The Book of Mormon & Prince of Wales Theatre

Welcome back to Access London and Thank You once again for your continued support for Access for All to the Arts. The Book of Mormon, Broadway's hit musical, that opened on Broadway in March 2011 and was followed by a successful US tour, opened in the West End in February 2013. Conceived by Trey Parker, Robert Lopez and Matt Stone whilst working on the successful TV series ‘South Park’, the show came from modest beginnings to be one of the most popular Broadway shows of the past decade.

"The show tells the story of two young Mormon missionaries who are sent to a small town in Uganda to bring news of the Latter Day Saints. They are shocked at the cultural differences, as a War Lord threatens the local villages and controls the area by fear. Both missionaries attempt to share the scriptures with the local people, although only one of them knows it well enough. Famine, poverty and AIDS threaten the town, and the duo must battle their own beliefs in order to succeed and make a change. The show is an edgy and sometimes outrageous satire musical which takes shots at everything from organised religion to consumerism, the state of the economy and the musical theatre genre itself. Robert Lopez is no stranger to controversial musicals, after co-writing the score and lyrics for the 2003 puppet musical Avenue Q which shocked many audience members and general public at the time. Just like Avenue Q, The Book of Mormon went on to win the Tony Award for Best New Musical."

Access Information: The Prince of Wales Theatre is in Coventry Street, between Piccadilly Circus and Leicester Square. If you are a wheelchair or scooter user then the area is serviced well with dropped kerbs. There is level Access to the foyer and stalls seating area for wheelchair and scooter users and those who have difficulty using stairs. Access to the box office is step free and there is also a low level counter at both the box office and merchandise kiosk. Wheelchair spaces are located at the back of the stalls and have dedicated companion seats next to them. There are also several options for transfer seats in the stalls, which are completely step-free.

Assistance dogs are allowed into the auditorium, alternatively a member of staff can dog-sit during the performance. There is a limit for the number of dogs allowed into the theatre per performance, so please make sure you inform the box office at the time of booking. There is an infra-red system in the auditorium and an induction loop at the box office. Accessible and adapted toilets are available via the lift in the foyer. This lift will also give wheelchair users and those unable to use stairs, Access to the Delfont and stalls bar. An Access host is always available before, during and after each performance should you have any questions.

The Book of Mormon is one of the most popular shows in London right now, and as such often has very limited tickets available. It is unlikely that you will be able to get tickets on the day (although, I have heard of a few people who have been able to) so booking plenty of time in advance is highly advisable. For bookings for all Access needs, please call the Delfont Theatres Access Line on 0844 482 5137 and select the option for the Prince of Wales theatre which will put you directly through to the box office. Patrons with Access needs are usually able to get a heavily discounted ticket for both themselves and one companion. Performances are Monday - Saturday at 7:30pm and Wednesday and Saturday at 2:30pm.

LAWRENCE: Scandalous! Censored! Banned! and The Bridewell Theatre

Welcome back to Access London and Thank You once again for helping to support Access for All to the Arts. This week sees a strictly limited run (one week only) of 'Lawrence: Scandalous! Censored! Banned', the musical, based on the life of D H Lawrence opening at The Bridewell Theatre, in the City (just off of Fleet Street). "Set between 1907 and 1930, Lawrence is a compelling story with an exciting and diverse musical score that captures the spirit and passion of D H Lawrence the man, the writer and the lover." Lawrence was the author of titles that include, Lady Chatterley's Lover, Sons & Lovers, Women in Love and The Rainbow.

From humble beginnings as a Nottinghamshire miner's son, David Herbert Lawrence finally breaks away from the stifling love of his mother, Lydia, and the brooding intensity of his girlfriend, Jessie, to pursue his quest as a writer. This is a story of hope, restlessness and rejection set against a profoundly moving and turbulent public love affair with Frieda von Richthofen, a German baroness. Frieda gives up her children and her comfortable life as a Professor's wife to embark on a tumultuous roller-coaster ride with Lawrence, the working-class genius. Inspired firstly by his life and the people in his home town, Eastwood, Lawrence writes Sons and Lovers, then The Rainbow, then Women in Love. His writing is new and brave, spontaneous and passionate, sexually explicit, and often scandalous! ... it rocks the establishment. Labelled a "peddler of pornography", many of his books are censored or banned - but he passionately clings to his beliefs and struggles on. Finally, penniless and with no hope of his work being published, and even accused of spying for the Germans, Lawrence and Frieda leave England in search of a better life. They travel but never settle for long, with Lawrence constantly drawn to England ... the "country of my heart". When they return in 1926, Lawrence witnesses the miners' desperate fight for fair wages and rights against the might and greed of the wealthy mine owners. This inspires him to write what will become the most daring and notorious novel of its day. As the first edition of Lady Chatterley’s Lover rolls off the press, Lawrence finally collapses from an illness he has been fighting since birth. At the end of a life that saw much of his work censored and reviled, Lawrence - with Frieda by his side glimpses a future where he will at last be recognised as one of the greatest English novelists of the 20th century: “I will rise like the Phoenix from the ashes of my life".

Broadway star, Bart Shatto is reprising the role of Lawrence, following his run in the New Orleans production in 2009. The cast includes, Garth Bardsley, Nick Wyschna, Christiane Noll, Lindsay Hamilton, Diana DiMarzio and Tony Oakley. Performances run from Tuesday 22nd - Saturday 26th October every evening at 7.30. There is also a matinee on Saturday 26th at 2.30pm. Tickets can be booked online HERE

Access Information: The entrance to Bridewell Theatre and Bar is in Bride Lane. Access is over a threshold stone of 10-15cm. Ramps are available and can be placed over the threshold to assist with Access for wheelchair users. Unfortunately, the building itself, and the lifts used to Access the auditorium mean that the Bridewell is not suitable for mobility scooters. For wheelchair users and those who cannot manage stairs, Access from the threshold to the auditorium is via a stairlift (230kg weight load) and to the theatre bar and WC via a platform lift (340kg weight load). The Bridewell is an intimate theatre space and currently doesn't have the use of a hearing loop system. If you are a wheelchair user or need to make use of the ramps or lifts during your visit, it is advised that you telephone ahead to the theatre so that someone can be there to assist you, the theatre can also only cater for 2 wheelchair users for any one performance. The telephone is staffed Monday - Friday on 020 7353 3331. Enquiries about assistance dogs can also be made to the number.

Strangers On A Train & The Gielgud Theatre

Welcome back to Access London and Thank You once again for helping to support Access for All to the Arts. Next month sees the opening of 'Strangers On A Train' at the Gielgud Theatre, Shaftesbury Avenue.

"Two strangers. One conversation. The perfect murder. A seemingly innocent conversation soon turns into a nightmarish and dangerous reality for Guy Haines when he meets Charles Bruno on a train journey. Ahead lies a lethal nightmare of blackmail and psychological torment that threatens to cost Guy his career, his marriage and his sanity. His choice: to kill, or to be framed for a murder he didn't commit. Get on board for the West End's most gripping new thriller, as the classic Strangers on a Train opens at the Gielgud Theatre. Written by Craig Warner and based on Patricia Highsmith's acclaimed novel, inspiration for Alfred Hitchcock's legendary movie, this new stage production stars, Laurence Fox (Guy), Jack Huston (Bruno), Christian McKay (Gerard), Miranda Raison (Anne), Imogen Stubbs (Elsie) and MyAnna Buring (Miriam)."

Access Information: The Access entrance to the auditorium is located through the third side EXIT door on Rupert Street (alongside the theatre). Ask a member of staff at the main entrance to open this for you. There is one 12cm step up into the theatre at this entrance. For wheelchair and scooter users, and those who cannot manage the step, ask a member of staff for the ramp to be placed over this (this is usually done automatically anyway). There is step free Access to row B in the Dress Circle. Seats B5 and B30 can be removed to provide 2 spaces for wheelchair users, with a companion seat next to them. These seats can also be used as transfer seats and for those who cannot manage steps. From here there is 1 step between each row. You cannot see a very small part of the stage from the angle of seats B5 and B30 because of a safety rail in front of Row A. It isn't much of a restriction and shouldn't disturb the enjoyment of the performance.

There is an infra-red system in the auditorium with 12 headsets available – Free hire upon production of ID. Please collect these from foyer kiosk or ask your companion to do so if you cannot manage steps. You will be asked to sign a receipt. It is advised that you check the availability of the headsets before booking, please call 0844 482 5137. Assistance dogs are allowed into the auditorium or alternatively staff are happy to dog sit during the performance. Please let the box office know of your requirements at time of booking as only a limited number of dogs can be in the building for any one performance. There is an adapted toilet in the Foyer bar that can be reached by a side corridor from the Dress Circle. The Foyer bar is step free from the Dress Circle. DFT have a dedicated Access staff member for each performance, so if you have any questions, they should be happy to help.

'Strangers On A Train' opens at The Gielgud on 2nd November and runs until 22nd February 2014. For Access bookings, including discounted seats for those with a disability and a companion, please call the Access line on 0844 482 5137. This will go to DFT's main number, please select the option for The Gielgud and you will then be put through directly to the box office onsite.

Shakespeare's Globe Theatre

Welcome back to Access London and thank you once again for supporting Access for All to the Arts. Today's post is on Shakespeare's Globe Theatre on the Southbank. For information on Access to the Globe's exhibition space and tours, search the Access London blog for previous posts. Both are Accessible and well worth visiting. The guides on the tours are incredibly knowledgeable and disability aware.

The Globe currently has several productions running (please check their website to see running dates of each). These productions include: A Midsummer Night's Dream, Macbeth, Henry VI Parts 1-3 (Harry the Sixth, The Houses of York and Lancaster, The True Tragedy of the Duke of York), Blue Stockings and The Lightning Child (from September). Also look out for the Globe's touring production of The Taming of the Shrew in September in the UK.

Access Information: Entry to the box office and foyer is through heavy glass double doors. There is an automatic door for ease of use for wheelchair and scooter users and those with other disabilities. There is the box office, information desk and a bar on this level, all Accessible. Next to the box office is a lift that goes up to the Piazza level where there is a shop, toilet facilities and the main entrance to the theatre itself. If you are a scooter user, you will not be able to take this into the theatre. You can either transfer into one of the Globe's wheelchairs or walk in. For wheelchair users and those who cannot manage stairs or to stand for the performance (the Globe has 700 standing tickets for every show), Gentleman's Box P is your best bet. This can only be accessed via a backstage lift so please make sure you arrive in plenty of time for a FOH member to take you there. The box is located overlooking the side of the stage and is covered. It has enough space for 3 wheelchairs and a companion for each. The other option for wheelchair users is a raised wheelchair platform in the yard itself. Again, please arrive in plenty of time so that the platform can be placed in the best position (remember the yard is not covered).

There is an induction loop available in the theatre. Again, please remember the outdoor nature of the Globe and therefore all sounds will be amplified. The Globe does have a small number of digital headsets available to use. Assistance dogs are welcome in the theatre and can either remain with you during the performance or FOH will care for them for you. Outside the main entrance there are 2-3 blue badge bays. These do get taken very quickly however. Alternatively, The Globe has a couple of parking spaces on site for wheelchair users and Access patrons. If you need to make use of these, I would recommend booking one as soon as you've booked your tickets as these too can go quickly, especially for weekend and popular performances. You can book one (and also find out about Access provision for your specific needs) by calling the Globe's dedicated Access line on 020 7902 1409, open 9-5 Monday-Friday. I can't praise David, who runs the line, highly enough, incredibly helpful - Thank you to everyone who sent in very positive feedback about him, it's always great to hear when places are doing well with their Access and disability awareness!

Patrons with disabilities are entitled to a half price seated ticket or 2 for 1 if bringing a companion. Please make all bookings for Access tickets via the box office on 0207 401 9919 or by going in person. You cannot book Access tickets online. There is an Audio Described performance of A Midsummer Night's Dream on 31st August at 2pm. There is a Captioned performance of A Midsummer Night's Dream on the 7th September at 2pm. For advice on where best to sit for these performances, please ask the box office when booking. Overall, I'd say The Globe is one of the best theatres in London for Access awareness and delivery and improvements made. For more information about the Globe and current and future productions, please visit their website at www.shakespearesglobe.com

The Union Theatre, Pipe Dream and Music That Matters

Welcome back to Access London and Thank You once again for continuing to support Access for All to the Arts. Today's post looks at Access to one of London's hottest fringe theatres, The Union, and its current production, Rodgers and Hammerstein's Pipe Dream. There is also an interview with Kieran Brown who is currently starring as 'Doc' in Pipe Dream and is performing his own cabaret, 'Music That Matters', this coming August Bank Holiday Monday.

"Pipe Dream is the seventh musical by the team of Richard Rodgers and Oscar Hammerstein II; it premiered on Broadway on November 30, 1955. The work is based on John Steinbeck's short novel Sweet Thursday—Steinbeck wrote the novel, a sequel to Cannery Row, in the hope of having it adapted into a musical. Set in Monterey, California, the musical tells the story of the romance between Doc, a marine biologist, and Suzy, who works as a prostitute." The Union has made a name for itself in bringing lesser-known musicals and gems to London audiences at its home on Union Street in Southwark. This production of Pipe Dream marks the shows London Stage Premiere, 58 years after its Broadway one. The cast of 17, led by Kieran Brown as Doc and Charlotte Scott as Suzy is directed by Sasha Regan. Kieran Brown stars as 'Doc' in Pipe Dream, some of his other credits include, Phantom, Wicked, Love Never Dies and Les Miserables. He has regularly supported the work of Access London and has kindly agreed to once again answer a few questions. Thank You very much Kieran!

AL: Pipe Dream is not one of R&H's most well known shows. Why do you think this particular show of theirs was chosen for The Union? KB: The Union has a great reputation for taking lesser known shows, or taking pieces and doing something different with them. Our Director, Sasha Regan and Choreographer, Lizzi Gee's all male Pirates of Penzance springs to mind, so I think doing this very unknown piece from two of the best known musical theatre writers in history was a good choice for The Union. Sasha and Lizzi really tried to get to the root of the problems with the piece and fix whatever it was that didn't quite gel with audiences on Broadway. The have done a wonderful job, right down to the casting of each and every person in the show. The are genuinely all Awesome! AL: How does it feel to lead the London Premiere of an R&H musical? KB: Really exciting! As Ted Shaffer (President of the R&H Theatrical Europe pointed out, we are the first to have done this, it's being done for the first time so technically, we created it professionally after having to wait 58 years in the UK.

AL: The show really does have some superb choreography. What can you tell us about the piece for Doc's song 'The Man I Used To Be'? KB: Without giving too much away, Lizzi Gee has definitely created one of the highlights of the show (for me and some of the reviewers). It's incredibly creative, sweet and clever. Joshua Lovell, who I sort of 'Duet' with is a great dancer, light on his feet and a mean tapper! I'm definitely not....! AL: How did you go about preparing for this role? KB: Well, I read the novels it is based on 'Cannery Row' and 'Sweet Thursday' by John Steinbeck. With regards to the show, there wasn't all that much out there about it, other than Wikipedia articles about its failure to launch on Broadway in the 50s. I must admit, I was never really a R&H aficionado but I have fallen head over heels for this score. AL: In one sentence...why must audiences come and see this show? KB: London Premiere (it has taken 58 years to get here), super cast, creative, clever choreo and direction. A distraction from life's daily woes, very sweet without being over sentimental. That's two sentences, I know, but hey, nobody's perfect...!

The Union Theatre has level Access from street level (on Union Street, under the railway arches), through the small café and seating area at the front of the venue to the box office, located in the bar at the back. Through two sets of double doors is the theatre itself. The area is step free but if you are a wheelchair user or have other mobility problems, please be aware that some parts of the floor are a bit uneven. The theatre has 3 rows, the front of which is on floor level and can accommodate a wheelchair. The other 2 rows are 1 or 2 steps up into them. Tickets are unallocated for seating when booking online. However, if you ring the box office (most of the time this will go to an answer machine so leave your name and number), you can book a wheelchair space or request an end of row seat if you have mobility difficulties. The box office number is 020 7261 9876. For online bookings, click HERE . Pipe Dream is running at The Union until Saturday 31st August. Performances are Tuesday - Saturday evenings at 7:30pm and matinees on Saturdays and Sundays at 2:30pm.

Kieran Brown will be performing his own cabaret, 'Music That Matters' on Monday 26th August AT 8:00pm at The Union Theatre. Tickets cost £15 (£12 for concessions) and can be booked through the box office on 020 7261 9876 (best for Access bookings). You can also book online HERE . To keep up to date with all of Kieran's news, follow him on Twitter @LuciferBox . You can also check out his website www.kieranbrown.com . Here's what Kieran had to say about his forthcoming cabaret... AL: What can people expect from the evening? KB: An evening of simply soulful, personal music, sung by some of my favourite performers (and friends)around town. AL: Why The Union as your chosen venue? KB: Well, I am doing Pipe Dream there at the moment. I have a tremendous affection for The Union. I know the space, the acoustics and the atmosphere and for what I have in mind for this show, it is perfect! AL: How did you go about making your song choices for this cabaret? KB: Each song means something very personal to me (and my guests). Songs that originate from my childhood, the beginnings of my career, right through to what is happening with me now, and a sneak peek into what is happening next... I also have two homages - one to the greenest girl in Oz and the other to my own icon from childhood right through to present day, Madonna!!! AL: What can you tell us about your guests for 'Music That Matters'? KB: I am utterly thrilled with who I have, some of my best friends have agreed to sing for and with me. My ex Les Mis cast mate, and partner in crime, Sophia Ragavelas, will be dueting with me on a song special to us. And Yorkshire's finest, the awesome Scott Garnham, will be singing something with me, no idea what yet though!! Both are currently in Title of a Show at The Landor. My favourite Aussie blonde bombshell, Erin Cornell, my Phantom co-star Kira Morsley, the girl with the best lungs and legs in Canada, Michelle Lafortune, my Pipe Dream love interest (and ex Wicked buddy) Charlotte Scott, Georgie Burdett and the gorgeous Loula Geater and Jeroen Robben (trust me ladies, and some gents, you won't want to miss him!). AL: Which 5 words best sum up 'Music That Matters'? KB: EEEEEK!!! Music, Matters, Laugh, Cry, Come!!!

Chichester's Theatre in the Park & Barnum

Welcome back to Access London and thank you once again for supporting Access for All. Summer is finally here and many of us want a break from city life for a few days and escape to the country or coast. Today's post is about Chichester's new venue, Theatre in the Park, a great way to have a break from London and still get your theatre fix! Theatre in the Park is Chichester's new temporary venue, whilst its Festival Theatre is being refurbished. It is located in the park, next door to the Festival Theatre. The theatre's big Summer production is Barnum.

"‘Barnum’s the name, P T Barnum, and I want to tell you that tonight, on this stage, you are going to see - bar none - every sight, wonder and miracle that name stands for!’ This exhilarating musical follows the irrepressible imagination and dreams of Phineas T Barnum, America’s Greatest Showman. The story of his life and his marriage to Chairy reveals a couple who looked at the world from opposite sides of the spectrum, and also reveals that she was the practical one who made his dreams come true. We follow the legendary showman’s life as he lit up the world with the colour, warmth and excitement of his imagination and finally teamed up with J A Bailey to create Barnum and Bailey’s Circus - the Greatest Show on Earth. Cy Coleman’s wonderfully exuberant score includes the hits Come Follow The Band, The Colours Of My Life and There’s A Sucker Born Ev’ry Minute. Barnum will be produced especially for the Theatre in the Park, Festival 2013’s magnificent temporary auditorium, its vast tented environment creating the perfect home for this brilliant, uplifting musical, shot through with the magic of circus."

Access Info: Theatre in the Park has 8 wheelchair spaces that can be accessed by lift or ramp. This is currently the largest temporary theatre in the UK with a lift inside, allowing wheelchair users and those with mobility problems more flexibility in where there choose to sit. At the moment, you cannot transfer from a wheelchair into a theatre seat. The Minerva Theatre is still in use this Summer and has 2 wheelchair spaces that can be accessed via a lift to the 1st floor. Patrons with disabilities are entitled to a 40% discount on tickets for themselves and 1 companion. In order to qualify for this discount, you simply need to fill in the Access List application form that can be found on the Theatre's website. The application only requires basic information and is usually processed very quickly. If however you have specific dates in mind that you wish to see the show, you can reserve tickets through the box office and then pay for them (within 4 days) once your application has been accepted. Because of the current building work on the site, the Festival Theatre car park is not in use. You can however still drop off just outside but will need to drive elsewhere to park. From the drop off point, it is a very short distance to the bottom of the park. From here there is a free buggy service that can take you up to the theatre itself.

For those patrons with hearing impairments, Sennheiser units are available free of charge from the Access Point in the Theatre in the Park foyer and from staff on the first floor of the Minerva Theatre. Assistance dogs are welcome in both theatres but please let the box office know when you book your tickets as spaces are limited per performance. All end of row letters and individual seat numbers are in braille in both theatres. Touch Tours for visually impaired customers will take place 90 minutes before an audio described performance and last approximately 30 minutes. For more information, please contact the House Manager on 01243 784437. Audio Described performances for Barnum are on the following dates: Friday 9 August evening, Saturday 10 August matinee, Friday 23 August evening, Saturday 24 August matinee. There is a signed performance of Barnum on Thursday 22 August evening. There is also a captioned performance of Barnum on Saturday 31 August matinee. For Access performances to all other shows at Theatre in the Park and the Minerva, please see the Access performances page on their website HERE . For details of Chichester's Access List and to join, please see their Access List page HERE .

Barnum is running at Theatre in the Park until 31st August 2013. Performances are Monday - Saturday evenings at 7.30pm and also matinees on Thursdays and Saturdays at 2.30pm. To book Access tickets for Barnum and all other shows at Theatre in the Park and the Minerva, please call the box office directly on 01243 781312.

Private Lives & The Gielgud Theatre

Welcome back to Access London and thank you once again for supporting Access to the Arts for All. Noel Coward's 'Private Lives' returned to the West End this Summer, to the Gielgud Theatre on Shaftesbury Avenue. "Elyot (Toby Stephens) and Amanda (Anna Chancellor) are glamorous, rich, reckless...and divorced. Five years later, their love for one another is unexpectedly rekindled when they take adjoining suites of a French hotel while honeymooning with their new spouses, Victor (Anthony Calf) and Sibyl (Anna-Louise Plowman). This chance encounter instantly reignites their passion, and they fling themselves headlong into a whirlwind of love and lust once more, without a thought for partners present or turbulences past. Following a sell-out run at Chichester Festival Theatre, this much-anticipated transfer is set to blaze across the West End stage this summer in an explosive production that proves Noël Coward still has the power to thrill, provoke and delight." Performances are Monday - Saturday at 7.30pm, with matinees on Wednesdays and Saturdays at 2.30pm. The running time is 2 hours 15 minutes. Private Lives is booking at the Gielgud until 21st September 2013.

Access Information: If you are a wheelchair or scooter user, just notify someone at the front of the theatre upon arrival and a side Exit door will be opened for you on Rupert Street (third door along). There is one step at this door but there is ramp that can be placed over it to allow for access. There is step-free access to the foyer bar where there is also an accessible WC. There are 2 dedicated wheelchair spaces in the dress circle (at either end of row B). Alternatively, if you can transfer, seats B5 and B30 in the dress circle are step-free. The theatre has an infra-red system with 12 headsets that can be borrowed from the foyer - note that a receipt must be signed for the use of these upon presenting ID. Assistance dogs are allowed into the auditorium, alternatively, staff can sit with the dog during the performance. Everyone at the theatre is extremely helpful and has great disability awareness.

Discounted Access tickets are available to those with a disability and a companion (depending on availability at each performance). To book Access tickets for Chariots of Fire, please call Delfont Mackintosh Theatres Access line on 0844 482 5137 and select the option for the Gielgud Theatre. This takes you directly through to the box office at the theatre.

Queen's Theatre Access Update & Q&A with Soprano Victoria Farley

Since Access London's last post on the Queen's Theatre (home to Les Miserables), there have been improvements made to the physical Access at the theatre. Previously there were problems with one of the doorways in the theatre, leading to one of the Accessible seating areas as it was not wide enough to accommodate most manual wheelchairs! Thankfully this has been corrected and the doorway widened to accommodate wheelchairs, manual and motorised, and also scooters. Access Info for Queen's: For wheelchair and scooter users, the entrance to the auditorium is through the fourth side door on Wardour Street – please ask a member of staff to open this for you. Level transfers are available in row D Dress Circle (may not be suitable for very low seated wheelchairs). There are places in Loge 1 and 2 that have level access. These will be suitable for wheelchairs which are maximum 1m in length and 64cm wide. Limited Mobility: 18 steps from the foyer up to the rear Dress Circle. 21 steps from the foyer down to the Stalls. 39 steps from the foyer to up the Upper Circle (this area is quite steep). Assistance dogs are allowed inside the auditorium, however Theatre Management can look after them if required. There is an Infra-red system with 12 headsets – Free hire upon production of ID. Please collect from foyer kiosk. You will be asked to sign a receipt. A £5.00 returnable deposit is required for the hire of the headsets. Please notify theatre at time of booking if you require this service. For signed, captioned and audio-described performances, patrons are requested to call: 0844 482 5166 or email access@delfontmackintosh.co.uk There is an adapted toilet with Radar lock in the foyer, accessed via a ramped corridor. Currently no bars in the theatre are accessible to wheelchair users but drinks can be brought into the auditorium. Tickets: To book discounted Access tickets (companion discount also) to see Les Miserables, call Access number and select 'Queen's Theatre' from the options on 0844 482 5137. Soprano, Victoria Farley, is a former Les Miserables cast member and part of the 25th Anniversary celebrations at the O2 in 2010. She is currently working on recording tracks in a classical/jazz crossover style, with the hope of recording an album in the near future. Victoria kindly answered some questions on Access recently and also some on her first recorded track, proving a big success on YouTube. Have a read what she has to say and check out her YouTube channel and follow on Twitter. AL: Many theatres/arts venues in London still have little or no disabled access. How aware are you of these issues? And how aware do you think others in the business are? VF: In all honesty, I was not at all aware of how many theatre/arts venues have restricted and even no disabled access, and I think I would be correct in saying that the vast majority of others in the industry are also unaware of this. AL: As a singer, how important is it to you that everyone who wants to see you perform can access the venue to do so? VF: As a performer, I feel a personal sense of responsibility to the audience at all times. To me it is of the utmost importance that every audience member has the most enjoyable time possible when visiting the theatre; in all aspects. I am also always immensely proud of the show I am in, and proud of everyone involved and it is wonderful to receive support from the audience. The fact is: No Audience, No Show. Without the support of the public, the theatre world would and could not exist. Therefore I feel ashamed that some theatres are obliged to turn away an audience member should they have a disability that cannot be accommodated. I understand there are difficulties with listed building restrictions on some of the older theatres, but in a time where health & safety, equal rights, human rights, political correctness and disability work awareness/equality are practiced in all sectors, I feel a sense of embarrassment that our sector of work is lagging so far behind. AL: Many theatres and theatre groups currently don't promote and publicise their Access details and rates particularly well. Could this be because they don't want to sell discounted Access tickets or do you think other reasons are involved? VF: I don’t think the discounted rates are an issue to theatres. With so much competition among the theatres, discounts and offers are promoted on a daily basis. Perhaps they are unaware of the issues faced in this matter, and that because so many venues do not offer Access, there will be certain audience members who are looking out for these tickets. It is something that must be bought to the attention of each venue, and the ones offering Access should be proud to stand up promote this, and encourage other theatres to follow suit. AL: Some of the larger arts venues (Barbican, ROH, RAH, RFH, Coliseum) have their own Access schemes with free membership, Access rates and dedicated Access teams. Do you think such schemes could work in West End and off West End theatres? VF: Absolutely. If you are welcomed into a place so warmly, you will be loyal to that place. As I mentioned before, the competition between each theatre is high so regular visitors and loyal members do wonders for those venues. All theatres should look into offering Access membership and rates as they will then recommend this venue to others. It would be especially worthwhile in off West End theatres as the shows change so regularly and it is always nice to welcome back familiar faces. AL: Any message to theatres owners about the future of Access for All? VF: Theatre owners should recognise the importance of Access for All. However large or small the venue is, they should be committed to offering whatever level of Access they can. It is unacceptable in this era to be turning away audience members because they cannot accommodate disabled members and theatres should be proud to stand up and say that they have made the difference. AL: You've performed in shows from Les Mis (incl the 25th Anniversary concerts) to Edwin Drood...what's made you choose to record songs, and possibly an album, at this time? VF: Having trained classically as a soprano, performing as a solo artist is something I am very used to, and before I branched into Musical Theatre, most of my performing experience were solo recitals/concerts. The idea of recording a new style of music was something I started working on 2 years ago, however I was fortunate enough to work solidly in theatre for those 2 years, so I put the recording on temporary hold. As soon as I finished pantomime this year, I took the bull by the horns and set to work whilst I had no other commitments. AL: Why a classical/jazz crossover? Where did the idea come from? VF: Just after I finished the Les Mis tour, I worked abroad for 6 months. I was singing lots of different genres of music, one of these being jazz. Jazz was a style I hadn’t worked on before and I loved it! When I started working on the idea of releasing a track, I couldn’t decide between jazz, and my first love: classical. Both are so very different, and would be marketed towards completely different listeners. And then it hit me: why not try a mixture of the two! AL: It's the first song you've recorded. What was the process like? VF: The process was quite long and tricky. Classical and jazz are completely different genres. Musically they are worlds apart, and they styles in which they are written differ in almost every way. Trying to merge the two in a way that was still sympathetic to the original aria wasn’t an easy one to work out and I did go through a stage of thinking “There is a reason why this hasn’t yet been tackled – it doesn’t work!” I was persistent however, and eventually we worked out a formula. AL: Who and what are your musical influences? VF: I have certainly been inspired by singers such as Il Divo, who have crossed classical with pop in order to make it more accessible to people who wouldn’t usually enjoy classical music, whilst still pleasing those that do listen to it. There have been many like Il Divo who are also achieving this. I have always been inspired by the greatest classical singers such as Andrea Bocelli, Pavarotti and Cecilia Bartoli, who literally raise the roof with their singing ability! AL: If an album is to be made (fingers crossed), what songs and ideas have you got for it? VF: I am currently working on a number of songs for a potential album. I also hope to be performing my own gigs soon. I am mainly sticking to the most celebrated and recognisable arias, although I will be throwing in some surprises! I shouldn’t be naming any numbers yet, as with the complications of creating new arrangements I could end up scrapping some of them, but ‘Nella Fantasia’ and ‘Canto Della Terra’ will definitely be amongst the mix. Thank you once again Victoria for answering those questions and supporting Access London and Access for All. Please check out Victoria's YouTube channel and her newest classical/jazz recording... Victoria Farley, O Mio Babbino Caro Video . You can keep up to date with Victoria's latest news and projects via her website www.victoriafarley.com . And by following her on Twitter @victoria_farley .

The National Theatre & The Magistrate

Welcome back to Access London and Thank You once again for supporting Access for All to the Arts. London's Southbank is home to many arts venues including The National Theatre building which houses three theatres, The Olivier, The Lyttelton and The Cottesloe. With many productions running at the same time, there's always something different to watch at The National.

The Magistrate, a farce set in Victorian London, is currently playing at The Olivier... "With his louche air and a developed taste for smoking, gambling, port and women, it’s hard to believe Cis Farringdon is only fourteen. And that’s because he isn’t. Agatha his mother lopped five years from her true age and his when she married the amiable Posket. Well, when I heard the new dad was a police magistrate, I was scared. Said I to myself, “If I don’t mind my Ps and Qs, the Guv’nor – from force of habit – will fine me all my pocket-money.” The imminent arrival of Cis’ godfather sends Agatha incognito to the Hôtel des Princes to warn him of her deception. But it’s also where her son has cajoled his otherwise staid stepfather into joining him for a binge. High-spirited carousing leads to a police raid and a night of outrageous mishap as the trapped guests make desperate attempts to conceal themselves from the law and from each other. Indignities escalate at court the next day where Posket, the police magistrate, must preside."

With a cast that includes, John Lithgow, Nancy Carroll, Peter Polycarpou, Joshua Mcguire, Beverly Rudd, Sarah Ovens and Christina Cole, it's one not to miss. The Magistrate will also be broadcast Live via National Theatre Live to selected cinemas nationwide on January 17th 2013. Performances at The Olivier run until the 10th February 2013, please see the National Theatre's website for more details on dates and times of performances. National Theatre Access: All entrances have wide, glass swing doors. There are semi-automatic doors on either side of the main riverside entrance. There is also free parking available to blue badge holders in the underground car park (take your blue badge, theatre ticket and car park ticket to the information desk to receive your free exit ticket). Wheelchairs are also available to borrow at The National but please ring in advance to check availability and to book on 020 7452 3000. The backstage tours run at The National are fully accessible, please notify box office of any requirements when you book. Free cast lists are available in large print and braille from the front information desk. For those requiring audio-described performances, a free mailing list is available in large print, braille or CD format, please phone 020 7452 3238 to order your copy.

The National has an audio-described programme and touch tours for those with visual impairments and captioned performances for deaf or partially hearing patrons. There are also relaxed performances. Audio Described Performances for The Magistrate: Friday 4th January 2013 (7.30pm) and Saturday 5th January 2013 (2.00pm) with a touch tour at 12.30pm. Captioned Performances of The Magistrate: Thursday 10th January 2013 (7.30pm) and Tuesday 22nd January 2013 (7.30pm).

The Magistrate is playing in The Olivier Theatre. Access Information: To reach both the stalls and circle, use the lifts from either the foyer or underground car park. Stalls: 5 wheelchair spaces are available at the back of the stalls and the back row (R) is one small step up. All other seats are accessed via steps (25 down to the front). Please note that there is no handrail on the centre aisle (Level 2). Circle: Level access is available to Row G. There are 18 steps down to the front at Row A. The steps are steep but there are handrails (Level 3). Assistance dogs can be taken into the auditorium or front of house staff can look after them for you.

The National Theatre's Access List is free to join for those with a disability. You can print off, fill in and post the form from the website or fill it in online and email it to them. It enables you to describe the requirements you have. Once the form has been processed, you will be given a password for their online bookings or you can ring the box office for tickets on 020 7452 3000 and will be entitled to their concessionary rates on tickets. It's well worth the few minutes it takes to fill in the form!

Chariots of Fire @ The Gielgud Theatre

Welcome back to Access London and Thank You once again for helping to support Access for All to the Arts.

Chariots of Fire: "Adapted from the legendary Oscar-winning movie, this spectacular and ingenious retelling of Eric Liddell's and Harold Abrahams' quest to become the fastest men on earth is an electrifying and immensely moving tale of two men's rivalry, and their unwavering determination to conquer the world in the face of prejudice, immovable beliefs and overwhelming odds. Featuring the original, hugely iconic Vangelis score and a magnificent ensemble cast, Chariots of Fire brings alive the incredible true story of two British athletes whose honour, sacrifice and courage brought them glory and immortality on the greatest sporting stage of all." Chariots of Fire is 'running' at the Gielgud Theatre, on Shaftesbury Avenue, until the 2nd February 2013. Performances are on Monday-Saturday evenings at 7.45pm and Wednesday and Saturday matinees at 3.00pm. Please note that there will be some changes to the performance schedule over the Christmas and new year period. To see the schedule for this time visit The Gielgud Theatre Website For Country, For Honour, Forever.

Access Information: If you are a wheelchair or scooter user, just notify someone at the front of the theatre upon arrival and a side Exit door will be opened for you on Rupert Street (third door along). There is one step at this door but there is ramp that can be placed over it to allow for access. There is step-free access to the foyer bar where there is also an accessible WC. There are 2 dedicated wheelchair spaces in the dress circle (at either end of row B). Alternatively, if you can transfer, seats B5 and B30 in the dress circle are step-free. The theatre has an infra-red system with 12 headsets that can be borrowed from the foyer - note that a receipt must be signed for the use of these upon presenting ID. Assistance dogs are allowed into the auditorium, alternatively, staff can sit with the dog during the performance. Everyone at the theatre is extremely helpful and has great disability awareness. Please be aware that strobe lighting and a starting pistol are used during this production.

Discounted Access tickets are available to those with a disability and a companion (depending on availability at each performance). To book Access tickets for Chariots of Fire, please call Delfont Mackintosh Theatres Access line on 0844 482 5137 and select the option for the Gielgud Theatre. This takes you directly through to the box office at the theatre.

Brookside Theatre and 'Deathtrap'

Welcome back to Access London and Thank You once again for helping to support Access for All to the Arts. This post heads away from central London and towards the London/Essex border, to the Brookside Theatre and their current production, Deathtrap.

The theatre is based within the Romford War Memorial Social Club, a fitting tribute as today is Remembrance Day...."The Brookside Theatre is a voluntarily run organisation and the home of Stage One Theatre Company, an award-winning, Romford-based theatre group established in 1991. The theatre is based within the Romford War Memorial Social Club (RWMSC) on Eastern Road and the main purpose of all events held at the theatre is to raise money and awareness for the club which is a registered charity as well as a registered war memorial. The RWMSC was officially opened on the 11th October, 1953, by the Lord Lieutenant of Essex, Lt.-Col Sir Francis Whitmore, to commemorate the residents, civilians and service personnel of Romford who tragically lost their lives during WWII. The main purpose of the charity is to provide social activities to the senior citizens of Romford and Havering.

In 2012, Stage One Theatre Company performed the first fundraising event for the RWMSC at the Brookside Theatre. This event marked the first of many planned to help fund the renovations and support to the RWMSC, a worthwhile charity within the community. With its 60th anniversary in October 2013, further funds are needed to complete renovation works to both the main hall and also the front building, which houses the commemorative panels listing the names of the fallen which were donated by the US Air Force in recognition of the hospitability they received when stationed in Romford during WWII. Independent of any council or applied funding, The Brookside Theatre is entirely self sufficient, thanks to kind donations, ticket sales, membership subscriptions and the 'Friends’ of The Brookside Theatre. Any person over the age of 16 is welcome to join the volunteers working at the theatre and will be encouraged and taught to develop skills: whether that be acting, marketing, set building, sound or costume design etc. The Brookside Theatre is proud to survive through the dedication of its volunteers."

Brookside's current production is the comedy thriller, Deathtrap, which runs until Saturday 17th November (evening performances at 8.00pm and Wednesday and Saturday matinees at 2.00pm). "A play to kill for... Writer Sidney Bruhl's luck has run out. Once the toast of Broadway, he hasn't had a hit play in years... Young and aspiring playwright, Clifford Anderson, a student of one of Sidney's writing classes, just so happens to have written the perfect play - 'Deathtrap'. Desperate for success, Sidney would do anything to claim Clifford's play as his own. And then he comes up with a killer idea..." Written by Ira Levin and Directed by Neil Reynolds ( @neilreynolds ), Deathtrap's cast includes, CJ de Mooi (Sidney Bruhl) James Meunier (Clifford Anderson) Helen Jeckells (Myra Bruhl) Nicki French (Helga ten Dorp) Clifford Hume (Porter Milgrim).

Access Information: Parking spaces for those with Access needs can be pre-booked via the box office. The theatre is located behind another building and there isn't a great deal of street lighting around, so please be aware of this when arriving and leaving in the dark. From the car park, there is a gentle ramp up to the entrance, with handrails on either side. The building itself is all on one level, so there is no issue with stairs. The box office is lowered and there is plenty of room inside for wheelchair or scooter users. Although, there is level access to toilet facilities, at the present time, there is no adapted accessible toilet - an issue I am told is being looked at. The chairs in the theatre are not fixed and so seating can be arranged and adapted to suit the needs of those with disabilities - please notify box office at time of booking. There are ticket concessions available for disabled patrons and one companion. To book Access tickets, please call the box office on: 01708 755775. For all other tickets and to find out more about the theatre and its productions, please visit their website at www.brooksidetheatre.com

Les Miserables @ Queen's Theatre & Q&A with Rebecca Caine and AJ Callaghan

Welcome back to Access London and Thank You once again for helping to support Access For All to the Arts. Opening on the 8th of October 1985 at The Barbican Theatre, Les Miserables is the world's longest running musical and will celebrate its 27th birthday in just over a weeks time. After a short run at The Barbican Theatre, the show transferred to The Palace Theatre in London's West End in December 1985 and spent 18 years there. In 2004, the show moved to its current home at The Queen's Theatre on Shaftesbury Avenue.

Access Information - Queen's Theatre: If you are a wheelchair or mobility scooter user or cannot manage stairs, please inform a member of staff upon arrival and they will escort you round to the Accessible entrance. The Accessible entrance to the auditorium is through the fourth side door on Wardour Street. If you are able to transfer from your chair, level transfers are available in row D (may not be suitable for very low seated wheelchairs) in the Dress Circle. Chairs and scooters will be taken and stored at the bottom of the stairs, next to the foyer. If you are a scooter user and prefer not to leave your key with a member of staff, you can drive the scooter there yourself and walk back up to your seat (back up a ramped walkway with handrails). For those needing/wishing to remain in their chairs, spaces are available in Loge 1 and 2 for you and a companion. These will be suitable for wheelchairs which are maximum 1m in length and 64cm wide. For those who can manage some stairs, the Queen's has: 18 steps from the foyer up to the rear Dress Circle. 21 steps from the foyer down to the Stalls. 39 steps from the foyer up to the Upper Circle (this area is quite steep). Assistance dogs are allowed into the auditorium or staff can sit with them during the performance.

Queen's is fitted with an infra-red system and there are 12 headsets available to use upon request and with the production of ID (please inform booking line if you require this service).These are available from the foyer (please ask a member of staff if you are unable to manage stairs), a receipt must be signed and £5 returnable deposit left. There is an Accessible WC next to the foyer, it can be accessed by radar key, or ask a member of staff for assistance to open it. None of the bars at Queen's are Accessible without negotiating stairs but drinks can be brought into the auditorium to those with disabilities. There is a discounted Access rate available to those with a disability, for you and a companion. Please note, there are a very limited number of Access discounted seats per performance and, for such a popular show, early booking is advised if you'd like to take advantage of these rates. To book Access seats and for all other Access information, please call the box office directly on 0844 482 5137 and press the option for the Queen's Theatre. There are occasional captioned and audio-described performances of Les Miserables scheduled. For details of the next performance, please call 0844 482 5166. A lot of readers have been asking me what singers and actors' knowledge and opinions of Access (and sometimes lack of Access) to our theatres and arts venues means to them. So, I've put some of your questions to them and will be posting a series of mini Q&As with some fabulously talented people. As this post's Access information was on Les Miserables, today's mini Q&A is with both the Original Cosette, Rebecca Caine, and current Les Mis cast member (and cover Fantine) AJ Callaghan. Thank you very much to both for their constant support.

Many theatres/arts venues in London still have little or no disabled access. How aware are you of these issues? And how aware do you think other people in the business are? RC: I wasn't at all aware and I'm shocked. I don't think most of us have much of an idea about these issues. AJC: From working front of house at The Theatre Royal, Drury Lane and talking to some of the disabled patrons, I am actually very aware of this. Drury Lane has a very good system in place which highlights the discrepancies in other venues. Unfortunately, due to the way theatres are built and because of the time they were built, not all of them have street level access to the auditorium. For instance, just across the road from Drury Lane, is The Fortune Theatre; this theatre has a very small entrance and access to all seating is either up or down stairs, which could be extremely problematic for a disabled patron. With regards to other people's awareness, I'm not really sure. It's not a conversation I've heard backstage recently but this doesn't mean people aren't aware.

As a singer and actor, how important is it to you that everyone who wants to see you perform can access the venue to do so? RC: It’s very, very important to me! AJC: Very Important. Everybody should have access to the arts.

Many theatres and theatre groups currently don't promote and publicise their Access details and rates particularly well. Could this be because they don't want to sell discounted Access tickets or do you think other reasons could be involved? RC: I don't know. Maybe. In the end it's all about the bottom line, sadly. AJC: Unfortunately, Theatre has become part of the corporate world. Making money is a very high priority, if not top of the list of aims for most shows these days. Therefore I hate to say it, but I think maybe it is a case of wanting to sell the seats at top price, rather than advertise a discounted rate, no matter who is affected as a result.

Some of the larger arts venues (Barbican, RFH, RAH, ROH, Coliseum) have their own Access schemes with free membership, large info packs, Access rates, dedicated Access teams. Do you think such schemes could work in West End and off West End theatres? RC: Interesting about those larger venues as they are subsidised. Yes, I believe it would work in the West End also. AJC: Definitely! As I mentioned earlier, Drury Lane has a brilliant access scheme. A separate entrance with a doorbell, which welcome’s the patrons at street level, taking you directly to the access seats. The disabled toilet is also in this area and the seats are set on a wider aisle, making it easier for people who aren't transferring to sit comfortably. An access host is employed on site whose job it is to ensure the well-being of access patrons and that all venue information is relayed proficiently. With a bit of thought and effort, I'm sure this system could be brought in to most, if not all, West End theatres. Any message to theatre owners and groups about the future of Access for All at their venues? RC: GET ON WITH IT. Theatre is for all. AJC: Just that arts audiences should not be defined in any way. Theatre should be accessible to all and as a theatre owner, it is your responsibility to make this possible.

Once again, a big Thank You to both Rebecca and AJ for taking the time to answer those. Rebecca will be returning to The Pheasantry (on the King's Road, London) to perform No, No Cosette! again on the 12th and 13th October. A fabulous evening... "Internationally acclaimed operatic and musical theatre soprano reveals her dark side. Music by Blitzstein, Vernon Duke, Turnage, Ravenhill/Offenbach, Kern, Porter, Novello, Yeston, Coward and more. With Nathan Martin on piano." The Pheasantry, unfortunately, can only be Accessed via a flight of stairs. If you can manage these, then it's a night not to be missed. To book for the 12th October, go HERE . For the 13th October, go HERE . For details of Rebecca's concerts, in Canada this Autumn and Winter, see her WEBSITE . Follow Rebecca on Twitter @RebeccaCaine .

AJ is currently performing in Les Miserables until June 2013. Her next dates as Fantine are: 1st & 2nd October, 11th-20th October and 29th November-1st December. To book Access seats for Les Miserables, call 0844 482 5137. Follow AJ on Twitter @AJCallaghan1 .