June is a downright joyful time to be in London. The sun (should be) officially out, our city's parks are lush and green and the music festival season is kicking off with many a great London festival proudly repping the capital. Even if you're not into glitter and glow sticks, there's still loads going on. In fact, there's enough to make you wish you had more than just 30 days to take it all in. Check out our June highlights below and we'll see you out there.
RECOMMENDED: The definitive London events calendar
June 2018 event highlights
This exhibition is dedicated to the incredible collection of personal artefacts and clothing belonging to iconic Mexican, Frida Kahlo. The items had previously been locked away for fifty years following the artist’s death and none of them have been displayed outside of her native country. Expect some exceptional dresses and envy-inducing possessions.
Over the last decade Field Day has slowly become one of London’s very best music festivals. This year, for the first time in its history, it won’t take place in east London’s Victoria Park. But, they're bringing an absolute glut of stars down to Brockwell Park, for their first year in the south.
This three-day festival has some jaw-dropping names acting as headliners: Bjork, LCD Soundsystem and The XX. Boom. Then there’s the All Points East Presents series (June 1-3) – three one-day concerts led by three different acts: Nick Cave And The Bad Seeds, The National and Catfish And The Bottlemen. In between there are four days of community-driven entertainment on the site, with comedy, film screenings, street food and much more.
London Nights looks at the city after dark through contemporary and historical imagery, from the 19th century through to the present day. The exhibition will look at how photographers have captured the aesthetic of the city at night, present imagery depicting the darker side to capital and how Londoners live their lives after hours.
Go on a journey back in time and study the stories behind the design of the most impressive ocean liners the world’s ever seen. The Titanic, the Normandie, the Queen Mary and the Canberra all feature and the exhibition explores how and why these huge maritime feats of engineering and form still carry so much weight in our collective imagination.
This exhibition explores the early ‘radical moment’ of postmodern British architecture, focusing on works by key protagonists like Terry Farrell, Piers Gough and Jeremy Dixon and their buildings such as MI6, China Wharf in Bermondsey, and No. 1 Poultry in the City.
See four collaborations between artists and scientists, which are giving shape to intangible ideas. Installations by Martina Amati, Daria Martin, Maria McKinney and John Walter, will explore how artists can give shape to the human experience and provoke ideas about our senses.
Clearly not one to sulk into her P45, Emma Rice has opted to fill the time between her controversial departure from the Globe and the launch of her new company by bringing back one of her most beloved Kneehigh hits. And we should be happy that she did. Her vivid, dreamy, emotionally charged take on Noël Coward’s greatest achievement, ‘Brief Encounter’, played an acclaimed West End season upstairs at the Empire Haymarket back in 2008. Now it’s back under the auspices of the Old Vic, in a co-production with Kneehigh. David Lean’s 1945 film was an exquisite study in agonised longing in which a chance railway café encounter between strangers Laura and Alec (both married with kids to other people) led to them being consumed by guilt-streaked love. It’s a platonic ideal of an affair – their love is pure, virtuous – and possibly actually platonic, the film being a byword for a sort of extreme middle class stiff-upper-lippedness that sees its protagonists experience all the guilt of infidelity and none of the good stuff. It's unworldly, maybe, but few directors alive are as clued in to the lexicon of love as Rice, and she knows exactly what to do with Coward’s classic. Her Laura (Isabel Pollen) and Alec (Jim Sturgeon) are played dead straight. But the world around them is filled with colour and life and music, and is often cartoonishly funny – Beverley Rudd is a scene stealer in a trio of lively roles – in a way that’s unashamedly totally out of whack with the film. And yet the
Motown’s girl groups sang about needing love, love. But behind all the sappy stuff there was cold hard cash. Henry Krieger and Tom Eyen’s 1981 musical is built on sharp insights into pop’s economic realities. And this slick belated UK première, fronted by ‘Glee’ star Amber Riley and dripping in more Swarovski than a banker’s chandelier, doesn’t let you forget it. The plot’s not-so-loosely inspired by the story of The Supremes. The Dreams are three African-American teenage girls who sing gorgeous close harmonies in talent contests, until a gig singing back-up for sex symbol Jimmy Early (a cartoonishly hip-rolling Adam J Bernard) brings them closer to the big time. But they’re not quite there. Their music is ghettoised on separate charts, and their hits are stolen by milk-white matinee idols. Director Casey Nicholaw’s fast-paced production plunges us right into these backstage frustrations. The Dreams’ machiavellian manager Curtis Taylor Jr (Joe Aaron Reid) is waiting in the wings with a plan to get the dough rolling in. It’s none-too-subtly implied that leader Effie, played by an astonishingly good Amber Riley, doesn’t have the face for stardom – she’s relegated to the background, in favour of picture-perfect Deena (Liisi LaFontaine). In ‘And I’m Telling You I’m Not Going’, Riley proves what a mistake that is with a stupefying solo – her huge, wracked voice seems to swallow up the room (and blows away all memories of Jennifer Hudson’s version in the 2006 movie).
‘Everybody’s Talking About Jamie’ is a burst of joy in the heart of the West End. This new British musical, transferring from the Sheffield Crucible, is the real deal. Watch out, tired revivals: there’s a new kid in town. Inspired by a 2011 BBC documentary about a teenager who wanted to be a drag queen, the show follows 16-year-old Jamie on his journey to be himself – out of a classroom in a working-class part of Sheffield, away from the bigotry of a deadbeat dad, and into high heels. Director Jonathan Butterell’s production is a high-impact blaze of colour, combining video projections with seamless scene changes and a live band above the stage. It captures the frenetic energy of being a teenager. Every element of this show works beautifully together. The music, by The Feeling frontman Dan Gillespie Sells, is a deft mix of irresistibly catchy, pop-honed foot-tappers – try not to hum ‘And You Don’t Even Know It’, I dare you – and truthful, heart-wrenching numbers. This is Sells’s first foray into writing for musicals, but he’s always excelled at telling stories in song. He is matched by the show’s writer and lyricist Tom MacRae. Apart from notable exceptions like Punchdrunk’s ‘Doctor Who’-themed kids’ show ‘The Crash of Elysium’, he’s largely written for TV, but this works well here. His dialogue is punchy, funny and often lands with a sting. While most of the characters exist to orbit Jamie, they still have their own stories and these are crisply told. As Pritti, Jamie’
Fabulously sassy, uplifting and ever so kinky, the Tony Award-winning musical that’s been dazzling audiences has finally high-kicked its way from Broadway to the West End. RECOMMENDED: Read an interview with Cyndi Lauper Based on true events, the story about a struggling Northampton shoe factory began life as an independent film, following in the footsteps of Brit-hits ‘Billy Elliot’, ‘The Full Monty’ and ‘Made in Dagenham’, before being transformed into a musical. Directed and choreographed by Jerry Mitchell, with music and lyrics by pop icon Cyndi Lauper, ‘Kinky Boots’ follows factory owner Charlie Price (Killian Donnelly) whose chance encounter with drag queen Lola (Matt Henry) inspires a production line of sexy heels for transvestites that helps save the family business. This show is a lot of fun and the script plays up the comedy well, offering the cast some brilliantly tongue-in-cheek one-liners. It’s unfortunate that the script falls flat during the romantic storyline between Charlie, his fiancée and factory co-worker Lauren, which comes across as uneven and flimsy. That can be forgiven, though, as it’s the eccentric costumes and high-octane dance numbers like ‘Sex Is in the Heel’ that draw the audiences in. Henry gives Beyoncé a run for her money with some athletic dance moves, accompanied by a chorus line of incredibly toned drag queens. Some of the full company numbers are particularly well put together – especially the stylized boxing sequence during ‘In T
If the second longest running show in the West End was looking a little tired, a rejuvenating orchestral facelift was just what the doctor ordered. Cameron Mackintosh's 'little girl' has shaken off that 1980s synth vibe and finally woken up to the organic noughties. This is a new, richer sound with strong operatic undertones and even the faint echoes of chamber music. Led by compelling ex-'Phantom…' Ramin Karimloo as Jean Valjean, this dynamic cast blows a whirlwind through the Queen's Theatre, hurtling along Alain Boublil and Claude-Michel Schönberg's famous melodrama. Aided by a swirling revolve and John Napier's stunning constructivist set, we follow Jean Valjean's journey across France as he attempts to escape his criminal past and make amends. Hadley Fraser as Javert, Valjean's fated pursuer, matches Karimloo's booming vocals and moody stares step for step (at one point rather sweetly causing a premature ovation). Craig Mather and Lisa-Anne Wood do very prettily as lovelorn young leads Marius and Cosette. But it is Alexia Khadime's soaring 'On My Own' that storms the barricades; her plucky and faithful Eponine genuinely pulls at the heartstrings. For all its legions of fans, there are many who would sniff at this revived 'Les Miserables', branding it 'opera lite'. In a sense they would be right: all this histrionic bombast is only really making soap opera respectable. But so what. This updated and improved production is a real rabble-rouser and while it may be tosh, i
'My mummy says I'm a miracle,' lisps a pampered mini-me at a purgatorial kiddies' birthday party at the outset of this delicious, treacly-dark family show. The obnoxious ma and pa of its titular, gifted, pint-sized heroine are not, of course, quite so doting. But 'Matilda' must be making its creators, playwright Dennis Kelly and comedian-songsmith Tim Minchin, a very pair of proud parents. Opening to rave reviews in Stratford-upon Avon before transferring to the West End in 2011 and snatching up Olivier Awards with all the alacrity of a sticky-fingered child in a sweetshop, Matthew Warchus's RSC production remains a treat. With hindsight, Kelly and Minchin's musical, born of the 1988 novel by that master of the splendidly grotesque Roald Dahl, is a little too long and, dramatically, a tad wayward. But like the curly-haired little girl in the famous nursery rhyme, when it is good, it is very, very good. And it's even better when it's horrid. The past few months have seen some cast changes, including, alas, the departure of Bertie Carvel's tremendous Miss Trunchbull, headmistress of the dread Crunchem Hall School, former Olympic hammer-thrower and a gorgon of monumental nastiness, complete with scarily Thatcher-esque tics of purse-lipped gentility and faux concern. David Leonard doesn't quite match the squirm-inducing, hair-raising detail of Carvel in the role, but his more butch, granite-faced version is fantastically horrible nonetheless. And if Paul Kaye as Matilda's loat
To start with, the red curtain rises just a foot off the stage. And it artfully reveals the star attraction of this mind-blowingly lavish revival of a classic Broadway musical: 40-odd pairs of tap-dancing feet, hammering the boards in perfect unison. Helmed by Broadway director Mark Bramble, ‘42nd Street’ is as American as a McDonald’s apple pie, a steaming, golden spectacle of showbiz glamour. Fittingly, the plot’s strictly vanilla. The guys are putting on a show. But its temperamental star Dorothy Brock (a wondrously voiced Sheena Easton) is a nightmare to work with, and director Julian Marsh (a rather out of his depth Tom Lister) is going spare. Peggy Sawyer (Clare Halse), a wet-behind-the-ears young hoofer (that’s Broadway slang for tap dancer, obviously), turns up, gets in the way, then gets to be a star. But, like Peggy, this show has a few talents that help it rise above the mundane. Firstly, the wise-cracking book, which is full of bitter, sharp-eyed one liners. Like the bit where a crowd of broke chorus girls turn up at a diner and order ‘Five cups of boiling water, one teabag’. Or still more brutal, the director’s bitter announcement, as he rehearses the living daylights out of Peggy, that ‘I’ll either have a live leading lady or a dead chorus girl’. And then, between the jokes, there are songs, songs, songs. Harry Warren and Al Dubin might not be the best-known musical theatre team on the block, but they light up ‘42nd Street’ with an electrifying hoard of hits.
If you’re a plucky producer hoping to get your new show into the Criterion Theatre, you’re flat out of luck once again. Because less than nine months after 'The 39 Steps' shuttered after almost a decade glowering over Piccadilly Circus, it’s now home to the brand new comedy by Mischief Theatre, which, if there’s any justice in the theatre world, will run for even longer. 'The Comedy About A Bank Robbery' is the latest play by the bogglingly prolific and talented team behind 'The Play That Goes Wrong' (or more accurately the 'Play That Goes Wrong' franchise) and it’s their best and funniest work yet. A genre pastiche, screwball comedy and classic farce that’s as clean and clear as its brassy branding, it spins with a manic energy from Two Ronnies-esque wordplay through surreal set-pieces to slapstick stunts prepped to bring the house down. The story of a bungled jewel heist in a sleepy Minneapolis bank branch, it features a host of hilarious but well-drawn characters who roar across the stage and tumble into disaster after disaster, each one more elegantly drawn than the last. The writers’ ability to snatch a laugh out of every line, and to intricately prime each scenario with zinging punchlines and pay-offs is stunning, as call-backs and running gags pile up into teetering edifices of absurdity. The entire cast is bang on the money, but Mischief Theatre’s own Henry Lewis and Jonathan Sayer are the standouts as booming bank manager Robin Freeboys and hapless loser (and eter
The posters have been plastered around the London Underground for years – long enough for this show to become the most successful musical of all time – but nothing prepares you for the sheer impact of 'The Lion King's opening sequence. With the surge of 'Circle Of Life' reverberating through your chest, Julie Taymor's animal creations march on, species by species. Gazelles spring, birds swoop and an elephant and her child lumber through the stalls. It's a cacophonous cavalcade that genuinely stops you breathing. You'd think Noah's Ark had emptied onto the stage. For a global blockbuster, 'The Lion King's absolute theatricality is astonishing. Techniques from all over the world – African masks, Japanese Kabuki costumes, Malaysian shadow puppetry – are smashed together in an explosion of spectacle. It's perfect for a musical, allowing both distinct flavours and an eclectic carnival spirit. Admittedly, things deflate when it sacrifices this defiant originality for subservient approximation of the film. Timon and Pumba (Damian Baldet and Keith Bookman), though impressively like their screen counterparts, step into the savannah from a different dimension. The hyena-infested elephant's graveyard swaps menace for goofiness and the famous stampede scene, so delicately handled and moving in the film, is merely ticked off with a sigh of relief. The familiarity of the film is a root cause of the show's commercial success. But, ironically, 'The Lion King' can't afford such compromis
Step inside the Lyric foyer and you'll be greeted by a gleaming Michael Jackson memorial. Enter the auditorium and you'll find another in 'Thriller', a shining homage to The King of Pop. This is a sparkling, singing and shimmying conveyor belt of more than 30 of Jackson's greatest hits. It's a bit like watching an extended episode of 'The X Factor' – except the performers are actually very good and they've all picked Jacko. What really hits home in this jubilant jukebox show, which recently celebrated its thousandth performance, is the range of repertoire available. 'Thriller' is a reminder of Michael Jackson's versatility and the unique gloss he lent to pop, rock, dance and even the ballad. 'Heal the World' is crooned by a throng of suitably seraphic kids, 'Beat It' is blasted into the gods and a silver-gloved groover glides majestically through 'Smooth Criminal'. The show, held together by the loosest of narratives, begins with a selection of Jackson 5 numbers. These earlier songs are among the best of the night: pure, funky, relatively simple and uniformly upbeat. Salient facts are flashed furiously across the screens (750 million records sold worldwide!) and the show segues into Jackson's solo career. Some of these later songs are terrifyingly idiosyncratic – made and moulded for the man himself – and the lead vocalists struggle with the quirkier numbers, such as 'Jam' and 'Dirty Diana'. But it is the dancing that dazzles, no more so than Michael Duke's confident and w
Find great things to do all year round
Polo Bar Kensington
A neat bar within the four-star Rydges hotel in Kensington, just a short walk from the V&A, Natural History Museum and the Science Museum. The modest space is decorated with dark wood and wine-red crushed velvet seating. A big screen telly shows all the major sporting events, which can be paired with a pint of Boddingtons, Stella, Guinness or Becks – all of which are on tap – or a snack from the bar. There's also an open fire to watch if the sport doesn't take your fancy.
Venue says: “Happy hour daily, 6-8pm, with 50% off house beer, wines and spirits! See website for all specials.”