London in the eighties there is nothing quite like going to London to see a musical, the excitement of that childhood trip I remember well. Early mornings here in Liverpool and the anticipation of the Pullman train journey down to Euston station in London when my father had to go on business.

My mother, sister and I were promised a trip shopping in London coupled with a musical. A sense of anticipation grew as the day went on, arriving at the Cumberland hotel while mother adorned in here fur coat discussed what seats were available for which shows. I guess it was about 1982 and a host of Andrew Lloyd Webber productions were being staged in the West End, Starlight Express, Sunset Boulevard, The Phantom of the Opera coupled with the rock musical Time or Mutiny on the Bounty. How times have changed.

Then little girls wore long dresses and ladies in cocktail dresses whilst the men wore black tie and evening jackets a really sense of occasion and like all young children my sister and I simply loved getting dresses up.

Finally the moment arrived seated in the centre circle waiting for the curtain to raise my sister on my left with mum and dad seated to my right , opera glasses in hand star struck waiting for the orchestra to play that first note. It mattered not which musical or even which theatre just those stage lights and that compelling tune that fills the theatre. On this occasion it happened to Sunset Boulevard and the curtained began to raise.

I knew from the very first time I watched my first musical that I would be a life long theatre goer and would dream of one day performing upon that stage. The music filled my head and my heart and the show began. There is no experience quiet like it and the glamour of the eighties theatre nights were there for everyone too see.

Before you knew where we were it was the interval, as the ladies and gentlemen flowed into the bar there was a silver tray with the name Warwick upon it our order already for us at the bar in the theatre, refreshments for all . Cigarettes and cigars lit the room filled with chatter of the performances while the air filled with the smell of cigars.

Five minutes ten minutes who knows soon we were seated back in our velvet seats again waiting for the final encounter. I will never forget the performance of an aged Hollywood star trying to deal with the end of the silent era a wonderful story moving and yet enlightening. The music seemed timeless and the experience will forever stick in my memory, ever show as memorable as the last ever performance unique.

Finally the audience raised the roof with applause standing clapping endlessness as the performers re-entered the stage to take there curtain call louder and louder the theatre rang with applause. Peering over the centre circle to take one last look at the stage I can remember that feeling a slight tear in my eye produced by happiness and a slight yawn as it was way past my bedtime. A family experience that once taken you would never forget.

As I lay in my bed that night I can remember seeing the lights and hearing the music melodically soothing me to sleep.

Regarded as one of Australia’s most beloved landmarks, Princess Theatre hosts world class stage dramas and musical productions like Les Miserables, The Phantom of the Opera, Cats, Mama Mia!, The Sound of Music  and The Producers. This theatre is the second building in the same site that was used for entertainment for a period of 135 years. The first building was Astley’s Amphitheatre that was opened in 1954 and the present theatre was opened in 1886 with the name christened as Princess Theatre. The theatre has been refurbished several times after this period and today it boasts as one of the theatres with world’s first sliding roof and ceiling with state of the art electric stage lighting.

It is also said that the theatre is haunted by a friendly ghost named as Federici who died after a performance of the opera, ‘Faust’. As an honour a seat in the third row dress circle is kept empty since it is regarded as a sign of good luck to see him in the theatre. His appearance has been witnessed by many staff in the theatre. This theatre’s grand Victorian style elegant foyer and stairway is compared to that of the Paris Opera. The theatre has a seating capacity of nearly 1500 with other modern facilities for the visitors as well. This placed is also used as the venue for Melbourne International Comedy Festival.

Visitors also have the luxury of dinning in the Melba or Marriner rooms before they visit to see a musical production that takes place in the theatre. While Princess Theatre is the ideal place for a perfect evening of entertainment, visitors also have the luxury of entering into a perfect mood of relaxation at a Spa in Melbourne. One of the best spas would be Chuan Spa Melbourne.

The existence of the theatre in the city of Odessa began from the first days of the city’s foundation. The Opera & Ballet Theatre is entitled to be called the elder among a great number of cultural institutions. Odessa strived for the right of building the theatre in 1804, and in 1809 it was already built. On the10th of February 1810 the first performance took place – the Russian troupe by Fortunatov staged a one -act opera by Fralih “A New Family” and a vaudeville “A Consolating Widow”.

But, unfortunately, in 1873 an old building was burnt. And it was burnt completely. The restoration was our of the question. It was a tragedy, which was relented by one circum-stance – nobody suffered from it. It was suggested to draw up a draft of a new city theatre to Vienna architects F. Felner Y. Helmer. Eleven years have passed since laying of the first brick into the foundation of the new theatre building. And the theatre opening took place on the 1st of October 1887.

The building of Odessa Opera and Ballet House was fulfilled in the style of Vienna “baroque”, which was the main in the European art from the end of the XVIth up to the middle of the XVIIIth century.

There is a sculptural group over the front, portraying one of the muse – a patron of art- Melpomena. She is sitting in the chariot, harnessed by the four furious panthers, which were subdued, her. A little bit lower there are sculptural groups from the ancient mythology subjects. At the bottom, near the central entrance, on the high pedestals, two sculptural groups are set up, personifying Comedy and Tragedy: on the left – a fragment from the tragedy by Euripi “Ippolit”, on the right – an episode from the comedy by Aristophanes: “The Birds”.

Along the pediment of the building in the bays of the upper circle the busts of the brilliant Russian art & literature creators. Pushkin, Glinka, Griboyedov, Gogol are placed. The most beautiful part of the building – is its hall. Its architecture is maintains in “rococo” style.

It is luxuriously decorated by various molded ornaments, with the fine gilt. The ceiling is of a special interest. Four pictures by Lefler in the form of a locket (medallion) are in its basis. The scenes from the works are Syakespeare: “Hamlet”, “A Dream in the Summer Night”, “The Winter Fairytale” & “As You like It”, is depicted on them.

A big chandelier in the centre of the ceiling strikes by its drake of tracery details. There are many different stucco moldings in the hall and in all the circles.

The modeling in the circles is fulfilled with a special grace. Side lobbies and along staircases, leading to the boxes. All kinds of lampions, candelabrums and bronze ornamented inlays are originally and inventively made. Perhaps, in any of the theatres, there is no so tastefully made curtain, outlined by the prominent theatrical painter – Golovin. The area of the stage is 500 Esq. The unique acoustics allows to deliver even a whisper from the stage to any part of the hall.

The Theatre itself is interesting not only by us architecture, but by its rich creative biography. The great merit in the development of musical culture in the south of our country belongs, to this theatre. P.Tchaikovsky, N.Rimsky-Korsakov, S.Rachmaninoff, Ezhen Izai, Pablo Sarasate and others performed their works. There appeared on the stage the actors, who glorified the home art/ the great singers: Fyodor Chaliapin, Solomiya Grushelnitskaya, Antonina Nezhdanova, Leonid Sobinov, Tito Ruffo, Batistini, Jeraldoni sang here, Anna Pavlova, the first world ballet-dancer, had been dancing here. In 1926 the theatre was awarded the title of “Academic”. The theatre ballet group consists of 50 people. Among them such Honored ballet dances of Ukraine as Andrey Musorin and Yelenaa Kamenskih – the participants of the Farewell Tour of Rudolf Nuriyev, and others. “Jizelle”, “Sleeping Beauty”, “Nut-Cracker”, “Don Quihote”, “Chopiniana”, “Un Ballo in Maschera”, “Hunchback Horse”, “Carmen-Suite” are in the repertoire of the theatre. The ballet dancers were touring in Canada, Japan, Vietnam, Ceylon, China, Hungary, Bulgaria, Finland, South Korea, Italy, Spain and Portugal – with Maya Plisetskaya and in Indonesia, Switzerland, Sweden and other countries. The opera singer’s troupe consists of 40 people. They are National artists of Ukraine – Lyudmila Shirina, Anatoliy Boyko, Anatoliy Kapustin and Vladimir Tarasov, the Honored artists of Ukraine: Anisimova Tatyana, Irina Berlizova and Nataja Yutesh, Pavel Yermolenko, Laureates of International Contests. Viktor Mityushkin, Shalva Mukeria, Natlja Shvchenko, Ruslan Zinevich and others.

There are 25 operas, such as “Carmen”, “Aida”, “Il Trovatore”, “La Traviata”, “Cavaleria Rusticana”, “I Pagliacci”, “Iolanta”, “Madam Butterfly”, Rigoletto”, and others are in the repertoire of theatre. The theatre opera singers were appearing on the stages of Spain, Italy, France, Finland, Japan, Hungary, Bulgaria, Romania, Belgium, Greece and the individual opera soloists – practically in all the countries of the world.

“If the world were like the movies

we would never make mistakes

we’d correct our little blunders

and select our better takes”

- From the 1982 film

“My Favorite Year”

The shows I’m reviewing this week, “The School for Scandal” and “The Altar Boyz,” are a mixed bag of entertainment pluses and minuses. While each show has a lot going for it, each has a way to go or grow, depending on how you look at it.

The Role Players Ensemble Theatre in Danville is presenting a brilliantly clever restoration comedy, “The School for Scandal,” by the articulate author, renowned orator and British parliamentarian, Richard Brinsley Sheridan.

First produced in 1777, Sheridan’s marvelous play affectionately satirizes the fashionable society of the wealthy class, with its overt materialism, gossip and hypocrisy. His story takes place within an elitist social circle whose members’ favorite pastime seems to favor finding someone to defame, ridicule or malign through carefully constructed falsehoods and/or innuendo. These individuals focus their primary interests into devising secret, cunning and complicated schemes, all to achieve a particular goal or to cause harm to others, often for their own personal gain or pure entertainment. These egregious character-slayers comprise many layers in “School for Scandal.”

This is a complicated play and certainly a very ambitious play for community theater

There are 15 diversely comic and intriguing characters in this farcical story about sibling rivalry, love, lust, fidelity, infidelity and artificial relationships. The characters are given names that in some small way describe some aspect of their character, such as Snake Lady Sneerwell, Sir Benjamin Backbite, Mrs. Candor, Mr. Crabtree, Sir Peter Teazle and Lady Teazle, Moses and the Surface Brothers.

The plot is blunt. Practically everyone has something to glean by mischievous and treacherous means.

Director Sue Trigg has done an excellent job of selecting cast members capable of providing full meaning to their characters. This play is an outrageous farce, a grand comedy and for the most part it is carried off very well. The language is “stately English” and at times is difficult to capture, for lack of familiarity.

It was not until I went online to review the actual script that I fully grasped some of the relationships. The play opens with two of the lesser support characters plotting to spoil Charles Surface’s character. It is here where we begin to grasp that there is a circle of socializers who gather routinely to pander in slander, to gossip and trade “delicious” tales out of context, fabrications and fornications of the truth.

Lady Sneerwell wants to damage a budding relationship between Charles Surface and Sir Peter Teazle’s ward, Maria, because she had at one time been in a relationship with Charles and doesn’t want him to marry this beautiful younger woman. Sir Peter Teazle has a much younger wife, who has romantic aspirations toward Charles’ brother, Joseph. While Joseph pretends to have similar inclinations toward Lady Teazle, he does so in order to get back at his brother, Charles, because he also lusts after the attractive young Maria.

Intrigue after intrigue compound the relationships, especially that of a wealthy uncle of the brothers, Sir Oliver Surface. He arrives on the scene incognito to determine the true character of his nephews, to help him decide who is the most worthy to inherit his estate when he dies. Sir Oliver Surface is played by Chris Chapman. Lady Teazle is played by Kathryne Davidson, Maria by Xanadu Bruggers, Mrs. Candor by Melynda Kiring, Mr. Crabtree by Candy Campbell (a lady who plays an older man very well), Moses by Elias D. Protopsaltis, Rowley by Michael Green, Careless by Jill Davidson, Snake and Sir Benjamin Backbite by Paul Plain and the stalwart servant by Joel Stefani.

Sir Peter Teazle (John Blytt) acknowledges his uneven and contradictory friendship with his deceased friend’s sons, the brothers Joseph Surface (Michael Sally), and Charles Surface (Craig Eychner). He believes Joseph to be the epitome of virtue and honor, while he believes Charles to be the opposite in character, the epitome of personal corruption and deplorable financial carelessness. He wishes that his young ward, Maria, would find Joseph an acceptable suitor for her hand in marriage, over her obviously romantic admiration for the more colorful and more handsome Charles Surface.

As the play develops, we quickly discover that brother Joseph Surface is a two- faced individual. Lady Snearwell describes him thus, “I have found him out a long time since. I know him to be artful, selfish and malicious-in short, a sentimental knave; (but) while with Sir Peter, and indeed with all his (general) acquaintance, he passes for a youthful miracle of prudence, good sense, and benevolence.”

I enjoyed the play very much and laughed at times. I did find fault with some aspects, but not enough to belabor any specific points. It was obvious that the play fell shallow on some ears. This is a long play, too long without a full professional cast. The first act was hard to sit through, but the second act moved much better. On the whole, the production never quite came together.

While every member of the cast contributes significantly to this production, the following actors deserve “outstanding” kudos for their efforts: Michael Sally, Melynda Kiring and Craig Eychner.

This humorous restoration comedy plays Thursdays through Saturdays at 8 p.m., with Sunday matinees at 2 p.m. through Saturday, May 10, in the Community Center Theater at 420 Front Street in Danville.

Tickets may be purchased by calling 314-3400 or 314-3463, or online at www.villagetheatreshows.com, or in person at the Community Center, 420 Front Street, in Danville. Tickets are a reasonable $22 to $25 each.

“Altar Boyz” at the Willows

The Willows “Cabaret” Theatre in Martinez is carrying forward the little theater’s theater of Catholicism with another musical that will be appreciated by anyone with a personal history closely aligned with Catholic experiences. This cabaret-style theatre is presenting the Off-Broadway musical, “Altar Boyz.”

This is a venue where the audience sits at small tables where they can order drinks and snacks to enjoy during the show.

This upbeat, modern religious rock musical professes no one specific religious point of view. It must have been penned by someone with a great knowledge of Catholic ritual and rhetoric. “Altar Boyz” tells the inspiring, upbeat story of five guys from small-town USA who are drawn together in their quest to “save souls.” They form a singing, dancing company that travels town to town, like a comic revival show, seeking to inspire, cajole, convert and re-commit a sagging religious following among the young; to seek out and embrace Jesus as their savior. They make fun of religion, but not too offensively.

With songs such as “Jesus Called Me on My Cell Phone” and “Girl You Make Me Want to Wait,” the verbal message is loud and clear, but their sinfully terrific dancing, suggestive body language and straight street talk are modern and in touch with today’s hip overtures.

The musical is youthful, exuberant and exciting, tuning the audience into their party-exhilaration wavelength before the evening is over. The songs include the terrific “Rhythm in Me,” “Church Rulez,” “Something About You,” “Everybody Fits,” “La Vida Eternal” and “I Believe,” to mention a few. The songs relate to issues in the boy’s lives as well as issues that many audience members must have found relative as well. The audience was enthusiastic and appreciative. The lyrics are clever and fun.

Director and Choreographer Mickey Nugent has brought together five unique young men that include Kenneth Scott as Matthew, Bobby Bryce as Mark, Michael Scott Wells as Luke, Rod Voltaire Edora as Juan and Herbie Raad as Abraham. The musical director, Carl Pantle, provides great accompaniment.

The sound didn’t work for me. It too loud to be comfortable and many lines were walked over or just not delivered clearly. Rod Voltaire Edora who portrayed Juan had such a thick accent that I missed many of his lines entirely. They are all outstanding talented performers, but if you cannot understand them, the show loses much of its punch.

The other problem I have is that the theater seating is just too crowded for comfort. Other guests expressed the same feeling to me. This is a great show, an attractive little venue, but how often does one want to be so crowded that when the young women who serve drinks and snacks (at a fairly hefty price) have to shove their way past you so that they can reach other patrons.

If you sit near the aisle, you continually have to move your chair even closer to an already uncomfortably small table and other guests, so much so that it disturbed my enjoyment of the show and its hardworking performers. This is not good. One reason I don’t often go back to this theater to review shows is that the experience of the theater itself is basically the same, and that’s a shame! The whole concept is a great idea, if they just didn’t try to squeeze so many people in.

“Altar Boyz” continues Wednesdays at 3:30 and 7:30 p.m., Thursdays at 7:30, Fridays at 8, Saturdays at 2 and 8, with Sunday performances at 3, now through May 11.

The Willows Cabaret “Campbell” Theatre is located at 636 Ward Street in Downtown Martinez, one block east of Main Street at the corner of Estudillo Street. Call 798-1300 for tickets or visit the Willows Web site at www.willowstheatre.org. Tickets range between $20 and $30 each with discounts for seniors.

Why did you decide to start using social media?
We started for a couple of reasons. We knew we needed to start trying new ways of reaching audiences. Print advertising has been losing its effectiveness for years. And it seemed like everyone was getting MySpace pages and blogging. It just seemed like to band wagon to jump on. We started using social media at the same time we really stepped up our grassroots marketing efforts. We’re really focused on creating good word of mouth buzz, and social media is a great way to do that.
Anthology of Instrumental Music from the End of the Sixteenth to the End of the Seventeenth Century (Da Capo Press Music Reprint Series)
How did you start?
We started about 3 years ago with a MySpace page, followed by a Facebook page and Youtube a few months later. We started blogging about 2 years ago and have been on Twitter since February 2009. We just jumped in. Not much of a plan at all! Three years ago when we started, there wasn’t as much buzz about social media as there is now. There weren’t conferences and webinars and people telling you how to integrate you social media plan with the rest of your marketing or how to calculate ROI. Or maybe there were, but I didn’t see them! For us, it was a way to reach younger audiences (although that really hasn’t been the case. The majority of our Facebook users are in the 35-55 age group!) and to expand marketing efforts as print advertising becomes less effective and print editorial space declines. So we jumped in, figured out how all the different outlets worked, and then went back and thought about planning. Which worked for us, I think if you wait until you have the perfect plan, you’ll never dive in and figure out how to tweet or upload a video or whatever.

What tools/sites are your currently using?
Facebook, Twitter, Youtube and a blog. We also have a Myspace, but just keep it updated with show dates, not much interaction there anymore for us.

What results have you seen?
I think Twitter has been amazing at raising our visibility among local people and businesses. MET has definitely been given opportunities though the twitter community- partnerships and whatnot, that we would not even know about otherwise. It’s really hard to judge the impact on ticket sales, but I look at our social media efforts as public relations, not advertising. Our blog posts, videos and Facebook posts have really started to generate conversations about our work, which is super exciting. Just this week we got ‘like’s and comments on facebook from people I don’t even know! So I see our online community starting to grow beyond the inner circle of employees, board members, volunteers, season ticket holders, etc. I think that’s the most exciting part – to put up a video of a rehearsal, or interview with a director and a week later over 100 people have watched it, and some have posted comments and we get to have a conversation. A conversation that we would never have without social media. People would just come to see a show, sit in the seat and maybe read the director’s notes in the playbill, then go home. But with our social media efforts, the experience begins even before they get here – with the reading of a blog post, or commenting about rehearsal photos on Facebook, or watching a video. And then after they see the show, there’s a place for them to talk about what they thought, it’s a whole different way to connect with patrons.

What has been your biggest challenge in using social media tools?
Time! Social media is time consuming. Maintaining a consistent presence on Facebook and Twitter, shooting, editing and uploading video to YouTube and trying to blog at least 3 times a week takes a lot of time. So juggling that with all the other things on my plate is hard, especially since social media is so much more fun than the other things on my plate! I’d say a second big challenge is measuring results in a way that I can present to my boss and to our board of directors. I know MET’s visibility has been raised through our social media efforts, but I don’t have any numbers or charts to back that up. And it’s almost impossible to track how social media affects our ticket sales. But in the end, our social media strategy is to engage our audience members and our community and I think we’re doing that.

The first few years of the theatre saw the performance of the first modern English opera, “The Mountain Sylph” the same year of its opening. This performance was followed by “Fair Rosamun,” performed in 1837, “Farinelli” in 1839 and “Blanche of Jersey,” shown in 1840.

Michael Balfe managed the theatre from 1841 to 1843, producing National Opera, but this proved to be unsuccessful. The works of Charles Dickens became associated with the theatre at this time, and an adaptation of “Martin Chuzzlewit” ran for more than 100 performances between 1844 and 1845.

Madame Lucia Elizabeth Vestris managed the theatre from 1847 to 1855 and produced shows by James Planché and the adaptation of “A Tale of Two Cities” by Tom Taylor. It was then managed by Charles Fechter from 1863 to 1867.
Canvas Print, Sherlock Holmes: The Lyceum Theatre, London – 12 x 18
In 1871, under manager Hezekiah Linthicum Bateman, the theatre produced shows starring Sir Henry Irving. In 1874, “Hamlet” ran for 200 nights with Irving in the starring role. Upon Bateman’s death in 1878, Irving took over the theatre. During his tenure as manager, several popular shows were played, including “The Merchant of Venice,” “King Lear,” and “Much Ado About Nothing.”
1904 saw the rebuilding of the theatre’s interior and the theatre began presenting music and variety shows, trying to compete with the London Coliseum and the Palace Theatre. This, however, was not successful, and the theatre began, once again, showcasing strictly drama. In 1919, more alterations were made and dramas continued playing for 10 months out of every year.

In 1937, the theatre was converted into a cinema, but only one film, “The Gang Show,” was ever shown, in April of 1937. The following month, the space was converted back into a live theatre venue.

The London City Council bought the building in 1939, planning to demolish it. After the war, the demolition plans were abandoned, and the building was reopened as a ballroom. During the 1960s and 1970s, the space was used as a concert venue and for television broadcasts.

The theatre shut down in 1986. Owner Brent Walker leased the space but eventually gave up the lease, allowing the theatre to be restored and in 1996, the space was reconverted into a theatre with the capabilities to present large-scale musicals or opera. “The Lion King” musical has been playing since 1999.

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After The Sound of Music has finished its run, the London Palladium will be gearing up for the performance of Sister Act. The musical version of Sister Act is based on the movie, which starred Whoopi Goldberg as Deloris, a Reno singer who witnesses a crime and is placed in the witness protection program. The police place her in a convent in the guise of a nun, and Deloris proceeds to revolutionize the convent’s choir program. Whoopi Goldberg will be producing the show, but she will not play the lead.

The London Palladium has an interesting history. It began as a wooden building called the Corinthian Bazaar, which had a strange attraction – a house for birds. After the Corinthian Bazaar closed, it was rebuilt and used to host a circus, and later an ice skating rink, which operated for ten years. After the ice skating rink closed down, the building was redesigned by Frank Matcham.

Beginning in 1945, Val Parnell began booking a number of big name acts. Some of the performers who were booked at the Palladium during this time were Judy Garland, Ella Fitzgerald, Frank Sinatra, Bing Crosby and Sammy Davis, Jr.
Every night at the London Palladium
In 1955, the London Palladium became the venue for a variety show that was broadcast live each week. The show was called Sunday Night at the London Palladium and ran until 1967. The Palladium hosted another variety show in the late 1980’s. This show was called Live from the Palladium.

Recent shows at the Palladium include Sinatra at the London Palladium in 2006, Scrooge: The Musical in 2005 and Chitty Chitty Bang Bang in 2002. Chitty Chitty Bang Bang has been the London Palladium’s most successful production. It ran for three and a half years.

Some people claim that the London Palladium is haunted by a woman wearing a crinoline dress. She is said to appear on the Palladium’s Crimson Staircase, usually when the theatre is nearly empty and the only people around are members of the staff.

The theatre seats 2,286 people and is air conditioned. There are three levels of seating at the Palladium: stalls, Royal Circle and Upper Circle. The stalls offer good views, except for the last six rows, and the view is also good from the Royal Circle. The view from the Upper Circle is lessened due to the height. In rows A and B it may be necessary to lean to see over the handrail. However, these seats are priced lower accordingly.

The London Palladium is located on Argyll Street, near Oxford Street and Soho. The stage door is located on Great Marlborough Street.

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After “Blue Bell,” the theatre showed “The Beauty of Bath” in 1906, “The Gay Gordons” in 1907, and the site was used as the rehearsal space for “Le Sacre du Printemps,” a controversial play which premiered in Paris later that year. In 1920, “The Unknown” was performed and from 1925 to 1933, it was the performing center for farces by Ben Travers, featuring Norma Varden, Winifred Shotter, Robertson Hare, comedian Tom Walls and Yvonne Arnauld, a popular singer of the time. These performances, played exclusively at this theatre, were known as “The Aldwych Farces.” In 1933, a new version of “Das Dreimäderlhaus” was presented at the theatre under the title “Lilac Time.” “A Streetcar Named Desire” was shown in 1949 and the Academy Award-winning actress Vivien Leigh, who had won the award for the film version of the play, performed. The show was directed by Laurence Olivier, Leigh’s husband.
Shelley Duvall’s Faerie Tale Theatre: The Complete Collection
In December of 1960, the theatre management announced that the Royal Shakespeare Company of Stratford-upon-Avon was planning to base its London productions in the theatre for the next three years. In actuality, the group stayed in the theatre for more than 20 years, moving to the Barbican Arts Center in 1982. During the company’s time in the theatre, they produced many popular shows including “The Greeks,” “Nicholas Nickleby,” and multiple Shakespeare shows.

From 1990 to 1991, “Private Lives,” starring Joan Collins, was shown at the Aldwych. Other productions include “An Inspector Calls,” shown from 1993 to 1995; “Indian Ink,” running from 1995 to 1996; “Tolstoy,” shown from April to May 1996; Andrew Lloyd Webber and Jim Steinman’s “Whistle Down the Wind,” which ran from 1998 to 2001; “Thunderbirds FAB,” performed from 2001 to 2002; “Fame – the Musical,” which had an impressive run spanning from Sept. 6, 2002, to April 22, 2006; and “Dirty Dancing – the Classic Story on Stage,” which premiered Sept. 28, 2006, and continues to play currently.
Aldwych Theatre Presents Miss Alexandra Carlisle as Proud Maisie 12×18 Giclee on canvas
The theatre has a potential capacity of 1,176 patrons, but as the standing areas are rarely used, it effectively has 1,092 seats. The stalls of the theatre have two aisles that run from the back of the theatre to row HH. The seats in the front section have no gangway and are in one central block. The Dress Circle offers great views of the stage, sans row M, which is affected by the Upper Circle’s overhang. There are also a few front-row seats which may have views blocked by a handrail.

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