Name: Bleak Expectations
Start: 2023-05-03
End: 2023-08-13
Location: Criterion Theatre

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10+. Guidance on Content: This performance uses prop guns and contains loud noises, haze and at points flashes of light.

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Bleak Expectations

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Buy tickets for Bleak Expectations at the Criterion Theatre in London. Find official theatre tickets to Plays with Box Office.

Bleak Expectations Tickets | Box Office

Julian Clary was born in 1959 in Surbiton, Surrey. He attended Goldsmiths College at the University of London, studying English and Drama. He began his career in stand-up comedy, performing as “Gillian Pieface”, and later as “The Joan Collins Fanclub”. He went on many successful tours of his act, many being released on home video.

He made his first TV appearance back in 1989 on Trick or Treat, an ITV quiz show. Soon enough, he was offered his own show, Stick Moments, on Channel 4 which ran from 1990-1991. His other TV work includes&nbsp;All Rise, Just A Minute&nbsp;and&nbsp;Your Face Sounds Familiar.&nbsp;

In 2004, Clary made his West End debut, playing Leigh Bowery in the Boy George musical,&nbsp;<a href="/show/taboo">Taboo</a>. In 2007, he appeared in the Olivier Award winning production of Cabaret playing the role of the Emcee. He has also played roles in Canned Clary and For The Love of Coqs.&nbsp;In 2017, he starred in&nbsp;Le Grand Mort&nbsp;at Trafalgar Studios.

In 2016, Clary starred in the first <a href="/theatres/london-palladium">London Palladium</a> pantomime of this era, playing Dandini in Cinderella. He's appeared in many Palladium pantomimes since, including Dick Whittington, Snow White, Goldilocks and the Three Bears&nbsp;and Pantoland at the Palladium.

Julian Clary - LON

Deck the halls with boughs of hilarity as Panto returns this Christmas season. 

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Pantoland at the Palladium [23882] - LON

Pantoland At The Palladium

Pantoland at the Palladium [23882] - LON Product Media

A self-aware show is&nbsp;always a good time, especially in panto season. So when Julian Clary introduces a scene in&nbsp;Pantoland at the Palladium by saying it's from&nbsp;Dick Whittington in 2017, everyone laughs it off, knowing full well this show isn't trying to be high art. A panto is simply for entertaining an audience and&nbsp;bringing families and friends together to laugh. Honestly who can blame Pantoland for being a night of much-needed light-hearted fun in these times?&nbsp;The best way to spread festive cheer is by congregating in a theatre, and this Christmas, <a href="/show/pantoland-at-the-palladium">Pantoland at the Palladium</a> is the place to do it.Before the show started, the audience were clearly in the mood for a good time. (I even saw a group of&nbsp;friends wearing Christmas lights around their necks. During the show, a woman got up and danced at every opportunity (maybe inspired by Emma Thompson at the Adele concert, staged at the Palladium just a few weeks ago?). Clearly the audience lapped up Pantoland: every joke, innuendo, corpse, dance move, and the crowd erupted in applause for all the ridiculous Nigel Havers costumes. But for a show called Pantoland at the Palladium, there's one thing this show isn't — and that's a pantomime.A pantomime is a family-friendly musical comedy, typically performed at Christmastime.&nbsp;Pantoland does honour the Palladium's history of pantomimes and iconic acts. Posters of decades-old shows adorn the proscenium arch, and Sophie Isaacs mentions Danny La Rue, who played Widow Twankey in a 1978 Aladdin pantomime, before a soaring Aladdin-inspired Act One closer from Clary and Jac Yarrow. The Tiller Girls are back at the Palladium too, high kicking their way through dazzling, Rockette-inspired numbers. Pantoland has a heart of gold, but it's a highlight reel of shows gone by, rather than offering anything new.&nbsp;Julian Clary, Nigel Havers, Gary Wilmot, and Paul Zerdin return for another year of Pantoland fun, guaranteeing a good time at the theatre. Between them, they have the audience in the palm of their hands — especially in a Gary Wilmot solo, where he sings the names of all 272 London Underground stations. Occasionally, Pantoland feels tiresome —&nbsp;Zerdin's skits dragged ever so slightly, and Clary's constant innuendos, hilarious as they were, became a bit much. Perhaps it's a flaw in the fact that Pantoland lacks a story that it can feel like they've fitted in too many gags without allowing for the free nature of audience interaction — a key part of pantomimes.&nbsp;There's one new addition to this year's celebrations. Donny Osmond as the "Wizard of Pantomime" brings magic to the Palladium, turning the audience into a gaggle of screaming teenagers. He's a panto natural, and in a scene with Paul Zerdin's puppet, Sam, there's plenty of "Puppet Love." The Act Two Donny Osmond greatest hits medley will simply remain a fever dream that I'll never fully process. I don't think this is the last we'll see of Osmond in a Palladium panto.&nbsp;Visually, Pantoland at the Palladium is a glossy, striking affair. Ian Westbrook's set design, Ben Cracknell's lighting design, and Hugh Durrant's costume design complement each other, resulting in a grand variety show to honour&nbsp;Palladium pantomime as an institution. Dig a little deeper into Pantoland, and it's almost too clean for comfort. The joy of pantomime can come in the mistakes, and with no room for error, Pantoland&nbsp;is too pristine for its own good.&nbsp;Even so, and to change a Donny Osmond lyric, I love theatre for a reason, let the reason be pantomime.<a href="https://www.londontheatre.co.uk/show/23882-pantoland-at-the-palladium">Pantoland at the Palladium is at the London Palladium to 9 January. Book Pantoland at the Palladium tickets on London Theatre.</a>Photo credit: Pantoland cast (Photo by Paul Coltas)

'Pantoland at the Palladium' review — Christmas with a little Donny Osmond flair

This Christmas the greatest entertainer on earth Donny Osmond and ultimate pantomime star Julian Clary will take you on a magical trip to Pantoland at The Palladium.

The London Palladium is one of the most famous and prestigious theatres in the heart of London. Steeped in history, the venue first opened its doors in 1910 and has since welcomed millions of visitors. Boasting a grand architecture with a capacity of over 2,200 people, it has played host to a range of world-class performances, ranging from theatrical productions to musical concerts, ballets, and even popular TV shows, such as the 'Sunday Night at the London Palladium'. The interior of the theatre is known for its ornate design, featuring a beautiful proscenium arch and stunning ceiling décor. The venue also offers a glamourous and sophisticated atmosphere, perfect for a night out in the city. Notable past performers at the London Palladium include Sir Bruce Forsyth, Bing Crosby, and Sir Elton John.

 **How to Get to the London Palladium:**

The London Palladium is conveniently located in the West End of London. The closest tube station is Oxford Circus, which is only a short walk away from the venue. Oxford Circus station is served by the Bakerloo, Central, and Victoria lines. Alternatively, the theatre can also be reached by several bus routes that stop near Argyll Street. If you are traveling by car, the nearest car park is the Q-Park in Cavendish Square.

London Palladium - LON

London Palladium

The London Palladium is a historic and prestigious theatre in London's West End, known for hosting world-class performances. It's easily accessible via public transportation.

Taboo [23804] - LON

Taboo

Taboo [23804] - LON Product Media

​​Boy George’s award-winning musical Taboo returns to London for one night only to celebrate the 20th anniversary of the show’s original production.

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

Jack and the Beanstalk - LON [25026]

Jack and the Beanstalk

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

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

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

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

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

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

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

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=25026&content_product_id=25026&venue_id=165)

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

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

Bleak Expectations - LON

The Criterion Theatre is a gem of Victorian architecture located in the bustling heart of London, nestled within the world-famous Piccadilly Circus. Hidden away underground, this grand and storied venue brims with rich history and elegance. Built in 1874 by architect Thomas Verity, and designed in a striking Italian Renaissance style, the theatre seats 588 people across three levels. Notably, it is constructed predominantly from concrete, a characteristic unusual for its time. The theatre's magnificent gilded interior and treasured Criterion Bar sublimely enhance the overall patron experience.

Over the years, the Criterion Theatre has been the host to a variety of productions spanning several genres, including comedies, dramas, thrillers, musical concerts, and matinees. Its 'Criterion New Writing Programme' reflects its commitment towards nurturing potential playwrights and encouraging new work.

### How to Get There

The Criterion Theatre is conveniently served by several modes of public transportation. The nearest Tube station is Piccadilly Circus, served by the Piccadilly and Bakerloo lines, a mere two-minute walk away. Numerous bus routes run along Piccadilly, Regent Street, and Shaftesbury Avenue, making the venue easily accessible. However, due to its central location, parking is limited and it's advisable to use public transportation if possible. The venue is within London’s Congestion Charge Zone, and for those choosing to drive, nearby parking is available at Q Park Chinatown in Newport Place.

Criterion Theatre - LON

Criterion Theatre

The Criterion Theatre is a historic Victorian theatre in London's Piccadilly Circus, easily accessible by tube and bus services.

Read all about comedy star Julian Clary and his latest appearances on stage at LondonTheatre.co.uk

Julian Clary - Stars on Stage | London Theatre

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Stephen Fry is a British actor, writer and journalist known for his work including hosting the popular British quiz show QI,&nbsp;his comedy sketch show with Hugh Laurie -&nbsp;A Bit of Fry &amp; Laurie&nbsp;- and voicing the audiobook series of the Harry Potter books.&nbsp;

On stage, he has written and performed in a number of productions. In London, his biggest hit has been his performance as Malvolio in Twelfth Night at <a href="/theatres/shakespeares-globe-theatre">Shakespeare's Globe</a> in 2012. Directed by&nbsp;Tim Carroll, Fry starred alongside <a href="/actor-profile/mark-rylance">Mark Rylance</a> and the production transferred to Broadway, where Fry was nominated for the Tony Award for&nbsp;Best Performance by an Actor in a Featured Role in a Play.&nbsp;&nbsp;In 2019, Fry starred in a three-part stage adaptation of his book Mythos.&nbsp;

Stephen Fry - LON

Stephen Fry - Mythos: Heroes [18650]

Stephen Fry - Mythos: Heroes

Stephen Fry - Mythos: Heroes [18650] Product Media

Stephen Fry is a British actor, writer and journalist known for his work including hosting the popular British quiz show QI, his comedy sketch show with Hugh Laurie - A Bit of Fry &amp; Laurie - and voicing the audiobook series of the Harry Potter books.

Stephen Fry - Stars on Stage | London Theatre

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Stephen Mangan was born in the Ponders End in Enfield in 1968, and was educated in Hertfordshire. He attended Cambridge University earning a Bachelor’s degree in Law from Caius College, and went on to study at RADA for three years, when he graduated in 1994.

Upon graduating, Mangan concentrated on stage roles in London and around the UK such as tours of As You Like It, The Tempest and Twelfth Night. He then joined the world-renowned Cheek by Jowl and toured a production of Much Ado About Nothing to New York, Moscow, Barcelona, Stockholm and in the West End, and appeared in School for Scandal at the RSC. These performances saw Mangan nominated for an Ian Charleson Award, which recognises classical actors under the age of 30.

More West End roles came his way, such as Noises Off at the <a href="/theatres/piccadilly-theatre">Piccadilly Theatre</a>, The People Are Friendly at the <a href="/theatres/royal-court-theatre">Royal Court</a>&nbsp;and The Magic Carpet at the <a href="/theatres/lyric-hammersmith-theatre">Lyric Hammersmith</a>. As he gained notoriety, he was offered more and more screen roles, including a part in the film Billy Elliot, Adrian Mole: The Cappuccino Years and I’m Alan Partridge.

In 2004, he landed a lead role in the Channel 4 series comedy Green Wing, was a soap opera-style sitcom set in a hospital. The series also starred Olivia Colman and <a href="/actor-profile/tamsin-greig">Tamsin Greig</a>, and won the first BAFTA Audience Award in 2005.

Mangan’s other screen work includes the film Confetti, voicing Postman Pat in a film adaptation of the children’s TV show, and Episodes, a sitcom about a married comedy team trying to remake their British hit TV show in Hollywood. The series starred <a href="/actor-profile/tamsin-greig">Tamsin Greig</a>&nbsp;and Matt LeBlanc and ran for five&nbsp;series.

In 2008, Mangan took on the title role in Matthew Warchus’ <a href="/reviews/norman-conquests-table-manners-living-together-round-and-round-the-garden">The Norman Conquests</a> at <a href="/theatres/old-vic-theatre">The Old Vic</a>. The play went on to run on Broadway at the Circle in the Square Theatre, and Mangan was nominated for a Tony Award for his role, with the play winning the best revival category. In 2012 he took on the role of a pregnant man in Joe Penhall’s <a href="/reviews/birthday">Birthday</a> at the <a href="/theatres/royal-court-theatre">Royal Court</a>.

Mangan played Bertie Wooster in David and Robert Goodale’s play Jeeves and Wooster in Perfect Nonsense at the <a href="/theatres/duke-of-yorks-theatre">Duke of York’s Theatre</a> in 2013. The play was based on PG Wodehouse’s novel The Code of the Woosters, which features the “idle rich” Bertie Wooster and his valet Jeeves. Mangan starred in the show for six months, with the playing winning Best New Comedy at the Olivier Awards.

In 2018, Mangan returned&nbsp;to the West End stage in The Birthday Party, Harold Pinter’s play about a guesthouse in an English seaside town. Mangan plays Goldberg alongside a cast including&nbsp;<a href="/actor-profile/zoe-wanamaker">Zoe Wanamaker</a>. The following year, he starred in the world premiere of&nbsp;The Man in the White Suitat the <a href="/theatres/wyndhams-theatre">Wyndham's Theatre</a> alongside Kara Tointon. In 2021, he played Ebenezer Scrooge in Jack Thorne's adaptation of&nbsp;A Christmas Carol.

In 2023, he'll star in *Private Lives* at the Donmar Warehouse.

Stephen Mangan - LON

The Man in the White Suit [15964]

The Man in the White Suit

The Man in the White Suit [15964] Product Media

Not so much firing on every cylinder as misfiring on them, this stage version of the 1951 Ealing comedy film&nbsp;<a href="/show/the-man-in-the-white-suit-tickets">The Man in the White Suit</a> is like the intrepid inventor Sidney Stratton's early experiments in the show: there's always a missing ingredient and they don't quite work, leading to regular explosions. "I know exactly where I went wrong", he keeps saying.But the explosions are never matched by corresponding eruptions of laughter. I'm not sure writer-director&nbsp;Sean Foley knows quite where things are going wrong, so he keeps driving the comedy in ever more convoluted, desperate directions.Stratton is working in the R&amp;D department of a textile manufacturing factory called Birnley Mills, and a lot of R&amp;D has visibly gone into creating some of the show's spectacular set pieces that include a car racing through the countryside as our hero clings to the side of it. There's inevitably a crash landing, and it could be a metaphor for the show itself: there's an awful lot of frantic activity, but it just careers off the tracks.Michael Taylor's set sumptuously and effortlessly moving from pub to factory to stately home: it could be used for a musical, and indeed at times the show aspires to being one, with a skiffle band on hand to perform Charlie Fink's jaunty period pastiche songs. There's also a miniature chase scene using stick models that's an inventive respite from the frantically overblown activities around it.While Stratton finally hits the jackpot with one experiment that does work as he is finally able to create an indestructible cloth, the show itself just feels more and more comically desperate.&nbsp; Momentum isn't in short supply, but it's difficult to care -- even as it introduces more serious themes about Big Business's attempts to suppress the product as it would kill the market.A large and frantically hard-working cast is led by the genial <a href="/actor-profile/stephen-mangan">Stephen Mangan</a> who brings considerable charm and a sweet invincibility to Stratton, but mostly the show trades in one-note comedy stereotypes for the rest of the characters, so there's not an awful lot that good actors like Richard Cordery, Richard Durden and Delroy Atkinson can bring to them, except bluster, dither and brazen them out. Sue Johnson is almost entirely wasted as Stratton's landlady who doubles up as a one-woman laundry operation (and incongruously has her speech not so subtly miked when no one else is). Kara Tointon is pretty and poised as the mill owner's daughter, and is given a brief dance to gratuitously show off her Strictly&nbsp;Come Dancing&nbsp;skills.<a href="/show/the-man-in-the-white-suit-tickets">The Man in the White Suit</a>&nbsp;is at the <a href="/theatres/wyndhams-theatre">Wyndham's Theatre</a> until 11th January.&nbsp;

Review - The Man in the White Suit at Wyndham's Theatre

Named after its founder and famed actor-manager Charles Wyndham, the **Wyndham's Theatre** is a classic London West End theatre that stands on Charing Cross Road in the City of Westminster. Opened in 1899, the theatre was designed by W G R Sprague, an architect who was also responsible for many other West End theatres. It has a strong reputation for high-quality drama, which is part of its charm and attractiveness. The exterior contains a beautiful portico in the classical style, while the interior is adorned with luxurious ornate plasterwork. Over its history, Wyndham's Theatre has hosted a wide variety of productions, including 'God of Carnage', 'Art', and 'Donkeys' Years'.

**Getting to the Wyndham's Theatre:**

Wyndham's Theatre is easily accessible by multiple modes of transport. The closest Underground station, Leicester Square, is just a two-minute walk away, offering connections via the Northern and Piccadilly lines. Several bus stop directly outside the theatre, including routes 24, 29 and 176. Limited on-street paid parking is available. National car park at St Martin’s Lane Hotel offers a discount to theatre patrons, but the venue encourages sustainable transport options where possible.

Wyndham's Theatre - LON

Wyndham's Theatre

Wyndham's Theatre, established in 1899, is a classic West End venue known for high-quality drama. It's easily accessible via public transport.

The Birthday Party [8327]

The Birthday Party

The Birthday Party [8327] Product Media

The Harold Pinter Theatre, established and adorned with Victorian architecture in 1881, is one of the most notable theatre venues in the heart of London. Originally known as the Royal Comedy Theatre, it later adopted the name of 'Harold Pinter', honouring the famous playwright. The theatre is situated conveniently in the centre of the bustling West End, an ideal location for tourists and locals alike. The interior is decorated with an impressive array of original features aligned with its historical era of inception, creating an aesthetically pleasing atmosphere for theatre-goers. The theatre has an audience capacity of 796 people across four levels, with the seats divided into Stalls, Dress Circle, Royal Circle and Balcony. Over time, it has been home to many outstanding performances, including shows like 'The Homecoming', 'Moonlight', and 'Betrayal'. The Harold Pinter Theatre undoubtedly offers a memorable and culturally enriching experience for all those who visit.

### How to Get to the Venue 

Harold Pinter Theatre is accessible and well-connected, located at Panton Street in the City of Westminster. The closest Underground stations are Piccadilly Circus and Leicester Square, both within a short 5-minute walk. Numerous buses service the area regularly, making it straightforward to reach using public transport. For those driving, the MasterPark at Whitcomb Street and NCP at Denman Street are the nearest parking options.

Harold Pinter Theatre - LON

Harold Pinter Theatre

The Harold Pinter Theatre is a historic venue in London's West End, known for hosting many notable performances. Convenient and easily accessible by public transit.

A Christmas Carol | Old Vic - LON [24716] 

A Christmas Carol | Old Vic

A Christmas Carol | Old Vic - LON [24716]  Product Media

There’s no more welcome theatrical perennial these days than Jack Thorne’s take on [*A Christmas Carol*](https://www.londontheatre.co.uk/show/24716-a-christmas-carol-or-old-vic-tickets) at the [Old Vic](https://www.londontheatre.co.uk/theatres/old-vic-theatre), which I have now seen six times and will happily revisit for as long as that venue’s artistic director, Matthew Warchus, cares to put it on. 

Warchus’s own production of Charles Dickens’s malleable 1843 novella has boasted a different Ebenezer Scrooge each time, all the while bringing to bear a matchless aural component that won’t ever grow stale.

I envy playgoers their first exposure to composer-arranger Christopher Nightingale’s soundscape, which contains enough original composition to have won Nightingale a Tony for his incidental music: a rare victory in this category for a non-musical. But it’s the absorption into the rending whole of numerous seasonal standards that sets this production apart, whether that be the beloved French carol “Il est  né, le divin enfant”, or the most shimmering version imaginable of “In the Bleak Midwinter”. 

The use of bells lends a joyous tang to proceedings, and musical director Katharine Woolley and her band — seen perched to one side of this large-scale jewel box of a venue — deserve the cheers with which they are met at the end.

[Owen Teale](https://www.londontheatre.co.uk/stars-on-stage/owen-teale), a Tony-winner a quarter-century ago for *A Doll’s House* who has gone on to TV renown, is the latest Scrooge, following where Rhys Ifans first led; Campbell Scott took the part on Broadway, and Andrew Lincoln persuasively stepped up to the plate for an online version during the pandemic. 

Teale makes a gruff, bluff Scrooge, making clear at the outset that this miserly stay-at-home has no time for revellers and even less patience for appeals to charity. Is Christmas “cause for trespass” he asks the hapless Bob Cratchit (Roger Dipper), who is later fired in any case for poor time-keeping. 

Scrooge visibly chafes at the very notion of beneficence and is at a scowlingly low ebb when a portent arrives like something out of Shakespeare that he will face up to three separate spirits before this parable of psychic balm has played itself out.

The production makes plain the violence doled out to the young Scrooge by his debt-ridden scold of a father (Sebastian Torkia) and the extent to which the parade of Ghosts of Christmas Past, Present, and Future represents turning points in a therapeutic reckoning with psychic damage. (Jenny Fitzpatrick’s Christmas Present, a mysterious figure in sunglasses, gets a great moment late on in this spectre’s desire to be known as Brenda.)

A bewhiskered Teale posits Scrooge’s steadfast refusal to learn even as the story pivots on his capacity for change. That very quality “is in all of us,” notes his onetime defender Belle (a charming Lydia White), for whom Scrooge has long harboured romantic feelings. 

Before you know it, Scrooge professes real love for his nephew Fred (Dominic Sibanda) and is getting out of the way of a turkey that comes hurtling along the same cruciform walkway – designed by Tony-winner Rob Howell – where we have earlier seen Jacob Marley trailed by more chains than one would have thought possible.

At its limitlessly moving core, this story is one of a necessary emotional awakening that has resonances for us all, not least in an era newly gripped by near-Dickensian levels of want and need as Teale’s finely calibrated appeal to the audience following the curtain call makes clear. 

The actor finds more laughs in the role than I remember: “you can’t have too many potatoes,” he notes in a second act that replaces bleakness with bounty and showers delighted playgoers with fast-melting snow. Teale’s avuncularity is at first a tad offputting, as if he were holding the depths of the part at arm’s length in a way that last year’s leading man, the matchless Stephen Mangan, never did.

But as the narrative shifts towards inclusion, Teale digs further down and was seen daubing an eye during his climactic exchange with Tiny Tim (played at the performance caught by Casey-Indigo Blackwood-Lashley). A smile from Scrooge looks to be as hard-won as laughter was once deemed to be from Greta Garbo, but this production succeeds in wresting from playgoers far more than just a grin. 

As the auditorium erupts in the final sequence into song, dance, snow, and merriment, one’s joy is tempered only by the prospect of its absence. That duality sends playgoers tearfully into the night, their empathy reinforced just as Scrooge himself is spiritually restored.

[*A Christmas Carol is at the Old Vic to 7 January.*](https://www.londontheatre.co.uk/show/24716-a-christmas-carol-or-old-vic-tickets)

*Photo credit: Owen Teale as Scrooge (Photo by Manuel Harlan)*

'A Christmas Carol' review — a festive story that serves as an emotional awakening

A Christmas Carol fills the auditorium to the brim with mince pies, music and merriment. A unique staging immerses the audience in London’s longest running adaptation of this beloved festive favourite.

The Old Vic is amongst London's most revered theatre venues, situated in the heart of the bustling city. Founded in 1818, this prestigious establishment continues to attract audiences with its dynamic array of world-renowned plays, ballets, operas and pantomimes. With a seating capacity of over 1,000, the richly decorated auditorium offers an immersive and intimate experience for all spectators. The Old Vic's enchanting neoclassical exterior and swirling marble foyers take you back in time, while its state-of-the-art sound and lighting system provide a modern and truly spectacular performance environment. Its stellar shows often star internationally acclaimed actors and directors. Over its 200-year legacy, the venue has been the home for breakthrough performances and debuts of some of the greatest plays in theatre history. 

**How to get to the Old Vic Theatre:** The Old Vic is conveniently located near multiple transport links. The nearest underground station is Waterloo, served by the Northern, Bakerloo, Jubilee, and Waterloo & City lines. The theatre is only a short 4-minute walk away. Bus routes 1, 68, 168, 171, 172, 176, 188 serve the area around the theatre. If you are driving, the nearest car park is the Waterloo Car Park located on York Road.

The Old Vic - LON

Old Vic

The Old Vic is a historic theatre in London known for world-class performances. It's conveniently accessible via Waterloo station and local bus routes.

Stephen Mangan was born in the Ponders End in Enfield in 1968, and attended Cambridge University earning a Bachelor’s degree in Law from Caius College, and went on to study at RADA for three years, when he graduated in 1994.

Stephen Mangan - Stars on Stage | London Theatre

Stephen-Mangan-124x124px

Born in Ilkeston, Derbyshire in 1949, Robert Lindsay is a beloved British stage and television actor. He returned to the West End in 2021, playing Moonface Martin in *[Anything Goes](https://www.londontheatre.co.uk/show/anything-goes)* at the [Barbican](https://www.londontheatre.co.uk/theatres/barbican).

Toying with the idea of a theatrical career growing up, Lindsay decided to take it seriously at college. However, he didn’t intend to perform, instead training to become a drama teacher. During his training, friends convinced him to apply to the Royal Academy of Dramatic Arts (RADA), and he successfully gained a place.

Lindsay made his West End debut in 1980, playing Tom Wrench in *Trelawny of the ‘Wells’* at the Old Vic. His breakout role came in 1984 though, winning an Olivier Award for his performance as Bill Snibson in *Me and My Girl*. The 1990s saw Lindsay take command of numerous West End shows, including *Becket* and *Cyrano de Bergerac* at the [Theatre Royal Haymarket](https://www.londontheatre.co.uk/theatres/theatre-royal-haymarket). He also took over the role of Fagin in *Oliver!* at the [London Palladium](https://www.londontheatre.co.uk/theatres/london-palladium).

Often considered one of Britain’s leading actors, Robert Lindsay took on a role previously portrayed by the history-making actor, Laurence Olivier. In 2007, he played Archie Rice in *The Entertainer*. Peter Brown [wrote in London Theatre](https://www.londontheatre.co.uk/reviews/the-entertainer), “his performance here is everything one could wish for. Lindsay is certainly adept in the song and dance department, easily convincing us that he's got what it takes.” 

In 2011, he starred in *The Lion in Winter* at the Theatre Royal Haymarket, starring Joanna Lumley and directed by Trevor Nunn. He also played Lawrence in *Dirty Rotten Scoundrels* at the [Savoy Theatre](https://www.londontheatre.co.uk/theatres/savoy-theatre). 2016 saw him play Ebenezer Scrooge in *A Christmas Carol* at the Lyceum Theatre, in a concert version performed for two nights. Robert Lindsay then took on the role of Moonface Martin in *Anything Goes*, starring alongside [Sutton Foster](https://www.londontheatre.co.uk/actor-profile/sutton-foster "Sutton Foster"). 

Robert Lindsay - LON

Hampstead Theatre COVID Protocols

The Fever Syndrome - LON [24285]

The Fever Syndrome

The Fever Syndrome - LON [24285] Product Media

Overwritten — at first enjoyably so and toward the end to diminishing returns – [*The Fever Syndrome*](https://www.londontheatre.co.uk/show/24285-the-fever-syndrome) takes its title from an auto-inflammatory affliction besetting 12-year-old Lily Cooper (Nancy Allsop) who at one point is seen writhing prostrate on the floor in agony as her anxious parents look on. But it doesn’t take much to extrapolate from Lily’s mysterious condition to a more generalised plague that has descended upon the Manhattan household seen to populate the multi-storied brownstone on full view in Lizzie Clachan’s impressive set.

From a raspy, outspoken paterfamilias riddled with Parkinson’s ([Robert Lindsay](https://www.londontheatre.co.uk/actor-profile/robert-lindsay), in superb form) on down through the generations, Alexis Zegerman’s play offers an assemblage in feverish thrall to bitterness, frustration, and – in one especially telling case – unreciprocated passion. And if you may feel as if you’ve been here before (the writing specifically invokes Albee and, no modesty here, Shakespeare), the terrain – and, in fact, the set - directly suggest *August: Osage County*, with that play’s forbidding matriarch here replaced by an equally blunt father. 

But whereas Tracy Letts’s far-longer play builds to a cataclysmic catharsis, *The Fever Syndrome* loses its way after the interval. The ending feels less like a natural conclusion and more like a revved-up motor that has come sputtering to a halt. 

That’s a shame given the many balls that Zegerman, an Englishwoman here casting her eye across the Atlantic, keeps tantalisingly in the air and the rich opportunities she has given an excellent cast, even when a few of the American accents start to stray. (This is happening more and more, for some reason.) 

Commissioned by the Manhattan Theatre Club stateside but now given its world premiere in London, the play captures a familial fractiousness that transcends nationality, even if no one saw fit to correct the use of “disorientated” – an Anglicism over the ocean, which prefers the less-syllabic “disoriented.” 

On the authenticity front, there’s an odd comment, too, about the notional value of the Myers abode, which seems peculiar given that most people would give their eyeteeth, or more, to inhabit an entire house within steps of Central Park, and renovations be damned.

That said, I was entirely absorbed up until the interval by the cross-currents of feeling between Lindsay’s sweary Richard, his woebegone younger (and third) wife Megan (Alexandra Gilbreath, sounding for all the world like Lorraine Bracco from *Goodfellas*), and Richard’s three children: the married Dot (Lisa Dillon, in expert form) and twins Anthony (Sam Marks) and Thomas (Alex Waldmann). 

Anthony, a late arrival, bursts into view with a casual California swagger that Marks makes immediately appealing: Megan is drawn to this ladies’ man, too, as we soon discover.  Thomas, in turn, is a highly emotional artist with an ex-marine boyfriend (Jake Fairbrother) who is besieged by father issues of his own and who finds quiet time during the gathering to make a proposal to Thomas that doesn’t land as planned. Tears flow with alacrity from several characters, with only the prospect of ice cream from Sedutto’s down the road – an emporium name-checked not once but twice – to offer culinary succour.

The central locale, common to this sort of drama from *The Glass Menagerie* through to *The Humans* and well beyond, is a dining table, but Roxana Silbert’s exceedingly shrewd production uses the full height of Clachan’s set: a series of cramped-seeming rooms whose distressed wallpaper provides a visual clue that all is not well. 

Richard is being given a major award for his pioneering work in IVF, and so the play is informed throughout by the irony of a man lauded for success in the science of birthing children whose own offspring are all damaged in varying ways. “There’s sickness all over this house,” notes Dot rather redundantly, her sweet-seeming husband Nate (Bo Poraj) a science teacher with a career past as gnarled as the Japanese knotweed that is rather portentously invoked as a symbol from the natural world.

We really don’t need Thomas’s allusion to “Shakespearean levels of power play” to clock the affinities to the Lear that Lindsay, on this evidence, surely must at some point perform. And the inclusion of a younger Dot, who appears to her aggrieved father at moments of mental decline, adds little to a stew that doesn’t require further thickening, especially from stage spectres. 

Still, for much of the first two of its nearly three hours, I was absorbed in the cross-currents among a vivid array of people who come to singular life, so much so that I found myself wondering whether Zegerman – herself an actress, and a very good one – might not intend her play as a sort of extended pilot for the Netflix series still to be written that takes everyone’s story on. (Her recent appearance in Tom Stoppard’s *Leopoldstadt* will have given Zegerman experience of an inter-generational drama from the inside.) 

Between this and *Anything Goes* last summer, Lindsay seems to be reaching a career plateau not seen since those heady days when he stormed Broadway in *Me and My Girl*, playing to audiences that, with luck, were calmer than the Myers clan on view here.

We get snatches of Chopin and a quote from Churchill, but it’s hard to imagine these people staying quiet long enough to sit amongst an audience given that *The Fever Syndrome* is about their individual fight to be heard. Listen lively and with a willingness to do some mental pruning of your own, and for its first two-thirds you’ll have a rattlingly good time. 

[*The Fever Syndrome* is at the Hampstead Theatre to 30 April. Book *The Fever Syndrome* tickets on London Theatre.](https://www.londontheatre.co.uk/show/24285-the-fever-syndrome)

*Photo credit: The cast of *The Fever Syndrome (Photo by Ellie Kurttz)*

'The Fever Syndrome' review — an overwritten yet vivid family drama

*The Fever Syndrome* is at the Hampstead Theatre to 30 April.

We are all slaves to our genes. Worse than that; we are all slaves to our parents' genes.


Hampstead Theatre, situated in the heart of London, is a prized venue renowned for its contemporary, innovative and varied performances. Since its inception in 1959, it has become a prominent hub for dramatic innovation, propelling the careers of some widely recognised talents. Offering a perfect blend of enticing drama and contemporary arts, the theatre proposes a diverse collection of shows from fresh, boundary-pushing playwrights to world premiers. Hampstead Theatre's peculiarity lies in its daring architecture with a versatile auditorium designed to provide an intimate experience. With seating accommodation of 325 to 375, spectators' engagement with the performance becomes a profound experience due to the close proximity to the stage.

**How to get to Hampstead Theatre**
 Hampstead Theatre is easily accessible by all modes of transport. By underground, Swiss Cottage on the Jubilee line is the closest station, only a minute walk away. By bus, routes C11, 13, 31, 46, 82, 113, 187, 268 pass near the theatre. It is also reachable by overground, with South Hampstead as the nearest station situated just a 5-minute stroll away. Parking is available in the Avenue Road car park, just 3 minutes walk away and on-street around Swiss Cottage.

Hampstead Theatre - LON

Hampstead Theatre

Hampstead Theatre is a renowned London venue known for dramatic innovation. It has an intimate setting and is easily accessible.

Anything Goes [22732] - LON

Anything Goes

Anything Goes [22732] - LON Product Media

One of the undoubted highlights of 2021 was Broadway director Kathleen Marshall’s sensational revival of [*Anything Goes*](https://www.londontheatre.co.uk/show/22732-anything-goes). With its gleefully silly ocean liner-set story, thrilling tap dances, irresistible Cole Porter score, and with American star [Sutton Foster](https://www.londontheatre.co.uk/theatre-news/news/8-quick-questions-for-anything-goes-star-sutton-foster) reprising her Tony-winning performance as Reno Sweeney, it was the perfect “Welcome back” to large-scale live theatre.

So, is this returning production, which features significant cast changes like [Kerry Ellis](https://www.londontheatre.co.uk/actor-profile/kerry-ellis) taking over from Foster, still a seaworthy vessel? Absolutely. My audience was deliriously happy, stopping the show cold for two standing ovations, and that same sense of wellbeing pervaded the room. This is de-lovely escapism as tonic, and it’s just as worthwhile as any lofty drama. God knows we all need it.

The plot remains madcap, with various romantic configurations tangled together during the crossing of the SS American - including Wall Street broker Billy pining for debutante Hope, while nightclub singer Reno longs for Billy, and Hope’s English aristocrat fiancé, Evelyn, is mainly entranced by US lingo. Add in mobsters on the run, a host of disguises, sailors and showgirls, dogs and puns, and you’ve got musical comedy bliss.

Of course, no human being can do exactly what Foster does, not least since Marshall’s production was specifically pegged to her otherworldly skill set. But if Ellis lacks her brand of sleek insouciance, she brings something just as wonderful: an infectious joy. This is a generous and inviting performance that seems to say “I’m having so much fun – aren’t you?”. There are fewer moments of solo brilliance than with Foster, but more of a sense of camaraderie.

It’s also a pleasure to see Ellis – best known for musicals like *Wicked* and *We Will Rock You* – getting to show a very different side of herself. Yes, she can tap dance, with both buoyancy and precision, and her creamy vocals are a delicious match for Porter’s jazzy score. Her Reno is sweeter and more easily wounded, pain flickering across her face as she sings “You obviously don’t adore me”, but she’s still believable as the savvy dame who can hang with gangsters.

Speaking of which, Denis Lawson (succeeding a laconic Robert Lindsay) gives us a motor-mouthed Moonface Martin, with a convincing accent and latent violent streak. Though he’s amusingly avuncular in his offer to kill anyone standing in Billy’s way, you also believe him. He throws himself into the numbers, forming a winning partnership with Ellis in the competitive "Friendship", and is a dab hand at the comedy too – like adopting a fake English accent that slides inexorably into South African.

[Bonnie Langford](https://www.londontheatre.co.uk/actor-profile/bonnie-langford) is luxury casting as Evangeline Harcourt, and she wrings every last drop out of that supporting role. Though sadly there are few chances to see her dance, she reminds us what a talented physical comedian she is – and does add a quick flourish during her curtain call. Simon Callow is another fantastic addition, giving the ever-soused Eli Whitney wonderful cascading speech patterns.

The returning cast are better than ever. Carly Mercedes Dyer, like Marilyn Monroe in *Some Like It Hot*, moves “like jello on springs”, and her vamp Irma is a symphony of squeals and cackles. Haydn Oakley is giving hands down the finest comic performance in town. When Evelyn unleashed his inner gypsy via Ministry of Funny Walks-style flamenco, I actually cried laughing.

Samuel Edwards is a pitch-perfect leading man and his Billy satisfyingly matures over the piece, while the golden-voiced Nicole-Lily Baisden has relaxed into the role of Hope. When the pair dance together in Fred and Ginger fashion, Baisden melting into his arms, their love is undeniable.

Marshall - quite rightly - won an Olivier Award for her choreography earlier this year, and her production numbers are still wondrous. It’s not just the scale or the intricacy of the work in the showstoppers like "Blow, Gabriel Blow" and the title song, but the way that they keep building and morphing. Just when you think she can’t top herself, she does.

Jon Morrell’s fabulous period costumes - the silks and satins, the crisp sailor suits, the gorgeous silhouettes - are perfectly matched by Derek McLane’s set, a gleaming white ship with eye-catching Art Deco detail. Hugh Vanstone’s lush lighting sets the romantic mood, and the orchestra does rousing justice to Porter standards like "I Get a Kick Out of You" and "All Through the Night".

There’s the odd contemporary parallel, like the satire of our obsession with celebrity, but, just like when it was first staged during the Depression, this is really about stepping into another world and leaving our troubles behind. Quite simply: it’s the top.

*Anything Goes is at the Barbican Centre to 3 September. Book Anything Goes tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://www.londontheatre.co.uk/show/22732-anything-goes)

*Photo credit: Kerry Ellis and cast in Anything Goes (Photo by Marc Brenner)*

'Anything Goes' review —  this fabulously escapist Cole Porter musical is still the top

Read our review of Anything Goes starring Kerry Ellis at the Barbican at London Theatre.

Anything Goes starring Kerry Ellis Review | London Theatre

**Anything Goes** is the **‘musical equivalent of sipping one glass of champagne after another’** _(The Times)_

The Barbican Centre in London is an internationally renowned performing arts venue. Towering majestically in the heart of the city, it embodies dynamic entertainment and embodies the vibrance of London's cultural scene. Since its launch in 1982, the theatre has been wooing art aficionados with its avant-garde performances and world-class amenities. It houses multiple venues including a concert hall, theatres, art gallery, library, and a cinema. It rosters an impressive range of programming from contemporary to classical, covering theatre, dance, film, and music. The theatre venue stands as one of its chief attractions, boasting superb acoustics, excellent sightlines, and a generous capacity for large scale performances. The stage has been graced by numerous prestigious performers and companies. On top of being a go-to place for night outs, the Barbican Centre is an architectural marvel in its own right. The brutalist architecture sets it apart, making it a landmark on the city skyline.

## How to get to the venue
The Barbican Centre is located on Silk Street, London, EC2Y 8DS. It is conveniently accessible by public transport. Barbican, Moorgate, St. Paul's and Mansion House stations are the nearest tube stations. There are also ample bus routes that stop nearby. For those who prefer to drive, there are several car park options available in the area. The centre recommends using public transport where possible due to limited parking.

Barbican Theatre - LON

Barbican Centre

The Barbican Centre, located in London, is a world-class performing arts venue renowned for its diverse programming and brutalist architecture.

Born in Ilkeston, Derbyshire in 1949, Robert Lindsay is a beloved British stage and television actor. He returned to the West End, playing Moonface Martin in Anything Goes at the Barbican.

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