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Waiting for Godot - LON [42509]

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LON | TT| App Carousel | Only Fools and Horses | 36384 | 24hr Offer

LON | TT| App Carousel | Only Fools and Horses | 36384 | No Booking Fee

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LON | TT | App Carousel | Hercules | 43135 

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Ages 6+. Children under 4 (including babies in arms) will not be admitted into the theatre. All persons aged 16 or under must be accompanied by an adult 18+ & may not sit on their own. All persons must have a ticket.

Disney's Hercules - LON [43135]

Disney's Hercules

Ancient Greece. A time of gods, mortals… and Hercules, who doesn't quite belong to either. But if he's not a god, how can he possibly save the world from Hades? It's one thing flexing those pecs, but going from zero to hero requires a different kind of strength. 

LON | TT | App Carousel | Stranger Things  | 29263

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LON | TT | App Carousel | Harry Potter and the Cursed Child | Media

Production shot of Harry Potter And The Cursed Child: Both Parts in London, showing students cheer enthusiastically.

[Media #1] Parts One and Two 21176

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LON | TT | App Carousel | Back to the Future | 22396 | Media

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LON | TT | App Home Tile | Musicals Candlelight

Ages 6+. Under 16s must be accompanied by an adult.

Musicals by Candlelight - LON [25037]

Musicals by Candlelight

Discover your favourite musicals like never before!

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LON | TT | App Home Tile | Tina | 8547

Ages 14+. Contains scenes and language, which may be unsuitable for children under 14. Children under 5 are not admitted.

Tina - The Tina Turner Musical - LON [8547] 

Tina - The Tina Turner Musical

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race.

The Devil Wears Prada LON

Ages 12+ (recommended). Under 5s cannot be admitted to the theatre. Guests 15 and under must be accompanied by an adult. All patrons, regardless of age, must have a valid ticket.

The Devil Wears Prada - LON [34706]

The Devil Wears Prada

As London Fashion Week descends on the Capital, the catwalk is out for the launch of The Devil Wears Prada, a new musical, based on the blockbuster film and bestselling novel, that will strut into London’s Dominion Theatre in October 2024.

LON | TT | App Tile | Stranger Things | 29263 | 

Ages 12+ (recommended). Under 16s must be accompanied by an adult. Under 5s not permitted.

Stranger Things: The First Shadow - LON [29263]

Stranger Things: The First Shadow

Brought to life by a multi-award-winning creative team, who take theatrical storytelling and stagecraft to a whole new dimension, this gripping new adventure will take you right back to the beginning of the Stranger Things story – and may hold the key to the end.


LON | TT | App Tile | Back to the Future | Ad Unit

Ages 6+. Under 16s must be accompanied by an adult (18+). Under 4s will not be admitted.

Back to the Future: The Musical - LON [22396]

Back to the Future: The Musical

When Marty McFly is transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the past and send himself... back to the future.

LON | TT | App Home Tile | Moulin Rouge! The Musical | 23350 | Media

Moulin Rouge! The Musical - LON [23350] 

Moulin Rouge! The Musical

Enter a world of splendour and romance, of eye-popping excess, of glitz, grandeur, and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Pop the champagne and prepare for the spectacular spectacular… 

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LON | TT | App Tile | STARKID | 43450 

Under 15s must be sat next an adult ticketholder (18+). Under 4s will not be admitted.

StarKid - I Can't Believe It's Been a Little Less Than a Year - LON [43450] 

StarKid - I Can't Believe It's Been a Little Less Than a Year

STARKID is back at London’s Palladium on April 26–27, 2025! Celebrate their weird, wonderful musical hits from A Very Potter Musical to Twisted. Laugh, sing, and join the fun for two unforgettable nights

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Waiting for Godot

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LON | All Retailers | 1080x1080 Square | Waiting for Godot | 42509

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LON | Waiting for Godot Product Media | 42509

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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

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.

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

About Waiting for Godot

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Lucian Msamati

Ben Whishaw

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Theatre Royal Haymarket

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