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Waiting for Godot - LON [42509]

Waiting for Godot PROD-2310-Enhanced-NR

Waiting for Godot

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Waiting for Godot PROD-5303-Enhanced-NR

Black Friday UK (Standard)

Didi and Gogo wait by a tree for a man named Godot. They don’t know who he is, why they are meeting or what time he is coming – only that something incredible could happen when he does...


Lucian Msamati is starring in *Waiting for Godot* at Theatre Royal Haymarket until 14 December. 

Msamati was the first Black actor to play Iago in a production of *Othello* staged by the Royal Shakespeare Company. 

He has also appeared productions by the National Theatre, including *Amadeus*, *"Master Harold"... and the Boys*, as well as *Death and the King's Horsemen*. 

Lucian Msamati - LON

Park Theatre

Clybourne Park - LON [24337]

Clybourne Park

Clybourne Park - LON [24337] Product Media

Not many plays have won a Tony, Olivier, and Pulitzer, but the enduring power of Bruce Norris’s 2012 Broadway entry [*Clybourne Park*](https://www.londontheatre.co.uk/show/24337-clybourne-park) lands once more in its current revival at (aptly enough) north London’s [Park Theatre](https://www.londontheatre.co.uk/theatres/park-theatre), where the director Oliver Kaderbhai lands the singular savagery of the writing afresh. 

Its opening delayed by the pandemic, as continues to be a commonplace these days, the play packs a singular wallop that may even be greater now than when this satire was first seen. Like it or not, we live in an age of ever-heightened sensitivities that Norris’s writing skewers with merciless, unswerving aplomb. 

Norris takes as inspiration of sorts *A Raisin in the Sun*, though you don’t have to know a thing about Lorraine Hansberry’s Broadway trailblazer — premiered in 1959, the same year that the first half of *Clybourne Park* is set — to get ensnared in the cat’s cradle of vituperation, grievance, and grief that courses through a show that can also be scaldingly funny — unprintably so in its specifics. 

If the cast sometimes overeggs characters several of whom are already written at extremes, the power of the play was felt afresh at a recent matinee at which audience members more than once responded audibly at times, as if waiting for a break, or for the end, were an impossibility given the electric charge of what they had just heard.

The first act finds us in the Chicago home of Russ (Richard Lintern) and Bev (Imogen Stubbs), who are still reeling from the tragic death of their only son, a soldier, and who are planning to sell up and move on so as to start anew. The kind-hearted if scatty Bev diverts a mother’s unquenchable sense of loss into musings about words (“Neapolitan”, for one) possessed of varying degrees of preposterousness when this same wife and onetime mum isn’t finding the best in a world that hasn’t given her much by way of solace in return. (She speaks of wanting humankind at “one big table”, a view not exactly shared by others in this play.)  

Her husband, meanwhile, is moody and stern-faced and none too welcoming to visitors to his midst, chief among them the shockingly candid Karl (Andrew Langtree) — the one character actively carried over from Hansberry’s pioneering play about Black American life. 

Karl ponders the penchant for skiing, or not, among the Black community and actively questions whether he is being “silenced”, this play’s direct equivalent to the cancel culture of today. Bev and Russ’s marriage, whatever its faultlines, seems a model of deportment set against that of Karl and his wife Betsy (Katie Matsell), who may be deaf but is attuned in every possible way to a spouse whom on some level she clearly detests. 

While Bev and Russ’s Black maid and her husband tend to an upstairs trunk that will prove crucial to the plot, much is made of an (unseen) Black family — the aspirational Youngers of Hansberry’s play — who are taking over the property from Russ and Bev in a sign of the changing times that certainly isn’t to the taste of Karl and his sort.

Come the second act and we’re now in 2009, the passage of time marked by projections of the intervening presidents that give James Turner’s set the air of a power point presentation. The Youngers have since come and gone from this Clybourne Street address, leaving the house 48 hours away from demolition at the hands of new purchasers, who are white, and the community — if that word here even makes sense — gathered on a sweltering September day that brings with it a fresh set of characters, including one or two relations to people we have seen or at least heard of before. 

The opportunities afforded the actors have always been amongst the joys of a play that lets its cast strike out in bold directions not once but twice, and a few of the performers here perform with such unbridled glee that they border on caricature. 

Interestingly, the doubling of roles that was overplayed in this show’s London premiere at the Royal Court — that of Bev and then Kathy, a lawyer fully at home in the fractious fray — are this time out excellently served by Imogen Stubbs, a Park Theatre alum who makes something immediately touching out of a generosity to the ravaged Bev that marks just one of this play’s many affinities to Arthur Miller’s *All My Sons*. (Talk of a tree central to the property explicitly evokes Miller’s early masterwork as well.) 

Michael Fox adroitly fields the dual assignments of a first-act cleric and then a gay architect with limited patience for the racial landmine into which he has entered, and the dancer Eric Underwood makes a terrific about-face to the realm of acting as a supportive husband in the first act who then goes snap in the second.

And though several of the others sometimes push proceedings into overdrive, that’s to be forgiven in a play that leaves scant room for politesse.  You exit *Clybourne Park* dizzy from the volley of debate on topics of incendiary import then and now and wondering when you might ever repeat some of its post-interval jokes aloud: something not easily done in civilised society, to co-opt a potentially obsolete term. This may not be a play for the squeamish in our trigger-happy times, but it remains about as smart as they come. 

[*Clybourne Park is at the Park Theatre to 23 April. Book Clybourne Park tickets on London Theatre.*](https://www.londontheatre.co.uk/show/24337-clybourne-park)

*Photo credit: Clybourne Park cast (Photo by Mark Douet)*

'Clybourne Park' review — Bruce Norris's Pulitzer-winning play combines smarts and savagery

**Park Theatre** is a renowned performing arts venue located in Finsbury Park, London, which has earned significant acclaim since its opening in 2013. The theatre hosts an eclectic schedule of performances, housing two brilliant auditoriums: Park90, seating 90 people, and Park200, with a capacity for 200 attendees. Known for its distinctive red-brick exterior and modern, sleekly designed interior, Park Theatre provides an intimate and inviting environment for audiences to experience a diverse range of professional productions. Beyond its theatrical offerings, the venue also boasts a delightful café bar, serving an array of refreshments throughout performances. The venue champions accessibility, offering audio-described, captioned, and relaxed performances. Offering something for everyone, from thought-provoking dramas to lighthearted musicals, the Park Theatre enriches London’s cultural scene with its commitment to high-quality performing arts.

**How to Get to the Venue:**
Park Theatre is conveniently located just 2 minutes walk from Finsbury Park station, which is accessible via the Victoria and Piccadilly Underground Lines and National Rail Services. Buses number 4, 29, 91, 141, 153, 236, 253, 254, 259, 279 and W3 all stop within a 5 minute walk of the venue. If you're driving, please note that after 12pm a Controlled Parking Zone operates in the local area, though there are pay and display spaces nearby.

Park Theatre - LON

Park Theatre, located in Finsbury Park, London, offers an array of professional theatrical productions in an intimate and welcoming venue. It's easily accessible by public transport.

Amadeus [18575]

Amadeus

Amadeus [18575] Product Media

Folger Theatre

The Theatre Royal Haymarket, also known as Haymarket Theatre or the Little Theatre, is a premium venue for world-class performances in London's vibrant West End. It boasts a history rooted in culture and art that spans far back into the 18th century. Known for its ornate, classical style and intimate acoustic quality, the theater is an exceptional haven for both classic and contemporary productions. This iconic establishment has played host to countless notable actors over centuries, from Victorian stage actor John Baldwin Buckstone to modern stars like Ian McKellen and Dame Judi Dench.

**How to get to the venue**
Centrally located, the Theatre Royal Haymarket is accessible via various modes of public transport. It is served by major bus routes and the nearest underground station is Piccadilly Circus, just a short walk away. Within proximity is Charing Cross station for both underground lines and overground rail services. For guests preferring to drive, there are numerous public car parks available within a short distance. It is important to note that the theatre is situated within London's congestion charge zone, operating between 7am and 6pm from Monday to Friday.

Theatre Royal Haymarket - LON

Theatre Royal Haymarket

The Theatre Royal Haymarket is a prestigious venue in London's West End, known for its history, classical style, and world-class performances.

Lucian Msamati a

Born in Clifton, Ben Whishaw is a RADA-trained actor, known for stage and screen work. He graduated from RADA in 2003 and found almost immediate success in the original production of His Dark Materials at the National Theatre before taking on&nbsp;the title role of Hamlet in a 2004 production directed by Sir Trevor Nunn at the <a href="/theatres/old-vic-theatre">Old Vic</a>. An Olivier Award nomination for Best Actor cemented Whishaw as “one to watch”.

His 2005 performance as a drug dealer in Mercury Fur by Philip Ridley garnered much attention, and film roles began to follow in Layer Cake, Perfume&nbsp;and I'm Not There.&nbsp;Other stage appearances include *The Seagull* in 2006 and Some Trace of Her in 2008, both at the National Theatre.

Whishaw starred in the original cast of <a href="/show/cock">Cock&nbsp;</a>at the <a href="/theatres/royal-court-theatre">Royal Court</a>, alongside Andrew Scott and Katherine Parkinson.&nbsp;In 2012,&nbsp;Whishaw took on the role of Q in the James Bond film Skyfall, and reprised the role in the 2015 follow-up Spectre. He is also the voice of the beloved Paddington Bear in the hugely successful 2014 film Paddington.

His most recent London stage appearances include working alongside Dame Judi Dench in Peter and Alice at the <a href="/theatres/noel-coward-theatre">Noel Coward Theatre</a>, and the Euripides tragedy Bakkhai at the <a href="/theatres/almeida-theatre">Almeida Theatre</a> in 2015. He returned to the Almeida in August 2017 for Chris Shinn's play Against. In 2018, he appeared&nbsp;in Nicholas Hytner's production of Julius Caesar which was one of the first shows at the <a href="/theatres/bridge-theatre">Bridge Theatre</a>.

Ben Whishaw - LON

Julius Caesar [8338]

Julius Caesar

Julius Caesar [8338] Product Media

The Bridge Theatre is a state-of-the-art theatre venue located in London's vibrant Southwark district, near the iconic Tower Bridge. It was opened in 2017, and has quickly established itself as a hub for innovative and engaging productions, attracting high-profile directors, writers and actors from around the world. The venue boasts a contemporary design with sleek interiors and comfortable seating. It offers a rotating repertory program, featuring a variety of performances from new productions to classic plays and musicals. The Bridge Theatre is especially renowned for its immersive staging, which allows for a unique, close-up theatre experience. High-tech acoustics and lighting further contribute to the world-class performances that audiences have come to expect at this venue.\n\n**Getting to the Bridge Theatre**\nIt's easily accessible by public transport. The nearest tube station is London Bridge, which is just a short walk away. Numerous bus routes also stop nearby. For those driving, there's a Q-Park car park in Butlers Wharf, which offers discounted parking rates for theatre goers when booked in advance. The area is well served by cycle lanes, and Santander Cycles docking stations can be found nearby. The theatre encourages green travel and recommends walking or cycling where possible.

Bridge Theatre - LON

Bridge Theatre

The Bridge Theatre is a modern theatre venue in London, known for its immersive productions, and is accessible by numerous transport options.

Bluets - LON [39930] 

Bluets

Bluets - LON [39930]

*“Suppose I were to begin by saying that I had fallen in love with a colour.”*

The Royal Court Theatre in London is a non-commercial, artistic venue strategically located in the regal heart of the city. Establishing its significance in the late 19th century, it has been a cornerstone of British theatre, endorsing new and nascent playwrights, presenting stories that use diverse, contemporary perspectives to reflect society. Housed in a vintage Victorian structure, it comprises two performance spaces - the Jerwood Theatre Downstairs and Jerwood Theatre Upstairs, each showcasing a mix of traditional and groundbreaking performances. The Royal Court has been the birthplace of legendary plays and has nurtured numerous local and global talents. The theatre is also home to a lively Bar & Kitchen, offering a warm plethora of food and drink selection. Fully accessible, it caters to visitors with disabilities or special needs, affirming its commitment to inclusivity. Despite its rich historical roots, the Royal Court continuously evolves in its mission to find undiscovered stories and offer a platform for voices that need to be heard.

## How to Get to the Royal Court Theatre:
The theatre is geographically well-placed and easily reachable by various modes of transport. Sloane Square tube station, serviced by the District and Circle Lines, is the closest, just a short 2-minute walk away. Numerous local buses stop at 'Sloane Square' adding to the connectivity. If you prefer a drive, there is an NCP Car Park in Cadogan Place, though advance booking is advised due to limited spaces. Do keep in mind London's Congestion Charge.

Royal Court - LON

Royal Court

The Royal Court Theatre in London is a noteworthy non-commercial theatre venue, renowned for its commitment to new and emerging playwrights.

Ben Whishaw is a RADA-trained actor, known for stage and screen work. He found almost immediate success in the original production of His Dark Materials at the National Theatre, An Olivier Award nomination for Best Actor cemented Whishaw as “one to watch”.

Ben Whishaw - Stars on Stage | London Theatre

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West End

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Ages 8+. Under 16s must be accompanied and sat next to an adult (18+). Everyone must have their own ticket. Under 3s will not be admitted. 

MJ The Musical - LON [28638] 

MJ The Musical

He is one of the greatest entertainers of all time. Now, Michael Jackson’s unique and unparalleled artistry is heading to the West End in the multiple Tony Award®-winning musical MJ.

Ages 17+. Under 16s must be accompanied and sat next to an adult (18+). Everyone must have their own ticket. Under 3s will not be admitted.

The Book of Mormon - LON [287]

The Book of Mormon

*The Book of Mormon* comes from South Park creators __Trey Parker__ and __Matt Stone__, and *Avenue Q* co-creator __Robert Lopez__. *The Book of Mormon*, winner of nine Tony Awards® and four Olivier Awards, including Best Musical for both, follows a pair of Mormon boys sent on a mission to a place that’s about as far away a from Salt Lake City as you can get. 

Ages 8+. Children under the age of 16 must be accompanied by and sat next to an adult ticketholder (18+). Children under the age of 3 will not be admitted.

Les Misérables - LON [300] 

Les Misérables

‘A THRILLING INSPIRATION’ The Guardian

Why Am I So Single? - LON [39622] 

Why Am I So Single?

From the writers of SIX, Toby Marlow and Lucy Moss, Why Am I So Single? is a brand-new British musical where the lonely little lives of two BFFs are transformed into an all-singing, all-dancing extravaganza about dates, mates, and celebrating love in all its forms.


Ages 7+ (recommended). Under 16s must be accompanied by an adult. Under 4s will not be admitted. All children must have their own ticket.

The Mousetrap - LON [333]

The Mousetrap

AGATHA CHRISTIE’S THE MOUSETRAP is the world’s longest-running play. This thrilling West End production is THE genre-defining murder mystery from the best-selling novelist of all time… case closed!

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Theatre Royal Haymarket - TodayTix

The Theatre Royal Haymarket opened in 1821. It's affectionally known at first as the “little theatre in the Hay”. In 1873, the theatre was home to the first matinee performance, showing a West End production in the afternoon.

In the 21st century, shows at the Theatre Royal Haymarket have attracted West End stars and global talent. [Ian McKellen](https://www.londontheatre.co.uk/actor-profile/ian-mckellen) and [Patrick Stewart](https://www.londontheatre.co.uk/actor-profile/patrick-stewart) starred in *Waiting for Godot*, while [Sienna Miller](https://www.londontheatre.co.uk/actor-profile/sienna-miller) and [Sheridan Smith](https://www.londontheatre.co.uk/actor-profile/sheridan-smith) starred together in *Flare Path*. 

## Theatre Royal Haymarket Seating Information

The auditorium has four levels - Stalls, Royal Circle, Upper Circle and Gallery.

The seating in the Stalls is very good, particularly as the overhang of the Dress Circle only really affects the view from Row V onwards. 

The Royal Circle offers an excellent view of the stage – the overhang of the Upper Circle doesn’t affect the view from any seat.

Seats in the Upper Circle curve towards the stage at the sides, and do not offer great legroom but views are pretty good for the price on offer.

The Gallery feels far from the stage.

Theatre Royal Haymarket - London Theatre

Opened in 1821, the Theatre Royal Haymarket in London staged the first matinee in 1873 and has attracted world-renowned talent. It offers four levels of good-view seating.

RoyalHaymarket-SeatingMap-718	x1458

Closes 21st December

Day of week	Matinee	Evening
Monday	-	7:30 PM
Tuesday	-	7:30 PM
Wednesday	2:30 PM	7:30 PM
Thursday	-	7:30 PM
Friday	-	7:30 PM
Saturday	2:30 PM	7:30 PM
Sunday	-	-

Waiting for Godot Tickets

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Lucian Msamati

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