By Nick Pilgrim
I am a graphic designer and a photographer by trade. Beyond my nine-to-five juggling act, competitive ice skating and live theatre are my two biggest after-hours passions.
Late last year, I applied for and earned press passes to the 2026 European Figure Skating Championships in Sheffield, England, followed by the 2026 Four Continents Figure Skating Championships in Beijing, China.
Given the tremendous distance I would be flying to cover each event, it was too good an opportunity to first pass up a week in London before heading off to cover both above-mentioned assignments for my websites aussieskates.com and facebook.com/aussieskates.
With the bright lights of Shaftesbury Avenue beckoning, my only challenges were what to see, how and when.
Like its Broadway counterpart, the West End theatre scene is huge. Mind-bogglingly so. With over forty fully-operational venues packed into central London, the city has more mainstream entertainment spaces than all of Australia’s major capital cities combined. That statistic alone takes some getting one’s head around.
Battling rain or snow daily, January is traditionally a slower (and less crowded) time for the West End. Winding down after their hectic festive season, there is still plenty of ping for your pound.
Only in London could the likes of Noël Coward and Elton John jockey side by side for your wallet’s attention. Put simply, there is something for everyone. Bearing in mind at the time of writing the British Pound is the equivalent of two Australian Dollars, it pays to shop around. With hot tickets like Paddington – The Musical or The Importance of Being Earnest asking between £150 and £250 a pop, keeping an eye on your credit card taps is vital.
Several factors contribute to these astronomical figures. Climbing production costs combined with the risk of mounting and maintaining a hit show can run into the millions. However, seeing something unfold right in front of your eyes up close and in the now, is a truly priceless experience.
Against these odds, yes, hunting down a bargain or three can be done.
Today Tix London and Official Theatre London (which is the UK equivalent of USA’s TKTS or Half Tix Melbourne), were my saviours. Today Tix London is an app-based website. So, it is key to carry a phone which not only recognises free wi-fi hubs dotted around town, but can display the QR Codes necessary for theatre entry as well. Fortunately for old-school peeps like myself, if you don’t have a device capable of doing that, simply head to their website and jot down the booking / order number. The designated theatre box office should be able to print out your ticket prior to each show.
It should be noted Today Tix London also promotes daily lotteries where customers can win the chance to buy a heavily discounted ticket. While many punters consider this viable option, if like me your stay in town is short, chances of winning are quite limited and carry the risk of completely missing out.
Official Theatre London is more traditional because they have a bricks and mortar booth located in Leicester Square. Positioned right in the heart of theatre land, the kiosk is open every day from 10.30am. Both their website and shopfront display boards detail what is on offer daily (and the following day as well). However, after a little investigative digging I found out Official Theatre London actually sell discounted tickets up to a week in advance.
Prices vary based on demand and availability. Unfortunately, there are some agencies online and near Leicester Square which are also total scam artists. (Which is why it is best to stick with the two reputable companies I listed.)
So, for all intents and purposes, you’ll likely pay between 40 – 90 dollars per admission. Given that I was travelling solo increased my chances of scoring a good deal and securing my top picks. On several occasions, I scored front row orchestra and balcony seats as well.
Note that most productions run matinee and evening sessions on Wednesday, Thursday, and Saturday, with Tuesday, Friday and (sometimes) Sunday playing one performance a day only. Keep in mind that Monday is also a day off for many theatres as well.
Attempting to make my week a veritable charcuterie plate, I was determined to squeeze in as much viewing as I could. Very much a mixture of traditional and contemporary plays, musical comedies and ballet, adopting a favourite child wasn’t easy.
But, here goes.
The Devil Wears Prada (Dominion Theatre)
Based on the best-selling novel by Lauren Weisberger which in turn became a hit film, it’s crazy to think the iconic movie is 20 years old. With a sequel already in the can due for imminent release, how well does the original concept stack up reimagined as a musical?
In short, the classic fish out of water story with music by Elton John, lyrics by Shaina Taub & Mark Sonnenblick and a book by Kate Wetherhead, heavily relies on fans familiar with the original book and motion picture. There are moments where the West End version feels like a combination of My Fair Lady or Legally Blonde meets How To Succeed In Business Without Really Trying and American Psycho.
Glitzy, glamorous and stunning to look at, the expert cast work hard with the material handed to them. In short, The Devil Wears Prada has been built as a star vehicle for the US television actress, Vanessa Williams.
At the midweek matinee performance I saw, however, her standby Debbie Kurup played the iconic villain Miranda Priestly. Kurup has a ballpark resemblance to Williams, and committed herself to the task. Stepping into Meryl Streep’s legendary shoes is always a big ask, but Kurup knew the assignment. Her character is a business woman first and sympathetic soul a distant second. The magazine is her life, but with singular drive comes tremendous personal sacrifice. That being said, because the actress is playing to a one – thousand seat theatre, robs Priestly of her soft-spoken yet intimidating presence.
Perhaps the biggest shift from the movie is the character of Andy. Played by Stevie Doe, Priestly’s fledgling mentee becomes a fascinating case study shrouded in the former’s shadow. Quickly drawn into what the fashion world can offer, this rookie becomes easy prey to its temptations. More than the movie, Andy’s arc makes her quite unlikeable, and there is little to justify the character’s questionable career and relationship choices.
Unfortunately, the musical numbers are pretty pedestrian and do little to serve the overall narrative. If you had asked me to hum any of the tunes upon leaving the theatre, I would be hard pressed to remember any of them. Given how memorable the cast albums were for Legally Blonde and American Psycho, The Devil Wears Prada’s score seems like such a wasted opportunity.
However, Talia Halford (as Emily) and Matt Henry (as Nigel) were definite highlights. As multi-dimensional and quirky as Emily Blunt and Stanley Tucci were in the movie, while the pair rarely shared the stage together, they definitely saved the show.
Overall, The Devil Wears Prada is worth seeing for the shear production values alone. The staging, the costumes and the lighting are all first-rate. Going in expecting something closer to the movie, may have somewhat coloured my judgement. Still, that it has been running for more almost two years and got a solid handful of audience members up and applauding on their feet afterwards on the day I attended, must count for something.
Back To The Future (Adelphi Theatre)
I am not going to lie. I am a huge fan of the original movie starring Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover and Thomas F. Wilson. That this iconic film continues to win fans, is credit to its brilliant story, outstanding characterisation, and quirky technology. Celebrating its fortieth anniversary in 1985, it was only a matter of time before a staged version became a reality.
I was curious to see how a movie with such gigantic vision, would fit within the confines of a theatrical space. Playing to its strengths, twenty-first century technology is a huge selling point in Back To The Future’s ongoing success. Scenes where the Delorean hits 88 miles per hour are pure genius. Digital backing panels and animations projected onto a see-through curtain really capture the speed and urgency attached to the task at hand.
Where the show shines is how it plays up the differences between the pop-infused 1980s and picture-perfect mid-century USA. A song dedicated to why 1950s Hill Valley is the place to be included jolly references to asbestos, DDT and the health benefits of smoking, had this audience member screaming with laughter.
Back To The Future also has a knowing sense of humour, poking fun at the very conceit that is a West End musical. During one particularly elaborate number when Doc Brown (played by a hysterical Cory English) is explaining his ability to time travel, Marty McFly (played by Caden Brauch) asks him about the identity of his back-up dancers. To which Brown replies, “I don’t know who they are or where they come from. They just appear every time I sing.”
More than a gift for Generation X and beyond anyone who have grown up with the movie, I can’t think of a better entry point for audiences who normally don’t attend live musical theatre, and will perhaps consider it as an entertainment option for ‘future’ reference.
The Red Shoes (Sadler’s Wells)
If the name Matthew Bourne sounds familiar, the British choreographer has an impressive list of stage credits to his name. In his thirty-five year career, Bourne has taken hit films such as Edward Scissorhands or Lord Of The Flies and reconfigured them through modern dance. His big breakthrough was an all-male version of Swan Lake, noted for its inclusion in the climax of the movie, Billy Elliot.
Based on the Michael Powell’s 1948 cult classic of the same name, The Red Shoes is the story of a young woman torn between two men and the power they hold over her. Told as a show within a show, The Red Shoes capture’s the original motion picture’s haunting dream world to perfection. A midcentury twist on Tolstoy’s Anna Karenina, the underlying story details the battle between art and ego, and the price everyone involved pays for it.
Rich and spare at the same time, no detail is left to chance. Unfolding like a storybook coming to life, The Red Shoes is a sensory treat to see live in person. That the journey is set to a dynamic score drawn from the musical catalogue of Bernard Hermann, truly elevates the experience to fine art.
Woman In Mind (Duke of York’s Theatre)
I am a longtime follower of the prolific British playwright, Alan Ayckbourn. Known for works like Relatively Speaking (1965), The Norman Conquests (1973) and Neighbourhood Watch (2011), the Ensemble Theatre in Sydney has celebrated his plays for many years.
The writer is at his best when he puts middle class suburbia under the microscope. Meaning, his happy families are so much more than they appear on the surface. While the author is very protective of his private life, it has been suggested Woman In Mind draws on elements from Ayckbourn’s own background.
Shooting to West End stardom as Elle Woods in Legally Blonde, Sheridan Smith has gone on to headline in other top-drawer musicals such as Funny Girl (which has also been filmed as a pro shot). So, seeing one of Ayckbourn’s most revered works and Smith together on the same stage, was too good an opportunity to pass up.
The author’s ability as a creative is on full display here. His ability to engineer serious subject matter for laughs eases viewers into this challenging universe.
The overall story is deceptively simple.
An accidental blow to the head from a garden rake becomes the catalyst for a life unfulfilled. Seen entirely from the main character’s point of view, the audience shares her perspective from the get-go. As willing and accepting participants, the pieces of this vast puzzle are both addictive and all-consuming.
Smith is Britain’s equivalent of Lucy Durack, Nadine Garner and Natalie Basingthwaite all rolled into one. Having also played the likes of Shirley Valentine, she the understated presence a role of this magnitude requires.
Investing herself fully in Susan, the actor truly understands this fascinating character’s gripping plight. With her sanity on the line, Woman In Mind plays out the candy-coloured horror similar to classic Twilight Zone episodes such as Wordplay or Dreams For Sale (both of which are available for viewing on YouTube).
Torn between her own needs and a family in crisis, no wonder Woman In Mind is considered one of Ayckbourn’s finest moments. Smith displays elements of Streetcar’s Blanche DuBois and Next To Normal’s Diana Goodman with prescient ease.
To see the actress in the flesh will stay with viewers long after her final bow.
Fallen Angels (Menier Chocolate Factory)
The logical successor to Oscar Wilde, it is easy to see why Noël Coward was London’s foremost toast of the town. Known for his acid wit, how he managed to charm Britain’s upper middle classes while making complete fools of them defies logic. I couldn’t love him more.
Fallen Angels turns the tables on a stock standard storyline. In this instance, two longtime female friends discover they had a brief but passionate affair with the same man.
It should be noted this secret love triangle happened long before the pair met and married their current partners. However, their French former lover is coming back to town, and sure enough, all hell is about to break loose.
One of Coward’s earlier works, this classic variation on English farce takes place entirely in a spacious living room. As fresh, scandalous and relevant when the play premiered exactly one hundred years ago, the veteran cast relish and milk every humorous moment.
Directed by Christopher Luscombe, Janie Dee (as Julia Sterroll), Alexandra Gilbreath (as Jane Banbury), Christopher Hollis (as Bill Banbury), Richard Teverson (as Fred Sterroll), Sarah Twomey (as Saunders), and Graham Vick (Maurice Duclos) act up a storm.
My biggest takeaway from Fallen Angels is how the show wins our affection with hilarious wordplay without any of the bells and whistles modern plays sometimes think they need to keep viewers’ attention.
High Noon (Harold Pinter Theatre)
Based on the iconic 1952 western of the same name, High Noon racks up tension from the get-go. Told in relative real time, a gigantic clock hangs front and centre above the action.
Opening on the protagonist’s wedding day, a small town’s long-serving sheriff (played by Billy Crudup as Will Kane) is handing in his tin star. Preparing for a quieter life as a shopkeeper with his new bride (played by Denise Gough as Amy Fowler), their plans are foiled by a past adversary’s return to town. With revenge on the horizon, High Noon spends most of its running time asking should its conflicted hero stay and face the music. Whether Kane follows through and defends the community, his moral compass takes an even bigger spin when Fowler threatens to leave him.
While High Noon features a solid handful of original period-perfect songs, it feels closer to a drama with lyrical interludes rather being than a fully blown musical. Gough, it should be noted, has a rich singing voice similar to the folk artist, Sarah McLaughlin.
Gorgeous set design made completely of wood beams gives this production rustic atmosphere. Like StageArt’s critically-acclaimed Titanic – The Musical (2016), High Noon uses its various props in vastly different ways to clever effect. Case in point, when some chairs and a table double as a horse and buggy.
Thanks to the anticipated showdown playing out quite differently from the film, gives High Noon unexpected yet meaty feminist weight.
Daniel’s Husband (Marylebone Theatre)
LGBTQI+ stories are so important to a community constantly needing to define and defend their place in the world. Daniel’s Husband opens with two couples sharing a relaxed evening together but soon becomes something so much more. Debating the value of gay marriage, Daniel and his partner Mitchell sit squarely on opposite sides of the fence. When their relationship seems tested to breaking point, tragedy brings the pair both unstuck yet closer together with unexpected results.
Playing a successful season Off Broadway several years ago, Michael McKeever’s drama was a West End premiere. Directed with love and care by Alan Souza, the closing night audience (including myself) gave the cast a fully deserved standing ovation.
Led by Joel Harper-Jackson (as Daniel) and Luke Featherston (as his partner, Mitchell), Daniel’s Husband seemed so raw and real, at times I felt like I was eavesdropping on private conversations rather than watching an actual theatrical performance. Expert, naturally written dialogue combined with the stellar ensemble cast, made this show a must-see. Here’s hoping an Australian transfer is on the cards very soon.
A Christmas Carol Goes Wrong (Apollo Theatre)
From the sublime to the ridiculous, A Christmas Carol Goes Wrong could not have been a more perfect way to finish my jam-packed binge. Only on London’s West End could this show play mere blocks away from a legitimate production of A Christmas Carol, too.
For fans in the know, this is the latest in a hit franchise which features The Play That Goes Wrong, Peter Pan Goes Wrong, and The Comedy About A Bank Robbery.
Framed by a tension-filled audition process, the Cornley Amateur Dramatic Society is poised to mount its latest extravaganza. Hampered by a controlling director, competitive actors, and countless prop malfunctions, the comedy flew thick and fast.
How a show about everything going wrong gets it so right, is a trust exercise of the highest order. The amount of rehearsal and stagecraft needed to make A Christmas Carol Goes Wrong a total calamity is testament to the brilliant creative and support team.
If Charles Dickens weren’t already dead, this shameless interpretation of his most famous work would probably have killed him. That being said, I don’t think I have laughed so hard in my life.
Enthoven Unboxed: 100 Years of Collecting Performance (The Victoria & Albert Museum)
Special mention should be made to a current exhibit dedicated to one hundred years of live entertainment, including a solid section about West End Theatre. A quick ten-minute trip on the tube from Leicester Square to the museum’s gigantic home in Knightsbridge, is definitely worth checking out. Even better, entry is free, and the display itself should take a good thirty to forty-five minutes to cover.
From miniature model sets to an array of posters and costumes, this comprehensive showcase also includes short videos which detail topics such as stage management, costume design and show promotion.
Final thoughts
For anyone considering a West End foray like me, preparation is key to maximising your entertainment options. Hopefully, you won’t need to flounder around somewhat as I did, figuring out the various bits and bobs along the way.
The good news is that it can be done on a reasonable budget, and return flights actually dropped significantly in price several weeks prior to my departure date. Sites like agoda.com or booking.com will allow you to reserve hotel accommodation without paying up front should your plans change (or you find a better deal) at the last minute.
Central London is a theatre buff’s paradise and should be experienced at least once in a lifetime. Not only as a direct comparison to Australia’s latest offerings, but to see certain shows that may never reach our shores, specific to the West End or Broadway scene’s more vast and varied public and international tourist demand.
Our intrepid travelling reviewer, Nick Pilgrim, was live to London January 2026
Images: Nick Pilgrim
