Name: Sister Act
Start: 2024-03-15
End: 2024-08-31
Location: Dominion Theatre

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Sister Act - LON [28926]

Sister Act

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Sister Act - Hero

Sister Act - LON [28926] Product Media

Based on the beloved film, this story of music, mishaps and nuns on the run is a joyous and uplifting tale of finding your voice and singing out, with your sisters by your side.

Beverley Knight MBE was born in Wolverhampton in 1973.&nbsp;Throughout her teens, she sang in a church choir, whilst being raised listening to gospel music. She was also inspired by Sam Cooke and Aretha Franklin, who mixed elements of both gospel and secular music. In 1994, she signed to her first label, releasing her debut LP, The B-Funk, which won critical acclaim.

She is perhaps best known for a number of smash hits, including "Get Up!"&nbsp;and "Shoulda Woulda Coulda", both from her third LP, Who I Am, which led to a Mercury Music Prize nomination. In 2004 she went onto release her biggest-selling album yet, *Affirmation*, which included hits such as “Keep This Fire Burning” and “Not Too Late for Love.”&nbsp;Subsequently, she won a lifetime achievement award at the Urban Music Awards.

In 2006, Knight released a platinum-selling compilation album. Following this, she started hosting Beverley’s Gospel Nights on BBC Radio 2, talking about gospel music, with interviews with celebrities including Michelle Williams and Shirley Caesar.&nbsp;Knight was one of the many performers in the London 2012 Paralympic Opening Ceremony, a performance which was highly praised.&nbsp;

In 2013, Knight made her West End debut playing Rachel Marron in <a href="/show/the-bodyguard">The Bodyguard</a> at the <a href="/theatres/adelphi-theatre">Adelphi Theatre</a>. In 2014 she starred in West End production Memphis The Musical at the <a href="/theatres/shaftesbury-theatre">Shaftesbury Theatre</a>, and in 2015, she played Grizabella in Andrew Lloyd Webber’s Cats at the <a href="/theatres/london-palladium">London Palladium</a>.&nbsp;Knight led the cast as Faye Treadwell in the world premiere of <a href="https://www.londontheatre.co.uk/show/the-drifters-girl">The Drifters Girl</a>.

In 2023, Knight will play Emmeline Pankhurst in *Sylvia* at the Old Vic. She won her first Olivier for *Sylvia,* winning the Best Actress in a Supporting Role in a Musical category. She'll then reprise the role of Deloris Van Cartier in *Sister Act* at the Dominion Theatre in 2024.

Beverley Knight - LON

The Bodyguard [1840]

The Bodyguard

 The Drifters Girl [21273] - LON

The Drifters Girl

Discover the remarkable story of The Drifters, one of the world’s greatest vocal groups, and the truth about the woman who made them.

Sister Act: The Musical [19421]

Sister Act: The Musical

10+. Anyone under the age of 16 must be accompanied by an adult.

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Sylvia

Sister Act  

Read all about soul superstar Beverley Knight and her latest London theatre shows at LondonTheatre.co.uk

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Alexandra Burke was born in Islington in 1988. Her mother, Melissa Bell, was an R&amp;B singer who was a member of the group Soul II Soul, who scored chart hits with songs like "Back to Life (However Do You Want Me)", “Get a Life” and “Keep on Movin’”.

Whilst Burke’s early success came on The X Factor, she actually appeared on the talent show Star for a Night when she was twelve years old, in which she was the runner-up to eventual winner Joss Stone. Burke left school after completing her GCSEs to pursue a career in music, and auditioned for the second series The X Factor in 2005. She was whittled down to the last seven in the 16 – 24 category, but judge Louis Walsh decided against picking her for his final four on the basis that she was too young.

This spurred Burke on to have professional singing lessons for a number of years before being picked by Cheryl Cole in the 2008 series. Burke made the final, and beat the competition of Eoghan Quigg and JLS in the final which featured a duet with Beyonce and a rendition of what would be her first single, Leonard Cohen’s "Hallelujah".

Burke has since released two albums, with a third due out in 2018, and toured the world with hits such as “Bad Boys”, “Elephant” and “Start Without You”.

In June 2014, Burke made her West End theatre debut in The Bodyguard, taking over from <a href="/actor-profile/beverley-knight">Beverley Knight</a> who was starring in the production at the <a href="/theatres/adelphi-theatre">Adelphi Theatre</a>. After the production closed two months later, Burke toured the UK with the musical. She also played the role of Deloris in a UK touring production of Sister Act in 2016. In 2018, Burke played Roxie Hart in the West End revival of Chicago&nbsp;at the <a href="/theatres/phoenix-theatre">Phoenix Theatre</a>. In 2021,&nbsp;Burke played the Narrator in&nbsp;Joseph and the Amazing Technicolor Dreamcoatat the <a href="/theatres/london-palladium">London Palladium</a>, sharing the role with <a href="/actor-profile/linzi-hateley">Linzi Hateley</a>.

In 2024, Alexandra Burke will reprise the role of Deloris in *Sister Act* at the Dominion Theatre.

Alexandra Burke - LON

London&rsquo;s sure-fire hit Chicago stars the record-breaking number one artist and winner of The X Factor, Alexandra Burke, following her leading role in The Bodyguard and as a finalist on BBC&rsquo;s Strictly Come Dancing, now performing an extended run until 10 November. Starring alongside her in the role of Billy Flynn is Duncan James, multi-million-selling singer with the band Blue, and star of the West End&rsquo;s Legally Blonde, until 17 November.Winner of six Tony Awards, two Olivier Awards and a Grammy, the sexiest, sassiest, most sophisticated Broadway musical in history is still as dangerously exciting as ever.The dazzling tale of jazz slayer Roxie Hart, her cell-block rival Velma Kelly and the smooth-talking lawyer Billy Flynn has thrilled audiences across the world since 1996.With the original Broadway choreography by Ann Reinking in the style of Bob Fosse and a sizzling score featuring the classic songs &ldquo;Razzle Dazzle&rdquo;, &ldquo;Cell Block Tango&rdquo; and &ldquo;All That Jazz&rdquo;, Chicago is so good it should be illegal.Chicago is playing at the Phoenix Theatre until 5 January 2019.Book now, it&rsquo;d be a crime to miss it&hellip;

No under 16s permitted without adult.

Chicago [8337]

Chicago

London&rsquo;s sure-fire hit Chicago stars the record-breaking number one artist and winner of The X Factor, Alexandra Burke, following her leading role in The Bodyguard and as a finalist on BBC&rsquo;s Strictly Come Dancing, now performing an extended run until 10 November. Starring alongside her in the role of Billy Flynn is Duncan James, multi-million-selling singer with the band Blue, and star of the West End&rsquo;s Legally Blonde, until 17 November.

The smash-hit musical is back with a dream cast including Jason Donovan

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Joseph and the Amazing Technicolor Dreamcoat

Parental discretion is advised due to innuendo. No under 4s admitted. Anyone under the age of 16 has to be accompanied by an adult aged 18+.

Jack and the Beanstalk - LON [25026]

Jack and the Beanstalk

Alexandra Burke was born in Islington in 1988. Her mother, Melissa Bell, was an R&amp;B singer who was a member of the group Soul II Soul, who scored chart hits with songs like "Back to Life (However Do You Want Me)", “Get a Life” and “Keep on Movin’”.

Alexandra Burke - Stars on Stage | London Theatre

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Ruth Jones makes her West End debut as Mother Superior in [*Sister Act*](https://www.londontheatre.co.uk/show/28926-sister-act) at the [Dominion Theatre](https://www.londontheatre.co.uk/theatres/dominion-theatre).

Jones is a celebrated Welsh actress, comedian, producer, and writer for British television, recognized with an MBE in the New Year Honours for 2014. She co-wrote and co-starred in the award-winning BBC sitcom *Gavin & Stacey* from 2007 to 2010 and returned for a special in 2019. She was also the creator, writer, and star of the Sky One comedy-drama *Stella*, which aired from 2012 to 2017 and earned her a BAFTA Award nomination for Best Female Comedy Performance and the BAFTA Cymru Award for Best Screenwriter.

Jones's TV credits also include *Fat Friends*, *Little Britain*, and *The Street* .

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Born in Oldham in 1964, Clive Rowe is an Olivier Award-winning actor, who has enjoyed a successful career on stage and screen. Perhaps best known on screen as Duke in *The Story of Tracy Beaker*, his theatre credits include *Guys and Dolls*, *The Light Princess* and numerous pantomines across the United Kingdom.

Growing up, Rowe expressed an interest in performing as a career. Taking part in productions at Crompton Stage Society, he then decided to pursue the arts professionally, later graduating from Guildhall School of Music and Drama. Even in training, critics would praise his performance, hailing Rowe as a future star. Shortly after, Rowe made his professional stage debut as Enoch Snow in *Carousel* at the National, receiving an Olivier Award nomination.

In 1994, Rowe starred in the acclaimed West End premiere of *Once on This Island*, playing Papa Ge alongside [Sharon D. Clarke](https://www.londontheatre.co.uk/actor-profile/sharon-d-clarke) and Lorna Brown. Returning to the [National Theatre](https://www.londontheatre.co.uk/theatres/national-theatre), he played Nicely Nicely Johnson in the 1997 revival of *Guys and Dolls*, winning an Olivier for Best Performance in a Supporting Role.

Away from the Southbank venue, Rowe’s West End credits include *The Ladykillers* at the [Gielgud Theatre](https://www.londontheatre.co.uk/theatres/gielgud-theatre), *Kiss Me, Kate* at the [Old Vic](https://www.londontheatre.co.uk/theatres/old-vic-theatre), and annual appearances as the Dame character at Hackney Empire pantomimes. In fact, Rowe’s been hailed as one of the UK’s best pantomime dames of all time. Rowe then joined the cast of *[The Prince of Egypt](https://www.londontheatre.co.uk/show/the-prince-of-egypt-tickets)* as Jethro, taking over the role from [Gary Wilmot](https://www.londontheatre.co.uk/actor-profile/gary-wilmot). He then starred in [*Sister Act*](https://www.londontheatre.co.uk/show/sister-act) with [Jennifer Saunders](https://www.londontheatre.co.uk/actor-profile/jennifer-saunders), and will return to panto with *[Jack at the Beanstalk](https://www.londontheatre.co.uk/show/jack-and-the-beanstalk)* at Hackney Empire in winter 2022.

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Experience an epic musical of biblical proportions, literally

The Prince of Egypt [16687] - LON

The Prince of Egypt

Experience the epic emotion and soaring music of THE PRINCE OF EGYPT, the extraordinary new musical from three-time Academy Award-winner Stephen Schwartz (composer of the global phenomenon Wicked).

Jack and the Beanstalk - LON [24384]

Mother Goose - Hackney Empire - LON 

Mother Goose 

Clive Rowe is an Olivier Award-winning actor, who has enjoyed a successful career on stage and screen. Best known on screen as Duke in The Story of Tracy Beaker, his theatre credits include Guys and Dolls, The Light Princess and numerous pantomines.

Clive Rowe - Stars on Stage | London Theatre

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Born in London in 1945, Lesley Joseph is best known for starring in *Birds of a Feather* as Dorien Green, alongside Linda Robson and Pauline Quirke. She’s also starred in West End musicals including *[Young Frankenstein](https://www.londontheatre.co.uk/show/young-frankenstein)*, as well as UK touring productions of *Calendar Girls*.

Joseph made her *Birds of a Feather* debut in 1989, playing Dorien Green for nine years. She later reprised the role in the show’s comeback from 2014 to 2017. On television, Joseph has also starred in Alan Ayckbourn’s *Absurd Person Singular*. Her stage debut came in 1973, performing in *Godspell* at the Pavillion Theatre, Bournemouth. She’s since starred in a number of pantomimes including *Cinderella* and *Snow White and the Seven Dwarfs*.

In 2015, Joseph played Miss Hannigan in a touring production of *Annie*, previously playing the role in the West End in 1998. However, she earned her first Olivier Award nomination for Best Actress in a Supporting Role in a Musical as Frau Blucher in *Young Frankenstein* at the [Garrick Theatre](https://www.londontheatre.co.uk/theatres/garrick-theatre).

Lesley Joseph - LON

Young Frankenstein [6170]

Young Frankenstein

Born in London in 1945, Lesley Joseph is best known for starring in Birds of a Feather as Dorien Green, alongside Linda Robson and Pauline Quirke. 

Lesley Joseph - Stars on Stage | London Theatre

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The Dominion Theatre opened on 3 Oct. 1929. The theatre is located on the site of the former Horse Shoe Brewery, site of the 1814 London Beer Flood.

The theatre screened the premiere of Charlie Chaplin’s film, *City Lights* (with Chaplin himself attending). During its history, the Dominion Theatre hosted movies such as *South Pacific* and *The Sound of Music*, whilst interspersed with live performances, most famously the *Judy Garland Show*. In the 1980s, music stars played at the Dominion Theatre, including Dolly Parton, Duran Duran, Bon Jovi, David Bowie and U2.  

In the early 1990s, plans were set to convert the theatre into a car park, but this was not followed through. Now, the Dominion Theatre is home to large musicals, including *Grease,* a 12-year run of *We Will Rock You,* and *The Prince of Egypt.*

## Dominion Theatre Seating Information

The auditorium has two levels – the Stalls and Circle. It is a very large space and offers excellent views of the stage wherever you sit.

In the Stalls, the rake of the seating is very good, offering excellent views from most seats and the legroom is excellent too. 

In the Circle, the seats are strongly raked which offers a great view.

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Dominion Theatre

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[Poster] The Bodyguard 1840

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 The Drifters Girl [21273] - LON Product Media

"There’s only one New York Yankees, you can’t have another just because it features some ex-players” says Faye Treadwell in *The Drifters Girl*. The pioneering African-American music manager has the unenviable job of managing The Drifters, a doo-wop band who on hand dominate the music world, but also suffer from an ever-changing lineup and “copycat” rivals who look to steal their identity. 

But rest assured, while *The Drifters Girl* storyline shines a light on the band's issues, there's nothing wrong with this musical retelling. Thanks to its  zippy, upbeat music and a warm, progressive heart, there's no musical in town quite like it.

Based on an original idea by Faye Treadwell's daughter, Tina Treadwell, writer Ed Curtis faces an unenviable job of compiling decades of Drifters history into two and a half hours of musical entertainment. Rather than following moments in Drifters history, *The Drifters Girl* musical centres around Faye's daughter as she asks questions about her mother's life in the music industry. 

There's plenty of tough questions to contend with: band members drafted into the army, the sudden death of George Treadwell, and society's attitude to black performers in the midsts of the civil rights movement. 

It’s all expertly shown in slick fashion by Beverley Knight as Faye Treadwell and a cast of four males — playing dozens of roles between them and barely leaving the stage, they must be the hardest-working actors in the West End right now. 

But people aren't always coming for *The Drifters Girl* story. They want to hear the Drifters' greatest hits. The musical packs over 20 Drifters hits into a series of stand-alone songs and medleys. With audiences (politely) singing along, the whole show is akin to a celebratory concert. 

The opening medley sets the Drifters scene, but there’s also emotionally-charged renditions of chart-toppers: Tosh Wanogho-Maud’s performance of “Stand By Me” is simply spinetingling. Plus there’s all the endearing boyish charm you could wish for from Tarinn Callender as Johnny Moore and others, as well as Adam J. Bernard as George Treadwell and others and understudy Curtis Scott as Clyde McPhatter and others. 

Perhaps unsurprisingly, *The Drifters Girl* choreography is reminiscent of *Jersey Boys*. Both musicals follow a singing foursome growing in popularity in 1960s America. But *Jersey Boys* centres on the artists. And just like the Drifters were originally formed as a backing group for Clyde McPhatter, the Drifters here ultimately serve as a backdrop — albeit a highly-skilled one — for Beverley Knight, a soulful master at work.

Walking onto stage to rapturous applause before she’d even said a word, Knight delivers the goods. Her lead numbers, "Nobody But Me" and "Harlem Child" showcase her swooping riffs and almost ethereal vocal abilities. The Act One closer, a mashup of “I Don’t Wanna Go On Without You / Stand By Me” is worth the ticket price alone. Thankfully, *The Drifters Girl* soundtrack is available to stream, so you can listen to it on repeat once you've left the auditorium.

*The Drifters Girl* boasts impressive design too thanks to Anthony Ward's clever set and Ben Cracknell's carefully-considered lighting transitions. Together, the pair complement each other in an accomplished fashion: in a few moments we're taken from a recording studio to theatres to meeting rooms. 

*The Drifters Girl* doesn't have many working parts. But what can happen with a cast of five and a few set and lighting pieces is truly remarkable. More importantly though with a jukebox musical like this, the audience walk away with their heads held high, singing their favourite hits. Only now, the audiences learn more about The Drifters' manager herself, Faye Treadwell.

[*The Drifters Girl is at the Garrick Theatre. Book The Drifters Girl tickets on London Theatre.*](https://www.londontheatre.co.uk/show/21273-the-drifters-girl)

*Photo credit: The Drifters Girl cast (Photo courtesy of production)*

'The Drifters Girl' review — Beverley Knight wows in a doo-wop musical celebration

The Garrick Theatre opened in 1889, and is named after actor David Garrick. When the theatre was built, architects discovered an underground river on the site!

The theatre became associated with comedy in 1982 with a four-year run of the farce *No Sex Please, We’re British*. This was the longest-running show at the Garrick, until J. B. Priestley’s *An Inspector Calls* transferred from the [Aldwych Theatre](https://www.londontheatre.co.uk/theatres/aldwych-theatre) in 1995 and resided for six years.

In recent years, a number of musicals have played here, including *A Little Night Music*, *Chicago*, and *The Scottsboro Boys*. In 2015, [Kenneth Branagh](https://www.londontheatre.co.uk/stars-on-stage/kenneth-branagh) took up residency at the Garrick for a year-long season of plays with his own theatre company. 

## Garrick Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle. In the Stalls, the view of the top of the stage is slightly obscured by the overhang of the Dress Circle from Row N onwards. 

In the Dress Circle, the view of the stage is not obscured by the overhang of the Upper Circle, but the ceiling can feeel low for those in the last row. The seats are designed in a horseshoe shape around the theatre and the Dress Circle offers good sightlines.

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Garrick Theatre

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Sister Act: The Musical [19421] Product Media

[*Sister Act*](https://www.londontheatre.co.uk/show/19421-sister-act-the-musical) brings people together. There were people of all walks in the audience at the [Eventim Apollo](https://www.londontheatre.co.uk/theatres/eventim-apollo) on Wednesday night for the show’s triumphant return to London. Drag queens. 1970s disco devotees. Celebrities. Nostalgic millennials. All of the above. Everyone loves *Sister Act* and it’s easy to see why.

The musical brings a new lens to the 1992 film starring Whoopi Goldberg as a struggling 1970s nightclub singer who goes undercover as a nun after witnessing a murder. It’s a classic, jubilant story of the power of community and coming together set to rollicking music and full of humour and dancing. Watching the cast of *Sister Act* absolutely tear up the Eventim Apollo makes you wonder why the show ever left London? Well, the nuns are back, and they all are fabulous, baby. 

Beverley Knight is giving a performance as Dolores van Cartier that makes you think, “Whoopi Goldberg, who?” The role requires reinvention for the stage, and from her otherworldly vocals to her impeccable comedic timing, Knight absolutely redefines and becomes this iconic character. 

The entire cast is stacked, and each performance leaves you wishing there was a whole musical centered around each nun. Lizzie Bea is a bonafide star as the young Sister Mary Robert, and her Act 2 anthem “The Life I Never Led” had me in tears. Jennifer Saunders delivers her trademark comedy magic as Mother Superior, while Keala Settle’s Sister Mary Patrick hits all the punchlines and notes. 

Clive Rowe brings an earnestness to “Steady” Eddie, the cop investigating the case and Dolores’s old high school friend who’s still harbouring a crush. He brings down the house down with his all-out production number “I Could Be That Guy.” Every single person in the cast deserves a shoutout; there are just too many to list. And as a group, the whole is greater than the sum of its parts. It’s magical. 

Parts of the Bill Buckhurst-directed production get a little lost in the cavernous Eventim Apollo space. Designer Morgan Large’s set is a simple-yet-effective backdrop, and her costumes are bright, catchy, and appropriate to the time period and tone of the show. Tom Marshall’s sound design is booming and permeates the whole space — there are great acoustics in here, after all. And Tim Mitchell’s lighting makes you feel like you’re at a gospel concert. 

When the *Sister Act* film came out in 1992, this heartwarming story won over the hearts of audiences everywhere, and London audiences are going to fall in love with this gem of a show all over again. You’ll leave the theatre humming Alan Menken and Glenn Slater’s fabulous score and ready to come back for more. If you see one show about singing nuns this summer, make it *Sister Act* at the Eventim Apollo. 

*Sister Act is at the Eventim Apollo to 28 August. Book Sister Act tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)
](https://ticket.londontheatre.co.uk/booking/calendar?product_id=2069&content_product_id=2069&product_type=show&performance_type=M&venue_id=146)

*Photo credit: Beverley Knight and Jennifer Saunders in Sister Act (Photo by Manuel Harlan)*

'Sister Act' review — Raise your voice for this fabulous musical

Formerly known as the Hammersmith Apollo, the West London venue is one of London’s major live entertainment destinations. The building originally oppened as the Gaumont Palace cinema in 1931 with two shows: *A Night Like This* and *Bad Company.* The theatre was renamed the Hammersmith Odeon in 1962 and saw world-class performers on its stage: The Beatles and Bob Marley to name a couple.

After refurbishment, the theatre reopened as the Hammersmith Apollo in 1992 with a Michael Ball tour. The Eventim Apollo continues to host some of the finest live entertainers and Off-West End shows.

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Eventim Apollo

The Company in Sylvia at The Old Vic 2023 (1)

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Sylvia - LON Product Media

Kate Prince’s hip-hop take on the [Suffragettes](https://www.londontheatre.co.uk/theatre-news/news/a-complete-guide-to-sylvia-starring-beverley-knight) has the cheer-worthy aim of ensuring we all understand how long and how hard these incredible women fought to secure our rights. In fact, it’s also been something of a battle to get this new work to the stage: originally a dance show, *[Sylvia](https://www.londontheatre.co.uk/show/26524-sylvia)* was meant to premiere in 2018 as a musical, wound up semi-opening as a work-in-progress, and is now finally ready to bring us those “first steps of a revolution”.

As per the title, the focus is mainly on Sylvia, daughter of the almighty Emmeline Pankhurst. Unlike her more biddable older sister Christabel, Sylvia diverged from her mother’s approach: while Emmeline focussed on securing votes for women, an increasingly socialist Sylvia wanted to expand to the working-class. Emmeline grew militant when diplomacy failed; Sylvia grew more enamoured of pacifism.

It’s a fascinating dynamic, placing conflict over how to achieve change (so debating the merits of direct action, message discipline and intersectional solidarity – although, oddly, race is never mentioned) at the heart of a family. You could parallel that with any number of current issues, whether it’s environmental protest or Brexit dividing families.

Prince’s use of contemporary dialogue, music (Josh Cohen and DJ Walde's enjoyable mix of hip-hop, funk, soul and R&B) and infectiously fun, propulsive movement also helps bridge that gap. However, there’s a large elephant in the room, and its name is *[Hamilton](https://www.londontheatre.co.uk/show/20561-hamilton-tickets)*, to which this inevitably invites comparisons.

But, while Lin-Manuel Miranda made very deliberate and thoughtful choices about paralleling his Founding Fathers with modern rappers, and where to deploy diverse casting (crucially, George III is played by a white actors), *Sylvia* feels conceptually muddled.

Prince (who co-wrote the book with Priya Parmar, and also directs and choreographs) has spoken about hip-hop culture being rooted in oppression. Yet all of its characters sound and move in the same way, whether the Suffragettes or their male opponents. In fact, the most dynamic performance comes from a “Braap!”-roaring, show-stealing Jade Hackett – as Winston Churchill’s fiercely anti-suffrage mother. So what are we meant to take from that? 

Churchill is also played by a black actor, but is a foppish, hen-pecked cartoon villain. The tone generally skews light-hearted, which makes the material engaging, but it’s challenging to switch tack for horrifying moments like the hunger-striking Suffragettes being force-fed in prison, or a vicious beating by the police (although Prince does find an expressive movement language for both). If we can’t take the opposition seriously, we’re in danger of underestimating our heroines. 

*Sylvia* also zips through the years, giving us little time to really dig into the lead characters’ lives and motivations. I wished we could have seen the Pankhursts interacting as a family, rather than just spouting slogans at one another, so we could feel the weight of what is sacrificed here – or that Christabel’s queerness could be characterised as more than just a potential PR problem. 

Charming though Alex Gaumond makes him, there’s too much time devoted to Sylvia’s romance with Labour Party founder Keir Hardie instead. It’s also a shame to see the argument weighted so heavily in Sylvia’s favour in the latter stages: she’s painted as a peace-loving, saintly martyr, adored by the working class (who we only actually meet briefly), while Emmeline becomes an elitist monster. 

And yet: one phenomenal number, in which Sylvia and Emmeline finally spill their fear, anger, resentment, desires and shared trauma, demonstrates what this show could be. With roof-raising vocals and diva riffs, [Beverley Knight](https://www.londontheatre.co.uk/stars-on-stage/beverley-knight) shows how Emmeline’s courage, passion and determination is calcifying into dictatorial intransigence, while Sharon Rose’s Sylvia finally breaks free with a rush of innovative rapping. It’s emotionally revealing as well as a fraught political fight, and it’s given space to fully land.

That’s not the case elsewhere in a show that is often highly entertaining and inspiring, thanks to a committed company and creative elements like Andrzej Goulding’s lively video projections. Yet ultimately it feels overstuffed – too much telling, not enough dramatising. Prince might take a cue from the Suffragettes: “deeds, not words.”

*Sylvia is at the Old Vic through 1 April. Book Sylvia tickets on London Theatre.*

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*Photo credit: The cast of Sylvia at the Old Vic (Photo by Manuel Harlan)*

'Sylvia' review – Beverley Knight leads an inspiring but overstuffed hip-hop Suffragette musical 

Read our review of Beverley Knight in the hip-hop musical *Sylvia*, now playing at the Old Vic through 1 April. Get *Sylvia* tickets on London Theatre.

The Old Vic, originally named the Royal Coburg Theatre, was designed in 1818 by Rudolph Cabanel. Its name was later changed to the Royal Victoria Theatre, then the Royal Victoria Hall, before it took on its nickname of 'The Old Vic' as its official name in 1925. 

The Old Vic has housed acclaimed performances with such celebrated actors as John Gielgud’s *Hamlet*, Laurence Olivier’s *Macbeth* and *Othello* in 1937, and Judi Dench’s Juliet in *Romeo and Juliet*, which was privately performed for The Queen in 1957.

In 1963, the Old Vic became the home base of the [National Theatre](https://www.londontheatre.co.uk/theatres/national-theatre) of Great Britain during its formation under Laurence Olivier. The theatre continued to host the National Theatre until the move to South Bank in 1976. 

There are two entrances to the Old Vic: one on The Cut and the other on Waterloo Road, which is an accessible entrance. In 2019, 'Penny', an accessible basement cafe and bar was opened, offering drinks, sandwiches and snacks. 

## Old Vic Seating Information

The auditorium has three levels - Stalls, Dress Circle, and the Lilian Baylis Circle.

Despite the Dress Circle overhang, this doesn’t affect the view due to pillars. There is also a staggered rake that will be noticeable from row J to allow better viewing.

The Lilian Baylis Circle is high above the ground and overhangs the Dress Circle at row C meaning row E will miss the top of the stage. There are also standing seats available at the sides of this circle.

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Old Vic

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The Phoenix Theatre opened on 24 Sept. 1930. It was built on the site of the Alcazar Music Hall, a performance space that had fallen from grace into a casino.

Noël Coward’s *Private Lives* opened the Phoenix Theatre, starring Noel Coward and Laurence Olivier. On Coward's 70th birthday, the bar in the foyer of the theatre was given the name the Noël Coward Bar in his honour.

The theatre’s greatest success arrived in November 1991 in the form of *Blood Brothers*, Willy Russell’s musical. It ran for 21 years, finally closing on 10 Nov. 2012. The Phoenix Theatre was also home to the West End premiere of *Come From Away.*

## Phoenix Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle.

The seats in the Stalls offer very good views of the stage, with a light rake in the seating helping seats further back. 

The view from the Dress Circle is generally very good, though the rake of the seating is not as noticeable as in other theatres. 

The Grand Circle is surprisingly close to the stage, which is great for feeling involved in the show.


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Phoenix Theatre

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Joseph and the Amazing Technicolor Dreamcoat [18933] Palladium - LON Product Media

Go go go Joseph! Andrew Lloyd Webber's latest work, <a href="https://www.londontheatre.co.uk/show/cinderella">Cinderella</a>, is still yet to open thanks to the pingdemic, but his very first is up and running again. Laurence Connor's buoyant revival of Lloyd Webber and Tim Rice's Biblical musical charmed audiences back in 2019, and remains an absolute winner. If we can't go to the ball quite yet, at least we've got this technicolour dream.Connor and choreographer JoAnn M Hunter, who also collaborated with Lloyd Webber on School of Rock and Cinderella, understand&nbsp;how to balance the heart and the sublime silliness of Joseph. Essentially a summer panto, it retains its DNA as a school show, with designer Morgan Large scaling up the classic nativity styling that transforms a child purely via a fake beard, a tea towel on their head, and the goodwill of the audience.The theatrical inventiveness is delightful - from the camel bike riding to the toy sheep on skateboards and acrobatic goat (new Olympic events?) - as is the integration of children into the cast, including, on the night I was there, scene-stealing moppet Ethan Sokontwe as a tiny imperious Potiphar. That fits beautifully with the accessible, hyper-efficient storytelling, courtesy of an agile pastiche score and Rice's witty lyrics. It's effortless fun.Yet the lead role requires an awful lot of effort. Connor's version substantially bulks up the Narrator; as well as guiding us through the story, she now plays several characters and leads the dance numbers. It was built around Sheridan Smith and her vaudevillian talents, but gets a very different spin from its new inhabitant, <a href="https://www.londontheatre.co.uk/actor-profile/alexandra-burke">Alexandra Burke</a>.While Smith did too much mugging for my taste, Burke is almost the opposite: she largely plays it straight, treating the drama seriously. When the brothers misbehave, she really takes them to task, and her Jacob is genuinely grief-stricken. The former Strictly finalist is also a dynamite dancer, sharp and grounded, and particularly at home in the hip-hop-fuelled Megamix.Yet there are also times where she's visibly battling the material. Rice's gags are a strain (lots of gesticulating with the hands, not enough enunciating), and there are some wobbly vocals in the fast sections. "A Pharaoh's Story" is more convincing, allowing Burke to let loose with vocal runs and big, belting notes, but that's a rare diva moment for the Narrator.Still, many will likely warm to her inviting and sincere performance, while Joseph purists can, on a few shows, catch Linzi Hateley, who last played the Narrator 30 years ago - and is somehow better than ever. It's a cheering sign that this role is now a boon to actresses of all ages, and I hope we see plenty of creative casting in future.Hateley's early 1990s Joseph was <a href="https://www.londontheatre.co.uk/actor-profile/jason-donovan">Jason Donovan</a>, who is back hamming it up as the Elvis-esque Pharaoh. It's a generously self-deprecating turn; he groans when he has to stand up, knees cracking. And <a href="https://www.londontheatre.co.uk/actor-profile/jac-yarrow">Jac Yarrow</a>, the drama graduate who, like the title character, became a star thanks to Joseph's dreams, returns with a more mature performance and superbly controlled vocals. His "Close Every Door" is just as emotive, but with added power.Steffan Lloyd Evans and Bobby Windebank are standouts as, respectively, brothers Reuben and Simeon, the athletic chorus excel during Hunter's high-voltage hoedown and can-can numbers, and John Cameron's orchestrations, jauntily delivered, are like a vibrant new lick of paint. A few problems remain, though: the calypso is simply irredeemable, and there's a dismaying tendency to use the female ensemble as sexy set dressing.However, from its opening minutes, in which the Narrator begins her fireside tale for the children, there's a lovely emphasis on the pleasures of collective storytelling. It's just the tonic after our long separation. That, and being part of a full-capacity theatre audience all up and dancing to the Megamix. Go go go join the party.<a href="/show/joseph-and-the-amazing-technicolor-dreamcoat">Joseph and the Amazing Technicolor Dreamcoat&nbsp;is at the London Palladium to 5 September. Book Joseph and the Amazing Technicolor Dreamcoat tickets on LondonTheatre now.</a>Photo credit: Jason Donovan and Jac Yarrow in Joseph and the Amazing Technicolor Dreamcoat (Photo by Tristram Kenton)

'Joseph and the Amazing Technicolor Dreamcoat' at the Palladium is a jubilant, joy-filled revival

Read our review of Joseph and the Amazing Technicolor Dreamcoat at the London Palladium on London Theatre.

Joseph and the Amazing Technicolor Dreamcoat at the London Palladium Review | London Theatre

The London Palladium opened on 26 Dec. 1910. The 1955 television hit *Sunday Night at The London Palladium* cemented the public’s affection for the venue, and made stars of Bruce Forsyth, Norman Vaughan and Jimmy Tarbuck who hosted the show. 

From the early 1990s, the theatre housed longer runs of several large scale musical productions, starting with the [Jason Donovan](https://www.londontheatre.co.uk/actor-profile/jason-donovan)-led revival of *Joseph and the Amazing Technicolor Dreamcoat* in 1991. Owned by the Really Useful Theatres Group from 2000, Andrew Lloyd Webber has produced musical revivals of *The Sound of Music* in 2006 and *[The Wizard of Oz](https://www.londontheatre.co.uk/reviews/the-wizard-of-oz)* in 2010, both of which cast their leading ladies through audience-voted talent shows broadcast on BBC1. 

After an absence of 29 years, pantomime returned to the Palladium in 2016, which has now become an annual Palladium Christmas tradition.

## London Palladium Seating Information

The auditorium has three levels – Stalls, Royal Circle and Upper Circle. In the Stalls, the view of the stage is slightly obscured by the overhang of the Royal Circle from Row S onwards, and the seats further back do suffer from a slightly lower ceiling. The seats are raked from Row D of the Stalls.

In the Royal Circle, the top of the stage is slightly obscured by the overhang of the Upper Circle in Row J onwards. The Royal Circle is raked and generally has an excellent view from all seats.

In the Upper Circle, the view from the central block of seats is still very good.

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London Palladium

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There are giants in the sky! And there are performing giants galore in [*Jack and the Beanstalk*](https://www.londontheatre.co.uk/show/25026-jack-and-the-beanstalk-tickets), the latest installment in a Palladium pantomime tradition that celebrates the best of old-school British humour with enough razzle dazzle to light up the West End.

Once again, director Michael Harrison sprinkles pantomime magic in the home of variety entertainment. A thinly-veiled story — in this case, Jack sells his cow for five magic beans and ends up with a beanstalk in his backyard, only for the gang to rescue King Nigel from the giant — acts as a ruse for filthy jokes, vaudevillian skits, and silliness. When the audience holler, clap, and cheer their way through two and a half hours of unadultered joy, it doesn't matter if the story could actually be told in 10 minutes; this lavish pantomime delivers the goods.

[Julian Clary](https://www.londontheatre.co.uk/stars-on-stage/julian-clary) is back as the loose “Spirit of the Beans”, parading around the stage in a variety of Hugh Durrant’s spectacularly designed bean-related outfits (French, runner, Mexican, Heinz) and enough phallic jokes to supply a lifetime of Christmas crackers. He keeps the story pulse going alongside “budget Miriam Margolyes” [Dawn French](https://www.londontheatre.co.uk/stars-on-stage/dawn-french) as a vulgar Dame Trot, the squeaky-clean Paul Zerdin as silly Simon, [Gary Wilmot](https://www.londontheatre.co.uk/stars-on-stage/gary-wilmot) as Queen Nigella, and [Nigel Havers](https://www.londontheatre.co.uk/stars-on-stage/nigel-havers) as the “principal character” King Nigel. 

Hallelujah then to [Alexandra Burke](https://www.londontheatre.co.uk/stars-on-stage/alexandra-burke), who plays a vampy, vicious giant's wife Mrs. Blunderbore in her Palladium debut — a trio of animatronic giants are her “bad boys” now. West End stars Louis Gaunt and Natalie McQueen delight as Jack and Jill, and Rob Madge a-moo-singly chews the scenery as Pat the Cow, a bovine who dreams of West End stardom. Gaunt and Madge delight in a “Crazy For You” inspired routine; a spritely ensemble dressed as dancing chickens performing Karen Bruce's showstopping choreography is a particular highlight.

Now in its sixth year, the pantomime suffers slightly from its self-awareness and leaning into stale territory. If you’re a newcomer, chances are you won’t get jokes that rely on moments in previous years. You’ve probably seen the skits in a previous iteration too: Paul Zerdin does a five-minute ventriloquist set, Gary Wilmot performs another "list song" (this time listing all the ailments and their respective remedies), and more. But again, this is pantomime, and pantomimes rely on similarities as a comforting way to tell a story. And we all need comforting on these cold winter nights.

There's added special elements this year, in the form of Jack climbing up a 40-feet plus beanstalk that soars up through the rafters — sit in the centre stalls and you may be closer to the beanstalk action than you'd first expect. But ultimately, this year's Palladium pantomime plays into its institution-level status. To quote Stephen Sondheim in *Into the Woods*, it justifies the beans.

*Jack and the Beanstalk is at the London Palladium through 15 January. Book Jack and the Beanstalk tickets on London Theatre.*

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*Photo credit: Jack and the Beanstalk (Photo by Paul Coltas)*

'Jack and the Beanstalk' review — an all-star pantomime justifies the beans

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In 2017, a musical premiered on Broadway called Prince of Broadway. It celebrated the life and career of the powerful and prolific Broadway producer and director Harold Prince, whose career spanned nearly seven decades <a href="/theatre-news/west-end-features/reaction-to-death-of-legendary-broadway-director-harold-prince">before he died last year</a>, aged 91. That career retrospective turned out to be his final directing credit amongst shows that earned him a record 21 Tony Awards, including eight for directing the original landmark productions of <a href="/show/fiddler-on-the-roof">Fiddler on the Roof</a>, Cabaret, <a href="/show/company">Company</a>, <a href="/show/follies">Follies</a>, Candide, Sweeney Todd, <a href="/show/evita">Evita</a> and <a href="/show/the-phantom-of-the-opera">The Phantom of the Opera</a>.&nbsp;It's a long way, alas, from that roll call of honour to <a href="/show/the-prince-of-egypt-tickets">The Prince of Egypt</a>, a show that has nothing to do with the Prince of Broadway at all but is the latest animated cartoon feature to be adapted for the stage, in the wake of such Broadway and West End successes as Disney's The Beauty and the Beast (which coincidentally also played at the <a href="/theatres/dominion-theatre">Dominion</a>), <a href="/show/the-lion-king">The Lion King</a> and Aladdin. Unfortunately, this one is not even in the league of such box office flops as The Little Mermaid and (the non-Disney) Anastasia, both of which are yet to make a transfer to London.<a href="/show/the-prince-of-egypt-tickets">The Prince of Egypt</a>, based on the 1998 inaugural feature from Dreamworks Animation,&nbsp;is a biblical pageant that comes with all the weighty, earnest and portentous air of an end-of-year Nativity project, though on a considerably larger budget.Stephen Schwartz, who won an Oscar for the big power ballad "When You Believe" from the film score that became an enduring pop hit by Mariah Carey and Whitney Houston, has reprised his songwriting duties here, adding ten new songs to the film's original seven songs, five of which have been preserved here (albeit extensively revised). But sadly, after sitting through nearly two and a half hours of watching this turgid history story unfold, I couldn't join in "When You Believe"'s aspirational cry: "There can be miracles/ When you believe/ Though hope is frail/ Its hard to kill/ Who knows what miracles/ You can achieve/ When you believe somehow you will/ You will when you believe".By the time the familiar chords of this song struck up, I couldn't believe in any of it, let alone hold out any hope of a redemptive musical miracle occurring.&nbsp;It's not for lack of effort on the part of the creative team and hard-working cast, though: the leaden material just seems to resist theatrical adaptation. Sure, there's are moments of spectacle, like the parting of the Red Sea (and then its rushing in again over the Egyptian soldiers who are chasing the Hebrews towards their Promised Land), but Jon Driscoll's projections onto the multi-leveled set by Kevin Depinet don't exactly thrill or chill.&nbsp;It doesn't help that Philip Lazebnik's book, based on his own screenplay for the film that he also wrote, plods from one incident to another with little character or much narrative development. The actors are left not so much filling blanks but playing them. Accomplished musical theatre actors like Liam Tamne and Luke Brady -&nbsp;who are&nbsp;playing Ramses and Moses respectively, raised as brothers after the abandoned baby Moses is found in the bullrushes and find themselves on significantly different life paths -&nbsp;have little to wrestle with dramatically. Though I briefly thought of our own Prince William and Harry, their bigger challenge is to do a lot of emoting and delivering power notes from their terrific lungs.Similarly marooned in a dramatic wasteland are such brilliant musical theatre stars as Christine Allado (original cast of <a href="/show/hamilton">Hamilton</a>), Alexia Khadime (<a href="/show/the-book-of-mormon">The Book of Mormon</a>) and Debbie Kurup (The Bodyguard), while the superb RSC associate actor Joe Dixon and the always-reliable <a href="/actor-profile/gary-wilmot">Gary Wilmot</a> are strangely wasted in patriarchal roles.There's plenty of deeply repetitive though undoubtedly athletic choreography from Sean Cheesman to occasionally distract the eye, There's also full-bodied sound from Gareth Owen, and a busily lush-sounding orchestral accompaniment from a band under the musical direction of Dave Rose, but little imagination in the telling of the production from director Scott Schwartz (son of the composer).<a href="/show/the-prince-of-egypt-tickets">The Prince of Egypt</a> is booking at the <a href="/theatres/dominion-theatre">Dominion Theatre</a>&nbsp;until 31st October 2020.<a href="/show/the-prince-of-egypt-tickets">The Prince of Egypt tickets</a>&nbsp;are available now.&nbsp;

Review - The Prince of Egypt at the Dominion Theatre

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