London – No visit to the UK capital is complete without taking in at least one stage show, even if tickets cost an arm and a leg and, at the current exchange rate of around R18 to £1, a hefty bit more.
But it’s well worth saving for because the variety of shows on offer is enormous, the quality of productions invariably of an extremely high standard and, if you’re celebrity conscious, at least one or two big-names are usually treading the boards – or sitting in the audience.
Besides all that, the theatres, a drawcard to the UK capital going back hundreds of years, are a sight to behold – gorgeous, ornate affairs where the aficionado can see, feel and breathe in the history, and wallow in the warm nostalgia of the many top productions and iconic figures that have performed under the spotlights.
The London scene found its roots in the 17th century, when the first West End theatre opened in Drury Lane. Since then it has bloomed to become the largest theatre district in the world.
Deciding on what to see is tricky, though, as the availability and affordability of tickets is always unpredictable, and the choices – from intimate drama to extravagant musicals, cabaret to solo work, experimental productions to outdoor – are such that one feels like a greedy child with a golden ticket to go wild in a sweet factory.
Speaking of which, the musical Charlie and the Chocolate Factory has, since 2013, been the draw at London’s oldest theatre still in use, The Theatre Royal, Drury Lane, commonly known as Drury Lane.
Grand musicals over the decades have included Carousel, South Pacific, The King and I, Oliver!, A Chorus Line, 42nd Street, Shrek the Musical, The Lord of the Rings, Miss Saigon and it’s longest-running show, The Producers(2004-2007).
Convent Garden and Leicester Square are liberally dotted with colourful outlets offering tickets, often at bargain prices, but I sometimes feel a sense of desperation among some of the vendors, which makes me nervous to buy there.
I may be wrong, but it is probably wiser to head for the quaint TKTS booth at The Clocktower in Leicester Square where, near the Odeon, London’s cinema for film premieres, and close to a statue of William Shakespeare, you will come across “theatreland’s very own ticket booth”, as it is advertised.
From around 9am or so every day, people start queuing for tickets – generally priced from about £15 – and bargains that include some half-price. A list of the day’s bargains appears on a digital screen at one end of the booth. It’s a jacked-up system. People queue in orderly fashion in a demarcated area and, the day I got there early to be second in the queue, a kiosk staff member approached people individually to advise on choices prior to it opening at 10am.
I paid £37.70 (R673.82) for a £66 ticket for the Billy Elliot musical at the Victoria Palace that same night – a good seat: almost centre, 11 rows from the stage.
A bonus is that each fortnight a free, updated and comprehensive brochure outlining all shows on offer – including synopses, times, prices and directions, as well as a Tube map – is available at the booth, as well as at other tourist venues throughout the city.
If you’re not keen to queue on the day, there’s an online booking system at www.TKTS.co.uk
Shows to be seen include my first choice, the top-draw musical Book of Mormon at The Prince of Wales Theatre, which, sadly, was sold out the day I was in town.
It’s not hard to see why Billy Elliot, featuring music by Elton John, has been one of London’s hottest tickets since 2005. This delight of a show, seen by more than 9.5million people worldwide, is centred on a boy struggling against all odds to realise his dream of being a dancer.
The slick production is brilliantly choreographed and cast, and the beauty of world-class theatre is that even the smallest of roles is done to perfection.
It’s a must-see, although Wicked, a clever and sumptuous spectacle about the witches from The Wizard of Oz, before they met Dorothy, remains my favourite.
Other musicals playing include the blockbusters The Lion King at the Lyceum, Mamma Mia! at the Novello, Cats at the London Palladium (closing April 25), Les Miserables at the Queens, Stomp at the Ambassadors, Phantom of the Opera at her Majesty’s, Jersey Boys at the Piccadilly and Matilda the Musical at the Cambridge.
Relative newcomers include Beautiful, a musical about the music and life of Carole King. It is at the Aldwych until February. And Let It Be at the Garrick, booking until September 27, a musical about The Beatles.
Made in Dagenham, based on the movie, is at the Adelphi, a theatre that will welcome the drag musical Kinky Boots from August 21 to November 21.
One I would book for is a revival of the classic Gypsy at the Savoy, which opened on March 28. It stars Imelda Staunton in the role of Momma Rose, in a story based on the memoirs of legendary burlesque entertainer, Gypsy Rose Lee.
Looking forward… The Old Vic in south London is reviving the Cole Porter musical High Society from April 30 to August 20.
Also note that a musical titled Bend It Like Beckham, adapted from the film of the same name, will be at the Phoenix from May 15 to October 24. And Elf the Musical, based on the Will Ferrell screen comedy, is to run at the Dominion from October 24 to January 2.
For more news visit www.londontheatre.co.uk