Theatre Tickets

Make your friends green with envy with our tickets to this feel-good musical 

This multi-award winning musical continues to captivate audiences at Her Majesty's Theatre

This storming revolutionary musical has been stirring up audiences since 1985.

The film world continues its love affair with werewolves, vampires and all things 'Twilight'. But theatre types have always known witches are where it's at. After its 2006 opening at Apollo Victoria, Oz prequel 'Wicked' continues to fill this massive theatre with an international crowd of voracious consumers (glass of champagne and a choccy for £16 anyone?). But this stylish and bombastic musical still delivers, sailing over its patchy score thanks to a gravity-defying performance from its current leading lady Rachel Tucker, as the intense green-skinned undergrad who goes on to become the Wicked Witch of the West. 'Wicked' is a spectacle that rises or falls around its central performance. In the midst of a gigantic production full of bangs, bells and whistles Tucker, with her small frame and searing vocal ability, simply flies off with the show. She's closely followed by Gina Beck, who plays good girl, Glinda. Glinda and Elphaba's relationship forms the heart of this story and, as the Good Witch, Beck is a consummate clown, playing up the silliness of her character at every turn. But she can raise a tear, too, and her final duet with Tucker, 'For Good', is genuinely heart-rending. The Tim Burton-inspired ensemble oscillate between the hypnotic and grotesque and a sweet but thin voiced Matt Willis charms as the rather superfluous Prince. As in classical ballet, this is all about the women and, even by previous lead Idina Menzel's standards, they are in soaring form here. T

Look: there’s a strong chance you’re reading this because you’re a Tom Hiddleston fan, so here’s something for the Tom Hiddleston fans. There is a scene in Jamie Lloyd’s production of Harold Pinter’s reverse chronology adultery drama ‘Betrayal’ in which his character, Robert, is told by Zawe Ashton’s character Emma – his wife – that she has been having an affair with his best friend Jerry (Charlie Cox) for years. Posh, self-assured Robert’s language would suggest he is savagely sanguine about this: but Hiddleston’s eyes are heartbreakingly wet. Maybe he’s got some sort of clever trick or whatnot, but it’s a genuinely remarkable piece of acting, in a genuinely remarkable performance. Really, though, the triumph here belongs to director Jamie Lloyd. Directing ‘Betrayal’ as the culmination of his Pinter at the Pinter season of all of the late playwright’s one-act plays, there have to be very few people alive – or indeed dead – who understand Pinter in the way Lloyd does, and it shows here. ‘Betrayal’ is notionally Pinter’s most accessible play, and is staged frequently, often safe productions with celebrity casts. But I’ve never seen a version before that has made such sense of it for me, and has been so daring in the staging. Usually, it is taken fairly literally, as a realist drama about an affair. Here, it touches on more fundamental questions of human nature and identity. In a way that absolutely connects ‘Betrayal’ to the playwright’s earlier, stranger work, Lloyd make

Brace yourself for a shock: ‘South Park’ creators Trey Parker and Matt Stone’s Broadway-munching musical is not particularly shocking. Sure, there are ‘fucks’ and ‘cunts’ and gags about baby rape – but most of it is deployed ironically; beneath it all, this is a big-hearted affair that pays note-perfect homage to the sounds and spirit of Broadway’s golden age. The strapping young Latter Day Saints missionaries in ‘The Book of Mormon’ are as cartoonish as any ‘South Park’ character, with the endearing alpha-male woodenness of the ‘Team America’ puppets. In other words, they are loveable, well-intentioned idiots, traversing the globe like groups of pious meerkats, convinced they can convert the heathen through sheer politeness. And if they have doubts, then as Stephen Ashfield’s scene-stealingly repressed Elder McKinley declares in glorious faux-Gershwin number ‘Turn it Off’, ‘Don’t feel those feelings – hold them in instead!’ His advice is ignored by the show’s heroes, narcissistic, highly strung Elder Price (Gavin Creel) and dumpy, lying Elder Cunningham (Jared Gertner). The pair are sent to Uganda in an effort to convert a village to Mormonism, a religion that essentially tells the penniless villagers how great distant America is. The locals are not keen: Price cracks and unwisely clashes with a crazed local warlord; Cunningham makes up his own version of Mormonism which involves fucking frogs to cure oneself of Aids. ‘The Book of Mormon’ is, above all, very funny, breath