Elaine Paige will join the cast of Pantoland at The Palladium for the three-week festive run from 12 December 2020 to 3 January 2021, which sees pantomime return to the the London Palladium for a fifth consecutive year.
This Christmas Julian Clary will lead a star-studded cast in Pantoland at The Palladium, a treasure-trove of the London Palladium panto past devised by Michael Harrison and playing from 12 December 2020 to 3 January 2021.
There’s something universally adored about the feel-good story of the Banks family in Mary Poppins, so it’s no surprise that the musical is once again gracing the West End.
Mary Poppins is as supercalifragilisticexpialidocious as one can hope, a riot of good cheer, fun, excellent signing and some quite breathtaking stagecraft.
Richard Eyre’s production of the musical Mary Poppins has flown back into the West End – but what do the critics think of it?
Really, in the end, Mary Poppins is the kind of production full of uncomplicated fun that can’t help but
uplift the soul in the most delightful way.
Final adult casting has been announced for the new production of Mary Poppins which begins rehearsals in September 2019 and returns to its original West End home at the Prince Edward Theatre from 23 October.
Petula Clark and Joseph Millson play the Bird Woman and George Banks in the new production of Mary Poppins which returns to its original West End home at the Prince Edward Theatre from 23 October 2019 to 29 March 2020.
Disney and Cameron Mackintosh’s new production of Mary Poppins, the musical based on the stories of P. L. Travers and the original film, returns to its original West End home at the Prince Edward Theatre after 15 years, beginning previews on 23 October 2019 with opening night on 13 November.
Charlie Stemp will return to the London Palladium to play The Prince in this year’s pantomime, Snow White at the London Palladium along with Danielle Hope who will play the title role of Snow
The internationally award-winning production of Mary Poppins will return to its original West End home at the Prince Edward Theatre where, after three hit years in London, Disney’s Aladdin will end its run late August 2019.
The story of Hello, Dolly! may be froth and frolics, but underneath the razzle-dazzle of Jerry Herman’s songs and Michael Stewart’s book, there beats a heart-warming tale of simple humanity, which Bernadette Peters portrays exquisitely.
Lots & lots of shows have their first performances in London and across the country this month, including new productions of Pinter’s The Birthday Party, Wilde’s Lady Windermere’s Fan, and Shakespeare’s All’s Well That Ends Well.
The boutique musical boom went off the boil in 2017, while on the professional scene, Melbourne’s East End was dominated by one man: Casey Nicholaw.
The reviews are in for Dick Whittington, QDOS’ second annual, big-budget, blockbuster pantomime in the West End, running at the London Palladium until 14 January 2018. What is the critical verdict? Here Love London Love Culture rounds up the reviews.
Following critical and commercial success with last year’s Cinderella, QDOS Entertainment has again invested millions to make Dick Whittington the biggest, boldest and glitziest pantomime on the London circuit with what looks like a degree of overkill, taking a sledgehammer to crush a rat perhaps.
The announcement of the new cast for Broadway’s hugely lauded Hello, Dolly! has been a most strange affair – names trickling out one by one, rather than one big splash.
Emma Williams reunites with her Half a Sixpence co-star Charlie Stemp this Christmas for Dick Whittington at the London Palladium, where the pantomime cast also includes Julian Clary, Elaine Paige, Nigel Havers and Gary Wilmot.
Anthony Boyle, Audra McDonald, Amber Riley, John Boyega and The Feeling’s Dan Gillespie Sells are amongst the nominees in The Stage’s inaugural Debut Awards. Public voting continues until 10 September 2017 for the Best West End Debut winner.
3. The Choreography: Andrew Wright’s wonderfully energetic and elegant choreography not only captures the era in which the musical is set perfect, but also the spirit and joyfulness of the musical as a whole.
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