made Coach Guide 2011

LONDONFOR COACHES

Winter 11/12

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APOLLO VICTORIA THEATRE • LONDON

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This Issue: in London

2

3Welcome

4Sightseeing

8HistoricalRoyal Palaces

9Wimbledon LawnTennis Museum

10London Uncovered

11Arts & Leisure

12Shakespeare’s Globe

14MAMMA MIA!The GlobalSmash Hit

17A Truly Original MusicalJudy Cramer on MAMMA MIA!

19Theatre & Dance

21Wicked& London Victoria

23ShrekInterview withNigel Harman

25America Invades London

27The Wizard Of OzInterview withDanielle Hope

29The Lion KingBehind The Scenes

31Singing In The RainInterview withAdam Cooper

33We Will Rock YouThe RhapsodyContinues

35Royal Albert HallGroup Tours

37Comedy,Eating & Drinking

39Shopping

41London & Beyond

Far from being a ghost town I believe the West End of London, in particular, will be even more vibrant than ever next summer. Sure, there will be some challenges but there will also be some great opportunities for coach and group operators. The skill will be spotting them before your competitors!

London, of course, is not just the West End and much of the capital as with rest of the country will carry on with business as usual, so to all those devil’s advocates, I say boycott London at your peril next year. The deals may be late but there surely will be deals and even though 2012 brochures are already printed there are always local newspaper ads to promote last minute offers.

Much of the negative publicity stems from the experience of other cities hosting the Olympic Games, but make no mistake there is no place like London in the world and one reason is the attraction of our Theatreland, which is a magnet for tourists from all over the globe. An interesting statistic is that as much as 15% of London’s theatre total audience arrives by coach.

I do hope you enjoy reading this excellent London Supplement where I am convinced you will find those excursion opportunities I mentioned earlier. Forgive me for now taking my leave as I am off to see that award-winning show “War Horse” which will undoubtedly still be running in 2012, so book your tickets now!

Christopher Wales FTSChief Executive • Coach Tourism Council

What should you expect?

• London will be busier than normal, particularly around major attractions. Some routes will have increased traffic restrictions.Existing coach parking locations may have moved or be closed.

What should you do? Plan ahead!

• London will be different, so use the information resources available to plan your journey. Journey times may take longer so allow for this in your planning. Coach parking may be relocated so use the available maps to plan your parking.

Further information is available from:London 2012 website: www.london2012.comOnline coach parking map: www.tfl.gov.uk/coachparkingCoach drivers helpline: 0845 604 0770 – [email protected]

SightseeingWhen it comes to sightseeing, the choices are endless. Indoors or outdoors, underground or overground, traditional English heritage, or modern European attitude – all are on offer here, along with so much more. But be sure to pace yourself: some of the venues detailed in these pages, such as the British Museum, can’t be covered in a morning.

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British MuseumOfficially the country’s most popular tourist attraction, this neoclassical gem was built in 1847, with Lord Norman Foster’s glass-roofed Great Court added in 2000. Star exhibits at the museum include Ancient Egyptian artefacts – the Rosetta Stone on the ground floor, mummies upstairs – and Greek antiquities, including the Parthenon sculptures and objects from all world cultures.> Great Russell Street, Bloomsbury

(020 7323 800/www.britishmuseum.org).

Tottenham Court Road tube.

Charles Dickens MuseumLondon has many plaques marking addresses where Charles Dickens once lived, but this is the only one of them still standing. He lived here from 1837 to 1840, during

which time he wrote Nicholas Nickleby and Oliver Twist. Ring the doorbell to gain access to four floors of Dickensiana, collected over the years from various former residences.> 48 Doughty Street, Bloomsbury

(020 7405 2127/www.dickensmuseum.com).

Chancery Lane or Russell Square tube.

Kew GardensThese botanic gardens were designed in the mid 1700s by Capability Brown, using plants collected by Queen Caroline. Today’s beautiful collection covers around half a square mile of park and greenhouses. The aerial walkway allows visitors to get in among the canopy almost 60 feet above the ground.> Richmond, Surrey

(020 8332 5655/www.kew.org).

Kew Gardens tube.

London EyeThe 32 glass pods on the 443ft frame of this giant wheel command superb views.Book in advance or queue for a ticket on the day.> Riverside building, next to County Hall,

Westminster Bridge Road, South Bank

(0871 781 3000/ www.londoneye.com).

Waterloo tube/rail.

London ParksLondon has more trees per resident than almost any city in the world, and many thousands of these are in its parks. Hyde Park is seen as London’s Central Park; Regent’s Park and St James’s Park are two prettier green spaces. For serious escapism and proper walking try Hampstead Heath or Richmond Park.

London Transport MuseumA replica of Shillibeer’s 1829 horse-drawn carriage is just the first of an extraordinary array of vehicles on display at this terrific museum. There’s also Connections, a computerised exhibit that features 55,000 model buildings in its depiction of the journeys made through the city every day.> Piazza, Covent Garden

(020 7379 6344/www.ltmuseum.co.uk).

Covent Garden tube.

Museum of LondonA £20 million refurbishment came to completion in 2010 with the unveiling of a thrilling gallery that covers the city from 1666 to the present day. The new space features everything from an unexploded World War II bomb to clothes by the late Alexander

WelcomeLondon in 2012 looks to be a very eventful year for coach and group operators with the hosting of the Olympic Games and the many Queen’s Diamond Jubilee celebrations, not to mention all the new shows on offer. Some prophets of doom are saying that there will be traffic problems in London up to, during and after the weeks of the Games but I have been to a number of Transport for London meetings who, trust me, are in total control of the traffic management.

in London in London

McQueen. Upstairs, the chronological displays begin with ‘London Before London’, where artefacts include flint axes from 300,000 BC, found near Piccadilly.> 150 London Wall, City (020 7001 9844/

www.museumoflondon.org.uk).

Barbican tube.

National GalleryOne of the world’s greatest art collections has more than 2000 works, starting in the 13th century and heading towards today via gems such as Holbein’s Ambassadors and Veláquez’s Rokeby Venus. There are important works by Turner and Constable, too, but the real crowd-pullers are the likes of Monet’s Water-Lilies and Seurat’s Bathers at Asnières.> Trafalgar Square (020 7747 2885/

www.nationalgallery.org.uk).

Charing Cross tube/rail.

Natural History MusuemThis cathedral to the Victorian passion for knowledge was built in 1881 and now, as well as the dinosaurs, is home to millions of plants, animals, fossils, rocks and mineral specimens. To enter the dramatic Earth Galleries, you pass a giant suspended globe of twinkling images of the star system.> Cromwell Road, South Kensington (020

7942 5000/www.nhm.ac.uk).

South Kensington tube.

Science MuseumThis great museum demonstrates the science behind engines, cars, planes, ships, medicine, computers and domestic exhibits. Displays feature landmark inventions such as Stephenson’s Rocket, Arkwright’s spinning machine,

Whittle’s turbojet and the Apollo 10 command module.> Exhibition Road, South Kensington

(0870 870 4868/

www.sciencemuseum.org.uk).


St Paul’s CathedralIn June 2011 St Paul’s Cathedral celebrated the 300th anniversary of the completion of the present cathedral. This also coincided with the end of a 15 year programme of cleaning and restoration which has brought both the interior and exterior back to life. In addition with the introduction of free guided tours, multimedia guides and Oculus an eye into St Paul’s – a 270° immersive film experience – there has never been a better time to visit St Paul’s Cathedral> Ludgate Hill, City

(020 7246 8357/www.stpauls.co.uk).

St Paul’s tube.

Tate BritainDisplays at Tate Britain span five centuries of British art from the 16th century, taking in Hogarth, Gainsborough, Constable, Bacon, Moore and Turner. Recent artists such as Lucian Freud and David Hockney are also represented.> Millbank, Pimlico

(020 7887 8888/www.tate.org.uk).

Pimlico tube.

Tate ModernTate Modern’s vast Turbine Hall is used to stunning effect for large-scale, temporary installations. The permanent collection draws from a deep reservoir of modern art and features works from Matisse, Rothko, Giacometti and Pollock.> Bankside

(020 7887 8888/www.tate.org.uk).

Blackfriars tube/rail.

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Call 020 77 400 400 or visit citycruises.com

l Every half hour every day from Westminster, London Eye, Tower and Greenwich Piers.

l Group rates from only £7.20 per person.

Cruise with a 2- course lunch for groupsfrom only £25.00 per person.

SiGhTSEEinG on ThE RivERThamES

Lunch cRuiSES

Fun 4-course dinner cruise with entertainment and dancing. Great for groups at just £67.50 per person. Welcome drink and choice of wine included.

ThE london ShoWboaT

Blue Print Guide To Group Travel, 185 x 130 landscape.indd 1 15/11/2011 09:22

in London

Tower of LondonThe buildings of one of Britain’s finest historical attractions span 900 years, and house a series of interactive displays on both the lives of British monarchs and the painful deaths of traitors. The Crown Jewels and the Royal Armoury are the main draws.> Tower Hill, City

(0844 482 7777/www.hrp.org.uk).

Tower Hill tube.

V&A Museum of ChildhoodHome to one of the world’s finest collections of toys, dolls’ houses, games and costumes, this museum has been collecting child-related objects since 1872 and continues to do so. There are plenty of interactive exhibits and a decent café too.> Cambridge Heath Road, Bethnal Green

(020 8983 5200/

www.museumofchildhood.org.uk).

Bethnal Green tube/rail

or Cambridge Heath rail.

Victoria & Albert MuseumThe V&A’s grand galleries contain four million pieces of furniture, ceramics, sculpture, paintings, posters, jewellery and metalwork from across the world. There’s also an incredible selection of Italian Renaissance Sculpture.> Cromwell Road, South Kensington

(020 7942 2000/www.vam.ac.uk).


Wellcome CollectionFounder Sir Henry Wellcome, a 19th-century pharmacist and entrepreneur, collected a vast array of curios – ivory carvings of pregnant women, used guillotine blades, Napoleon’s toothbrush – mostly relating to the medical trade. It’s all displayed in this smart museum – the temporary exhibitions are usually wonderfully unusual and interesting.> 183 Euston Road, Bloomsbury

(020 7611 2222/

www.wellcomecollection.org).

Euston Square tube or Euston tube/rail.

Whitechapel GalleryThis gallery in London’s East End continues to improve its outstanding reputation as a contemporary art pioneer built on its shows of Picasso (Guernica was shown here in 1939), Pollock, Rothko and Frida Kahlo. With no permanent collection, there’s a rolling programme of shows.> 77-82 Whitechapel High Street, Whitechapel

(020 7522 7888/

www.whitechapelgallery.org).

Aldgate East tube.

ZSL London ZooOpened in 1828, this was the world’s first scientific zoo. The 16,000sq ft walk-through squirrel monkey enclosure allows you to get close to the animals in an open environment, while Animal Adventure, a children’s zoo, is aimed at the three-to-six age group. Bring a picnic and you can easily spend an entire day here.> Regent’s Park (020 7722 3333/

www.zsl.org/zsl-london-zoo).

Baker Street tube then 274, C2 bus.

7

in London

Client: Historic Royal Palaces: Hampton Court Palace

Publication: Coach Touring

Size: Half page horizontal 130x185mm

Contact: Paul Warrington 020 8405 2768

A new exhibition of beauty, debauchery and royal mistresses.From Easter 2012

The wild, the beautifuland the damned

For Groups and Travel Trade options call020 3166 6311. Book tickets on 0844 482 7770or visit www.hrp.org.uk/traveltradeandgroups

Celebrating the Diamond Jubilee in style

Coach Touring Directory ads:Layout 1 11/14/11 10:00 AM Page 2

Armour © courtesy of Trustees of the Armouries

Royal Beasts andFit for a King

Centuries of wild wonderous creatures androyal armour now at the Tower of London

Book your tickets on 0844 482 7770 orvisit www.hrp.org.uk /traveltradeandgroups

Client: Historic Royal Palaces: Tower of London

Publication:Coach Touring





Historic Royal Palaces prepare to celebrate the Diamond Jubilee in style

in London

8

Don’t miss a bit of this special anniversary and ensure one or more of the palaces is included in your excursions and tours in 2012.At the Tower of London visitors will be able to explore the world famous collection of fabulous finery and regalia – The Crown Jewels, re-presented from 29 March 2012.

On 26 March 2012 we will unveil Kensington Palace, a palace for everyone where visitors will discover newly landscaped gardens, entrance loggia as well as two new permanent visitor experiences. Victoria Revealed explores Queen Victoria’s life and reign through her own words whilst Diana will be an elegant and

evocative display of some of her dresses.

At Hampton Court Palace this summer the temporary exhibition The Wild, the Beautiful and the Damned opens on 04 April – 30 September. This is a story of love, glamour, celebrity, lust and power and involves some of the key characters that lived, loved and died at Hampton Court Palace from 1660 – 1714.

There is always a good reason to visit the palaces but none more than in 2012, so take advantage of competitive group prices, catering packages and marketing support from the travel trade team, [email protected]

9

The Blue Badge Tour of the Wimbledon grounds gives visitors an in-depth look at Wimbledon and the delights of The Championships. Visitors can enjoy views of London from the picnic terraces, see where the Championship action happens on Centre Court, explore the Millennium Building and visit the main Press Interview Room where the post-match interviews take place.

Visitors can experience the latest exhibition ‘The Queue’ in the Museum Gallery. This fascinating addition explores all aspects of the

famous Wimbledon Queue. With everything from ‘tips’ for potential queuers and a display of objects amassed from queueing over the years, the exhibition conjures up this most British of institutions.

Further highlights ofthe Museum include:The Science of Tennis filmed on Centre Court being shown in the 200° Cinema with amazing computer generated 3-D effects.

John McEnroe ‘live’ in a reconstruction of the 1980’s Gentlemen’s Dressing Room.

Tennis fashion – from long whites skirts and flannel trousers to the contemporary style of Serena and Venus Williams.

Highlights of any Men’s and Women’s Championship match from 1970 to 2008.

The renowned Championship’s trophies.

The Museum does not simply recount the history of the game of tennis, Wimbledon and The Championships, but reflects the state of the current game and champions of today, hopefully

providing inspiration to the potential champions of tomorrow.

Opening hours

Open: Throughout the year, daily: 10.00am

– 5.00pm.

Closed: The Museum is closed the 19 & 26

June, 4 & 5 July (Unless the tournament

overruns), 24, 25, 26 December & 1 January

2010.

For up-to-date information visit

www.wimbledon.com/museum

or call 00 44 (0) 208 946 6131.

For further information contact Sarah

Hodgson at Firecracker PR on 020 31595093

or via email at [email protected]

Wimbledon LawnTennis MuseumOne of the top attractions in London, the Wimbledon Lawn Tennis Museum provides visitors from around the world with the opportunity to view items of immense historical importance, with some exhibits dating from the 1550s on show in the highly interactive Museum

in London

Even in the most well known parts of London, there are still great quirky sights to discover. Here are some of the best.

ChelseaFounded in 1673, Chelsea Physic Garden (66 Royal Hospital Road, www.chelseaphysicgarden.co.uk) is the second oldest botanical garden in Britain. It was founded by the Society of Apothecaries to study botany and the ‘physic’ (healing) arts. Filled with healing herbs, vegetables, rare trees and dye plants, the garden is a haven from the nearby shopping district of King’s Road and Sloane Street.

EmbankmentBefore the area known now as the Embankment was created in 1864-70 by Sir Jospeh Bazalgette, the shores of the River Thames were some 150 yards further inland. Some mansions on the Strand (Strand means ‘shore of the river’) would have had their own waterside access, via decorated gateways. The York Watergate at the Thames Embankment Gardens is a surviving example.

FitzroviaFitzrovia has long been a bohemian centre for the people of London – indeed the entire area was filled with squats until the early 1980s. Famous residents have included musician Boy George and author Virginia Woolf. Almost at its centre lies the King & Queen pub (1 Foley Street, 020 7636 5619), the scene of Bob Dylan’s debut UK performance.

GreenwichEver fancied walking under the River Thames? The Thames foot tunnel at Greenwich has been open for over a century. It connects Island Gardens at the Southerly tip of the Isle of Dogs to Greenwich, near the Cutty Sark. The echoes are impressive and the surroundings rather spooky.

HampsteadApart from its heath and leafy woods, for which it is most well known, Hampstead is also home to lots of pubs, the most infamous of which is the Magdala (2A South Hill Park, 020 7435 2503). It was here on Easter Day in 1955 that Ruth Ellis, soon to be the last woman hanging in Britain, shot her lover David Blakeley. Two bullet holes in the front wall of the pub show where two of the six shots she fired went amiss.

ShoreditchHoxton Square, just behind Old Street, is well known for its fashionable bars and clubs. It is here that the White Cube art gallery (48 Hoxton Square, www.whitecube.com) home to A-list Young British Artists such as Damien Hirst and Tracey Emin, can be found. Perhaps lesser known is the fact that in 1598 Hoxton Square was the location of a duel in which playwright Ben Jonson killed actor Gabriel

Spencer, and narrowly escaped a public hanging.

SohoA short walk from chaotic Oxford Street, and hidden within Soho, lies Soho Square. It is one of the area’s only green spaces and a far cry from its 16th-century incarnation as Soho Fields, King Henry VIII’s hunting grounds (the surrounding area takes its name from the hunting cry of ‘Soho’).

River Walk

The riverside area known as the South Bank is one of London’s great success stories. The area is now home to many of the capital’s best attractions, all within easy walking distance.

Start at Westminster tube and take in the impressively grand Houses of Parliament, with the unmissable Big Ben. Cross Westminster Bridge and turn left, past the London Aquarium, for the vast, revolving

London Eye, the walk along the bank with the Jubilee Gardens to your right, passing under Hungerford Bridge on your left.

Just ahead is the Southbank Centre, a large arts centre. Beyond it stands the landmark architecture of the Hayward Gallery and the modernist blocks of the National Theatre. This leafy length of riverside is always busy with crowds enjoying the views across the water to Somerset House.

Halfway between Waterloo and Blackfriars Bridge is the art deco tower of the Oxo Tower Wharf, which boasts excellent views. Continue along the bank, passing Blackfriars Bridge to arrive at the Bankside Gallery and the soaring spaces of Tate Modern. Further along is the cute Shakespeare’s Globe and, to the left, the extremely elegant Millennium Bridge. Cross over it and you’ll find yourself at the foot of the stairs leading up to St Paul’s Cathedral.

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London Uncovered in London

Barbican CentreThe Barbican’s range of spaces hosts theatre, dance, film and music. At its heart, performing 90 concerts a year, is the London Symphony Orchestra (LSO).> Silk Street, City

(020 7638 8891/www.barbican.org.uk).

Barbican tube.

HMV Hammersmith ApolloThe Apollo serves as a 3,600 capacity all-seater theatre (popular with big comedy acts and kids’ shows) or a 5,000 capacity standing room only gig space.> Queen Caroline Street, Hammersmith

(0844 844 4748/

http://venues.meanfiddler.com/apollo/

home). Hammermith tube.

Jazz CaféThere’s some jazz on the schedule here, but this two-floor club deals more in soul, R&B and hip hop these days, with performances from soon-to-be-huge US acts.> 5 Parkway, Camden

(020 7485 6834/

http://venues.meanfiddler.com/jazz-cafe/

home). Camden Town tube.

Ronnie Scott’sOpened by the British saxophonist Ronnie Scott in 1959, this legendary institution was completely refurbished in 2006. The bookings are now less interesting, with jazzers joined by pop acts, but there are still some good shows.

> 47 Frith Street, Soho

(020 7439 0747/www.ronniescotts.co.uk).

Leicester Square or


Royal Albert HallA memorial to Queen Victoria’s husband, this vast rotunda is at its best during the BBC Proms festival of classical music (July to September).> Kensington Gore, South Kensington

(020 7589 8212/www.royalalberthall.com).


O2 Shepherd’s Bush EmpireThis former BBC theatre is a great mid-sized concert venue, holding 2,000 standing or 1,300 seated. The sound is decent (with the

exception of the alcove behind the stalls bar) and the staff are lovely.> Shepherd’s Bush Green, Shepherd’s Bush

(0844 477 2000/

www.o2shepherdsbushempire.co.uk).

Shepherd’s Bush Market tube.

Southbank CentreThe 3,000 capacity Royal Festival Hall reopened in 2007 after a £90m acoustic renovation. Next door is the smaller Queen Elizabeth Hall and the 250 capacity Purcell Room.> Belvedere Road, South Bank

(020 7960 4200/

www.southbankcentre.co.uk).

Embankment or Waterloo tube.

At Shakespeare’s Globe this Winter: Elizabethan ExperienceFrom mid October until February Shakespeare’s Globe offers groups a special package called the Elizabethan Experience.

The Elizabethan Experience is exclusively available to groups and includes a visit to the Exhibition, a guided Globe Tour, a guided Rose & Bankside Tour and a dressing demonstration. The visit will finish with tea/coffee and biscuits in the on-site bar.

Shakespeare’s Globe Exhibition is the world’s largest visitor experience devoted to Shakespeare and the London in which he lived and worked. Based under the Globe Theatre, the engaging and informative exhibition displays explore the remarkable story of the Globe, and brings Shakespeare’s world to life using a range of interactive displays. Find out about extravagant Elizabethan costumes, musical instruments and how they were used.

The brand new Exhibition audio guide, which is available in English, German, French, Spanish and Italian gives additional insights, background and details about going to the theatre in Shakespeare’s lifetime and today’s Globe. The audio guide can be booked as part of the Elizabethan Experience for an additional £1 per person.

During a guided Globe tour, expert guide-storytellers provide fascinating tours of the auditorium, vividly recreating colourful stories of the 1599 Globe Playhouse, the reconstruction process in the 1990s and how the ‘wooden O’ works today asan imaginative and experimental

space for performance.

The Rose was Bankside’s first theatre, built in 1587, twelve years before Shakespeare’s original Globe. The Rose is the only Elizabethan playhouse that has been excavated on a large scale by archaeologists in 1989. The guided tour of the archaeological site of the Rose Theatre includes a walking tour along Bankside, highlighting the interesting historical landmarks along the way. The site today inspires actors and other artists just as it did over four hundred years ago.

During the Elizabethan Dressing Demonstration, two guides explain the intricacies of dressing and the significance of clothing in Elizabethan society, using clothes from the Globe Theatre wardrobe. Do you know the origin of the phrases ‘straight-laced’, ‘loose women’ or ‘pin money’? And what did Shakespeare’s contemporaries use as a stain remover? Find out as someone from your group gets dressed up as a character from a Shakespeare play.

To finish the Elizabethan Experience in style, enjoy a cup of tea or coffee and a biscuit at the Globe’s on-site bar. Swan at the Globe offers a unique mix of hospitality with stunning views across the Thames to St Paul’s Cathedral.

For more information or to make a booking, please contact the Exhibition & Tour department via telephone (020 7902 1500) or email ([email protected]). The Elizabethan Experience costs £19 for adults and £17 for seniors.

Shakespeare’s GlobeOne of the top attractions in London

The recreation of the open-air theatre where Shakespeare first staged many of his plays is open for tours as well as for theatrical productions. The season runs from April/May to October; the standing room Pit tickets are excellent value.> 21 New Globe Walk, Bankside(020 77401 9919/www.shakespearesglobe.com). Southwark tube.

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in London

Arts & LeisureFor lovers of music, theatre, dance and cinema – in fact, any art form - London is a dream destination. The capital’s vast creative output and enormous range of venues, from atmospheric pub backrooms to colossal concert halls, mean that there is always something worth seeing, every night of the year.

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in London

Client: Historic Royal Palaces: Kensington Palace

Publication: Coach Touring



Kensington Palace re-opens26 March 2012. For Groupsand Travel Trade options call020 3166 6311, book ticketson 0844 482 7770 or visitwww.hrp.org.uk/traveltradeandgroups

Meet the real woman,wife and mother behindthe crown



This Season’s Top West End shows for Coach Operators

Ghost - Piccadilly TheatreGroups 40+ £35 10+ £39.50Booking until October 2012

The Lion King - Lyceum TheatreGroups £15 off

Booking until September 2012

Wicked - Apollo Victoria TheatreGroups from £32.50

Booking until October 2012

Legally Blonde - Savoy TheatreGroups from £25


Dreamboats and Petticoats Playhouse Theatre - Groups from £20


Blood Brothers - Phoenix TheatreGroups from £21


Groups Hotline 0844 871 [email protected]

ATG Tickets is part of the UK’s largest theatre group. Book direct with our Groups team

for the best seats and unrivalled service. We offer flexible payment terms, with longer

hold times and no obligation guaranteed. We can also help with dining packages,

attraction tickets and backstage tours. Give us a call today!

It was on March 23, 1999 that the musical MAMMA MIA! met its first and most crucial test when it was put in front of its first-ever paying audience in London - and was given the kind of welcome it has been getting ever since, every night, at every one of the many productions that have since followed. But on that early spring evening in London, it was still a completely unknown quantity. “We really had no idea how it was going to be received”, reflects the producer Judy Craymer whose initial concept, exactly a decade earlier, had been to use existing ABBA songs within the format of a new, original musical. But happily, she remembers, “The audience went wild. They were literally out of their seats and singing and dancing in the aisles - and they still are. Every night.”

And now, they are doing so all around the world. It has become a global entertainment phenomenon; but it is one that works on a far more elemental basis in which its creators have never lost sight of what they are seeking to achieve. That is, the process of personalising a familiar repertoire of particular ABBA songs in a fresh, vital and immediate way that simultaneously retains their pop integrity yet also does something more that is an essential requirement of good musical theatre: to advance an appealing story and comment on it.

But though in this case the songs came first - and it was Craymer’s genius to spot their theatrical potential so early on - she also had to find a way

of unlocking that potential, with a story strong enough to carry them. “I knew from the outset that MAMMA MIA! had to be much more than just an ABBA compilation or tribute show,” she comments. “The story had to be as infectious as the music and provide a strong feel-good factor.” That, however, is easier said than done, and thus began Craymer’s decade-long crusade to find it and bring it to the stage. The producer, who had been in on the ground floor (or, at any rate, the backstage door) of another West End musical phenomenon when she was a stage manager on the original London production of CATS in 1981, had subsequently joined Tim Rice’s production company, and it was there, while working as Executive Producer on the West End production of his and Benny Andersson and Björn Ulvaeus’s first post-ABBA project, CHESS, that she was first bowled over by Benny and Björn.

For Björn, meanwhile, it was his experience on the subsequent ill-fated Broadway production of CHESS that taught him an important lesson. “What I understood after CHESS is that story is number 1, number 2 and number 3, as they say on Broadway. A lyric should take a story forward, and a lot of pop songs are static - they have no drama in them whatsoever.” The playwright, Catherine Johnson, who was commissioned to write the book for MAMMA MIA!, fortunately found plenty of drama in them; and indeed, a plot out of them. Not only are they frequently complete stories within themselves, but she also discovered something

LONDON THEATREPLAYS • MUSICALS • PERFORMANCE • SPECTACLE

MAMMA MIA!THE GLOBALSMASH HITBRITISH JOURNALIST MARK SHENTON looks at the phenomenon that is MAMMA MIA!, from its 1999 world premiere to today, where more productions are playing around the world than any other musical.

14

in London

else important: that many of the early ABBA songs were more innocent, naïve and teenage orientated, whereas later on they became more mature and reflective. And, of course, it was women who sang them. So that suggested a story about two generations of women, namely a mother and a daughter. Ulvaeus, while insisting that lyrics weren’t arbitrarily changed, for his part also demanded, “the story is more important than the song”, but for Johnson, the challenge was that, “whatever happens in the story, I always have to come back to the song.” She was intent on avoiding the perennial fault of musicals: “We didn’t want to have those awful clunky moments where people burst into song. I am primarily a dramatist. To me, it was very important that I created believable characters and gave them all a true storyline, and I absolutely worked to get the story and the songs to work together.”

It then fell to Craymer to find the ship’s captain of any musical: a director. Though Phyllida Lloyd had never directed a musical before, Craymer instinctively felt she would be right for the project - and Lloyd, whose own background was in plays and opera, accepted the challenge, knowing that if she stuck to what she knew - how to help actors create characters and stories - things would be okay. Grounding the project as a good director does, it was able to take flight.

Though it was accident rather than design, Craymer notes, “I am delighted that MAMMA MIA!’s success was the result of an unprecedented collaboration of three women, but there was no discrimination of men intended.” And in fact, the onstage relationships of the three best friends - Donna and the Dynamos - at the centre of the piece mirrors that of the women who between them created the show. Craymer has indeed commented, “We all see ourselves as those three women on the stage, because Catherine is the slightly chaotic single mom, I’m the high-maintenance one, and the pragmatic one is Phyllida.”

The secret of the show’s success, however, is that it’s not just its creators who see themselves onstage, but the audiences do, too. Phyllida Lloyd notes, “In Catherine Johnson’s ingenious story, the audience seem to be having a very particular experience. They are seeing themselves on stage.” In the process, the songs are re-born and the show’s themes - of lost parents, a search for identity, and the generation gap - have a universal resonance. As Johnson says, “There’s a mother-daughter relationship; an old romance; there’s losing someone and finding them again. There are all kinds of things that everyone can relate to.” This is a show about real people in real situations, yet a wonderful pop score

that provided the soundtrack for a generation in the ’70s and early ’80s anchors it now as the soundtrack for a show whose appeal crosses all age and national boundaries. The essence of that is conveyed, too, in the distinctive logo for MAMMA MIA!: an image of timeless wedding day happiness that instantly conveys emotions of joy, even elation, just as the show itself does. Like the show it represents, that picture has become an internationally recognized brand in cities around the world as the image of MAMMA MIA!.

The show also happily reconciles the worlds of pop music and musical theatre that were once indivisible: indeed, in the ’30s and ’40s, the popular music of the day came from the world of musicals, whether of the Broadway or Hollywood variety, but as pop music gained its own ascendancy in the ’50s and into the ’60s, musical theatre was left behind to go its own, variously sophisticated ways. MAMMA MIA! is a sophisticated, but not pretentious, musical that re-introduces the familiarity of a pop idiom – with songs that people already know and love - to the theatre.

Craymer attributes the success of the show first and foremost to her collaborators in every area of the show’s production, “and the chemistry they create. There is an incredible, collaborative dynamic in every area of the production.” That embraces such important and skilled contributions as the designers of the set (Mark Thompson) and lighting (Howard Harrison), sound designers (Andrew Bruce and Bobby Aitken) and the choreographer (Anthony van Laast). For her, it’s all been about “holding my nerve and believing in what we’re doing - in the music, the story and the talent of those around me. It’s also about maintaining a sense of humour and being able to tap into an endless supply of energy.”

But energy is fed by adrenalin and with a show like MAMMA MIA! there’s plenty of that around. It’s a quality that spreads infectiously from the stage to the audience and back again creating a never-ending cycle of energy and exhilaration that continues to thrill and delight.

As director Phyllida Lloyd succinctly puts it, MAMMA MIA! is “the show Björn and Benny never knew they had written. Their music has made pop history; our show has made musical theatre history”.

Mark Shenton is theatre critic for the SUNDAY EXPRESS in the UK and BBC LONDON radio and

online. He is also contributing editor to WHATSONSTAGE.COM and the London correspondent

for BACKSTAGE and THEATERMANIA.COM

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in London

0844 482 5103 | www.mamma-mia.com

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“A musical of the size and success of MAMMA MIA! doesn’t happen overnight.”

As creative producer, my job began long before the script had been written. In fact, the story begins 22 years ago when I first met Björn Ulvaeus and Benny Andersson, the song-writing geniuses behind ABBA. I was working for Tim Rice who was collaborating with Benny and Björn on the musical Chess. I was immediately smitten. After all, these were the men who had written ‘Dancing Queen’, one of the greatest pop songs of all time – but it was another of their songs ‘The Winner Takes It All’ that first suggested to me the potential of an original musical using Benny and Björn’s classic compositions. The lyrics tell a roller-coaster story of love and loss: it is extraordinarily theatrical.

Now I had to approach Benny and Björn who were understandably a little unsure of my intentions. I explained that the project I had in mind would focus on a new and exciting story. It would not be a tribute show or the ‘ABBA Story’, but a truly original book musical. They were not 100% convinced but they didn’t absolutely close the door and I took hope.

So I sat on the floor of my apartment listening to ABBA’s records late into the night. I was driving my neighbours to despair but I was more and more certain of my idea. In 1995 my tenacity finally paid off. Björn said, “If you can find the right writer and story, well… let’s see what happens”…

A year later I was on location of a film I was producing when the director mentioned Catherine Johnson. I was aware of her work as a playwright and, even better, I knew her agent. We met in January of 1997 and I was able to confidently tell Björn that we had found our writer.

My co-producer, Richard East, and I commissioned Catherine to write the story. My brief to her was that the lyrics could not change, the story should be a contemporary, ironic, romantic comedy and that if she listened carefully to ABBA’s songs, she would notice how they fell into two different generations – the slightly younger, playful songs like ‘Honey, Honey’ and ‘Dancing Queen’, and the more mature, emotional songs such as ‘The Winner Takes It All’ and ‘Knowing Me, Knowing You’. The idea of a cross-generational love-story was devised.

By the end of the year Catherine had finished the first draft of a script and I persuaded Phyllida Lloyd to come on board as our director. Her background was serious, legit theatre and opera. Her secret weapon was her “dry Martini wit”. We discovered we all shared the same birth-year and soon firmly bonded.

It was unusual, if not unheard of, for three women to be the collaborative creative force behind what was to become such a commercial success. From a personal point of view, I think it readdressed the balance and had a great nurturing effect on the production. We were all happy to jump in and make the tea. Appropriately, MAMMA MIA! features three strong women in the story. Their characters are completely different – slightly bossy, a bit chaotic, extremely practical, and very high maintenance! We have a lot of laughs about who is who in real life, and, as time goes by, it’s a little worrying that we have become even more like those characters on stage.

It was time to give up my day job as a television and film producer and prepare for the white-knuckle ride of making the dream a reality: money to raise, a theatre to find, artwork to create, ticket agents to seduce, deadlines to meet. It was summer 1998 and we had to open by April 7th 1999 or we would lose Phyllida who had been booked years in advance to direct an opera at The Coliseum in London. The suggested opening dates were April 6th or April 9th. April 6th happened to be the anniversary, to the day, of ABBA winning the Eurovision Song Contest with ‘Waterloo’ 25 years before. It seemed a good omen.

Although Björn was enthusiastic and shared the vision for the musical, Benny was a little more cautious and at any time both could have put an end to the whole process. It was a tense time. Their emotional backing as well as their creative input was important to me. If they were going to trust me with their fabulous songs I did not want to let them down. Benny and I agreed that on opening night one of us would be able to tell the other “I told you so”.

A Truly Original MusicalJudy Craymer talks of her enthusiasm and love for the theatrical music of Benny Andersson and Björn Ulvaeus

in London

We had a date for opening but we had no theatre. We had been looking at smaller venues when suddenly the rather large and prestigious Prince Edward Theatre in London’s West End became available. It was the very same theatre that Chess had opened at ten years earlier – another omen? But it meant that the scale of the production had to expand dramatically and cast, crew, set and budget would have to be reworked. A lot of fingers were crossed for the big night.

April 6th 1999 – the world premiere of MAMMA MIA!. The audience were charmed and one British critic said “MAMMA MIA! could put Prozac out of business”! Benny heartily accepted his defeat – while the entire theatre danced in the aisles, he turned to me and said, “You can say it now”. I flashed back, “I told you so!”. We still joke about it. The idea of taking the show abroad had never been discussed but with a certifiable hit in London came the opportunity to recreate the show in other countries. In May 2000 we had our North American premiere at Toronto’s Royal Alexandra Theatre. The production was initially set to run for six months. MAMMA MIA! ran at The Royal Alexandra for five years.

The first US Tour ventured into the United States, opening at The Orpheum Theatre, San Francisco in November 2000. We were warned that America was not so familiar with ABBA’s music. We were cautious. Broadway was still a dream away.

In June 2001 we opened MAMMA MIA! at The Princess Theatre in Melbourne, Australia. We were all now living out of suitcases, accumulating air miles and working with amazing teams of people around the world. October 2001 heralded our Broadway premiere at The Winter Garden Theatre. MAMMA MIA! opened to one of the biggest advance sales in theatre history.

America was hooked – they found ABBA’s music irresistible. The second US touring company opened in Providence, Rhode Island, in February 2002 and has now played in over 60 cities. In February 2003 we were

invited to produce a production for The Mandalay Bay Hotel, Las Vegas, as the first full length West End musical to ever premiere on the Strip.Since October 2003 MAMMA MIA! has opened fourteen non-English language productions in Hamburg, Tokyo, Utrecht, Seoul, Stuttgart, Madrid, Stockholm, Antwerp, Moscow, Essen, Barcelona, Berlin, Oslo, Mexico, Milan, Paris, Brazil, Copenhagen, China and Dutch and Spanish tours. We have risen to the challenge of translating both Catherine Johnson’s heart-warming story of a mother and daughter and Björn’s legendary lyrics. MAMMA MIA! has been seen by over 50 million people around the world. My seed of an idea has become a juggernaut.

In 2004 the focus shifted back to where it all began. The London production celebrated its 5th anniversary and moved into new premises at the beautifully refurbished Prince of Wales Theatre. His Royal Highness, The Prince of Wales officially reopened the theatre and attended a performance. He admitted to knowing all the lyrics to ABBA’s songs.

In Dublin on September 9th 2004, the International Tour premiered at The Point Theatre before setting off on its own adventure to Edinburgh, South Africa, Tallinn, Lisbon, Brussels, Paris and beyond. One thing I have learnt from twelve fun and frantic years of overseeing and co-ordinating the many productions of MAMMA MIA! is that the potential and possibilities are exciting and limitless.

For me the experience of MAMMA MIA! has been life-changing and would not have been possible without an amazing creative team or the trust and co-operation of Benny and Björn. Also my special thanks must go to the wonderful actors, musicians, stage management, crew and everyone who makes MAMMA MIA! happen night after night.

Enjoy the show. Have fun!

The performance lasts 2 hours and 35 minutes (including a 15-minute interval).

www.mamma-mia.com/

Prince of Wales Theatre

Coventry Street

London W1D 6AD

Booking until 20/10/2012

Full ticket prices: £67.50, £64, £55, £50, £40, £35, £20

Groups of 6+: Best available seats at £45, Monday - Friday evenings, Friday matinees

Groups of 10+: Best available seats at £38.50, Monday - Friday evenings, Friday matinees

School groups of 10+: Best available seats at £25, Monday - Thursday evenings, Friday matinees.

Performance Times:

Monday - Thursday 7.30pm

Friday 5.00pm & 8.30pm

Saturday 3.00pm & 7.30pm

N.B. Friday 27 July 2012 - the matinee will be at 3pm and there is no 8.30pm performance

From 6 September 2012:

Novello Theatre

Aldwych

London WC2B 4LD

Booking from 06/09/2012 - 27/04/2013

Performance times: Monday-Saturday at 7.45pm, Thursday and Saturday matinees at 3pm

Full ticket prices: £67.50, £64, £52.50, £39.50, £20

Groups of 10+: £38.50, Monday-Friday evenings and Thursday matinees

School groups of 10+: £25, Monday, Tuesday evenings and Thursday matinees

EXCLUSIONS APPLY.

Rates subject to change and availability.

18

in London

A remarkable tale of courage, loyalty and friendship. England, 1914. As World War One begins, Joey, young Albert’s beloved horse, is sold to the cavalry and shipped from to France. He’s soon caught up in enemy fire, and fate takes him on an extraordinary journey, serving on both sides before finding himself alone in no man’s land. But Albert cannot forget Joey and, still not old enough to enlist, he embarks on a treacherous mission to find him and bring him home. This powerfully moving and imaginative drama, filled with stirring music and songs, is a show of phenomenal inventiveness. At its heart are astonishing life-sized puppets created by South Africa’s Handspring Puppet Company, who bring breathing, galloping, charging horses to life on the stage.

Based on the Oscar nominated film, Billy Elliot the Musical is an inspirational story of one boy’s dream to realise his ambitions against the odds. Set in the North East of England against the background of the historic 1984/85 miners’ strike, Billy pursues his passion for dance in secret to avoid disapproval of his struggling family.

Billy Elliot the Musical features music by Elton John, book and lyrics by Lee Hall, is directed by Stephen Daldry with choreography by Peter Darling. The production features scenic design by Ian MacNeil, the associate director is Julian Webber, costume design is by Nicky Gillibrand,lighting design by Rick Fisher and sound design by Paul Arditti. Musical supervision and orchestrations are by Martin Koch.

The internationally award-winning show, which opened at the Victoria Palace Theatre in 2005, has been seen by over 7.5 million people worldwide, including 3.5 million in the West End. Now in its seventh year in London, Billy Elliot the Musical, has also been staged in Sydney, Melbourne, Chicago, Toronto and Seoul, South Korea. The show continues to perform at the Imperial Theatre on Broadway and on tour across North America and further international productions are planned.

BELIEVE IN LOVEGHOST is a timeless fantasy about the power of love. Sam is trapped as a ghost between this world and the next trying to communicate with his girlfriend Molly through a phoney psychic in the hope of saving her from his murderer. A roller-coaster ride of romance, drama and excitement, GHOST has been adapted for the stage by Bruce Joel Rubin who, in 1991, won an Oscar® for Best Original Screenplay. GHOST features stunning new music and lyrics by music legends Dave Stewart (Eurythmics) and Glen Ballard (writer of Michael Jackson’s Man In The Mirror) whose combined album sales top 250 million: the score also features the unforgettable Unchained Melody.

Directed by the multi-award-winning Matthew Warchus, designed by Rob Howell with lighting by Hugh Vanstone: a team whose recent credits include God of Carnage, Deathtrap, La Bete and range from work in opera, film and with all of our major theatre companies, including the recent highly-acclaimed Matilda for the RSC. Stage effects are by Magic Circle member, Paul Kieve, illusionist for Harry Potter and the Prisoner of Azkaban and choreography is by Ashley Wallen, who has worked with Kylie Minogue, Black Eyed Peas and X Factor.

GHOST is a magical night out that will send spirits soaring.

Piccadilly Theatre

Booking until 13/10/2012 • Full ticket prices: £80, £65, £55, £45, £35, £25

Early booking rate: Groups of 10+ get best available seats at £39.50. Groups of 40+ get best

available seats at £35. Valid Monday-Thursday evenings and Thursday matinees from 2

January-9 February. Book and pay before 31 December • Groups of 10+: £65 reduced to £45,

£45 reduced to £35, Monday-Thursday evenings and Thursday matinees • Groups of 40+: £65

reduced to £40, Monday-Thursday evenings and Thursday matinees • School groups of 10+:

Grand Circle seats at £25, Tuesday, Wednesday evenings and Thursday matinees.

EXCLUSIONS APPLY. Rates subject to change and availability.

Theatre & Dance

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in London

GREAT RATES FOR GROUPS OF 10+ AND 40+ (excl. apply)

0844 871 7644

B E L I E V E

GHOSTTHEMUSICAL.COM | PICCADILLY THEATRE, LONDON

Wicked extends booking through the Olympics... ...and The Queen’s Diamond Jubilee celebrations Tickets for the hit musical are now on sale until 27 October 2012.

Wicked, the “hugely popular musical” (The Times), now flying into its sixth spellbinding year, is pleased to announce the opening of its 12th new booking period, with tickets now on sale until 27 October 2012 at London’s Apollo Victoria Theatre. The new booking period encompasses both The Queen’s Diamond Jubilee Celebrations in June 2012 and the London Olympic and Paralympic Games in July and August 2012.

Based on the acclaimed novel by Gregory Maguire that re-imagined the stories and characters created by L. Frank Baum in ‘The Wonderful Wizard of Oz’, Wicked tells the incredible untold story of an unlikely but profound friendship between two girls who first meet as sorcery students. Their extraordinary adventures in Oz will ultimately see them fulfil their destinies as Glinda The Good and the Wicked Witch of the West.

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Winner of multiple awards (including the 2011 Evening Standard Theatre Award forBest Night Out, 2010 Laurence Olivier Award for Most Popular Show, the Whatsonstage.com Award for Best West End Show in both 2011 and 2010 and a Visit London Gold Award in 2009), Wicked also recently celebrated its landmark 2000th performance as well as being seen by almost 4 million people and grossing in excess of £135 million at the UK Box Office since its West End premiere in 2006.

The Apollo Victoria Theatre, home of the long running hit musical, is situated in the midst of London’s “Royal” district of Victoria, just a short walk from world famous tourist attractions such as Buckingham Palace, The Royal Mews, the Queen’s Gallery and The Mall. Visitors can also take advantage of nearby sights such as Westminster Abbey, the historic venue of the 2011 Royal Wedding, aswell as the Houses of Parliament, Big Ben, Horse Guards Parade and St James’s Park, London’s oldest Royal Park.

Wicked also benefits from Victoria’s position as one of the easiest London travel destinations, with a national rail station, serving both the South of England and the Gatwick Express, and London

in London

Underground station, positioned opposite the theatre. Victoria Coach Station, serving all major cities in the UK, is also only a short walk from the Apollo Victoria Theatre.

While visiting some of Victoria’s many attractions, including the ever-popular Changing of The Guard, why not enjoy a lunch or pre-theatre dinner at a range of great local restaurants in and around the area.

For overnight trips to see the unforgettable, award-winning musical, The Rubens at the Palace offers not only a luxurious hotel stay but also the choice of two splendid restaurants, an afternoon tea area overlooking the Royal

Mews and a trendy pre-theatre drinking spot in its neighbouring Bbar. Located on Buckingham Palace Road, a 5minute walk from the Apollo Victoria Theatre, the Rubens at the Palace also offers a bespoke Wicked package that will truly make it a trip to remember.

With its ‘Purple Flag’ recognition acknowledging the area as a safe, but fun and lively place for all who visit, Victoria is the perfect place for audiences to explore before experiencing “the hit musical with brains, heart and courage” (The Sunday Telegraph).

Book tickets now,

Visit www.WickedTheMusical.co.uk

in London

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Changing of the Guard Buckingham Palace

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Houses of Parliament

Shrek The Musical has now been open for a few months– how are you enjoying being back on the West End stage?I’m loving it. I actually came in today and walked out on stage to warm up when no one was down yet and it was empty, and it’s just brilliant – especially at a massive theatre like Drury Lane – it’s just magical. And then an hour and a half later, here we are sweating away, all dressed up as fairytale characters and loving it. So yes, I’m having a whale of a time.

Are you enjoying playing Lord Farquaad, and what was it about the role that particularly appealed to you?I love playing the role. What appealed to me was that it’s a funny role, it’s unlike anything I’ve ever read before, and also the challenge to do the whole thing on your knees is quite exciting.

It must be quite a challenge. So what preparation and training did you have to undertake to prepare for what must be a pretty gruelling role?I went to the gym a lot, building my quads and gluts and things like that, and lots of stretching really. It’s hard work and it accumulates obviously because it’s one thing doing it once, it’s a whole other thing doing it eight times a week, and twice on Saturdays – it’s hard work.

It looks like a fun show to be working on. What’s the atmosphere like backstage night after night?The atmosphere’s brilliant. There’s lots of really talented people here, and right now people are starting to take their holidays so we’ve got different people in different parts and it makes for a really good laugh every evening when you turn around and somebody else is standing there and it’s normally somebody dressed as a gingerbread man but it could be an ugly duckling or Pinocchio – you’re never quite sure what’s going to happen next (laughs). It’s brilliant, it’s very surreal and nuts but it’s a very high energy show and because we get a lot of energy back from our audience, I think the more they enjoy it the more we enjoy it – it’s kind of like a Faustian pact!

Do you think audiences are surprised to see you playing such a role? It’s so different from what we’ve seen you in previously.

Yes, I think the public are surprised and pleasantly so. People who are in the industry who know me and who knew me before EastEnders aren’t surprised because they’re more aware of the different things I can do. But in terms of the public yes, I would imagine it’s not exactly what they expected Dennis Rickman to be doing.

You’ve appeared in a number of both musicals and plays, is there one you prefer, and why?I just like theatre really. Musicals are hard to do night after night for a year – that’s the discipline there as plays don’t tend to run for as long. I enjoy them both equally really, but I look forward to doing a play next. I also look forward to a role where I get to walk around on my feet! That will be quite weird the next time I actually walk in through a door and I’m 5’10 – I’m going to think, something’s wrong, something doesn’t feel right!

The casting of big names and celebrities in Shrek has inevitably helped to promote it. Do you think it’s fair that celebrity castings or winners of reality television shows are often perceived and scrutinized by the media as ‘putting bums on seats’?Well, that’s what it’s there for isn’t it; people feel more comfortable seeing somebody that they recognise on stage. I think it’s a business and people will do what they can to sell tickets, I’m not necessarily 100 percent in agreement with it, but I completely understand why they do it. If they’re good enough, they’re good enough, and only time will tell over the years with competition winners whether they have true ability.

So many current and upcoming musicals, including Shrek, are being based on hit movies. Why do you think this is?Again it’s something that people recognise. We’re very much in a culture where everything is very instant, what with the internet, and everything has to be very real. There’s no such thing as a slow opening anymore – you’ve got to open and be massive, you can’t just build momentum like perhaps Les Mis would have done 25 years ago. You’ve got to be

Interview with Nigel HarmanCurrently starring as Lord Farquaad inShrek The Musical, Nigel Harman chats to Rebekah Tailor about what it’s like to be back on the West End stage.

23

in London

brilliant from the start. So in order to do that sometimes you try and turn very famous products like Shrek or Dirty Dancing or Ghost or The Lion King into musicals, and some of them work and some of them don’t. It’s very much of our culture nowadays – we want that, we’re not prepared to go along and find out for ourselves. We want to know it’s safe and we recognise it. We feel comfortable that it’s something we feel familiar with.

So what movie would you like to see turned into a musical?Top Gun! Top Gun The Musical would be hysterical! I would pay a lot of money to go and watch Top Gun The Musical – to watch some people dancing their way through the aerial and flying sequences, and when he rides his motorbike, and the volleyball sequence – that would be hilarious! How well do you think Shrek has translated to a stage musical?I think it’s done really well. If you watch the film it’s practically a musical anyway – they don’t quite as I remember it sing songs, but they’ve got I’m a Believer at the end, and Hallelujah. So I don’t think it was much of a leap.What you get is a film which is fantastic, and then suddenly these characters start singing and you learn more about them, so I just think it makes it even better. Like with my character Lord Farquaad; in the film he’s just a two-dimensional villain who happens to be very short, but in this we’ve made him into somebody who loves musical theatre as well, so he starts singing and dancing and being completely over the top, and then suddenly he’s torturing a gingerbread man. I think it develops the characters more with a musical, and night after night it really seems to work.

Is there a backstage secret you can share with us?A backstage secret...Thelonius wears a hood all the time, and he never stops talking from the first minute the show starts, to the minute it ends. The audience can’t see his mouth move and every night he’ll give us a running commentary of how he thinks it’s going basically, which as you can imagine is incredibly funny. It’s very hard to keep a straight face; he’s brilliant, hugely talented but wildly funny. He keeps you on your toes.

After Shrek are you keen to go back and do some more television or film work, or would you like to stay in theatre?I really don’t know, it all depends on how good the projects are really. If the project seems interesting and the writing’s good then I’ll go where that leads me rather than make a choice. I’d like to do more film of course, I wonder what it’s like to work in those really big films. I’ve got a feeling it might be (whispers) ‘slightly boring’ doing about 30 seconds a day but you know, I’d really like to find out (laughs). And then say ok that’s not for me, or yes that is for me. I’ll just see what happens really.

What would you say to encourage adult audiences to come and see the show, as well as children and younger audiences?I’d remind them of why they like the film – they won’t need encouragement, it’s all there!

How about those that haven’t seen the film?Just trust me...and you’ll be very much surprised by what you see! There’s stuff that I do in this show that even I can’t believe they’ve let me do – some of it’s filthy, filthy! I like that, I sort of push the boundaries, but trust me you will enjoy it. Nearly everything I do is adult humour. The kids like me shuffling around on my knees but all the asides I do are very much for the parents. And of course Shrek and Donkey are very much catering for the children. It ranges for everyone.

Shrek The Musical is currently booking at the Theatre Royal Drury Lane until

October 2012.

Groups Booking is open until 16/12/2012

Performance times: Monday, Wednesday - Saturday at 7.30pm; Thursday, Saturday

and Sunday at 3pm NEW SHOW TIME – Wednesdays at 7:00pm from 7 March 2012

Full ticket prices: £65, £55, £45, £25, £20

Groups of 6+: Best available seats at £45; Upper Circle at £35, Monday, Wednesday-Friday

evenings, Thursday and Sunday matinees.

Groups of 12+: Best available seats at £39.50; Upper Circle at £29.50, Monday,

Wednesday-Friday evenings, Thursday and Sunday matinees.

School groups of 10+: Best available seats at £22.50, Monday, Wednesday and Thursday

evenings, Thursday matinees. 1 free teacher ticket for every 10 paid students.

EXCLUSIONS APPLY.


www.ShrekTheMusical.co.uk

24

in London

“Ugly Betty” star America Ferrera is making her British stage debut in Chicago, the world’s longest-running American musical at the garrick theatre.

Emmy, Golden Globe and Screen Actors Guild Award-winner America Ferrera, known across the world as Ugly Betty from the hit TV series of the same name, swaps her trademark braces for fishnets from 7 November for eight weeks only, when she makes her British stage debut as the alluring publicity-seeker Roxie Hart in the smash hit musical CHICAGO.

Ferrera, who in 2007, was named by Time Magazine as one of “The Most influential People in the World”, makes her West End debut in CHICAGO at its new West End home, the Garrick Theatre. Ferrera will help usher in the show’s record-breaking 15th year

in London when it celebrates its birthday on 18 November.

Now the most successful Broadway export ever, CHICAGO had its final performance at the Cambridge Theatre on 27 August, establishing the record for the longest running American musical. During its 5-year run there, the multi award-winning musical played to over 2 million people, notched up numerous records and became in the process the West End’s longest running revival ever.

Opening at the Garrick Theatre alongside Ferrera, as fellow murderess Velma Kelly, is Amra-

Faye Wright, currently starring in the Broadway production.

CHICAGO originally opened at the Adelphi Theatre on 18 November 1997 to rave reviews and immediately became a sell-out hit. CHICAGO won the 1998 Laurence Olivier Award for ‘Outstanding Musical Production’ as well as the 1998 Critics Circle Drama Award for ‘Best Musical’. CHICAGO transferred from the Adelphi Theatre to the Cambridge Theatre in April 2006.

CHICAGO, which is based on the play by Maurine Dallas Watkins, has a book by Fred Ebb and Bob Fosse, music by John Kander and

lyrics by Fred Ebb. CHICAGO is choreographed by Ann Reinking in the style of Bob Fosse and directed by Walter Bobbie. The West End production of CHICAGO is staged by the entire original Broadway creative team. CHICAGO is produced in London by the Broadway producers Barry and Fran Weissler.

Garrick Theatre

2 Charing Cross Road

London WC2H 0HH

Booking from 07/11/2011 - 26/01/2013

Performance times: Monday-Thursday and

Saturday at 8pm, Friday at 5pm and 8.30pm,

Saturday matinees at 3pm

Full ticket prices: £66, £46, £26

Groups of 10+: £29, Monday-Friday

evenings and Saturday matinees. £24, Friday

matinees.

Groups of 40+: £27, Monday-Friday

evenings and Saturday matinees. 1 free ticket

per group.

School groups of 8+: £17, Monday-Thursday

evenings and Friday matinees.

EXCLUSIONS APPLY.


(All prices include a £1 theatre restoration

levy. Booking fees apply for ‘phone and

online bookings. No booking fee on tickets

purchased in person from the Garrick Theatre

Box Office.)

Current Booking Period: until 26 January

2013

America Invades London!

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in London

SUCHET TO STAR IN AMERICAN CLASSICDavid Suchet will star as James Tyrone in Long Day’s Journey Into Night, by Eugene O’Neill, previewing at the Apollo Theatre from 2nd April 2012.

Written in 1956, the Pulitzer Prize-winning play is set in 1912 when, during the course of a single summer’s day, the dysfunctions of the Tyrone family are manifested through drug addiction, alcoholism and regrets, with family members blaming one another for their individual failings. The semi-autobiographical play was first performed in the year of O’Neill’s death, and is widely considered his greatest work.

Suchet, best known for his portrayal of Hercule Poirot in ITV1’s adaptations of Agatha Christie Poirot novels, will be making his return to the Apollo, following his appearance in All My Sons alongside Zoe Wanamaker last year.

Long Day’s Journey Into Night will be directed by Anthony Page, designed by Lez Brotherston, with lighting by Mark Henderson and sound by Gareth Owen. Other than Suchet, the play’s cast has yet to be announced.

MATILDA THE MUSICAL HITS THE WEST END STAGEThe Royal Shakespeare Company’s world premiere production of Roald Dahl’s Matilda The Musical transfered to London’s Cambridge Theatre on October 18.

The stage musical, written by Dennis Kelly, played to sold out audiences at the RSC’s The Courtyard Theatre in Stratford-upon-Avon for twelve weeks from November 2010 to January 2011. Roald Dahl’s magical story about a girl with extraordinary powers has been a favourite novel for millions of people across the world since it was published in 1988.

Many adult cast members from the original production will reprise their roles at London’s Cambridge Theatre including Bertie Carvel (Miss Trunchbull), Paul Kaye (Mr Wormwood), Josie Walker (Mrs Wormwood) and Lauren Ward (Miss Honey). The casting process is under way to find the four young actresses who will play the role of Matilda and three teams of nine young performers who will re-created the roles of Bruce, Lavender, Amanda, Nigel, Eric et al.For tickets and performance time information visit www.matildathemusical.com

or call See Tickets on 0844 412 4652

Old VicThe combination of Kevin Spacey and top producer David Liddiment at this 200 year old theatre continues to be a commercial success. And also a critical success, especially when Spacey takes to the stage.

> The Cut, Waterloo

(0844 871 7628/www.oldvictheatre.com).

Waterloo tube.

Sadler’s WellsThis dazzling complex is home to local and international performances. In addition to the main theatre, the smaller Lilian Baylis Studio offers smaller scale new works and works-in-progress.

> Rosebery Avenue, Islington

(0844 412 4300/www.sadlerswells.com).

Angel tube.

National TheatreThe much-admired National Theatre is a cultural landmark: no theatrical tour is complete without a visit to this modernist building. The three auditoriums and rolling repertory programme offer a choice of several productions in a single week.

> South Bank (020 7452 3000/www.nationaltheatre.org.uk). Embankment tube.

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in London

You’ve played the leading role of Dorothy in Andrew Lloyd Webber’s West End production of The Wizard of Oz for a few months now. How are you settling in?It’s brilliant. With every show, it takes a little while for everybody to find their feet, you’re trying new things and then you have to get through previews and press night. But it’s such a wonderful show. It’s nice now because we’ve found our characters, had the chance to play with a few ideas, and we’ve really found who they are now.

You won the part over a year ago, after competing in BBC’s Over The Rainbow. How did you find the competition process?Completely bizarre, wonderful and strange. Every emotion you can imagine, you experience on that programme. Obviously it’s not a conventional way of auditioning for a role, but it sure is one of the most difficult as not only are you doing your audition week after week, but you’re doing it in front of thousands, if not millions of people live on television. It was a little bit crazy, living with 11 other girls competing for the same role; it was constant, like living in an audition 24/7. But I met so many wonderful people and we shared some crazy experiences. Learning to work with the cameras and picking up that skill simultaneously; I took so much from it all.

Following this success, did the show’s panellists, including Charlotte Church, Shelia Hancock and John Partridge, offer any advice for your professional debut?Well for a couple of months I obviously had to relocate myself to London, because I’m a northern girl. Then I took a few dance lessons at Pineapple (Studios) to keep myself going, but that was just off my own back. I also went to ArtsEd – Arts Educational Schools in Chiswick – I joined the second year of a degree course. Oh my god it was amazing, because that is where I’d wanted to go anyway, so it was great that I got to do the first term. I just got thrown in at the deep end, with hard classes and gruelling regimes. I really feel like ArtsEd made London home for me. I did that until December, when rehearsal started. We began technical rehearsals at the end of January, and then we opened for previews in February.

Were there any special preparations you had to undertake to play the character of Dorothy?I think that the main thing different to preparing yourself mentally and physically for a general role in the West End, was definitely the dogs. When everybody else rehearsing had a tea break, I’d be sitting there with the dogs, trying to build that connection early on. So that was a completely new experience for me. I mean I’ve had a dog for four years at home, so I’m familiar with them and love all animals generally. We’ve got four Totos, and I feel like I’ve got four little best friends. When it’s just me and Toto onstage and I’m talking to the dog, it should show that Toto is Dorothy’s world. Toto is Latin for everything. I love being able to play that, because when he runs off stage, he’s not just running away, she’s actually losing everything.

You lead a cast of acting veterans, including Michael Crawford. What is it like to work alongside them?It is absolutely fantastic. I must admit that on the first day of rehearsals,

Interview with Danielle HopeLeading lady of The Wizard of Oz, Danielle Hope tells us all about winning a TV talent show, and taking on her professional West End debut.

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in London

I walked into the room and felt unworthy, but then I spoke to them, and they were just as nervous. It’s like that first day of school. I just take it in my stride. I love everybody equally here; there are no selfish performers as we’re all working towards the same thing.

Over The Rainbow’s runner-up, Sophie Evans, plays Dorothy in your absence. Do you each bring something different to the role?Absolutely! I think it’s a completely different show when Sophie is on to when I’m on, as we’re very different actresses, but it’s lovely. I mean it’s the same lines and songs, but it’s a fresh look. I see Sophie regularly anyway as she often pops in to say hello, which is nice as we’re good friends.

Has anything amusing or challenging ever happened during a live performance?It’s funny you should ask me that, as last week the dog went to the toilet on the Yellow Brick Road! None of them have ever done it on stage before. So we’re carrying on, and audience hadn’t really noticed and I was trying to warn the Munchkins with my eyes. In character, I went up to one of them and said: “Can you go offstage please?” He came back on with a bag to pick it up, and there was a roar of laughter from the audience. You can’t get more live theatre than that. The dogs certainly keep me on my toes.

Do you have a favourite scene, song or routine in the show?I really like the new ballad between Dorothy and Glinda, called Already Home. It’s that pinnacle moment in the show where after all the experiences that Dorothy has, Glinda reminds her that home is a place in your heart, and every journey leads you back to where you start. Everything comes together, and I like that moment because everybody is on stage to see Dorothy mature. Have you seen Wicked, the established stage prequel to The Wizard of Oz story? If so, what did you make of it?I saw it not long after it opened, and I saw it again after I got the part in The Wizard of Oz too. They don’t tie together as such; I don’t think that Wicked goes straight into The Wizard of Oz, as when you read the original book, it gives you all the reasons why the Scarecrow, the Lion and the Tinman are there. Now I think it’s such a good idea to have the prequel with the witch’s story, and as for the female roles, oh my god, what fantastic parts.

Like Jodie Prenger, Lee Mead and Connie Fisher before you, do you see yourself forging a career within the West End?Oh gosh, I just love live theatre, and musical theatre will always be a lovely fun thing to do, as you get all three aspects – acting, singing and

dancing, but effectively I consider myself as an actor, and that’s what I’d like to pursue in future. I’d love to do a play, and hopefully they’ll be many doors, thought I’m not naïve; I know that I have a lot of hard work ahead of me.

The Wizard of Oz is scheduled to play at The London Palladium until January 2012

, and Danielle Hope is contracted to appear as Dorothy until then. Parties of ten or

more receive group rates.

Booking until 28/10/2012

Performance times: Tuesday evenings at 7pm, Wednesday - Saturday evenings at 7.30pm,

Wednesday and Saturday matinees at 2.30pm, Sunday at 3pm

Full ticket prices: £65, £55, £45, £37.50, £32, £25

Groups of 10+: Best available seats at £39.50, £37.50 reduced to £27.50, Tuesday-Friday

evenings, Wednesday matinees.

School groups of 10+: £55 & £45 reduced to £22.50 and Upper Circle reduced to £17.50, Tuesday-

Friday evenings, Wednesday matinees.

EXCLUSIONS APPLY.


www.wizardofozthemusical.com

28

in London

Costumes, Masks & PuppetsDirector Julie Taymor’s first hurdle was ‘how to deal with a story that is all animals, but is in essence a human story - am I going to take great actors and hide them in animal suits?’ This duality between the human and animal became the philosophy behind the costumes, masks, puppets, even the staging; the human and animal would both be seen, and celebrated, at the same time. In all cases, the actor would be the force behind the stage magic, and he or she would be visible to the audience.

Taymor: “I thought, what if I create these giant masks that really are clearly Scar and Mufasa, but then the human face is revealed below, so that you’re not losing the human facial expression, you’re not hiding the actor?” Taymor and Curry’s first step in creating the theatrical world of ‘The Lion King’ was to craft the masks for Mufasa and Scar. Could a balance be found between the recognizable characters from the animated film and the human actors?

The lions’ costumes also helped to create this duality. While the human qualities of the lions come out in the African styled beadwork, corsets, armour and cloth, the costumes use silk cloth to negate the human shape, breaking the shoulder line, enhancing the powerful joints and thighs.

Sets, Lighting & Special Effects“One of the most remarkable things about ‘The Lion King’ is that it is not set in any specific time. The story could be taking place today or one hundred years ago. I couldn’t peg my designs to a particular date or period as I usually do and that made me much freer. The design possibilities were endless, so long as the scenery evoked Africa and so long as it helped tell the story.” Richard Hudson, Scenic Designer

Working with Julie Taymor, set designer Richard Hudson used the essential concepts of ‘The Lion King’s’ story to create the scenic design for the show.

The most dramatic scene in ‘The Lion King’ is the wildebeest stampede in which Mufasa is killed. The effect in the theatre is electric, as thousands of wildebeests seem to be rushing straight at Simba - and at the audience. The effect is created in a very simple way that plays with our perceptions. The canyon is created by placing five earth-coloured portals one behind the other, creating a false perspective of great distance. The illusion of thousands of racing animals is achieved by a canvas scroll and a series of large rollers. Wildebeests are painted on the scroll and each roller is equipped with sculptures of the animals. On each successive roller, the

Disney’sThe Lion King

“It lights up the West End with a blaze of fabulous imagination” - Evening StandardSet against the majesty of the Serengeti Plains and to the evocative rhythms of Africa, Disney’s multi-award winning musical THE LION KING will redefine your expectations of theatre.

A spectacular visual feast, this adaptation of Disney’s much-loved film transports audiences to a dazzling world that explodes with glorious colours, stunning effects and enchanting music. At its heart, THE LION KING is the powerful and moving story of Simba - the epic adventure of his journey from wide-eyed cub to his destined role as King of the Pridelands.PLEASE NOTE: Children under 3 will not be admitted to the theatre.

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in London

wildebeest sculptures are slightly larger, until, closest to the audience, dancers rhythmically move huge wildebeest masks. When the scroll and rollers are moving, the audience seems to see waves of wildebeests driving forward.

“I really can’t begin the process of designing the show — actually making a light plot — until the sets have been designed, because a number of technical choices depend on the scenery. I need to know where there will be room to hang lights, what colour the scenery is going to be. But in the meantime, I do consult on the ground plan. I try to protect “real estate,” to make sure that, once the set is designed and built, there is space for the lighting instruments.” Donald Holder, Lighting Designing Tuesday - Saturday at 7.30pm, Wednesday, Saturday and Sunday matinees at 2.30pm

Running time: 2 hrs 30

Booking until 30 September 2012

Ticket Prices: £30-60 Tuesday – Thursday performances, £32.50-62.50 Friday evening

and Sunday matinee, £35-65 Saturday matinee and evening

Groups of 15+: £15 off top three standard prices: £45, £35, £27.50, Tuesday - Thursday evenings

and Wednesday matinees; £47.50, £37.50, £30, Friday evenings.

School groups of 10+: Best available Stalls or Royal Circle at £25, best available Grand Circle at

£23, Tuesday - Thursday evenings and Wednesday matinees. 1 free teacher ticket per 10 paid.

Senior groups of 10+: Best available seats at £30, Wednesday evenings and matinees.

1 free ticket per 10 paid.

EXCLUSIONS APPLY. Rates subject to change and availability.

Group discount valid for top 3 prices at Tuesday to Friday performances for groups of 15+, excluding school

holidays, until 30 September 2012. ALL SALES FINAL. No exchanges or refunds. Not all seats discounted. Additional

blackout dates and other restrictions may apply. Group Discount may be revoked without notice.

30

Fun Facts

• ‘The Lion King’ has been seen by over 60

million people at over 28,000 performances

worldwide’

• There are more than 232 puppets in the

show, including rod puppets, shadow puppets

and full-sized puppets

• There are 25 species of animals, birds, fish

and insects represented in the show

• During the show, all members of the

ensemble portray both flora and fauna

• There are 27 kite birds

• It took 17,000 hours to build the puppets

and masks

• The masks of ‘The Lion King’ are constructed

using carbon graphite - a tough, lightweight

material

• Mufasa’s mask weighs 11 ounces. Scar’s

mask weighs 7 ounces

• The tallest animals in the show are the 18

foot exotic giraffes in the song “I Just Can’t

Wait to Be King”

• The tiniest animal in the show is the trick

mouse at the end of Scar’s cane: 5 inches

• The longest animal is an elephant: 13’

long, 11’3” high and 9 feet wide at the ears. It

collapses to 34 inches to go down the theatre

aisle

• 750 pounds of silicone rubber were used to

make the masks

• The Timon puppet weighs 15 pounds

• 60 pounds of grass were used for the

Grasslands Headdresses

• There are 106 ants on the ‘Ant-Hill Lady’

• ‘The Lion King’ employs over 1,700 people

worldwide

• It takes 152 people to prepare for each

performance of ‘The Lion King’

• In the show, the phrase “Hakuna Matata”

(“No worries”) has been said over 87,500

times in London, and over 650,000 times

worldwide (25 times per performance)

in London

Congratulations on the news that Singin’ in the Rain is to transfer to the West End. You must be thrilled?I am absolutely thrilled. It’s especially exciting as it’s so unexpected, but we had a great time in Chichester and can’t wait to get to the West End. It’s fantastic that the show is coming in on its own merit and based on such a positive reaction from audiences and critics.

Will all the cast from the original Chichester production reprise their roles?About 90% are coming to the Palace Theatre. Naturally some of our cast have moved on to other jobs so we will have new members of the ensemble, but the majority, including all the principals, will be in the London production.

How do you think the West End show will differ?Chichester is a wonderful, unique space, but the set is being redesigned for the West End. Our amazing designer Simon Higlett and production team are all working on the transfer as we speak. I know it’s going to look spectacular at the Palace Theatre, it’s the perfect home for it in town.

For those who aren’t familiar with the show, can you tell us the story behind it?Singin’ in the Rain is set in Hollywood in the 1920’s, at the tipping point between the all powerful silent movies and their stars and the move towards ‘talkies’. It’s difficult now to imagine what a huge change that was. The show focuses on my character and the transition he’s about to go through as a movie star and as a man with a personal life when he meets a girl who turns everything upside down. The way the story is told through dialogue, music and dance, all working together in harmony is in my opinion, one of the greatest examples of its kind, and a reason why audiences respond so overwhelmingly.

Tell us more about the character you play?I play Don Lockwood, a Hollywood leading man in silent movies. He has a great career, but things are changing in the industry and he’s caught up in a studio-invented relationship with his leading lady. One night he meets a young actress just trying to make her way into the business and that meeting will change everything for Don, professionally and personally! I love playing him, especially as he’s so far removed from

me as a person and, within the show, he gets to do it all, including that very famous routine to that very famous song. Obviously in the film he’s played by Gene Kelly, and they’re big shoes to fill, but what’s been great is that whilst his characterisation was so brilliant, I’ve been able to make the part my own.

Had you always wanted to be a dancer?I think it was destined to be honest. My Dad was a musician and my Mum trained as a dancer. My brother and I had always been encouraged in the arts and we grew up idolising Fred Astaire and Gene Kelly and used to sing and dance around the house to their movies. I’d always done as much performing as possible growing up, and at 11 I went to Arts Educational, followed by the Royal Ballet School at 16, and was accepted into the Royal Ballet at 18.

You’ve danced at some great venues, including the Royal Festival Hall, Royal Opera House and Sadler’s Wells. Do you have a favourite place to perform?Honestly, they’ve all been special and unique in their own way. All the ones you mention have something magical about them. Different spaces in different cities with different audiences, they’re some of the elements that help keep performing fresh and challenging.

After performing on stage for so long, do you still get a buzz from the audience each night?Absolutely, you cannot get better than the buzz and reality of a live audience. As a performer you’re continually ‘on’ because you never know how an audience is going to respond. We work in living art and it’s a two-way street, the performer does something that the audience member responds to and it’s one of the best things about doing the job I do.

And finally, why should our readers come and see Singin’ in the Rain?You’ll have a wonderful, joyous time at the theatre and see some of the best choreography there has been in the West End in years. It’s the complete package, we’ll be having a great time doing it and I know the audiences will when they watch it.

Palace Theatre, Cambridge Circus, London

See Tickets 0844 412 4656 / www.seetickets.com

Performances from 4 Feb 2012

Performance times: Monday and Tuesday 7pm, Wednesday – Saturday 7.30pm

Wednesday & Saturday 3pm

Ticket Prices: Monday – Thursday: £15 - £60, Friday & Saturday: £15 - £65

Groups: See Groups 0844 412 4650 /[email protected]

40+ £29.50, 10+ £35.50, 6+ £48 (Mon – Fri eves and Wed mats. Book and pay by 9 Dec 11)

Senior groups: 10+ £29.50 (Tue & Wed eves and Wed mats)

Exclusions apply. Rates subject to change and availability. All tickets include a £1 theatre

restoration levy. A £2 booking fee per ticket applies.

Interview with Adam CooperFollowing the announcement that the new production of Singin’ in the Rain is to transfer to the West End next year, The Pass caught up with the shows leading man, Adam Cooper, to find out more.

31

in London

NOW IN OUR 10TH ROCKING YEAR!

GREAT GROUP RATES AVAILABLE

0844 847 2311

WWRY_Gold_Made_297x210_1a.indd 1 28/11/11 14:32:18

The Rhapsody Continues!“The audience has the right to expect something as fabulous and grand and theatrical as the music itself”. Ben Elton

33

When it became news some years back that one of Britain’s most phenomenally successful comedy writers Ben Elton was teaming up with legends of rock, Queen, for a musical there was much speculation on what such a unique collaboration would turn out. Especially when screen icon Robert de Niro became so impressed after attending the original workshop that his company Tribeca came on board as American partner.The result was a new chapter in theatre history – We Will Rock You - a rock ‘theatrical’ which defied all comparisons and has gone on to rock London’s West End and theatres around the world for approaching ten years to an audience of well beyond 11 million. The show celebrated the start of its tenth year at the Dominion on May 14, 2011.

With the London production alone having been seen by close on 6 million people, played over 3600 performances, and grossed more than £120 million at the box office, We Will Rock You is well on its way to becoming the most successful rock musical ever. The London show continues its run at the Dominion theatre into October 2012.

Produced by Robert de Niro’s Tribeca Productions, Queen Theatrical Productions, and Phil McIntyre Entertainment, the guitar-thrashing, leather clad musical which is based on over two dozen Queen songs, delivers a show that reflects the scale and spectacle that marked Queen’s live performances and earned the band its pinnacle position in rock history.

The collaboration between Tribeca and Queen reaches back to a chance encounter between band members Brian May and Roger Taylor and Robert De Niro at the Venice film Festival in 1996. May and Taylor were at the festival for a screening on opening night of a series of short films produced by the band with the British Film Institute. The shorts screened with De Niro’s film Sleepers, selected as the opening night presentation. At the post screening celebrations De Niro approached May and Taylor asking if they had ever considered creating a musical based on their work. It was the genesis of the project that was to become We Will Rock You.

For choreographer Arlene Phillips, We Will Rock You was a return to working with the members of Queen, having directed two of Freddie Mercury’s most colourful videos, Made In Heaven and Born To Love You. Arlene has choreographed some of the biggest stage musicals of the past two decades, including Starlight Express, in which she was involved from concept stage, Grease and Saturday Night Fever.

And with Queen’s Brian May and Roger Taylor as music supervisors, and behind the cast “a band without parallel in the theatre, reflecting the true

power of the mighty Queen” you’d be right to expect We Will Rock You to rock as fiercely as the best of Queen’s concerts.

With script and direction by Ben Elton, We Will Rock You is set 300 years in the future, on a place once called Earth. Globalisation is complete. Everyone watches the same movies, wears the same clothes, and thinks the same thoughts. A safe, happy Ga Ga world. The Company Computers generate the music and the kids download it. All musical instruments are banned. But resistance is growing. A hero is needed. Is the one who calls himself Galileo that man, and can he help them Break Free…?“I had almost given up trying to find a story that could contain the incredible richness, wit and variety of Queen’s greatest hits,” say Ben Elton. “ Then the idea suddenly came to me came to me: a world where young people are denied the right to make music for themselves, to do what Elvis and the Beatles did, to form bands, write songs, start a revolution in their heads. I really thought Queen could illustrate that beautifully, and of course the fact that they are ultimate rock gods and the stuff of legend anyway meant that it was a terrifically fun story to weave.”

Says Queen’s Brian May: “The amazing bonus is that Ben’s script subtly works as a metaphor too. People definitely come out of the theatre feeling that in a strange way they now know us, Queen, and our struggle, our journey.”

And Roger Taylor: “Creating the show with Ben was very much a three way thing. Which was great, because Ben has such a great active mind and has been a great pleasure to work with. He has a great fertile mind that never ever stops churning out ideas. He’s written a fantastic idea for the sequel. I counted 23 more hits he can put in it. Let’s see if people like this one first!”

We Will Rock You – not just a show, but a promise !

WE WILL ROCK YOU. A Phil McIntyre Entertainment/Queen Theatrical Productions/

Tribeca production. www.wewillrockyou.co.uk

in London

Choral Favourites NEWWednesday 14th March 2012, 7.30pmAn evening of choral delights, including Zadok the Priest, Carmina Burana: O Fortuna, Polovtsian Dances,Jerusalem, Turandot: Nessun Dorma and many more! Featuring guest soloists and massed choirs.

The Very Best of Rodgers & Hammerstein NEWSunday 15th April 2012, 3.30pm – MatinéeFeaturing the greatest songs from their finest musicals, with classic numbers from: The Sound of Music,Oklahoma, South Pacific, Carousel, The King and I and many more! Starring West End vocalists.

Symphonic RockTM 2012Friday 20th April 2012, 7.30pmBBC Radio 2’s Ken Bruce hosts this spectacular concert featuring legendary rock anthems and classicsongs from Bon Jovi, The Moody Blues, Queen, Meat Loaf, Coldplay, Led Zeppelin and many more!

Royal PhilhaRmonic oRchestRa

Fantastic discounts for groups at the Royal Albert Hall

Save up to 35%!

2012 Highlights

Film Music Gala 2012Saturday 5th May 2012, 7.30pm An enchanting evening of movie magic, with music from Star Wars, Mission: Impossible, Jurassic Park,Out of Africa, Harry Potter and many more! Plus a special tribute to the great World War II films.

For full details and many more concerts at the Royal Albert Hall, Royal Festival Hall and Cadogan Hall,please visit our website: www.rpo.co.uk/groups.

Booking Information

Tickets: £48-£5 (before discounts)

Telephone Bookings: 020 7608 8840Email Bookings: [email protected]: www.rpo.co.uk/groups

RPO Coach Touring - Group Guide to London_Layout 1 22/11/2011 18:03 Page 1

The Royal Albert Hall is one of the most instantly recognisable entertainment venues in the world. Well over a million people each year attend events at the Hall, which in turn are enjoyed globally by many millions more through broadcasts and live recordings. Since its opening by Queen Victoria in 1871, the Hall has been home to every type of event imaginable from classical, rock, pop, jazz and world music concerts through ballet, opera, comedy, circus and sport to political rallies, scientific demonstrations, film premieres, corporate dinners, award ceremonies and occasions of international importance.

Private, guided tours are available for parties of 15 people or more.

Join our enthusiastic, friendly and engaging tour guides as they take you on a lively journey through this extraordinary and iconic building.

For more information about how to tailor your group booking to your needs, please call Daryl

Bennett, Tours and Retail Manager, on 020 7959 0558.

You can find out more about the tours here: www.royalalberthall.com

Royal Albert Hall Group Tours

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in London

Comedy

Comedy StoreThe Comedy Store made its name as the home of ‘alternative comedy’ in the early 1980s. It’s purpose-built for serious comedy fans, with a gladiatorial semicircle of seats and some of the circuit’s best acts.> 1A Oxendon Street, St James’s

(0844 871 7699/www.thecomedystore.co.uk).

Leicester Square or Piccadilly Circus tube.

Hen and ChickensThis small theatre above a cosy Victorian corner pub is great for solo shows, especially those warming up for a tour. Acts have included Jenny Eclair, Frankie Boyle, Rhona Cameron and Jimmy Carr.> 109 St Paul’s Road, Islington

(020 7704 2001/

www.unrestrictedview.co.uk).

Highbury & Islington tube/rail.

Soho TheatreThe Soho Theatre is one of the best places to see comics break out of their normal club sets to perform more substantial solo shows. There’s always a good mix of British and international talent.> 21 Dean Street, Soho

(020 7478 0100/www.sohotheatre.com).


Anchor & HopeA seasonal menu is written up on a blackboard at this popular gastropub near the river. Try the Arbroath smokie, and leave room for dessert – meringue and rhubarb fool perhaps, or mango ice-cream. No reservations are taken in the evening, so you may need to wait.> 36 The Cut, Waterloo (020 7923 9898).

Southwark or Waterloo tube/rail. ££

Bar BouludDaniel Boulud, a French chef rated one of the best restaurateurs in New York, has brought over some Big Apple style and mixed it with some French polish. The menu points in part to Lyon, the heart of French gastronomy, with amazing charcuterie and refined county classics, but also to New York with three types of burger, which have been winning a lot of fans. The Île flottante is a masterpiece and the service charming and thoroughly professional.> Mandarin Oriental Hyde Park, 66

Knightsbridge (020 7201 3899/

http://danielnyc.com/barboulud_hub.html).

Knightsbridge tube. ££

Bocca di LupoWith its lively open kitchen and tapas-style menu of Italian regional specialities, Bocca is a welcome addition to Soho. Select small dishes from several different categories on the menu (raw and cured, pastas and risottos, soups and stews, fried and roasts).> 12 Archer Street, Soho

(020 7734 2223/www.boccadilupo.com).

Piccadilly Circus tube. ££

CaravanCaravan fits well into the Exmouth Market dining scene. The casual atmosphere and funky design

– rough wooden tables, white pipework, light fittings made from old-fashioned cow-milking bottles – are part of the appeal but it’s the food that’s the real draw. Expect unusual, international tastes: peanut butter and blue cheese wontons, salt beef fritters with green beans. Staff zip between tables, but are never too rushedto smile.> 11-13 Exmouth Market, Clerkenwell

(020 7833 8115/

www.caravanexmouth.co.uk).

Farrington tube/rail. ££

Dinner by Heston BlumenthalSample some Heston magic at this smart, five-star-hotel restaurant. The famous chef is not actually cooking dinner at Dinner – his former sous chef Ashley Palmer-Watts runs the kitchens – but his influence is keenly felt. The menu reflects his passion for historic British dishes, all of which arrive beautifully plated in haute cuisine style.> Mandarin Oriental Hyde Park, 66

Knightsbridge (020 7201 3833/

www.dinnerbyheston.com).

Knightsbridge tube. £££

Fernandez & WellsIf only there were more coffee bars like this in central London.

Its sandwiches aren’t cheap, but they are special – mostly made with ingredients imported from Spain. At lunchtime, seats are at a premium but worth the wait.> 73 Beak Street, Soho (020 7287 8124/

www.fernandezandwells.com).

Oxford Circus or Piccadilly Circus tube. £

French HousePost-war drinkers, including the Bacons, frequented this small but significant pub. During World War II, De Gaulle ran a resistance operation from upstairs. Little has changed since then: beer is served in half pints and bottles of Breton cider are served on the famed back alcove table.> 49 Dean Street, Soho (020 7437 2799/

www.frenchhousesoho.com).

Leicester Square or Piccadilly Circus tube. £

GealesGeales opened as a fish and chip shop in 1939, but it has long been the habitat of Notting Hill’s casually dressed middle class. Fish remains the focus of the menu, and the likes of cod, hake and haddock arrive beautifully battered and fresh as the new tide.> 2 Farmer Street, Notting Hill

(020 7727 7528/www.geales.com).

Notting Hill Gate tube. ££

Comedy, Eating & Drinking

37

Eating & Drinking

There’s never been a better time to eat out in London. British cooking is better than it has ever been, and we have some of the best ethnic restaurants in the world: everything from Thai to Turkish and French to Bangladeshi. Or if none of that appeals, there’s always good old fish ‘n’ chips, roast beef or tea and scones.

in London

HakkasanAlan Yau’s no longer running this glamorous take on the Shanghai teahouse, but is moody nightclub feel and high-ticket dining still pull a lively, monied crowd. To dine on dim sum here is a pleasure, exquisitely handcrafted and steamed, fried or braised to perfection.> 8 Hanway Place, Fitzrovia

(020 7927 7000/w3.hakkasan.com).

Tottenham Court Road tube. £££

Hard Rock CaféAuthentic, irreverent, unpredictable and passionate......but enough about your group!Standing on Old Park Lane since June 14th 1971, this is the one that started it all. Offering warm service and ubiquitous Rock ‘n’ Roll music from the beginning - Hard Rock Cafe London became an instant classic. Still housing the first ever piece of memorabilia donated to the Hard Rock Cafe, Eric Clapton’s Lead II Fender, originally donated to reserve a space at the busy bar, the London Cafe is as charming and authentic now as it was 40 years ago. With an on-site museum and offering bespoke packages for tour groups of 20 +, give us a shout about menus and options for all groups sizes and eventsFor further information please contact us

either on email at

[email protected]

or phone on 0207 514 1700.

Harwood ArmsThe upmarket-country feel extends from the décor of this delightful pub in Fulham to its menu, which includes plenty of game, with seasonal oddities such as pheasant eggs. It’s run by a team including TV chef Mike Robinson, who hunts many of the deer served himself. This is one of London’s best gastropubs, no question.> 27 Walham Grove, Fulham

(020 7386 1847/www.harwoodarms.com).

Fulham Broadway tube. ££

Hawksmoor Seven DialsHawksmoor currently stands out as the benchmark to beat for best all-round bar and grill experience. The first Hawksmoor, which

earned a reputation for great cocktails and great steaks, opened in 2006. This second branch is more of the same – only better. The site’s a real beauty, evocative of old New York with its speakeasy feel and old brickwork. The cocktails are masterfully concocted and the steaks are sublime.> 11 Langley Street, Covent Garden

(020 7856 2154/www.thehawksmoor.co.uk).

Covent Garden tube. £££

HibiscusTables at this simple Mayfair dining room are arranged around a large central workstation topped with an extravagant floral display. Most people choose the set lunch, but, if it’s on the menu, be sure to try the moussaka of mutton with feta and anchovy jus, which has become something of a signature dish.> 29 Maddox Street, Mayfair

(020 7629 2999/

www.hibiscusrestaurant.co.uk).

Oxford Circus tube. £££

Hix & Mark’s BarFrom the tin ceiling to the cocktails (try a lovely, sharp Forbidden Sour), Mark’s dimly lit basement bar is a homage to New York – albeit with a bar billiards table. Upstairs, in the more modern ground-floor Hix dining room, the mains don’t disappoint, ranging from hanger steak with watercress to fish fingers with chips and mushy peas, as well as the top-notch puddings that run from traditional (ice-creams and summer pudding) to unusual (sea buckthorn berry posset). Service throughout is friendly but professional.> 66-70 Brewer Street, Soho

(020 7292 3518/www.hixsoho.co.uk).

Piccadilly Circus tube. £££

PolpoIn an 18th-century townhouse that was once home to Canaletto, this is a charming bacaro (Venetian-style wine bar). The room has a fashionably distressed look, the wines are served in rustic jugs of 250ml or 500ml and the food is a procession of small dishes, all of them packed with flavour. Some choices are classic Venetian (such as the cicheti bar snack); others are more adventurous.> 41 Beak Street, Soho

(020 7734 4479/www.polpoc.o.uk).

Piccadilly Circus tube. ££

Restaurant at St Paul’sIn one of the cathedral’s crypts you’ll find a light-filled space with modern oak tables laid with mismatched antique cutlery, slate mats and gorgeous white linen napkins – and food that matches the splendid setting. Afternoon tea is worth sampling, especially if you fancy traditional fare such as fresh scones with clotted cream.> St Paul’s Cathedral,

St Paul’s Churchyard, City (020 7248 2469/

www.restaurantatstpauls.co.uk).

St Paul’s tube. ££

ZuccaIf only more restaurants had Zucca’s approach: good food at great prices, served by staff with a genuine regard for diners. It sounds so simple, yet it’s pretty rare. The modern Italian menu is partnered by an all-Italian wine list, and the staff are happy to explain more about both. The restaurant is open-plan, with the kitchen completely exposed to view, and the décor runs to shiny white surfaces with occasional splashes of intense orange.> 184 Bermondsey Street, Bermondsey

(020 7378 6809/www.zuccalondon.com).

London Bridge tube/rail

or Bermondsey tube. ££

Ethnic Eats

British food has enjoyed a resurgence of late but London’s multicultural make-up means there is always a vast range of international cuisine to choose from. In Chinatown, try Imperial China (White Bear Yard, 25a Lisle Street, www.imperial-china.co.uk) for Cantonese seafood and dim sum; nearby Barshu (28 Frith Street, www.bar-shu.co.uk) for fiery Sichuan cooking; or Baozi Inn (25 Newport Court, 020 7287 6877) for Beijing and Cheng Du-Style street snacks. Nearby, in Soho, Koya (49 Frith Street, www.koya.co.uk) is a great Japanese noodle bar.

Further west, you’ll find plenty of Middle Eastern eateries near Edgware road. Head to Maroush I (21 Edgware Road, www.maroush.com) for superb Lebanese meze and Abu Ali (136-138 George Street, 020 7724 6338) for shishas and kebabs; alternatively there’s not much that Tehran-style café Patogh (8 Crawford Place, 020 7262 4015) doesn’t know about Iranian street food.

On Kingsland Road in east London you’ll find great Vietnamese restaurants. Locals love to argue over the merits of each one. Most are good. Sông Quê(No.134, www.songque.co.uk)is one of the best.

38

in London

ShoppingOne of the world’s most exciting retail centres, London is also one of the most varied. The shopping scene spans multicultural street markets and deluxe department stores, cutting-edge fashion designers and traditional tailors, smart food shops and tiny delis.

39

Where to shop

Covent Garden & SohoThe Covent Garden shopping precinct is packed with big chains, but Neal Street and the streets radiating off Seven Dials are great for trainers and streetwear, and contain boutiques selling everything from cheese to vintage clothes to haberdashery. Another urbanwear hotspot is Soho’s Carnaby Street, which has traded souvenir shops for hip chains and independents. Berwick Street is still hanging on to some record shops, while Charing Cross Road (especially Cecil Court) has many worthwhile bookstores.

Oxford Street & MaryleboneOxford Street is packed with big chains and department stores which spill over on to elegant curving Regent Street. In contrast, Marylebone has a village feel and a collection of small shops that sell everything from designer jewellery to farmhouse cheeses. Venture further north to Church street for antiques.

Notting HillBest known for its antiques markets on Portobello Road, Notting hill also has an impressive cache of upmarket boutiques around the intersection of Westbourne Grove and Ledbury Road, a laid-back alternative to the West End.

Mayfair & St James’sThe traditional home of tailors (Savile Row) and shirtmakers (Jermyn Street), this patch also retains venerable specialist hatters, cobblers and perfumers. Bond Street glitters with smart jewellers and designer flagships.

Chelsea & KnightsbridgeThe once-legendary King’s Road is now fairly bland, but some interesting shops remain in place. Designer salons line Sloane Street and mix with chains on Knightsbridge, which is also home to many department stores.

KensingtonOnce a hub of hip fashion, Kensington High Street has given way to an influx of chain stores. However, it’s convenient for basics and still worth exploring the back streets leading up to Notting Hill Gate. Upmarket antiques shops gather on Kensington Church Street.

Department Stores

Fortnum & MasonA sweeping spiral staircase soars through the four-storey building while light pours in from a central glass dome. The iconic eau de nil blue and gold colour scheme, with flashes of rose pink, features on both the store design and the packaging of the fabulous ground-floor treats – chocolates, biscuits, teas, preserves and other goodies. There’s a superb food hall in the basement.> 181 Piccadilly, St James’s (020 7734 8040/

www.fortnumandmason.com).

Green Park or Piccadilly Circus tube.

HarrodsIn the store that sells everything, it’s hard not to leave with something. It’s on the fashion floors that Harrods really comes into its own with well-edited collections. It offers women a 10,000sq ft Designer Studio, while on the ground floor is the legendary food hall and 13 restaurants and cafés.> 87-135 Brompton Road, Knightsbridge

(020 7730 1234/www.harrods.com).

Knightsbridge tube.

LibertyShopping at Liberty is about more than just spending money – artful and eye-catching window displays, exciting new collections and luxe labels all make it an experience to savour. And despite being fashionable, Liberty still respects its dressmaking heritage, with an extensive range of cottons in the third-floor haberdashery department. Traditional stationery is also stocked, including beautiful notebooks, address books, photo albums and diaries.> Regent Street, Soho (020 7734 1234/

www.liberty.co.uk). Oxford Circus tube.

SelfridgesSelfridges celebrated its 100th anniversary in 2009 with a big part and Centenary Exhibition. Today, it remains one of London’s best

department stores. Its concession boutiques, store-wide themed events and hot new brands make it a stylish place to go for one-stop shopping; good floor plans make it easy to navigate around the store. It stocks a winning combination of new talent, edgy labels and smarter high-street labels.> 400 Oxford Street, Marylebone

(0800 123 400/www.selfridges.com).

Bond Street or Marble Arch tube.

Markets

Borough MarketThe foodies’ favourite market, which occupies a sprawling site near London Bridge, is a major tourist attraction. You’ll find all sorts of gourmet products, from rare-breed meats, fruit and veg, cakes and preserves to oils and teas, organic loaves and speciality British cheeses. The market is also open on Thursdays, which are usually quieter than the weekend – Saturday is particularly busy.> Southwark Street, Borough

(020 7407 1002,

www.boroughmarket.org.uk).

London Bridge tube/rail.

Columbia RoadOn Sunday mornings this pretty East End street is transformed into a fragrant flower market.> Columbia Road, Bethnal Green.

Old Street tube/rail or Hoxton rail.

Portobello Road MarketBest known for antiques and collectables, this is actually several markets rolled into one. Antiques start at the Notting Hill end; further up are food stalls; and under the Westway and along the walkway to Ladbroke Grove are emerging designer and vintage clothes stalls.> Portobello Road, Notting Hill.

Ladbroke Grove tube.

in London

Visitor Ad resize A4_Sept11_v1.indd 1 30/09/2011 12:35:18

41

Jonathan Mountford provides a preview of this year’s seasonal theatre, with a round up of pantomimes, Christmas and ice shows.

With dazzling dance routines, sensational songs, slapstick comedy and plenty of audience participation, there is nothing more quintessentially British than a pantomime, and this year’s selection doesn’t disappoint, with most offering a modern take on some of the greatest fairytales of all time.

Pantomime isn’t for everyone though so read on to reveal our pick of some of the UK’s best Christmas productions, ice shows and ballets that will be mesmerising theatre-goers this Yuletide. Most theatres offer incentives for groups from discounted rates to free tickets, so be sure to enquire when making your booking.

It’s panto time (oh yes it is!)With their combination of romance, comedy and adventure, pantomimes manage to captivate audiences of all ages and across the UK some of the biggest names will be taking to the stage including Dame Edna Everage as the Spirit of London in Dick Whittington at the New Wimbledon Theatre, David Hasselhoff as The Hook in Peter Pan at the Bristol Hippodrome, Louie Spence as Dandini in Cinderella at the Manchester Opera House. Julian Clary takes over the Theatre Royal Plymouth, Birmingham Hippodrome hosts Brian Conley and Lynda Bellingham in Cinderella while Gareth Gates stars in Aladdin at Milton Keynes. Musical ExtravaganzasReturning to the UK for the first time in three years, Slava’s Snowshow will be touring Britain’s theatres for 11 weeks this festive season, playing at The Lowry in Salford, the Birmingham Hippodrome and London’s Royal Festival Hall among other venues.

Irving Berlins blockbuster musical White Christmas returns to play a limited run at the Liverpool Empire and Southampton Mayflower. Cameron Mackintosh presents his production of Oliver! at the Wales Millennium Centre, Cardiff before embarking on a UK tour with Brian Conley and Neil Morrissey sharing the role of Fagin. Spamalot takes residence in the Theatre Royal, Brighton while Sister Act answers it’s calling at the Dublin Canal Theatre. Sunderland is going pink as Legally Blonde takes over town as the epic South Pacific arrives in Oxford.

Groups can also enjoy a series of concerts within the magnificent surroundings of London’s Royal Albert Hall and Cadogan Hall as John Rutter’s Christmas Celebration and Christmas Cracker both return for

London & BeyondPantomimes, Christmas and Ice Shows

in London

another year. Audiences can expect the usual mix of Christmas songs, festive orchestral pieces and sing-along carolsMeanwhile, coming to London’s West End this Christmas is Swallows and Amazons, presented by the National Theatre and The Children’s Touring Partnership. Also back by popular demand, La Soiree will be entertaining audiences at the Roundhouse in Camden this Christmas, with its fusion of cabaret, new burlesque, circus sideshow and contemporary vaudeville.

To the pointAnother popular Christmas tradition is an evening at the ballet, where fairytales are brought to life through classical and modern dance.

The Scottish Ballet will be bringing audiences under its spell this Christmas with a re-telling of the treasured fairytale, The Sleeping Beauty. This production will tour five venues across Scotland and the Northeast including Glasgow’s Theatre Royal and the Theatre Royal in Newcastle.

Meanwhile, groups heading to the Royal Opera House this Christmas will be able to catch performances of The Sleeping Beauty and The Nutcracker by the Royal Ballet, both featuring intoxicating scores by Tchaikovsky. Also presenting The Nutcracker this festive season will be the Birmingham Royal Ballet, who will be performing Sir Peter Wright’s world famous production at the Birmingham Hippodrome.

Christmas ice-capadesWith extravagant costumes, thrilling acrobatics, high-speed skating, dazzling special effects and non-stop music, ice shows make a good alternative to seasonal theatre.

The world renowned Russian Ice Stars will be touring the UK with two shows this winter. Peter Pan on Ice and their second offering, Cinderella on Ice. Venues visited on the tour include Oxford New Theatre, Malvern Festival Theatre and Leicester’s De Montfort Hall, although further venues are still to be confirmed.

Also this winter, rev up for non-stop fun with four of your favourite Disney stories as Disney On Ice presents Worlds of Fantasy. Thrill to high-speed stunts as Lightning McQueen, Mater and the crew of Disney/Pixar’s CARS race across the ice. Dive into The Little Mermaid’s enchanting undersea kingdom and enter the mystical world of Pixie Hollow with Tinker Bell and the Disney Fairies as they reveal the magic that lies within! Also, the toys are back in town with heroic action when Buzz Lightyear, Woody, Jessie and the Toy Story gang escape from the unruly tots of Sunnyside Daycare, in their most daring adventure ever! Opening at Newcastle’s Metro Radio Arena, the tour will also visit London’s O2 Arena, Wembley Arena and Nottingham’s Capital FM Arena.

In the north of England, Beauty and the Beast: A Christmas Gift on Ice is set to be the biggest show ever performed at Blackpool Pleasure Beach and will bring together a cast of over 80 young skaters. Taking place at the Ice Arena, all profits from the show will be donated to local children’s charities.

Finally, The Southbank Centre will present a programme of magical Christmas entertainment this year that includes acrobatics and illusions in Aurelia Thiérrée’s Murmurs, and the UK premiere of The Bollywood Trip, a music and dance love story. Providing a rousing start to its classical seasonal programme will be the National Children’s Orchestra of Great Britain. Two performances of Handel’s masterpiece, Messiah, will also be presented, white tenor, Russell Watson, will perform a concert in support of The Prince’s Trust. A 20% discount is offered for groups of 10 or more.

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On Tour 2012Strictly GershwinA song and dance spectacular4 January – 18 February London ColiseumBristol Hippodrome

Beyond Ballets RussesCelebrating the legacy of Diaghilev's legendary company22 March – 1 AprilLondon Coliseum

My First Sleeping BeautyIntroducing the magic of ballet to childrenNational Tour 3 April – 3 June

Dance GBPart of the 2012 Cultural Olympiad19 June – 8 JulyGlasgow Theatre Royal Cardiff Wales Millennium Centre London Old Royal Naval College

Swan LakeBringing the romance of Russian tradition alive3 – 11 AugustLondon Coliseum

The Sleeping BeautyThe ultimate classical ballet17 October – 19 January 2013National Tour London Coliseum

The NutcrackerA magical Christmas treat for all the family22 November – 5 January 2013 National Tour London Coliseum

Groups save up to £[email protected]

ENB_Season_297x210_Made_Layout 1 24/11/2011 09:01 Page 1

LYCEUM THEATRE, LONDON*Group discount valid for top 3 prices at Tuesday to Friday performances for groups of 15+, excluding school holidays, until 30 September 2012. ALL SALES FINAL. No exchanges or refunds. Not all seats discounted.

Additional blackout dates and other restrictions may apply. Group Discount may be revoked without notice. Photos of London Company by Simon Turtle and Catherine Ashmore. Andile Gumbi as ‘Simba’. ©Disney.

GROUPS SAVE £15 PER TICKET*

Call Disney Groups 020 7845 0949 | disneygroups.co.uk

Book now for performances to 30 September 2012

LK11_CoachMonthly_297x210.indd 1 25/8/11 12:22:56

made Coach Guide 2011

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