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Happy New Year 2010

December 30, 2009 by  
Filed under Uncategorized

Happy New Year to all our customers around the world.
Best wishes

westendtheatre.com

Half Price West End parking

Q Park’s Theatreland Parking Scheme

Driving into the West End to see a show? Then take advantage of Q Park’s Theatreland Parking Scheme, saving 50% off your car parking charge, for up to 24 hours.

HOW TO OBTAIN YOUR DISCOUNT

1. Drive to a participating car park (see below) and take a parking ticket upon entry

2. Take the parking ticket with you to the participating West End theatre

3. At the West End theatre, ask the Box Office staff to validate your parking ticket

3. Return to the car park and insert your parking ticket in the payment machine

4. A 50% discount will be automatically applied to the standard daily tariff

5. Insert this parking ticket at the exit barrier to raise barrier

Tariffs vary between car parks and this promotion cannot be used with any other discount schemes, including Q Park’s advanced booking service.

PARTICIPATING CAR PARKS

This scheme operates in Q Park’s central West End Theatreland car parks: Chinatown, Pimlico, Soho, Park Lane/Marble Arch, Trafalgar, Oxford Street and Burlington Street Mayfair.

Click here for further information from Q Park about the scheme

Click here for a list of participating theatres in the scheme

 

Please note that all information is correct at the time of press and please check with Q Park ahead of your theatre trip.

Breakfast at Tiffany's starring Anna Friel – Discount Tickets

December 20, 2009 by  
Filed under Uncategorized

Feeling spontaneous this Christmas? Then enjoy a very special festive offer from westendtheatre.com. Save £21 on tickets to see the acclaimed new production of Breakfast at Tiffany’s at the Haymarket Theatre Royal. The offer is valid 23rd to the 26th December matinees and 31st December matinee.

Anna Friel (TV’s Pushing Daisies, Lulu Almeida Theatre, Closer Broadway) stars as Holly Golightly with Joseph Cross (Milk, Flags of Our Fathers, Running With Scissors) as William ‘Fred’ Parsons in Breakfast at Tiffany’s, Samuel Adamson’s new stage adaptation of Truman Capote’s classic novella. Sean Mathias directs the second production in his Theatre Royal Haymarket Season.

About the play: New York City, 1943. William ‘Fred’ Parsons, a young writer from Louisiana, meets Miss Holly Golightly, a charming, vivacious and utterly elusive good-time girl. Everyone falls in love with Holly, including William – but he is poor, and Holly needs rich. Will she marry Rusty, playboy millionaire? Or Jose, the future president of Brazil? As war rages in Europe, Holly begins to fall in love with William – and then her past catches up with her…..

Save £21 on tickets to see the acclaimed new production of Breakfast at Tiffany’s at the Haymarket Theatre Royal.

GEMMA ARTERTON in The Little Dog Laughed

December 14, 2009 by  
Filed under Cast - Archive

Gemma Arterton to star in new West End comedy The Little Dog Laughed

The hilarity of Hollywood hypocrisy and what self-deception does to people in the shallow and superficial world of show business is satirized in THE LITTLE DOG LAUGHED, a Tony Award nominated comedy of manners directed by Jamie Lloyd, starring Tamsin Greig, Rupert Friend, Gemma Arterton and Harry Lloyd, which begins previews at the Garrick Theatre on January 8th, 2010.

THE LITTLE DOG LAUGHED, by Douglas Carter Beane, is the cautionary tale of a handsome film actor (Rupert Friend) who dares to try to come out of the closet, his tough, ballsy agent (Tamsin Greig) who wants him to stay in it and the love triangle created when the actor falls for a rent boy (Harry Lloyd) who happens to have a girlfriend (Gemma Arterton).

Gemma Aterton, star of The Little Dog Laughed

One of the stars of the show is Gemma Arterton, who won her first professional role in Stephen Poliakoff’s Capturing Mary while still studying at RADA. She made her stage debut as Rosalind in Love’s Labour’s Lost at the Globe shortly before graduating and her film debut as Kelly the Head Girl in St. Trinian’s came later that year. Gemma played the title role in the BBC’s recent adaptation of Tess of the D’Urbervilles and Elizabeth Bennett in ITV’s Lost in Austen series. Her film career has gone from strength to strength, including a coveted role in the Quantum of Solace Bond film as MI6 agent Strawberry Fields, for which she won the Jameson Empire Award for Best Newcomer. The eagerly anticipated St. Trinian’s sequel, The Legend of Fritton’s Gold, is set for a December release nationwide. She has two blockbusters currently in post-production and set for release early next year – Mike Newell’s Prince of Persia and also Clash of the Titans, opposite Liam Neeson and Ralph Fiennes. She recently began filming the title role in Stephen Frears’ adaptation of Tamara Drewe alongside fellow THE LITTLE DOG LAUGHED cast member, Tamsin Greig.

TICKET OFFER: Save £12 on tickets to see The Little Dog Laughed at the Garrick Theatre in London.

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Les Miserables – I Dreamed A Dream – Save £19.50

December 14, 2009 by  
Filed under Uncategorized

Save £19.50 on tickets to see Les Miserables at the Queen’s Theatre in London

Valid for Monday to Thursday Evening performances and Wednesday matinees (excludes School Holidays)

Featuring the smash-hit song “I Dreamed A Dream”, immortalised by Susan Boyle in Britain’s Got Talent, LES MISERABLES is the the world’s most popular musical.

Seen by over 55 million people worldwide, in 40 countries and in 21 languages, from the moment it opened in London in 1985 it has captured the imagination, enthusiasm and hearts of theatregoers everywhere.

Set in 19th century France, the dramatic score includes the songs ‘On My Own’, ‘One Day More’ and ‘Do You Hear The People Sing?’.

The Cameron Mackintosh/Royal Shakespeare Company production of “LES MISERABLES” by Alain Boublil and Claude-Michel Schönberg, is based on the novel by Victor Hugo, has lyrics by Herbert Kretzmer and music by Claude-Michel Schönberg, with original text by Alain Boublil and additional material by James Fenton. “LES MISERABLES” is adapted and directed by Trevor Nunn and John Caird.

Save £19.50 on tickets to see Les Miserables at the Queen’s Theatre in London

Valid for Monday to Thursday Evening performances and Wednesday matinees (excludes School Holidays)


Private Lives starring Kim Cattrall

December 12, 2009 by  
Filed under Uncategorized

SPECIAL OFFER: Save £10 on tickets to see Noel Coward’s Private Lives starring Kim Cattrall and Matthew Macfadyen at the Vaudeville Theatre in London.

Offer valid until 11th March

Noel Coward’s dazzling comic masterpiece returns to the West End in a brand new production starring Kim Cattrall (Sex and the City) and Matthew Macfadyen. Richard Eyre is to direct the new production at the Vaudeville Theatre in London

Coward’s comedy of manners finds Cattrall and Macfadyen playing former spouses who have been divorced from each other for five years. When fate finds them both honeymooning in the South of France in adjoining hotel rooms, their insatiable emotions are rekindled and they dive headlong into love and lust without a care for scandal, new partners or memories of why their marriage failed in the first place.

Cattrall, who famously plays Samantha in hit US show Sex And The City, last appeared on the London stage in 2006 when she starred in The Cryptogram at the Donmar Warehouse. She will also star in upcoming Roman Polanski thriller The Ghost.

Matthew Macfadyen played Mr Darcy in the 2005 film adaptation of Pride And Prejudice, opposite Keira Knightley, and other credits include hit spy drama Spooks, Little Dorrit and the upcoming Ridley Scott-directed film Robin Hood, in which he plays the Sheriff of Nottingham.

The play also stars Simon Paisley Day as Victor, who appeared in Entertaining Mr Sloane at Trafalgar Studios in January this year and previously in Timon Of Athens at Shakespeare’s Globe and The 39 Steps at the Criterion theatre. And Lisa Dillon as Sybil, who was most recently seen at the Almeida theatre in When The Rain Stops Falling, while her previous West End credits include Under The Blue Sky and The Master Builder. TV credits include BBC drama Cranford, Bright Young Things and Cambridge Spies.

SPECIAL OFFER: Save £10 on tickets to see Noel Coward’s Private Lives starring Kim Cattrall and Matthew Macfadyen at the Vaudeville Theatre in London.

Offer valid until 11th March


The Habit of Art – National Theatre – Review

December 12, 2009 by  
Filed under Reviews

Few first nights this year have been more eagerly awaited or filled with such expectation as Alan Bennett’s The Habit of Art. Bennett’s The History Boys, a palpable hit for the National Theatre, was a hard act to follow, and at the age of 75, one wondered how much dramatic gas Bennett had in the tank, and whether he was still capable of delivering the goods.

The answer is a massive affirmative. Bennett’s creative powers are as acute as they’ve always been, his wit just as sharp and his capacity to move an audience never stronger. With the possible exception of Tom Stoppard, he is the only contemporary dramatist whose work improves with age.

In The Habit of Art, which offers a Pirandellian-like play-within-a-play, the poet W.H. Auden (Richard Griffiths) and the composer Benjamin Britten (Alex Jennings), are fictitiously brought together in 1972, a year before Auden’s death.

Though the pair had collaborated on several projects in the 1930’s, the brittle Britten had taken offence at remarks Auden had made about the composer’s relationship with the singer Peter Pears, and acrimoniously ended their friendship – as he had done and would continue to do with many of his other friends and colleagues.

The play-within-the play, called Caliban’s Day, is being rehearsed in one of the National Theatre’s rehearsal rooms. The director is elsewhere engaged that day, and Kay (Frances de la Tour), the stage manager, has ordered a run through. So, initially, what we’re being presented with is a play about putting on a play. We see how fearful actors are with untried material, how they interrupt rehearsals to question lines and characterisations, often randomly cutting the text much to the chagrin of the long-suffering playwright.

The setting of Caliban’s Day is Auden’s rather squalid digs (courtesy of designer Bob Crowly) at Christ Church, Oxford, where, after he had become an American citizen in 1946, he returned as a verbose old bore, still scribbling away and as useful to the faculty as a sixth finger.

When we first meet him he has just confused the broadcaster Humphrey Carpenter who has come to interview him for Radio Oxford, for a rent boy he’s been hoping to fellate. His next visitor is the rent boy himself, followed by Benjamin Britten, who’s clutching the score of a work in progress, his new opera Death in Venice.

Though it has been over 20 years since the two men met, Britten is concerned that the opera’s subject – the obsession of an older man for a beautiful young boy – is too close to his own fondness for boys (though he never ever molested them), and that it might cause tongues to wag. He also has concerns over the quality of the libretto by his friend Myfanwy Piper.

Auden, who at this late stage in his life longs to be involved in a meaningful project, hopes Britten will ask him to take over the composition of the libretto. But all Briiten wants is advice.

Also present throughout the playwithin- the play, is Carpenter, who went on to write definitive biographies of both men, and who here serves as a kind of chorus probing and commenting on the action. If this structure sounds complicated, it isn’t at all, and the play – which is both about the collaborative creative process in the theatre and the more personal process of writing poetry and music – artfully and fascinatingly moves from the one to the other.

The toll taken by old age on the creative process is another vital element, as is the nature of biography, and what purpose, if any, it serves. The point is made that no matter how accomplished a biography might be, it is still secondary to the subject being written about.

Though most of the time Bennett brilliantly juggles all these elements, there is the occasional misfire. It is hard to believe, for example, that the writer (played with an agonised weariness by Elliot Levey) capable of writing the superb scenes between Auden and Britten, would also write risibly parodic dialogue in rhyming couplets for inanimate objects such as Auden’s door, his chair, his clock and even his craggy wrinkles. They belong in a different play and serve as little more than a device to garner a few unnecessary laughs.

Another device that struck me as mere contrivance was having Auden ask Britten (clearly for the benefit of the less well-informed members of the audience) to remind him what happens in Thomas Mann’s novella Death in Venice, when it is perfectly obvious he knows every detail of the plot intimately. Nor was I convinced by the arbitrary moments of forgetfulness and repetition with which Auden is suddenly inflicted in his scenes with Britten, as there was little, if any evidence of this condition before.

Mere quibbles, though, far outweighed by the general excellence of the writing, by Nicholas Hytner’s seamless, unobtrusive direction, and by the fine performances.

Richard Griffiths, though nowhere resembling W.H. Auden, is wonderfully irascible and deeply moving as the spent poet who, even in old age cannot quit the habit of art, Alex Jennings as the prissy, more punctilious, envious and unsure of himself Britten (how tellingly he spits out the name of his rival Tippett) is excellent, as is Adrian Scarborough as Humphrey Carpenter. All three play dual roles, the insecure actors rehearsing Caliban’s Day, and the characters they portray in it.

There’s a lovely performance too, from Frances de la Tour as Kay, the efficient, conciliatory seen-it-all-before stage manager, and from Stephen Wight playing the rent boy Stuart.

Towards the end of the play Bennett gives Stuart a speech which makes the point that, in writing about the lives of the great and the good, bit players like Stuart, who are usually little more than a footnote to their lives, deserve recognition too.

Bennett, however, ends this richly textured, multi-faceted, hugely entertaining play with a speech by Kay on the fear that actors feel in their jobs (during rehearsals of Caliban’s Day the author remarks ‘Plays don’t so much go into production, as into intensive care’), of the importance of plays in general and the National Theatre in particular.

Amen to that.

CLIVE HIRSCHHORN. Courtesy of This Is London.

Book tickets to see The Habit of Art at the National Theatre in London

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Ruthie Henshall in Chicago – Save £20

December 12, 2009 by  
Filed under Uncategorized

Save £20.75 on tickets to see CHICAGO at the Cambridge Theatre in London

Offer valid all performances except Saturday Evenins (excludes School Holidays)

NOW STARRING RUTHIE HENSHALL UNTIL 18 APRIL.

Eleven years on Chicago still remains ‘the hottest show in town’. And for a limited time only the original star of the London show, RUTHIE HENSHALL, rejoins the cast to play Roxie Hart.

Ruthie Henshall in Chicago

Created by John Kander, Fred Ebb and Bob Fosse, Chicago is the kiss-and-tell story of chorus girl Roxie who kills her lover; Velma Kelly, the glamorous double-murderer and Billy Flynn, the slick and manipulative lawyer keeping them from death row while promising to make them stars, has all the topicality of our celebrity-seeking times. It also provides some of the most sensational roles in all musical theatre.

Be razzled and dazzled by Chicago: a true Broadway and West End classic.

‘Still the hottest show in town’ The Independent.

‘A sleek package of sex, murder, great songs and arch wit’ Evening Standard.

‘The sharpest, slickest show on the block!’ The Times.

Save £20.75 on tickets to see CHICAGO at the Cambridge Theatre in London

Offer valid all performances except Saturday Evenins (excludes School Holidays)

HARRY TREADAWAY in Ghosts

December 10, 2009 by  
Filed under Cast - Archive

A brand new production of Ibsen’s classic play Ghosts comes to the Duchess Theatre on 11 February for a limited run.

Adapted by award-winning playwright Frank McGuinness, the play is starring and directed by Iain Glen, alongside acclaimed TV and stage actress Lesley Sharp, who is currently appearing in The Rise and Fall of Little Voice at the Vaudeville Theatre.

Harry Treadaway, star of Ghosts

Harry Treadaway, star of Ghosts

The play also features hot new star Harry Treadaway, who recently acted in Andrea Arnold’s Cannes hit Fish Tank and will also star in forthcoming new films Pelican Blood, set in the world of obsessive birdwatchers, and Albatross, a coming of age comedy with Sebastian Koch and Julia Ormond.

His past work include Brothers Of The Head and Control, and in Ghosts he plays Oswald alongside Malcolm Storry as Engstrand.

Book tickets to see Ghosts at the Duchess Theatre in London

Agatha Christie's A Daughter's A Daughter – Half Price

December 10, 2009 by  
Filed under Uncategorized

Half Price tickets to see Agatha Christie’s masterpiece A Daughter’s A Daughter at the Trafalgar Studios in London: Tickets only £22.50 (normally £45) on Monday to Friday performanes

Written by Agatha Christie under the pen-name ‘Mary Westmacott’, this is the first full-scale production of this rare Christie masterpiece since its premiere in 1954, and is presented by The Agatha Christie Theatre Company, by special arrangement with the author’s estate.

A must for all Agatha Christie fans, and brimming with her brilliant wit, this gripping psychological drama tells the tale of a mother and her daughter as they strive to find happiness in 1940s Britain.

Returning home from the Second World War, Sarah convinces her mother to ‘live life to the hilt’, and ditch her fiance Richard. Meanwhile, Sarah has become involved with cad Lawrence and feels the need to marry him in order to please her mother. Will Ann and Sarah make life decisions based on the other’s wishes?

An all-star cast will be led by Jenny Seagrove (Absurd Person Singular, Pack of Lies, Judge John Deed) and Honeysuckle Weeks from ITV’s BAFTA-award winning series, Foyle’s War. The cast also includes Tracey Childs, who has just recieved huge critical acclaim in a sell-out run playing Martha to Matthew Kelly’s George in Who’s Afraid of Virginia Woolf? at London’s Trafalgar Studios, and Simon Dutton who recently played Binkie Beaumont in Plague Over England at The Duchess.

Half Price tickets to see Agatha Christie’s masterpiece A Daughter’s A Daughter at the Trafalgar Studios in London: Tickets only £22.50 (normally £45) on Monday to Friday performanes

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