boys with just small towels covering their modesty was brilliant.


The trapeze finale with water raining down was mesmerizing and beautiful to watch. Brilliant entertainment and the cast mopped up too!


Soap continues as part of the Underbelly festival on the South Bank London until the 17th June 2018.

See website for details

May 4th

Eddie and the Slumber Sisters at Haddington Corn Exchange

By Clare Brotherwood

I may not have been living in Scotland for very long but even before I came north of the border I knew of The National Theatre of Scotland’s adventurous spirit.

And what an adventure reviewing its latest production turned out to be.

Flagged up as the theatre without walls, NTS go out to rural communities, and it doesn’t seem to matter how far.

Its latest production, in partnership with Catherine Wheels Theatre Company, visited Haddington Corn Exchange this week, and the NTS arranged to pick up the press from the nearest railway station and deposit us back after the show (this is not included in a normal ticket!).

Not only were we transported into the countryside but also to… another planet - Planet Slumber to be precise.

At first I thought the show was going to be set during World War Two, for the Slumber Sisters, wearing US-style uniforms, began by singing, in three-part harmony, songs such as Accentuate the Positive. But although the music sounded as if it was from the 1940s it still went down a treat with the younger members of the audience.

Eddie and the Slumber Sisters is suitable for eight-year-olds upwards and is an endearing mix of music, song, magic and imagination which deals with how we treat young people when it comes to bereavement.

As the Slumber Sisters, Natalie Arle-Toyne, Colette Dalal Tchantcho and India Shaw-Smith

are not only top notch singers, they also bring empathy and comedy into the mix as they help 10-year-old Eddie (Chiara Sparkes) come to terms with her grandmother’s death.

Since losing her gran, Eddie has been having nightmares, which begin at precisely 2.17 each morning. Enter the Slumber Sisters who, in a series of bizarre but entertaining experiments, get her to face her loss and sleep soundly again.

With space-age like control towers, a disembodied hand emerging from the wardrobe, a ‘ding ding harness’ made of socks and old tights which India Shaw-Smith uses to get to Earth where she gives a hilarious impersonation of Elvis, there is plenty to entertain audiences of all ages in this 70-minute show while putting across an important message.

Eddie and the Slumber Sisters continues touring:

May 5: Galashiels Volunteer Hall

May 9: Dunoon Burgh Hall

May 12: Raasay Community Hall

May 14: MacPhail Theatre, Ullapool

May 18: Mareel, Shetland

May 23: Clarkston Hall, East Renfrewshire

May 27: Dalbeattie Town Hall, as part of the Dumfries and Galloway Arts Festival

May 30-June 3: Southside Community Centre, Edinburgh as part of the Edinburgh International Children’s Festival

May 3rd

June - August Season Announced at the Finborough Theatre

By Carolin Kopplin

The 150th birthday year of the Finborough Theatre building continues with three plays – Finishing the PictureArthur Miller’s final play in only its second production worldwide; But It Still Goes On by poet and novelist Robert Graves which has never been performed anywhere in the world; and Homos, or Everyone in America, the European premiere of a new American play by Jordan Seavey in his UK debut. 

The season opens with the European premiere of Arthur Miller's last play, Finishing the Picture, playing 12 June–7 July 2018. A razor sharp psychological study of an abused, misunderstood female star and the havoc her unpredictability brings to a film set in 1961, based on Miller’s relationship with Marilyn Monroe. This European premiere is only the play’s second production anywhere in the world, and is directed by Phil Willmott, following his acclaimed Finborough Theatre productions of Arthur Miller’s The American Clock and Incident at Vichy.  

The season continues with a unique rediscovery from 1929 – the never previously performed But It Still Goes on by poet and novelist Robert Graves, playing 10 July–4 August 2018 as part of the Finborough Theatre’s THEGREATWAR100 series. Influenced by the drawing room comedies of Noël Coward and W. Somerset Maugham, it explores themes of adultery, homosexuality, lesbianism, gender politics, casual sex, and inter-generational conflict, but with a surreal dark twist. This long-overdue world premiere is directed by Fidelis Morgan, returning to the Finborough Theatre following her sell-out adaptation of Patrick Hamilton’s Hangover Square, and her direction of Irish classic Drama at Inish starring Celia Imrie and Paul O’Grady. 

The season culminates with the European premiere from an exciting American playwright in his UK debut, Jordan Seavey’s Homos, or Everyone in America, playing 7 August–1 September 2018. In a supposedly ‘post-gay’ America on the brink of passing marriage equality, a first date at a New York bar starts two men on a fearless, funny and fragmented journey leading up to a historic moment of change. This raw and provocative love story is directed by award winning Josh Seymour returning to the Finborough Theatre following his sell out production of Adding Machine: A Musical

Finborough Theatre Artistic Director Neil McPherson said: “Our new season brings you three theatrical treats – the long-overdue opportunity to finally see Arthur Miller’s very last play; another of our truly unique rediscoveries with a play by poet and novelist Robert Graves that has never previously been performed anywhere in the world; and, as always, we haven’t forgotten the new - with a European premiere from an American playwright in his UK debut. This season we also offer Sunday evening performances for our productions.” 

For full information, please visit the Finborough website.  

Finborough Theatre, 118 Finborough Road, London SW10 9ED 

Book online here 

No booking fees on online, personal or postal bookings 

Box Office 01223 357851. (Calls are free. There will be a 5% booking fee.) 
Lines are open Monday – Saturday 10.00am-6.00pm 

Tuesday to Sunday evenings at 7.30pm. Saturday and Sunday matinees at 3.00pm.
Prices for Weeks One and Two – Tickets £18, £16 concessions, except Tuesday evenings £16 all seats, and Friday and Saturday evenings £18 all seats. Previews £14 all seats.
£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only. 
£14 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday, when booked online only. 

Prices for Weeks Three and Four – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.