Name: Pretty Woman: The Musical
Start: 2020-02-13
End: 2023-06-18
Location: Savoy Theatre

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Pretty Woman [18613] - LON

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Pretty Woman: The Musical

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Pretty Woman [18613] - LON Product Media

[Media #2] Pretty Woman 18613

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It's time to head back to Beverly Hills and experience one of Hollywood’s most beloved romantic stories of all time live on stage at it’s glamorous new home - the Savoy Theatre. Get ready to fall in love London as the record breaking box office smash-hit musical returns.

Born in Stevenage in 1987, British actor Aimie Atkinson is best known for her Olivier Award-nominated performance in the orignal cast of *[Six](https://www.londontheatre.co.uk/show/six-the-musical)* as Henry VIII's fifth wife, Katherine Howard. She's now portraying the iconic role of Vivian Ward in the West End premiere of *[Pretty Woman: The Musical](https://www.londontheatre.co.uk/show/pretty-woman)* at the [Piccadilly Theatre](https://www.londontheatre.co.uk/theatres/piccadilly-theatre).

With a father in a rock band, Atkinson was born into a musical family, inspiring and encouraging her to learn even more about musicianship. Growing up, she dreamed of a life in the theatre, taking part in numerous performing arts groups and school productions, later running a franchise of performing arts school, Stagecraft, in her hometown.

Successfully gaining a place at Arts Educational School in London, Atkinson entered BBC Radio 2’s musical theatre competition while in training. Even though she'd yet to begin her professional career, Atkinson went on to win both amateur and professional categories, taking the title of 'Voice of Musical Theatre'. Opening doors, Atkinson left Arts Educational School to make her professional debut, starring in a production of *Days and Hopes* at King’s Head Theatre. Later starting the Royal Academy of Music's intensive musical theatre programme, history repeated itself once again when Atkinson left training to star in a production, this time originating the role of Luisa in the UK tour of *Zorro*.

Atkinson’s no stranger to starring in musical theatre roles, taking over the role of Daniela in the London premiere of *In The Heights* at King’s Cross Theatre, as well as starring in off-West End productions of *Steel Pier* at the Union Theatre and *Legacy Falls* at [Charing Cross Theatre](https://www.londontheatre.co.uk/theatres/charing-cross-theatre). She’s also performed in theatres across the country, appearing in regional and touring productions of *Legally Blonde*, *Dirty Dancing*, *Blockbuster*, *Carnaby Street* and *Never Forget*.

However, she’s best known for her critically-acclaimed performance in *Six*, originating the role of Katherine Howard and playing the role for over two years. Along with the five other queens in the West End cast, Atkinson was nominated for Best Supporting Actress in a Musical at the 2019 Olivier Awards.

Away from musical theatre, Atkinson is also the creative director of Goldstone, a British girl group that won ‘The Voice of Astana’, a Kazakh singing competition in 2018. As a solo artist, Atkinson released her debut album titled *Step Inside Love* in 2017.

Atkinson's latest role is in the West End premiere of *Pretty Woman: The Musical* as Vivian Ward, opposite [Danny Mac](https://www.londontheatre.co.uk/actor-profile/danny-mac) as Edward Lewis.

Aimie Atkinson - LON

Ages 10+. Children under 16 must be accompanied by an adult.

SIX - LON [12201]

SIX - LON [12201] Product Media

The queens are back, and they're beautiful. Since their creation by Cambridge University students Toby Marlow and Lucy Moss in 2017, when they first sashayed before audiences at the Edinburgh Fringe Festival, these ritzily reincarnated wives of Henry VIII have stomped their way into the theatre history books. The show - more rock revue than musical - transferred to the West End and became an international hit. Its Broadway opening was delayed by the Covid crisis, but doubtless its conquering of the Great White Way is just a matter of time.A bedazzling sing-off by six women, each determined to wrest back control of her own narrative, Moss and Jamie Armitage's production is slick, witty, and so frenetically charged that resistance is pretty much useless. What's behind the glitter and the gloss, the astonishing vocals and the seductive strut, is in reality not much more profound than the Spice Girls' rallying cry of "Girl Power": it's a case of clever branding rather than serious substance. But it undeniably works: an audience dominated by young women and girls, many of them watching with their mums, whooped their appreciation, faces glowing. This may be feminism-lite, but it ignites powerful passions.And as a spectacle, it's eye-poppingly impressive. Emma Bailey's set, lit with blinding, blingy excess by Tim Deiling, is like a medieval chapel relocated to Las Vegas, purple neon in place of stained glass. Backed by an all-female band, the queens, in costume designer Gabriella Slade's mini farthingales or doublet and hose, crystal-encrusted and flesh-flashing, glide, pop and grind through choreographer Carrie-Ann Ingrouille's high-energy, geometric formations, to songs that musically reference a roll call of fabulous divas&nbsp;—&nbsp;Beyonce, Britney, Ariana Grande, Nicky Minaj, Rihanna, and Adele among them. They're here to decide who's life story was the most tragic - and she who had the worst of it will reign supreme.This is the show's major stumbling, if not chopping, block. Competing to be the biggest victim hardly sounds like empowerment, any more than the catfighting and bitchiness they indulge in; and the last-minute flipflop, in which they claim the whole thing was a set-up designed to make us question our own assumptions, feels like a bit of a cop-out. But if the sexual politics are hazy, the attitude is fierce. The current cast are all phenomenal, but I particularly enjoyed Courtney Bowman's faux-innocent Anne Boleyn, skipping insouciantly through her role in the Reformation via Lily Allen-ish rhymes ("everybody chill, it's totes God's will"), and Sophie Isaacs's Katherine Howard, radiating sparks of fury as she sings about the succession of men who have sexually exploited her.And there's a glorious sequence of overblown fantasy and pounding German techno when Alexa McIntosh's Anne of Cleves, who was famously (and, according to Henry, too flatteringly) painted by Holbein, recalls visiting the artist in his atelier: "Haus of Holbein" sends up beauty standards ("try these heels, so high it's naughty, but we can't guarantee you'll still walk at 40"), and, with the queens adopting oversized sunglasses and ludicrous posturing, reminded me deliciously of the eccentric, body-fascist fashion designer Karl Lagerfeld.The songs are insanely catchy, and if subtlety gets gleefully ground beneath the show's rhinestone-studded stiletto heel, that's not what anyone came for anyhow. It isn't profound, but this is a party - and it's unstoppable.SIX runs through 18 April at the <a href="https://www.londontheatre.co.uk/show/six-the-musical-lyric">Lyric Theatre</a>, then at the <a href="https://www.londontheatre.co.uk/show/six-the-musical">Arts Theatre</a> from 20 April.Photo credit:&nbsp;Courtney Bowman, center, in SIX: The Musical (Photo by Pamela Raith)

'SIX' brings the girl power party back to the West End

Read our review of the Olivier-nominated musical SIX at the Lyric Theatre on London Theatre.

SIX at the Lyric Theatre Review | London Theatre

SIX, ‘the most uplifting piece of new British musical theatre’ (✭✭✭✭✭ The Evening Standard) is the phenomenon everyone is losing their head over!

Critically acclaimed across the UK with a sound-track storming up the UK pop charts, the sell-out intoxicating Tudor take-off is back!

The Vaudeville Theatre is one of the most distinguished theatres in London. Perched on the Strand in London's West End district, the theatre has been a pillar of the city's performing arts scene and a symbol of London's rich cultural history. With a capacity of 690, it offers an intimate setting that brings audiences closer to the performances. The auditorium, embellished with opulent detailing, provides a breathtaking atmosphere that exalts the theatre experience. Historically, it has been home to notable plays and musicals featuring some of the world's most renowned actors and actresses. Beyond its aesthetic beauty and historic significance, it is celebrated for its commitment to presenting excellent productions which cater to a wide variety of theatrical tastes.### How to Get to the Venue ###It is readily accessible not only to the locals but also to foreign tourists. For those planning to arrive by tube, the nearest station is Covent Garden which is approximately 5 minutes walk. Alternative tube stations include Charing Cross (10 minutes walk) and Holborn Station (11 minutes walk). For anyone planning to use a bus, services 6, 9, 11, 15, 23, 77A, 91, 139, 176 all stop near the theatre. Those driving are suggested to use the MasterPark at Trafalgar Square and Chinatown car park.

Vaudeville Theatre - LON

Vaudeville Theatre

The Vaudeville Theatre is a historic venue in London's West End, known for its intimate setting and diverse productions.

There have been plenty of musicals about prostitution on Broadway, like the 60s classic Sweet Charity, set in a dance hall where the hostesses available for hire as dance companions say, "Who dances? We defend ourselves to music" and The Life, a 1997 show that portrayed a gritty, pre-Disneyfied Times Square and the hard realities of street sexual exploitation and its affiliations with drug interests. The Best Little Whorehouse in Texas, on the other hand, which premiered in 1978 and became a film with Dolly Parton starring as the whorehouse madame, offered a jiggling, country-and-western take on a brothel that presented it virtually as innocuous family entertainment.&nbsp;But <a href="/show/pretty-woman">Pretty Woman: The Musical</a>, based on the 1990 film that starred Julia Roberts as a Hollywood Boulevard street sex worker and Richard Gere as her billionaire investor executive client, is something else, seeking to combine a hard-edged reality with a real romance and happy ending (and not the kind that you might be offered in a massage parlour, either, on this same boulevard).&nbsp;In a post-Weinstein world, there are inevitably fears that the rich, entitled male might be seen to be exploiting the younger, more vulnerable female for his own purposes, seeking uncomplicated companionship and sex on demand during his time sealing a company take-over bid in LA, in return for a comparatively modest fee (for him). Early on, there's a slightly icky scene where she takes a cushion from the piano stool so that she can be more comfortable as she sinks to her knees to service him.&nbsp;But this is also a Cinderella-meets-Pygmalion story, in which the street prostitute is transformed into a society princess, cleaned up by a much-improved wardrobe (bought for her, of course, by the man) and eventually redeemed by acknowledging and meeting her needs as well as his. There may be a bit of wish-fulfillment to all of this -&nbsp;the score and book are both written by all-male teams, and the show its also written and directed by a man -&nbsp;but it also has a happy, eventually feel-good vibe to it.&nbsp;In the late Garry Marshall and JF Lawson's book (who respectively directed and wrote the original film), it is the woman who holds the cards -&nbsp;and the man who has the bigger journey to travel, from self-imposed isolation to finding real love.&nbsp; It's a relationship that ends up transforming them both -&nbsp;he even ends up making different, more moral business choices, too.&nbsp;But what makes it ultimately both digestible and credible are the sympathetic performances of the two leads. Yes, of course, it helps that <a href="/actor-profile/danny-mac">Danny Mac</a> is no physical monster in the style of Weinstein but easy on both the eyes and ears - and as with Sunset Boulevard in which he recently toured the UK, he removes his shirt for the undeniable pleasure of the audience. But Mac succeeds in having plenty of charm as well as pecs appeal. <a href="/actor-profile/aimie-atkinson">Aimie Atkinson</a>, in the Julia Roberts role of Vivian Ward, is ironically less objectified than him, and has a perfect combination of quirky vulnerability and the strength of a survivor; and there's good support from Rachael Wooding and Neil McDermott as friends to each of them. &nbsp;Jerry Mitchell, who has previously been responsible as director and/or choreographer to such film to hit stage properties as <a href="/show/kinky-boots">Kinky Boots</a>, Legally Blonde, The Full Monty, <a href="/show/hairspray">Hairspray</a> and Dirty Rotten Scoundrels, knows just how to make these transformations work. He ups the energy and momentum throughout. If Bryan Adams and Jim Vallance's score lacks serious break-out hits of its own, there's at least a curtain call reprise of Roy Orbison's famous 1964 hit single that gave the original film its title to send you out on a high. &nbsp;<a href="/show/pretty-woman">Pretty Woman: The Musical</a>&nbsp;is at the Savoy Theatre.&nbsp;<a href="/show/pretty-woman">Pretty Woman: The Musical tickets</a>&nbsp;are available now.&nbsp;&nbsp;

Review - 'Pretty Woman: The Musical' starring Danny Mac and Aimie Atkinson

London's Savoy Theatre is one of the most renowned theatre venues in the heart of the city. This cherished venue exhibits a rich history that dates back to 1881. The Savoy indulges its patrons with a variety of performances, including plays, musicals, ballet, and concerts. The attractive architecture and interior details give the attendees a sense of a grand theatrical experience. The Savoy Theatre prides itself on having introduced electric lights to the theatre world. Remarkable luminaries such as Gilbert and Sullivan have graced its stage. The theatre has a seating capacity of 1,158, split between the Stalls, Dress Circle, and Upper Circle. Dedicated to providing full accessibility, the venue offers services for those with mobility, hearing, and visual impairments.

## How to get to the Savoy Theatre 
The Savoy Theatre is centrally located in London and is easily accessible by both public and private transport. The theatre is easily reachable by bus, tube, and rail services. The nearest tube stations are Charing Cross (Bakerloo and Northern lines), Embankment (District, Circle, Bakerloo, and Northern lines), and Covent Garden (Piccadilly line). For those who prefer buses, services 6, 9, 11, 13, 15, 23, 87, 91, 139, and 176 stop near the theatre. For patrons driving private vehicles, the closest Q-Park car park is available at the nearby Chinatown. The theatre also participates in the Q-Park Theatreland Scheme, offering a 50% discount on parking.

## Additional Information 

Venue opens 1hr 30min before showtime.

Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

Savoy Theatre - LON

Savoy Theatre

The Savoy Theatre is a historic London venue offering diverse performances. It's centrally accessible by tube, bus, and car.

British actor Aimie Atkinson is best known for her Olivier Award-nominated performance in the orignal cast of Six as Katherine Howard. She's now portraying the iconic role of Vivian Ward in the West End premiere of Pretty Woman: The Musical.

Aimie Atkinson - Stars on Stage | London Theatre

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Born in Oxfordshire in 1981, Oliver Tompsett is an acclaimed West End actor. He’s currently playing William Shakespeare in *& Juliet*, and will soon take over as Edward Lewis in *Pretty Woman: The Musical*. 

After graduating from Arts Educational School, Tompsett made his West End debut in 2002 in the Olivier-winning Madness musical, *Our House*, at the Cambridge Theatre. He then joined the ensembles of *Mamma Mia!* at the Prince of Wales Theatre (2003), and *Notes from New York* at Trafalgar Studios (2004), before playing Caliph in *Kismet* (2005).

Tompsett starred in three shows in 2006. Firstly, he played Harry Lyton in the biographical musical *Over My Shoulder: The Story of Jessie Matthews* at the Wyndham's Theatre. He then played Ben in Peter Shaffer's *The Royal Hunt of the Sun* at the National Theatre, directed by Trevor Nunn. 

In September 2006, he was a part of the original *Wicked* London cast, led by Idina Menzel as Elphaba. After understudying Fiyero for a year, Tompsett took over the role from Adam Garcia, playing Fiyero from 2007 to 2010. 

Following *Wicked*, Tompsett found himself in back-to-back rock musicals. In 2011, he played Drew Boley in the West End premiere of *Rock of Ages* at the Shaftesbury Theatre, alongside Simon Lipkin as Lonny, Shayne Ward as Stacee Jaxx, and Zizi Strallen. The following year, he took over as Galileo in *We Will Rock You,* continuing with the show to its eventual 2014 closure.

After a short stint playing Phil Davis in *White Christmas* in Leeds, Tompsett returned to the West End in 2016, cast as Sky Masterson in *Guys & Dolls.* That same year, he appeared in gala performances of the comedy musical *Disaster!* alongside Sally Ann Triplett, Alice Fearn, and Seth Rudetsky.

In 2017, Tompsett succeeded Killian Donnelly and David Hunter as Charlie Price in *Kinky Boots*. He then went on to originate a role, cast as William Shakespeare in *& Juliet*. He starred in the Manchester premiere, and continued in the West End show, performing from 2019 - 2023. In an [*& Juliet* review on London Theatre](https://www.londontheatre.co.uk/reviews/review-max-martin-musical-and-juliet-shaftesbury-theatre), our critic said: "There's also powerful vocal work from two of our best pop theatre performers, Oliver Tompsett and Cassidy Janson, as William Shakespeare and Anne Hathaway."

After *& Juliet*, Tompsett will play Edward Lewis in *Pretty Woman: The Musical*, succeeding Danny Mac in the role. Tompsett is in *Pretty Woman: The Musical* from April to June 2023, staying with the show until it closes.

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The Adelphi Theatre, located in London's West End, is a historic venue recognised for its rich contribution to London's vibrant theatre scene. Exquisitely built in Art Deco architectural style, the Adelphi boasts an impressive history of notable performances and theatrical debuts since it first opened its doors in 1806. With a seating capacity of around 1,500, the venue ensures a sumptuous viewing experience enhanced by modern equipment, tastefully restored interiors, and comfortable seating that allows audiences to get lost in the art unfolding onstage. Over the years, the venue has hosted a range of compelling performances, be it dazzling musicals, thought-provoking dramas, or riveting mystery thrillers, contributing to its reputation as a central hub for quality theatre. Some of the famous shows to grace its stage include Chicago, Joseph and the Amazing Technicolor Dreamcoat, Evita, and more recently, Waitress. **How to get to the Adelphi Theatre**: Located on The Strand, the theatre is just a short walk away from various bus stops, tube stations, and railway stations. The nearest tube station, Covent Garden, is only a 5-minute walk away, while Charing Cross, the nearest railway station, is a 7-minute walk. Several bus routes service The Strand, making the theatre readily accessible from all parts of London.

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Adelphi Theatre

The historic Adelphi Theatre in London's West End hosts notable performances in 1,500-seating capacity auditorium, and is easily accessible via public transport.

Ages 7+. Under 16s must be accompanied by and sat next to an adult (18+). Children under 5 years will not be admitted. All persons attending, regardless of age, must have a ticket.

Wicked - LON [313]

Wicked

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As Glinda descends from the rafters in her bubble, the audience cheers immediately. As Elphaba defies gravity as she flies over the stage, the audience gasps with disbelief. It’s impossible not to be swept away in *Wicked*’s pure theatricality. More than 15 years after Wicked flew into the West End, the Olivier Award-winning musical is still an evening of sheer musical theatre bliss. 

Over 11 million people have visited the land of Oz across 6,000 performances and counting. The musical has won 13 awards, including the Olivier Award for Most Popular Show, and *Wicked* has become one of the most successful musicals of all time. Often when a show has been playing for a long time, it can lose some of the initial magic, but *Wicked* is still as lively and dynamic as ever.

Based on Gregory Maguire’s prequel novel of the same name, *Wicked* imagines an Oz before Dorothy followed the yellow brick road, one in which the “Wicked Witch” Elphaba and the “Good Witch” Galinda are roommates at school. *Wicked* is a story of an unlikely friendship and how the truth isn’t always what meets the eye. Add spine-tingling ballads, a dragon, and stage magic into the mix, and Wicked sets the bar for what musical theatre can be.

Winnie Holzman’s multilayered book peels back L. Frank Baum’s *The Wizard of Oz* to shine more light on what happens along the way. Every time you watch Wicked, you’ll hear a new line, or see a new character approach that uncovers more information; it’s no wonder that Wicked fans — Ozians — visit the land of Oz dozens of times to unpick the hidden truths about the lion, the scarecrow, and the tin man.

*Wicked* wouldn’t be complete without [Stephen Schwartz’s influential score](https://www.londontheatre.co.uk/theatre-news/news/stephen-schwartz-musicals); and songs like “For Good” now transcend popular culture as pop stars, like Leann Rimes and Delta Goodrem, cover the iconic duet. But there’s no place like home, and that’s hearing Schwartz’s anthemic songs live, complete with a 23-piece orchestra. Pair Schwartz’s music with Wayne Cilento’s explosive choreography, especially in the show-stopping “Dancing Through Life” when the students go to their first dance, and Wicked is poetry in motion.

Eugene Lee’s intricate and moody scenic design extends into the auditorium, thanks to a giant smoking dragon and flying monkeys climbing up the walls. Kenneth Posner’s lighting design and Tony Meola’s sound design amplify the tension, especially when the animated wizard mask comes alive and the wizard’s booming voice reverberates around the auditorium. But there’s plenty of brightness too, especially in Susan Hilferty’s viridescent Ozian costumes and Galinda’s kaleidoscopic wardrobe.

Elphaba has become a coveted role for thousands of performers. From Idina Menzel winning the Tony Award for originating the role on Broadway to Kerry Ellis, Rachel Tucker, and Louise Dearman, each performer has put their own spin on the role and the iconic ballads: “The Wizard and I,” I’m Not That Girl,” “Defying Gravity,” and “No Good Deed”. Lucie Jones comes into her own as the green witch, deftly moving from frustration to sweetness to fury, as Elphaba navigates the world around her and quickly learns that not everyone means what they say. Helen Woolf is bubbly perfection as Glinda, with her sweet soprano and dry wit.

There’s something in *Wicked* for everyone. From the childlike wonder at the magical world of Oz to the political undertones about our leaders’ role in society to the universal message that true beauty lies within, *Wicked* leaves the audience with food for thought and also, wanting more. It’s no wonder that the musical has captured the hearts of so many over the years and will continue to do so for many years to come. *Wicked* is certainly here to stay in the West End for good. 

*Wicked is at the Apollo Victoria Theatre. Book Wicked tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=1587&content_product_id=1587&venue_id=138)

‘Wicked’ review — the West End hit flies high at the Apollo Victoria Theatre 

Read our five-star review of *Wicked,* the Stephen Schwartz musical starring Lucie Jones and Helen Woolf, at the Apollo Victoria Theatre. Get *Wicked* tickets now.

“London’s No.1 show” (LBC) is back! Celebrating 16 triumphant years at the Apollo Victoria Theatre

The Apollo Victoria Theatre is a world-renowned venue located in the heart of London. Since its inception in 1929, the theatre has been staging a myriad of performances, constantly exuding a vibrant atmosphere. With its striking art deco interior and a capacity of 2,304, the theatre continues to provide a rich sensory experience for all attendees. The Apollo Victoria Theatre is especially famous for hosting long-lasting musicals including 'Wicked' which has been running since 2006. The theatre provides state-of-the-art sound and light systems which complement the dynamic and innovative performances that grace its stage. Its enviable location, in the vicinity of Victoria Station, makes it effortlessly accessible to both local and international patrons.

__Getting to the Venue__ 

The Apollo Victoria Theatre is conveniently located at 17 Wilton Rd, London. It can be easily reached by numerous means of public transportation. Victoria Station, which services the Victoria, District and Circle Lines, is just opposite the theatre. Numerous buses also stop near the theatre including routes 38, 73, 8, amongst others. For those preferring to drive, the theatre is part of the Q-Park Scheme offering a 50% discount on car parking in some locations.

__Additional information__

Venue opens 90 minutes prior to the performance with bars, kiosks and toilet facilities available.
Auditorium opens for seating 55 minutes prior to the performance.
Latecomers can only be admitted into the auditorium at a suitable break in the performance, which is approximately
25 minutes after curtain-up.

Apollo Victoria Theatre - LON

Apollo Victoria Theatre

The Apollo Victoria Theatre is a major London venue known for its long-running musicals, state-of-the-art facilities, and easily accessible location near Victoria Station.

& Juliet [14834] - LON

& Juliet

& Juliet [14834] - LON Product Media

The biggest hit, by far, of the current Broadway season, so far, is Moulin Rouge, a compilation musical that folds extracts from over 70 pop songs, from multiple sources, into telling a story set in the eponymous Parisian nightclub. Now, the new musical <a href="/show/and-juliet">&amp; Juliet</a> that has just received its world premiere in the West End after a try-out run in Manchester, tries to replicate some of the same formula, only using a more economical track listing of some 30 songs. It is also likewise set in Paris - and yes, the Moulin Rouge and its windmill are even referenced in an onstage set model, too, plus the use of similarly prominent title signage.But this time the songs are heard in more complete (if not necessarily as complex) versions than the songs in Moulin Rouge, though there's a similar relentless and restless forward propulsion to how they're integrated into the plot by David West Read's book, which has Shakespeare (with a big assist from his wife Anne Hathaway) re-writing Romeo and Juliet in a way that keeps both of them alive - and gives Juliet a lot more agency. It also throws in a new gay subplot for good measure.But this is no Kiss Me, Kate, the 1949 classic which gave a backstage musical spin to a troubled out-of-town production of Shakespeare's The Taming of the Shrew, set to one of Cole Porter's most scintillating scores; nor is it West Side Story, which already adapted Romeo and Juliet to the streets of 1950s New York to Leonard Bernstein's sinewy, brassy music.Here, instead, all the songs originate from a single songwriting source, the Swedish pop hitmaker Max Martin, whose songs for the likes of Britney Spears, the Backstreet Boys, Katy Perry, Celine Dion, NSYNC&nbsp;and Justin Timberlake, amongst others, have placed him behind only Paul McCartney and John Lennon in achieving the global record for number one singles on the Billboard charts (22, to McCartney's 32 and Lennon's 26).That ensures a high level of familiarity for pop fans (and even me, who doesn't follow the genre much); like the songs of ABBA&nbsp;that kicked off the penchant for folding existing pop catalogues into new stories with <a href="/show/mamma-mia">Mamma Mia!</a>, there's already a lot of identification and love for material that has been impossible to avoid in popular culture. &nbsp;And this likeable and sometimes spectacular production - directed by Luke Sheppard and choreographed by Jennifer Weber with vigour and discipline, gives them a full-bodied and full-blooded outing. Frequently resembling a series of pop videos come to life - thanks to performance platforms that come out of the floor, or benches that take on an aerial life of their own in Soutra Gilmour's sets, aided by Andrzej Goulding's dazzling projections - it is performed with a glinting knowingness and powerful pop theatre voices.The company is led by the extraordinary Miriam-Teak Lee in the title role of Juliet, who brings a sizzling presence, incredible vocals and moves to turn her into a force of nature.&nbsp;There's also powerful vocal work from two of our best pop theatre performers, Oliver Tompsett and Cassidy Janson, as William Shakespeare and Anne Hathaway, and likeable support from Jordan Luke Gage as Romeo, Melanie La Barrie as Juliet's Nurse and Arun Blair-Mangat and Tim Mahendran as the gay couple. &nbsp;A popular hit made from popular hits has been born.<a href="/show/and-juliet">&amp; Juliet</a> is booking at the <a href="/theatres/shaftesbury-theatre">Shaftesbury Theatre</a> until 30th May 2020.&nbsp;<a href="/show/and-juliet">&amp; Juliet tickets</a>&nbsp;are available now.&nbsp;

Review - Max Martin musical & Juliet at the Shaftesbury Theatre

[**_& JULIET_** ](https://www.londontheatre.co.uk/show/14834-and-juliet-tickets) 
**THE MOST FAMOUS LOVE STORY OF ALL TIME. REMIXED.**   

What if Juliet’s famous ending was really just her beginning? What if she decided to choose her own fate?

Join Juliet on this sensational journey of self-discovery and second chances, told through some of the most glittering pop anthems of the last three decades from legendary songwriter **Max Martin**, including …_Baby One More Time_, _Since U_ _Been Gone, Roar_, _Everybody (Backstreet's Back)_, _Love Me Like You Do_ and _Can’t Feel My Face,_ all brilliantly arranged by the Tony and Grammy Award-winning orchestrator **Bill Sherman**.

**Shaftesbury Theatre** is an iconic theatre venue in the heart of London's West End. It's been a central part of London's theatre scene since its opening in 1911, boasting more than a century of remarkable performances. Widely esteemed for its architectural grandeur, it ordinarily retains a capacity of 1,400 seats that remain filled with regulars and tourists from around the globe. The theatre has primarily focused on musical-style performances but has also accommodated some premium works of drama over the years. Its historic record includes hosting some of the longest-running shows in London, like 'Hair’ and 'Hairspray'.

**How to get to Shaftesbury Theatre**

Located in the London Borough of Camden, Shaftesbury Theatre is easily accessible by various modes of transport. By Tube, the nearest station is Holborn, a short 6-minute walk away on Kingsway road. Alternatively, for those preferring to travel by bus, various routes stop near the theatre including numbers 1, 8, 19, 38, 55, 98, 242, and N98. If you're driving, parking facilities can be availed at Bloomsbury Square Car Park just 5 minutes away with a pre-booked parking space. If walking or biking, the theatre is within easy distance of several central London locations.

Shaftesbury Theatre - LON

Shaftesbury Theatre

The Shaftesbury Theatre is a historic London venue known for musicals, easily reached by tube and bus, with nearby parking.

Read more about Oliver Tompsett in West End shows. See Oliver Tompsett in London musicals.

Oliver Tompsett - Stars on Stage | London Theatre

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Savoy Theatre LON

Savoy Theatre - TodayTix

The Savoy Theatre opened on 21 Oct. 1929. The building was known for being the first public building to be lit entirely by electricity. 

When a fire ravaged the theatre in 1990, destroying the interior, it was meticulously restored by Sir William Whitfield to the original 1929 designs. The theatre reopened on 19 Jul. 1993.

The D’Oyly Carte Opera Company played several seasons at the theatre over the past 20 years, their last production being *HMS Pinafore* in 2003. 

The theatre has also housed several musicals, including *She Loves Me* in 1994 starring John Gordon Sinclair and Ruthie Henshall, and has played host to musicals exclusively since 2006. 

## Savoy Theatre Seating Information

The auditorium has three levels - Stalls, Dress Circle and Grand Circle.

In the Stalls, the legroom throughout is very good, and the seating is well raked to ensure good views.

In the Dress Circle, the overhang of the Grand Circle affects the view from Row K onwards. The amount of legroom also decreases the further back you sit.

The Grand Circle feels rather far from the stage.

## Where is *Pretty Woman: The Musical* in London?

*Pretty Woman: The Musical* is at the Savoy Theatre in London. The Savoy Theatre is located on the Strand. It's close to West End theatres including the Adelphi Theatre and the Vaudeville Theatre.

## Additional Information 

Venue opens 1hr 30min before showtime.

Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

Savoy Theatre - London Theatre

The Savoy Theatre, opened in 1929, was the first public building lit entirely by electricity. After a fire, it was restored to its original design. Known for hosting the D’Oyly Carte Opera Company and various musicals, it now exclusively features musicals.

Pretty Woman: The Musical Tickets

About Pretty Woman: The Musical

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Stars on stage

Aimie Atkinson

Oliver Tompsett

Pretty Woman: The Musical cast and creative team

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Savoy Theatre

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