The Mousetrap theatre breaks http://theatrebreaks.theatre.travel/details.php?d=0&a=532

Theatre breaks by Coach http://theatrebreaks.theatre.travel/filter.php?f=HC_COACH

Theatre breaks are one of the best ways of seeing the top London shows, even if you live near London. It might seem a bit mad to spend a night in a London hotel when your own bed is only 50 miles away but please hear me out
Theatre Breaks to Warhorse I was chatting to some folks in deepest Essex the other day and it soon became clear that for them, an evening trip to a West End show was not really a viable idea. They had been to see Warhorse and couldn’t speak highly enough of the show. But they said they’d think twice before going to the West End again. They live just over 50 miles from the centre of London but getting in and out of the city at night is no easy matter. Usually they drive to a train station, park the car there and hop on a train. Driving in the city means congestion charges and parking nightmares so they try to avoid it if at all possible. However, travelling into the city centre by rail at the right time means going against the flood of commuter traffic and paying the peak time fare (4pm to 7pm). You don’t really want to battle with the peak time tubes either so a black cab also adds to the cost. Most shows start around 7:30 but you want to be there a little early to pick up your tickets, maybe have a pre-theatre drink and order something for the interval.  This means you need to eat early (a special pre-theatre menu in one of the West End restaurants perhaps). If you try to wait till after the show to eat then you’ll have much less choice and you may well be rushing to catch the last train home.  The trains do run quite late but it can be 1am or even later before you get home. I’m exhausted just thinking about it! Here’s a glimpse of what Warhorse does best – some amazing life sized puppetry:

I gently suggested they might be better booking a theatre break next time and that was when I discovered people have some funny ideas about theatre breaks! Three Myths about Theatre Breaks 1. Expensive! My friends went to see Warhorse. A theatre break with top price tickets to see Warhorse a central hotel with breakfast the next morning starts from  around £120 each. Most sites will let you book your rail fare with a good discount. With  a hotel near the theatre you can  walk and avoid paying for a cab and  most sites offer a special price on a pre-theatre supper. By the time my friends had paid for all their little extras there really wasn’t much in it. 2. Bad seats My friends could only get single seats that were not next to each other. They were top priced seats and very nice, but not together. Most theatre breaks websites have better access to seats than the general public. You can often choose from a range of seat prices. You always get to sit together. The lesser known fact is that these sites often have tickets for top shows (like Warhorse!) that are reserved for theatre breaks customers. 3. These internet sites are dead dodgy! Buying stuff online is part of all our lives these days. My friends are sensible. They bought their tickets from a well known site that they have used before and trusted. That same site also sells theatre breaks!  If you are worried about how secure a site is check out this advice. (Book Theatre Breaks On Line with Confidence) So next time you are thinking about booking theatre tickets for the West End do check round first before you assume that theatre breaks aren’t a better idea.

There’s still a small amount of time left to book  Christmas or New Year theatre breaks but the choice of shows left will keep getting tighter the longer you leave it. Theatre Breaks in the Holidays January is a peak time for West End theatres in general but specific dates around the school holidays always have a high demand and booking tickets only will very soon become impossible for most of the popular musicals and plays.  Not everybody realizes though, that theatre breaks packages will still be available for top shows with good seats and plush central London hotels, long after the scramble for individual seats has subsided. That’s because the holiday and theatre breaks companies block book seats in advance and have prority arrangements with the hotel groups, In this way they can still offer top  seats for London theatres and best affordable rooms in the most convenient hotels for a price that is nearly always better value than that you could put together yourself, even if the dates you wanted were still available. Top Musicals for Theatre Breaks So which are the top five musicals for theatre breaks in London this season? Top new musical for 2011 is GHOST with fabulous rock music by Dave Stewart Ghost

musical: Ghost

starring: Richard Fleeshman, CAISSIE LEVY, SHARON D CLARKE

Book Now: Ghost theatre breaks

opening night:24 June 2011 booking until 13 October 2012.

Top Family Musical, also new for 2011 is MATILDA Based on Roald Dahl’s dramatic novel.

musical: Matilda The Musical

starring: Paul Kaye

Book Now: Matilda The Musical theatre breaks

opening night:25/11/2011 booking until 12th February 2012

LAST CHANCE! Priscilla Theatre Breaks  

musical: Priscilla Queen of the Desert

starring: Ray Meagher

Book Now: Priscilla Queen of the Desert theatre breaks

opening night:March 10 2009 booking until 31/12/2011

Perennial Favourite Wicked Theatre Breaks  

musical: Wicked!

starring: Rachel Tucker

Book Now: Wicked! theatre breaks

opening night:2006 booking until Open Ended

More Wizards and Witches in the West End Wizard of Oz Theatre Breaks  

musical: The Wizard of Oz

starring: Danielle Hope

Book Now: The Wizard of Oz theatre breaks

opening night:March 1st 2011 booking until Sunday October 28th 2012

An appeal for less competitions, awards, prizes and ten best lists in the theatre world and in general can’t be a bad thing.

This article titled “Isn’t it time to lay off the list-making and let our artists make art?” was written by Laura Barnett, for guardian.co.uk on Wednesday 16th March 2011 13.03 UTC There are, to borrow a phrase, two types of people in the world: those for whom the vagaries of life take form only when neatly broken down, numbered, and summarised, and those who break out in a cold sweat at the very thought of list-making. I count myself definitely among the former – no day has really got under way until I have compiled a to-do list and set about fulfilling it.   Yet even I, a great lover of lists, felt my heart sink a little on discovering that Red magazine has unveiled a list called “20 under 30″ in its new April issue. Published to launch the magazine’s annual Red Hot Women awards for “the most inspiring working women across Britain”, this list is intended to identify “Red’s hottest women of tomorrow”. Alongside a fashion designer, chef and “digital guru”, the list includes several women in the arts, with whom regular readers of the Guardian’s culture sites will no doubt be familiar. Royal Ballet principal Lauren Cuthbertson, 26, who wowed audiences as Alice in Christopher Wheeldon’s new production of Alice in Wonderland, is rightly singled out as “the prima ballerina”.   Comedian Josie Long, 28, is given the somewhat dubious accolade of “funny girl”: dubious not because she’s not funny, but because the epithet sounds more than a little patronising. Singer Alexandra Burke (still only 22 – yikes!), has been named “the X Factor survivor”, while 29-year-old actor Michelle Dockery, fresh from ITV’s Downton Abbey and an acclaimed turn as Ophelia at the Sheffield Crucible, is called, with good reason, “the rising star”. Among the magazine’s more under-the-radar choices are 30-year-old architect Hana Loftus, co-founder of the Colchester-based architectural practice Hat Projects, and the poet and playwright Caroline Bird, who is 24.   So far, so fair enough – they’re all talented women, and hats off to them for having that talent recognised. But do they really need to be singled out in yet another list? The arts scene is already swamped with lists. At this time of year, the zenith of awards season, you can’t open a paper or turn on a computer without discovering yet another round-up of nominees for “best blah” or “most convincing blah blah” or “best supporting blah blah blah”. In the last month alone we’ve had, in quick succession, the Baftas, the Oscars, and the Oliviers. The rest of the year is no better, revolving around a succession of “hot 100s” (the figure is almost always 100). In theatre, we have The Stage 100; in art, the ArtReview Power 100; and across media and the arts, The Hospital Club 100, to name but a few.   What all these lists have in common, of course, is the desire to sort the proverbial wheat from the chaff: to tell us who’s hot and who’s not, who’s in and who’s out – and, in some cases, to present those with the talent or good fortune to fall into the former categories with a big shiny trophy. Women-only lists like Red magazine’s are also about redressing the balance, celebrating female achievement and inspiring other women to follow suit.   All of which is perfectly laudable. But do any of these lists really tell us anything remotely interesting or unexpected about our arts scene? What about the people left off – the hundreds and thousands of talented artists, actors, screenwriters, singers, poets, comedians, dancers and so on who never merit a mention because they don’t have a PR, or they don’t look quite good enough to be primped and preened for a magazine shoot, or their work isn’t mainstream enough? Does their absence from such lists make them any less important, their art any less worthy of our time?   I wonder how much the artists who regularly crop up on these lists really benefit from our obsession with ranking and categorising. The grateful tears of each year’s crop of Olivier, Oscar or Bafta winners – and the quickfire offers of major roles – suggests the benefits are substantial. But the worst thing for any artist is to compare themselves endlessly with others. Lists may be brilliant for giving form to the drudgery of the day-to-day, but let’s lay off telling artists who’s hot and who’s not, and just let them get on with what they do: making art.

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This week’s new theatre includes a Mike Leigh play, Shakespeare, David Eldridge and more. London theatres mentioned are in Islington, the Almeida, Hampstead Theatre

This article titled “This week’s new theatre” was written by Mark Cook & Lyn Gardner, for The Guardian on Saturday 5th March 2011 00.07 UTC Ecstasy, London So successful has Mike Leigh been as a film director, with international hits such as Secrets And Lies and the most recent, Another Year, that it’s easy to forget he started out in theatre. He’s still best known for the cult play Abigail’s Party, which premiered at Hampstead Theatre in 1977. Leigh, using his improvisational approach, has staged three more plays at Hampstead, and now he returns to direct one of them. Ecstasy is set in 1979, when Margaret Thatcher is set to change the country. In a north London bedsit, political turmoil is reflected in the maelstrom of a group of friends. Expect pain and humour in equal measure. Hampstead Theatre, NW3, Thu to 9 Apr Mark Cook The Cleansing Of Constance Brown, Birmingham Who is Constance, and how can she be everywhere and nowhere at the same time? In Stan’s Cafe’s intriguing show, first seen back in 2007 and performed without words in a 14 metre-long corridor, Constance is a mysterious presence. She’s the figure just glimpsed at the edge of the frame in a TV news story, the unidentified figure in a painting or photograph of famous people, the person nobody notices as momentous events unfurl. The corridor is the corridor of history, where the Tudor maid and the Jewish victim of the Nazis co-exist and where women are peripheral to the power machinations of men. But Constance is always there, a silent witness, unnoticed but taking note. AE Harris Factory, to 19 Mar Lyn Gardner The Knot In The Heart, London David Eldridge returns to the Almeida with a world premiere, the first since his adaptation of the Danish film Festen, which went on to conquer the West End and Broadway. He seems to have a penchant for the Scandinavians, having translated three of Ibsen’s works, but on this occasion his new play is rooted in the here and now – in fact it all takes place within a mile of the Islington theatre. The Knot Of The Heart stars Lisa Dillon – recently at the Old Vic in Design For Living and A Flea In Her Ear – as Lucy, a successful children’s TV presenter who seemingly has always had everything but gets addicted to heroin and finds her life beginning to unravel. The part was written for Dillon, and is unusual in that the character is not defined by her relationship with men. The play is ultimately about love but, says director Michael Attenborough, it defies stereotypes. Almeida Theatre, N1, Thu to 30 Apr MC From Newbury With Love, Newbury Red Cape’s The Idiot Colony, about women incarcerated and forgotten in mental asylums, put them on the map in 2008, and this new piece was also inspired by a true story. In 1971, at the height of the cold war, 73-year-old Newbury resident Harold Edwards and his wife, Olive, sent a postcard to seven-year-old Marina, the daughter of an imprisoned Soviet dissident. The result of a letter-writing campaign by Amnesty International, it led to a 15-year correspondence between the families that lasted until Harold died. By then Marina was 24. The production draws on the original letters, which were a lifeline to Marina and her family in the knowledge that there was somebody who cared about their plight. Corn Exchange, Wed to 12 Mar LG The Tempest, Stratford-upon-Avon Once seen, never forgotten, Little Angel Theatre’s collaboration with the RSC on Venus And Adonis even had hardened theatre critics professing a love of puppets. Here, Little Angel tackles Shakespeare’s late play in a shortened version for children and adults. Playwright Phil Porter has adapted the original and Peter Glanville’s production makes use of puppetry and music to create the magical isle where Prospero rules by magic. The fantastical nature of the story should lend itself well to puppetry in what should be a spellbinding spectacle. Swan, Fri to 26 Mar LG Yerma, Leeds Surprisingly, West Yorkshire Playhouse has never produced a play by Federico García Lorca, and this new adaptation has a distinctly Irish bent. Directed by Róisin McBrinn, the Trinity College Dublin-trained director whose production of Novecento was recently seen at Trafalgar Studios in London, and adapted by the Irish writer Ursula Rani Sarma, it stars Kate Stanley-Brennan, who has appeared in plays at the Abbey including Mark O’Rowe’s Young Vic-bound Terminus. Stanley-Brennan plays Yerma, a young woman who has been married to Juan for years but who has not had the child that she so desires. Desperate and fearing the lonely years ahead in a passionless marriage, she takes matters into her own hands with tragic consequences. West Yorkshire Playhouse, Sat to 26 Mar LG Diary Of A Nobody, Northampton Holloway clerk Charles Pooter really is a nobody. Condemned by class and education to be part of the faceless grind of Victorian London – unexceptional, unrecognised and unremarked upon – Charles is determined to be a somebody. So he decides to keep a diary, pointing out why he is a cut above his fellow clerks, and you are going to hear the sparkling gems within, whether you like it or not. George and Weedon Grossmith’s late-Victorian satire really is a timeless comic gem, detailing Charles’s small acts of rebellion, social gaffes and attempts to make himself appear more important than he is. This new version by Hugh Osborne is performed as a physical theatre farce by a cast of four. The Royal, Sat to 19 Mar LG Sex Idiot, Manchester There are not many shows where you learn something new: such as the fact that you can make a fake moustache out of pubic hair. That’s exactly what performance artist Bryony Kimmings does in this bonkers but really rather lovable little show, which was inspired by her experience of contracting a common sexually transmitted disease. The pubic hair belongs to members of the audience who are invited to offer it up mid-show – and many of them do in a real spirit of generosity. This probably isn’t a night out for those who hate audience participation or who are easily embarrassed, but for all its cheerful wackiness this is a serious and upfront show about love, sex, one-night stands and broken hearts. Contact, Sat LG

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Good news for Rachel Tuckers fans, if you want to book theatre breaks to see Wicked after February 7th 2011, Rachel Tucker will still be Elphaba. The London production of Wicked is pleased to announce its entire new company to begin performances on Feb. 7: The new cast will star Rachel Tucker (Elphaba), Louise Dearman (Glinda), Mark Evans (Fiyero), Julie Legrand (Madame Morrible), Clive Carter (The Wizard), Julian Forsyth (Dr Dillamond), Zoë Rainey (Nessarose), Ben Stott (Boq), Nikki Davis- Jones (Standby Elphaba), Chloe Taylor (Standby Glinda), Gemma Atkins, Alex Louize Bird, Andrew Bryant, Gareth Chart, Joe Colasanti, Nicholas Collier, Aileen Donohoe, Emma Green, Antony Hansen, Jacqueline Hughes, Daniel Jones, Jasmine Kerr, Sophie Linder-Lee, Saori Oda, Sean Parkins, Soeli Parry, Michelle Pentecost, Paul Saunders, Charlotte Scott, Niall Sheehy, Tommy Sherlock, Thomas Sutcliffe, Sam Taylor, Jennifer Tierney, Hannah Toy and Matt Turner.

I tend to bang on about rail travel as preferable to driving, but theatre breaks by coach offer a different kind of experience altogether. People over a certain age may well have bad memories of coach journeys back in the bad old days when there were no onboard facilities, long uncomfortable journeys around bendy trunk roads with groups of badly behaved people and children. I know I do. But modern coaches have air conditioning, plush comfortable seating, traffic news by radio and sat nav, personal entertainment and are a fast and relaxing way to travel hundreds of miles from city centre to city centre. When you arrive in London on a theatre break by coach, you are not left to yourself to find the hotel and the theatre because you are part of a coach party who are all going to the same show and you usually get picked up outside the theatre by the coach which then drives you all directly to the hotel after the show. That can make the whole stopover a lot more manageable for some people. Theatre Breaks by Coach - Theatre Breaks Magazine Another thing I’m really excited about being able to offer now that we have Coach Theatre Breaks available through the Magazine Readers Offers is the opportunity to book a theatre break for one. Yes, there is a single room supplement to cover the extra hotel costs, but it’s a lot better than being confronted with a booking form that asks you to select the number of tickets required starting at two! And if you go on a coach trip to London’s West End as a single person then you have the perfect choice as to whether you want to keep yourself to yourself or socialise a bit with other people who are coming from the same town as yourself and will be around at the hotel and on the coach journey home again after having seen the same show.

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This article by Andy contains a brief review of Enlightenment at the Hampstead Theatre. We’re always on the look out for new plays and venues for visitors here on London breaks to add to the possibilities for an extra evening out at the theatre, and it doesn’t always have to be in the West End by any means. There are theatre pubs, fringe theatres, off-west-end theatres and regional theatres all within the M25, many within central London itself. The play that was brought to our notice is called “Enlightenment” written by Shelagh Stephenson and directed by Edward Hall, Hampstead Theatre’s new Artistic Director. So Monday night took us to see the venue for the first time, right next to the Swiss Cottage roundabout and tube station. Arriving inside Hampstead Theatre felt more like visiting a leading performing arts centre for one of the major UK cities, like Canterbury or St Andrews, or Exeter. Not knowing anything much about ‘Enlightenment’ beforehand, I was able to deliberately keep an unprepared mind for the unfolding emotional drama as the plot weaved its way through the minefields of improbability. There was a small scientific thread in there somewhere, citing a theory akin to or possibly preceding chaos theory which needs further investigation but the big story was a classic human tragedy investigating the nature of identity and touching themes designed to disturb the audience’s sensibilities particularly poignant to parents. As a father myself, I feel particularly well placed to understand the two main characters anguish at not knowing the fate of their missing son.

The Hampstead Theatre is an impressive modern theatre venue, small enough to be intimate and with perfect acoustics and yet large enough to stage quality serious theatre productions, drawing in audiences from all over the capital, with excellent transport links on the fast Jubilee line and all the central connections just a few stops away, so this would be a sensible logistical addition to any London Breaks package. Enlightenment is a traditionally constructed play in two acts with a beginning, middle and end, realistic characters, a straightforward time line and just about believable events. There are moments where the sanity of everybody is questioned, but that is a reasonable thing for a play to do. The staging is impressively modern and effective with good use of additional sound and video, back projection and slick scene changes with transparent rising and falling furniture. Maybe it was just me but upstairs and downstairs became strangely confused, or was it deliberate? Nothing is quite as it seems with this play which has been running since September, so the acting should be well bedded in by now. There were times when I though the playscript was possibly a class above the performance, but in the second act I dropped that misgiving, particularly with all three female characters who worked well together, and the addition of a sixth character in the second act pulls the whole play together and leaves you on the edge. Cast: Daisy Beaumont Richard Clothier Paul Freeman Julie Graham Polly Kemp Tom Weston-Jones

Love Never Dies By the time many people read this the free tickets competition will be over, so I’ll write about why I think you might like to consider Love Never Dies theatre breaks anyway. I guess you may have already seen The Phantom of The Opera ? The most successful piece of live entertainment ever, it’s been on long enough. Or maybe your parents enjoyed it thirty years ago when Michael Crawford played the Phantom. Well Love Never Dies is a continuation of the story, but with completely new twists. The scene is set ten years after the incident at the Paris Opera House, and the Phantom is now presiding over a huge entertainment complex at Coney Island, New York. He manages to manipulate Christine and Raoul into sailing across the Atlantic and into his lair. But there’s much more than that… Some of the music in Love Never Dies comes from the operetta genre, some from light entertainment and some even from a rock background. This is the fusion which Andrew Lloyd Webber does so well. The staging, sets and costumes are magnificent, so you really do see a big musical theatre event up there on the big stage. This is certainly not one of your small cast and minimalist aesthetics plays, like many even in the West End, not that there’s anything wrong with that. Ramin Karimloo and Sierra Boggess are both star quality singers in the lead roles and it’s nice to hear the full orchestra getting a proper work out. Love Never Dies Did I mention the free tickets? Love Never Dies Tickets Competition One pair of top price tickets have been donated. That’s worth around £180 normally. Now, you’d need to be able to get to the London Adelphi Theatre for tomorrow night, Saturday 9th October 2010. So if you are in London anyway, and can clear out all of your prior engagements to be free then you’d do well to nip over and quickly enter the simple competition on the Love Never Dies blog. The odds are not against you! Here’s the link again… http://www.loveneverdiesphantom.co.uk Love Never Dies Theatre Breaks If you don’t have easy access to the capital then buying London theatre breaks packages with the tickets and convenient hotel room plus optional discount rail travel is nearly always the best way to go.

Other London Theatre Breaks to see West End Musicals

The Wizard of Oz The Phantom Of The Opera Les Miserables Ghost

Love Never Dies By the time many people read this the free tickets competition will be over, so I’ll write about why I think you might like to consider Love Never Dies theatre breaks anyway. I guess you may have already seen The Phantom of The Opera ? The most successful piece of live entertainment ever, it’s been on long enough. Or maybe your parents enjoyed it thirty years ago when Michael Crawford played the Phantom. Well Love Never Dies is a continuation of the story, but with completely new twists. The scene is set ten years after the incident at the Paris Opera House, and the Phantom is now presiding over a huge entertainment complex at Coney Island, New York. He manages to manipulate Christine and Raoul into sailing across the Atlantic and into his lair. But there’s much more than that…

Some of the music in Love Never Dies comes from the operetta genre, some from light entertainment and some even from a rock background. This is the fusion which Andrew Lloyd Webber does so well. The staging, sets and costumes are magnificent, so you really do see a big musical theatre event up there on the big stage. This is certainly not one of your small cast and minimalist aesthetics plays, like many even in the West End, not that there’s anything wrong with that. Ramin Karimloo and Sierra Boggess are both star quality singers in the lead roles and it’s nice to hear the full orchestra getting a proper work out. Did I mention the free tickets? Love Never Dies Tickets Competition One pair of top price tickets have been donated. That’s worth around £180 normally. Now, you’d need to be able to get to the London Adelphi Theatre for tomorrow night, Saturday 9th October 2010. So if you are in London anyway, and can clear out all of your prior engagements to be free then you’d do well to nip over and quickly enter the simple competition on the Love Never Dies blog. The odds are not against you! Here’s the link again… http://www.loveneverdiesphantom.co.uk Love Never Dies Theatre Breaks If you don’t have easy access to the capital then buying London theatre breaks packages with the tickets and convenient hotel room plus optional discount rail travel is nearly always the best way to go.

Other London Theatre Breaks to see West End Musicals

Theatre Breaks The Wizard of Oz The Phantom Of The Opera Les Miserables Ghost

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Do you like to see a good old fashioned play on the London stage with a proper plot, serious actors not TV stars and a playscript that makes you think, fear, jump in surprise and maybe even laugh? Theatre breaks in London don’t have be just for musicals, there are a number of very good plays on in the West End at any time of year, but the autumn season is particularly good for theatre breaks to see plays. The main difference to booking musicals theatre breaks  is that the plays do tend to be on for much shorter runs. So unless you want to see Mousetrap again, and why wouldn’t you, then you might need to hear about a good play that’s on now, and book it with a hotel break for maybe next month or sometime within a medium timespan when you know the play will still be running. Otherwise you just keep on missing the best ones because they close after about twelve weeks or something like that. For example, just arrived in London is a play called Deathtrap which is a big production with four great actors and a fantastic set, a proven playscript because it’s been on before in Broadway for a very long run as it happens, and in London once before in the 1980s. But if you want to book theatre breaks to see Deathtrap then you would need to have a date in mind that is before 22nd of January,  2011. That may seem a long way away, but once you start thinking about Christmas and New Year theatre breaks , the time has been and gone! Simon Russel Beale is in Deathtrap Deathtrap is one of the bigger productions but there are some others coming up for short runs as well. The Arthur Miller play – “All My Sons” finished on 2nd October 2010 Season’s Greeting by Alan Ayckbourn starring Catherine Tate opens on December 8th 2010 Top tip for 2011 drama theatre breaks will be Blithe Spirit, a Noel Coward comedy starring Ruthie Henshall and others. But if you want to see a Noel Coward before next year then Design For Living is on at the Old Vic until November 27th 2010. Yes Prime Minister is a comedy play based on the TV series but brought up to date for Gielgud Theatre which opened on 16th September 2010 booking through til 15th January 2011. This would be a good bet for theatre breaks in London too. And if you prefer Oscar Wilde, then “An Ideal Husband” is at the Vaudeville Theatre from 4th November 2010 to 19th February 2011

Here’s the news today, Theatre Breaks have launched their summer offer with a 10% discount off everything on the website! Theatre Breaks site wide Summer Sale kicks off today, June 15th and lasts for the whole of June. Every theatre break booked will be at a saving of 10%… All Shows, All Hotels, All the Extras… All at 10% Off. Here’s the link for the 10% discount: Theatre Breaks with 10% Off Everything So you can tailor make your break as usual with your choice of show, hotel and dates and create yourself a bargain! *Book today for big savings – Theatre & Hotel Packages from just £55.80 per person! *Book today and upgrade to a 4 or 5 star hotel – with the money you save. *Book today and plan ahead – secure your Summer Holiday, Half-term getaway, Christmas do or New Year’s bash – all at a great reduction. The discount will run until 1700hrs GMT, June 30th – leaving you only a few days to take advantage of a great saving on your next trip to London, whenever that might be. Theatre Breaks Here’s the link again for the 10% discount: Theatre Breaks with 10% Off Everything 10% OFF all Theatre Breaks was originally posted at London Theatre Breaks blog

Weekend theatre breaks in London Weekend theatre breaks in London are a good way to fit in a mini holiday. You may not be able to afford the time or money for a full blown break but a weekend in London with a show can be enough to make you feel that you have actually had a holiday. It is all down to very careful planning. Choose your travel times You have to choose your travel times with care so that you make the most of your weekend. If you decide to travel by rail you need to watch out for any planned engineering works that could add frustration especially to your return journey. These are often planned for Sundays so if you can take an extra day and travel back on Monday you can avoid the problem all together. Hotels often offer an extra night for a very reasonable amount and you get an extra day in London. See below for more about Sundays in the city. It would be a shame to spoil your relaxed mood with a disrupted homeward journey. Luckily you can easily check using the trainline.com and find out if there is any work planned for your chosen dates. If there is then it might be best to re-think your dates or travel to London by car. How many days are there in a weekend? Friday If you travel on Friday and return on Monday you can have 3 nights and 2 full days in London. This is ideal if you can manage it as for just 1 extra day off work you can turn a weekend into a mini-break. Travel on Friday afternoon and you can arrive at your hotel, freshen up and go out for a nice meal, or an evening’s entertainment. Saturday Then you have all day Saturday for shopping, galleries or what ever takes your fancy. After an early (5:30-6:30 ish) pre-theatre meal you can get to the theatre in plenty of time, pick up your tickets from the box office, have a relaxing drink and be settled ready for the performance. Most shows finish around 10 – 10:30pm so after the show you will have time for a stroll round the West End, a light supper, a nightcap somewhere or even a club if  that’s what takes your fancy. Then make your way back to your hotel, which, if you were wise when you were booking, will be only a short walk away. Sunday London is a different place on a Sunday. The tourist ‘traps’ are less busy, especially in the morning. London isn’t a city that wakes up early on Sundays so if you are an early bird you can see the sights before most people are even awake. London is famous for its street markets and these are great fun on a Sunday morning. Try Covent Garden’s Jubilee Market or, if you are feeling adventurous, try Brick Lane or Columbia Rd Flower Market. There’s lots of street food available and most of it is very good, so lunch won’t be a problem. After lunch you’ve got the luxury of a relaxing afternoon ahead of you. If you are into art you might try having a look at Tate Modern and if you are really energetic why not take the Tate to Tate ferry that runs between that and Tate Britain?  Or just have a stroll along the Southbank. There’s usually something going on and it’s a great spot for people watching. If the weather is not so good there is lots of indoor entertainment too, maybe even visit the TKTS booth in Leicester Square and fit in an extra show! More shows are doing matinees on Sundays so it is definitely worth checking.  You could even just find a good pub and settle in. Fullers pubs are quite traditional, have very nice real ale and are famous for their pies. If you are near Covent Garden you could try a real Cornish pub, complete with pasties and Cornish beer. Monday morning After the rush hour, and a good breakfast, you check out of your hotel for a leisurely journey home. So you can see how weekend theatre breaks in London really can work for you as a mini holiday if you plan them carefully. a

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Theatre Breaks Roundup for 2009 Winter 2009 is here and I’m just wondering what sort of a year this has been for theatre breaks. There’s been a recent survey that assures us reality TV has actually boosted ticket sales. The  box offices are claiming the credit crunch has had little effect on bookings with theatre usually full. So what’s been the reality? Theatre Breaks Shows In terms of shows one or two have closed early but the old favourites like We Will Rock You carry on. Avenue Q was saved from oblivion by popular demand and has moved to a new theatre. The Lion King is as popular as ever and proudly boasts that it is so well booked that it has NEVER released tickets to the reduced ticket agencies. Some good shows reached the end of their natural life and wonderful though Spamalot was it really was time for it to say goodbye. It’s been replaced by Priscilla and that has been a fair swap. Carousel never really quite hit the spot and its closure wasn’t any great surprise. It was sad to see the end of Cabaret and a shame they couldn’t take a leaf out of Chicago’s book and find a constant stream of new familiar faces to keep us going back.  Joseph went too and no doubt was mourned by thousands of Lee Mead fans but it was another one that seemed ready to go. No doubt it will be back someday. One show I thought should have done better was Spring Awakening, which I just loved. All that energy and a theatre full of young people the night we went. I felt positively ancient, and that’s a good thing! (honest!)

Oliver has of course been a total triumph with Jodie Prenger making a real name for herself. Who would have thought she’d still be there doing 8 shows a week nearly a year later? What a star. I saw her at West End live this year and she has a super voice and a lovely stage presence. She managed to upstage Christopher Biggins, to great comic effect and that takes some talent for comedy! I think we’ll see more of Jodie once she moves on but for now she seems happy where she is. She’s on her 3rd Fagin and this is the one I’d really like to see. I think Griff Reese Jones will make a great Fagin and be well worth seeing. Hairspray has seen some major changes with the departure of Micheal Ball. Still Phil Jupitus is doing a grand job and Brain Connely was very well received in the part. I wonder how long Micheal will stay away, I’m sure I heard somewhere that he’s thinking of coming back to Edna. We hope! Wicked is going from strength to strength and is the most popular musical at this witchy time of year. Kerry Ellis is just a distant memory now and Alexia Kadhim has made her own interpretation of Elphaba. I think she has a lovely voice, quite different to Kerry’s but wonderful all the same: Click here to view the embedded video. New shows coming in include Legally Blonde which I was less than keen on when first announced. Since then I’ve had a good look at the videos on youtube and listened to the cast recordings and I might just change my mind. It might be fun and has the sort of casting that makes me want to see it. What to say about Love Never Dies (apart from “I can’t wait!!”)? Well it’s definitely going to be a huge event and it should be a spectacular in the best Lloyd Webber tradition. The Coney Island setting should give it a great atmosphere, you know how creepy fairgrounds can be. We’ve all seen Scoobydoo   It’s got two fabulous stars in Sarah Boggess and Ramin Karimloo (I’ve been doing this so long I can now spell these names without flinching!) In the next part of this series of posts I’ll look at the travel aspects and prospects for theatre breaks in London 2010. a

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On Tuesday Nov 3rd 2009 many West End Musicals favourites will be helping light up the city as part of the switch on of London’s Christmas lights. At 3 main venues in the centre of London stars from major productions will be involved in the switch on. Sister Act – Oxford Circus It’s the 50th Anniversary of the Christmas lights in Oxford St and the Sister Act cast will be there in force to make sure the ceremony goes with a swing. The switch will be flicked by Jim Carey (no really, Truman himself!),  the girl group The Saturdays, Taio Cruz will also entertain the crowds. Sister Act Oliver! – Regent St Oliver! star Jodie Prenger and the London Community Gospel Choir will be at Regent St. Colin Firth (down girls!) will be doing the switch on. The Noisettes and  Daniel Merriweather will also be performing. Jodie Prenger as Nancy in Oliver Hairspray – St Paul’s Cathedral The cast of Hairspray will be at St Paul’s Cathedral, along with Spandau Ballet, Little Boots, St Paul’s Cathedral Choir and Bob Hoskins doing the honours. St Paul's Cathederal, London More stars will no doubt soon be announced and I’ll keep you posted here on the Theatre Breaks blog a

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Andyrob has added a photo to the pool:

The Lion King Theatre Breaks

Andyrob has added a photo to the pool:

Theatre Breaks YouTube

In our first Theatre Breaks video story production two theatre fans are having a discussion about what to do for the weekend… Click here to view the embedded video. If you go online you can get really good theatre breaks deals…

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Andyrob has added a video to the pool:

Jersey Boys

Theatre Breaks in London