From dearly beloved productions that have been running for decades to new hit musicals, London’s West End has historically been a landmark of theatrical development and innovation. The sheer volume of shows the scene has to offer may be overwhelming for tourists, who must decide which are the most worthy of their time and money. As a student studying abroad for a limited run in London, settling on a balance of new shows and beloved classics seemed appropriate, and I made an effort to see as many shows as possible. While some have given me cherished memories abroad, others had me questioning what modern theatre even is, and if some of these shows were worth the investment. If you should ever find yourself in London, consider these brief reviews:
Show #1 – Mamma Mia – ★★
As an enormous fan of the movie, my expectations were high for this production, which was an error on my part. While ABBA’s hit songs are as fun as ever for families, and the story pulls on the heartstrings of the crowd, there is simply not much to look at for a show that should feel more immersive. The limited set and production design were not compatible with the decently sized ensemble, making the stage feel crowded during the bigger numbers. While the choreography in those numbers was engaging, it felt clunky on the small stage. The saving grace was getting to hear Mazz Murray as Donna, a clear star of the show. If I had not seen this show with the others in my program, I most likely would have resented it more, and I do not plan on revisiting it on its current return to Broadway.
Show #2 – Cabaret at the Kit Kat Club – ★★★½
Cabaret was my most anticipated show on Broadway for ages, so I pounced at the opportunity to see it on the West End and did not regret it. Upon entering, I was immediately transported into the Kit Kat Club, with booze and performers entertaining the attendees during the pre-show. While these performers did an excellent job, I did not find the pre-show interesting enough to warrant being so long, but it did help pass the time and relax before the intense show. As for the leading performers in the show, having a good Emcee can make or break a Cabaret viewing experience, and Rob Madge delivered.
My qualms with the show itself are partially innate and partially due to this specific production. While the minimal props and lack of set make sense for this production and its goals, the circular staging mainly pandered to one side of the theatre, making it frustrating to watch from the “wrong” angle. The other main issue is with the ending, and to phrase this as spoiler-free as possible, I prefer the original one. While every production of Cabaret can have its own identity, I wish this one had not strayed so far.
Show #3 – Clueless The Musical – ★★½
There are only so many times I can speak on this “teen movie turned musical” trend that has crept its way into popular theatre before it begins to sound redundant. While this show is certainly not the worst offender, and the creative team clearly made an effort, there is an inherent shallowness present that remains throughout the show. The songs are unsurprisingly fun but just as unsurprisingly forgettable, with only a couple of numbers becoming an earworm leaving the show.
The characterization of Cher was also rather odd, coming off as more of an Elle from Legally Blonde (the musical, not the movie). Considering how well-known and referenced the IP of Clueless is, audiences should at least get an accurate representation of the classic film. The issue of mischaracterization and overall odd character writing is also found in Dionne, who, unfortunately, is given very little to do in the show, and in Cher’s housekeeper, who is randomly
made out to be a mother figure for Cher and gets more of a storyline than established characters.
However, there are several key positives to this production, such as the accurate and iconic costumes from the movie being recreated, as well as incorporating many set pieces to reflect the rich attitudes of these Beverly Hills teenagers. If the music could have matched these creative efforts, the show could have been a hit. It is no surprise that this is closing early, as audiences may be just as bored with these adaptations as I am.
Show #4 – The Book of Mormon ★★★★★
The Book of Mormon was one of three shows I saw in London that I had already seen on Broadway, and as it is my favorite show, I thought it was worthy of revisiting with a fresh cast. No matter the city one is viewing it in, the show is an absolute riot, with the perfect mix of comedy, ballads, high-energy numbers, and fun lighting to warrant the watch. While a joke or two were altered to fit the mostly British audience, it is an easy show to follow. The only irritating aspect of this production was the sound, as slight feedback was coming from the microphones, which was highly audible sitting next to the speakers, even more so than other shows I have seen in which I sat in similar areas. Otherwise, I had an enjoyable evening full of laughter.
Show #5 – The Phantom of the Opera – ★★★★★
While I just claimed The Book of Mormon to be my favorite show, Phantom may objectively be the best show I have ever had the pleasure of viewing live, especially in its original theatre. The production truly is closer to the level of a grand opera than the average piece of musical theatre, with huge ensemble numbers, beautiful costumes, and some featured set pieces that are only a notch below those found in La Bohème. Vocally, the show is known for being challenging and demanding, but the cast all nailed their respective songs and performances.
A genuinely creepy yet fantastical atmosphere was created in that theatre, an experience that will be difficult to rival. Seeing the show in its (mostly) original, authentic form sparks concerns for the immersive Phantom production beginning off-Broadway, but that is an entirely different conversation. Whether you will jump at this immersive show or wait for Phantom’s inevitable Broadway return, this is the show I would recommend if I could only pick one, whether it be to a seasoned theater kid or a casual theatergoer.
Show #6 – Wicked – ★★★★½
I saw Wicked on Broadway years ago, and was happy to be offered the refresher through my study abroad program. Since it had been quite a while, it was almost like seeing the technical marvel with fresh eyes. I had nearly forgotten how alive the world of Oz could feel, especially after finding the movie adaptation quite dull. The first act in particular flows seamlessly, and makes up for the odd pacing and comparative lack of plot in the second act. The cast was good overall, but the actress who played Elphaba, Emma Kingston, was marvelous, and made viewing “Defying Gravity” live an almost religious experience. Any fan of the music or movie would enjoy seeing the show live, as the visual storytelling and notable hits are unparalleled as a theatre phenomenon.
Show #7 – The Devil Wears Prada – ★★
An adaptation of a movie? For a musical? Groundbreaking. A majority of the show’s appeal relies on its marketing, heavily advertising Vanessa Williams on posters and promotional works throughout London. However, Miranda, her role, is not the main character of the story, and has more of an overwhelming presence in the show rather than a demanding musical role.
The roles of several other characters were also rather odd, as Emily, Miranda’s first assistant, was given several musical numbers that could only be described as filler. Every song that was featured was forgettable, almost as if not every story is meant to be a musical, and film as an art form is a different medium than theatre. Beyond the music, the show appears to have retconned several key points of character development for Miranda and Andy, making each of them more cruel for the sake of their victims having an emotional ballad to sing after. Similarly to Clueless, however, the costumes were stunning, and the show was most enjoyable during those fashion show-esque scenes. Unfortunately, it would be more interesting to analyze this show from a marketing perspective rather than a theatrical perspective.
Show #8 – Moulin Rouge – ★★★½
My third and final repeat viewing was of Moulin Rouge, a show I adore despite its flaws. My primary critique is related to it being a jukebox musical, as the songs are too recent and not good selections overall. It is difficult to take these characters seriously while they belt Sia or Katy Perry hits. While there are some gems, such as several of the mashups or the rendition of “Roxanne”, most of the solid numbers are the ones that were faithful to the film version.
Nevertheless, if you, as an attendee, are able to look past these song choices or even enjoy them, every other aspect of the show makes for an incredible theatrical experience. You feel transported into the Moulin Rouge, with beautiful sets, a unique staging setup, vibrant lighting, and a talented ensemble. The show is a fun experience that still packs a punch in the end, and no matter what I think of the song choices, I cannot deny how truly entertained I was during both my viewings.
Show #9 – Evita – ★★★½
Evita was a show I truly had to sit with after viewing, and despite it having been over a month, I am still forming new and differing thoughts on it. Walking out of the theatre, I was stunned, with the soundtrack running in my head as I digested what I had just experienced. Most of the visual storytelling had relied on the ensemble’s dancing and the show’s overwhelming bright lighting as opposed to other traditional methods, such as costumes, sets, and props.
While the elements that were depicted were visually unique and attention-grabbing, they did not necessarily make up for the evident lack of other elements. This balance, or rather imbalance, mimicked the feel of a concert rather than a theatrical production, which slightly cheapens the experience. The more modern elements of the show were intriguing but could have been utilized more effectively, and were perhaps a detriment to the viewing experience from inside the theatre. Ultimately, I think the show is rather polarizing, both for audiences and critics, on account of being too modern, and it will be interesting to see how the show is treated on Broadway for its inevitable (albeit delayed) transfer.
Show #10 – Les Misérables – ★★★★
To close out my West End experience, I deliberately picked a show that was popular and highly regarded to maximize my odds of ending on a high note, and Les Mis did not disappoint. While it is certainly not the most joyful show, it is powerful, putting characters through such raw suffering that feels authentic to the viewer, with a cast that is up to the task of these challenging parts, even the child actors.
An unfortunate truth regarding Les Mis is that not everything that occurs within the show is particularly engaging, especially if one is not interested in the historical setting. There are lulls in the show that are only so obvious because the majority of the numbers and storylines are so riveting. Hearing the collective sniffles of audience members as bullets of white light strike the actors is reflective of the true communal theatergoing experience. My one wish with this show would be to have seen it prior to it being restaged, as I feel a revolving stage would have severely increased my enjoyment.
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While there were certainly highs and lows with this mission of mine, I do not regret attending a single show, as I believe one can gain something out of any show or production they see. There is always a silver lining and at least one element to be enjoyed, and every person in a theatre would have a different answer for you if you asked what their favorite or least favorite song, storyline, or visual element was. Use this recap as a guide, not an objective overview of what shows are worth seeing. A show that I hate might be your favorite or vice versa, which is the beauty of having something for everyone in the theatrical space.