Lyric Theatre, Thriller Live

Lyric Theatre

Michael Jackson fans get their thrills at this historic West End theatre
  • Theatre | Musicals
  • Shaftesbury Avenue
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Time Out says

Today, Lyric Theatre is the home of 'Thriller Live', the Michael Jackson jukebox musical that's been getting fans moonwalking with delight since 2009. But behind the '80s tastic hoardings, this theatre has a history that stretches back centuries.

The theatre's facade doesn't have the grand neoclassical stylings or Victorian gothic flourishes of most of its West End neighbours, for a very good reason: it's actually built inside the remnants of an old house. Dr William Hunter was an anatomist, and collector of horrible-but-probably-scientifically-important things in jars whose 1776 residence acted both as his home and as a medical museum. These days, his collection can be seen at the Hunterian Museum, because in 1886, the interior of his former house was gutted and fitted out with state-of-the-art Victorian theatre which regaled audiences with the lighter kind of musical comedies. 

The Lyric Theatre relied on then-cutting-edge hydraulic technology, using water from the River Thames to power its lifts and backstage machinery. Today, it still raises its curtain using hydraulic power, in an auditorium that retains much of its original 19th century sumptuousness. There are 915 seats on four levels, supported by golden columns and topped off by a grand ceiling with a central chandelier.

Before the success of 'Thriller Live', some of the Lyric Theatre's most successful shows include the original West End production of 'Blood Brothers', the jukebox show 'Five Guys Named Mo', and 'How the Other Half Loves', the 1969 adultery comedy that made playwright Alan Ayckbourn's name. 

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What’s on

The Gruffalo

4 out of 5 stars
There must be one thought on every parent’s mind as they shuffle themselves and whatever entourage of children they’ve brought with them into the Lyric Theatre to see ‘The Gruffalo’: please don’t mess this up. So beloved is Julia Donaldson and Axel Scheffler’s bedtime book that it’s not just a load of grumpy kids that’ll be left sitting there should the show not live up to expectations, it’s a room full of disappointed adults whose first few years of parenthood and the memories that come with them are likely to have been shaped by this story and its inimitable rhymes. Worry not, Gruffalo fans. This is a charming production from Tall Stories that has been running since 2001 with various tweaks and upgrades along the way, and it’s not hard to see why it’s managed to stay around so long. The familiar stuff’s all there – the jittery mouse, the sneering fox, the aloof owl and the sly snake, kitted out in imaginative costumes that add a nice bit of wonder to the experience – but it’s been bulked out to hit a one-hour run-time. Characters are given a bit more space to develop, and each has a rip-roaring song that takes the show from bouncing ska to slick disco before ending on a chugging grunge rock number that has everyone clapping along. If that doesn’t keep you gripped, there’s an extended section in which audience members are invited to crack out their finest gruffalo growls – hilarious for the kids, cathartic for the parents, chaos for the performers – but otherwise the show...
  • Children's

Hadestown

4 out of 5 stars
This review is from 2024. What a long, strange trip it’s been. Indie-folk musician Anaïs Mitchell’s musical retelling of the Orpheus story began life in the mid-’00s as a lo-fi song cycle, which she gigged around New England before scraping the money together to record it as a critically acclaimed 2010 concept album that featured the likes of Bon Iver’s Justin Vernon and Ani DiFranco on guest vocals as the various mythological heroes and villains. Going through the next 14 years blow-by-blow would be time-consuming, but in short thanks to what I can only describe as THEATRE MAGIC, Hadestown is now a full-blown musical directed by the visionary Rachel Chavkin, its success as a show vastly outstripping that of the record. It played the National Theatre in 2018, on its way to becoming the most unusual Broadway smash of the modern era. And it’s finally come back to us. Now in a normcore West End theatre, its otherness feels considerably more pronounced than it did at the NT. The howling voodoo brass that accompanies opener ‘Road to Hell’ is like nothing else in Theatreland. Mitchell”s original songs are still there but have mutated and outgrown the original folk palette thanks to the efforts of arrangers Michael Chorney and Todd Sickafoose. Rachel Hauck’s set – which barely changes – is a New Orleans-style saloon bar, with the cast all dressed like sexy Dustbowl pilgrims. It’s virtually sung through. It is essentially a staged concert, but it’s done with such pulsing musical...
  • Musicals
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