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 .

Sweeney Todd & The Adelphi Theatre

Welcome back to Access London and Thank You once again for helping to support Access for All to the Arts in London. This post updates Access information for the Adelphi Theatre and performance dates for Sweeney Todd around the 2012 Olympics.

"Direct from a sell-out season at Chichester Festival Theatre, where it received multiple five-star reviews and standing ovations, Jonathan Kent’s production of Sweeney Todd is unmissable. Laced with dark humour, dazzling wit and an infectious score Sondheim’s musical thriller has been hailed as ‘a masterwork’ (The Sunday Times) and ‘wickedly funny’ (Guardian). Set in London and laced with Sondheim's characteristically brilliant wit and dark humour, the musical depicts Sweeney Todd's savage quest for justice and retribution after years of false imprisonment. Aided and abetted by the pie-shop owner, Mrs Lovett, he sets out to avenge the wrongs done to him and his family. Combining a gory sensibility with elements of English music hall, the production offers a fascinating portrait of a man driven to madness by injustice and grief." Located on The Strand, The Adelphi theatre has very good Access. There is a ramp at the entrance, up into the foyer, this is located to the right of the main doors that have one step up into the foyer. Once inside, there is level Access from the foyer into the Stalls. The foyer also has an Accessible WC. There are spaces for 2 wheelchairs at the back on the stalls (please note that the view can be slightly restricted because of the Dress Circle overhang). Alternatively, if you can transfer, any aisle seat in the Stalls can be booked (depending on availability). Up to 4 wheelchairs or scooters can be stored in the foyer per performance. Assistance dogs are welcome in the auditorium. Or, staff can dog-sit during the performance in the Manager's office. The theatre has an infra-red system, with a limited number of headsets available from the box office. The box office also has an induction loop. There is however no coverage in: Stalls – from Row R to rear, Dress Circle from Row J to rear and Upper Circle from Row F to rear at this time.

Sweeney Todd runs at the Adelphi until the 22nd September 2012. Performances are Monday-Saturday at 7.30pm and matinees on Wednesday and Saturday at 2.30pm. Please note, there will be no performances between the 30th July and the 11th August. Access tickets are priced at £25 each for you and one companion. To book Access seats, please call the Access booking line on 0844 412 4648. Attend The Tale!

The Lion King & Lyceum Theatre

Welcome back to Access London and Thank You once again for your continued support for Disabled Access to the Arts in London.

The Award Winning show Disney's The Lion King is in its 13th year at the Lyceum Theatre. Based on Disney's animated film by the same title and featuring music by Elton John, lyrics by Tim Rice and musical score by Hans Zimmer, the show has proved to be a hit in town!

"Set against the majesty of the Serengeti Plains to the evocative rhythms of Africa, this spectacular production explodes with glorious colours, stunning effects and enchanting music to tell the timeless story of Simba and his epic journey to fulfil his destiny as King of the Pridelands."

Performances are on Tuesday-Saturday evenings at 7.30pm and 2.30pm matinee performances on Wednesdays, Saturdays and Sundays.




The Lyceum Theatre is located on Wellington Street, Covent Garden and just off The Strand making it central and near to transport links such as Charing Cross Station. If arriving in a wheelchair, please be aware that Covent Garden piazza is cobbled (although there is a paved walkway around most of the perimeter) and also dropped kerbs are lacking in some side streets. If you are arriving via The Strand, you should have no difficulty. If driving, there are 2 blue badge bays outside the theatre. There are also 3-4 blue badge bays opposite the Opera House. However, due to recent works in the area, these ones do seem to be closed on occasions so I can only advise that you ring Westminster Council before you travel to find out if they are in operation or not. There are also several other bays dotted around the Covent Garden area.

If you don't use a wheelchair or scooter and can manage some steps, the Lyceum's main entrance has 3 steps up to its Lower Foyer. From here, the nearest seating area is the stalls, a further 7 steps down from the Foyer. If you are a wheelchair or scooter user or cannot manage any steps, there is a level, accessible entrance through a double exit door to the left of the main entrance. There is a wheelchair sign by these doors and if you notify someone at the main entrance, someone will come and open these doors for you. I'd advise you to send your companion to ask at the main entrance as crowds tend to queue back past the accessible entrance and it can take a while to negotiate your way back through them.

Although there is lift access to all levels within the theatre, it isn't recommended that those with mobility and access needs book tickets in either of the circles - there are no designated wheelchair spaces in either circle and both require you to use steps once on those levels.

Within the stalls there are 6 wheelchair spaces in Row P and 3 in Row ZA. If you use a scooter or can transfer from your chair then any aisle seat in the stalls can be booked (subject to availability). There are also 2 adapted WCs by the accessible entrance to the stalls. The stalls bar is also accessible but, drinks can also be brought to those with access needs.

There is an Infra-red system in operation at the theatre that uses a mono receiver with neck induction loop. These are used in conjunction with a hearing aid which needs to be set to position T in order to pick up the signal. Assistance dogs are allowed into the auditorium. Alternatively, staff can dog sit throughout the performance.

- The next audio described performance of 'The Lion King' will take place on Saturday 21 July 2012 at 2.30pm, with a touch tour from 1pm in the Side Circle Bar.
- The next sign-interpreted performance of 'The Lion King' will take place on Saturday July 28th 2012 at 2.30pm.
- The next captioned performances of 'The Lion King' will take place on Sunday April 29th 2012 at 2.30pm and Friday September 7th 2012 at 7.30pm.

To book Access tickets or to discuss Access needs at the theatre, you can phone the Box Office directly on 020 7420 8113. The Box Office opening hours are 10am-6pm Monday-Saturday and 12pm-3pm on Sundays. Concessions are given to those eligible to purchase Access tickets and to 1 companion.

Phantom of the Opera's 25th Anniversary & Interview with Phantom, Scott Davies

Welcome back to Access London and Thank You once again for supporting disability access and awareness in the Capital.

First off, I must say a massive Thank You to everyone for your feedback on the last post, the responses have been coming in thick and fast about your stories from the Royal Albert Hall - some of you have asked if it is just issues from Phantom25 access seating I am interested in, no, it isn't, any access problems you have had at the Hall, from booking tickets, communication breakdowns to the seating itself.

I did say in the last post that this one would be dedicated to some of the issues that people have been having and some of the feedback I have received from the Hall after having several long conversations with them, including one very long one at the Hall itself after the Phantom25 performance on 1st October. However, due to the amount of messages, comments, Tweets and emails I have received on this, I am delaying this post until next week so that I can edit down all the main points you have been raising, please do continue to send in your stories if you have one though.

Also promised in the previous post was more information about Access at Her Majesty's Theatre....
If you are a wheelchair or scooter user, or cannot manage stairs, then there is a side entrance on Charles II Street that has level access to the rear of the stalls and also a storage area for chairs and scooters and an accessible WC. When you arrive at the theatre, simply ask someone at FOH (usually people outside from about 30-45 minutes before a performance starts) and they will escort you around to this entrance.

There are 4 wheelchair spaces (with companion seats) in Row S in the stalls. If you can transfer then any aisle seat in the stalls can be booked (subject to availability of course!). The stalls have a relatively gentle rake with a handrail along the wall. People making an access booking are assigned an usher to assist them, although a companion must accompany each access booking made and both are entitled to the Access booking rate.

Charles II Street also has several blue badge bays along it - these are time restricted until 6.00pm but not afterwards. There are also several blue badge bays in St James' Square which is a few minutes walk away down Charles II Street.

Her Majesty's has an infra red system with 10 headsets available (a receipt needs to be signed at time of collection) - ask at the box office or any member of staff if you wish to use one. Assistance dogs can be looked after by staff during the performance - a maximum of 2 dogs per performance. Large print programmes and braille cast lists are also available upon request.

To book your access tickets for Phantom of the Opera, please call: 0844 412 4648.


Access London is delighted to share with you another cast interview in celebration of 25 years of the show. Today's interview is with Scott Davies - Scott performed as The Phantom at both Her Majesty's Theatre and on the UK tour, he is currently the Standby Phantom in London. Access London would like to say a huge Thank You to Scott for taking the time to answer some questions....


AL: How does it feel to be part of such an iconic and much-loved show as Phantom?
SD: It's amazing! I still have to pinch myself when I walk past front of house before the show and think, oh! that's me!!


AL: Why do you believe the show is so loved and has audiences returning time and again?
SD: The story is just so simple yet offers everything an audience could want. Obviously the score is beautiful too.


AL: The Phantom's character is quite volatile. How do you go about getting into role each night?
SD: The show has a really clever way of cranking up the tension so a lot of the preparation happens within the actual show. It's really exciting.


AL: I'm sure you've been asked this a lot but, what is the make up process like to go through?
SD: No problem. My Make-up artist is fab and manages to do the make up quickly and effortlessly. We get on well so it's a nice time to catch up with each other.


AL: Do you have a favourite song/scene to perform?
SD: My favourite is the final lair because it shows the real extremes of the Phantom's character.


AL: You have played The Phantom at both Her Majesty's and on the UK tour. How did these experiences differ for you?
SD: Both were great but London is better because it's nice being at home.


AL: Her Majesty's has been the long time home of Phantom since it opened and so is completely set up for it, with staging, sets and technical elements. Does this differ a great deal when the show is on tour?
SD: The sets and props are identical so no differences there. Sometimes playing a larger house though changed the intimacy of the show that is created at Her Majesty's.


AL: Having played opposite quite a few Christines, does your performance change depending on which actress is playing her?
SD: Some reactions are different but my intentions remain the same.


AL: With a show like Phantom that has so many technical elements and special effects in, do you have a tale to tell of a mishap during a performance?
SD: I went on for the final lair on tour and there was no port-cullis, no throne, no organ, no candles, nothing!! Half way through the scene I saw the throne and organ being pushed on by a broom handle!!!


AL: Lastly, do you have a Birthday Message for Phantom and its fans?
SD: Thanks for your ongoing loyalty and support. Here's to the next 25 years!!!


Once again, Thank You Scott for your time and for supporting disabled access to the arts in London. Scott is contracted as the standby Phantom until September 2012. You can also see Scott perform in the English National Opera's production of Tosca at the London Coliseum as Spoletta - performances on 26, 28, 30 November, 2 December and 17, 21, 24, 29 January, with a signed performance on 24 January. To book Access tickets (and to join the Access scheme at ENO) please call: 0871 472 0666. For all other ticket types, please call: 0871 911 0200.


If you have a story about any any Access issue at the Royal Albert Hall, you can contact me at claire@horizon-va.co.uk
Or, send me a Tweet @HorizonVA


COMING SOON: The Globe Theatre, The Lion In Winter, London Coliseum, Royal Albert Hall Access Issues, More from Phantom 25 - interviews with Sofia Escobar and more...

Phantom of the Opera's 25th Anniversary & Interview with former Christine, Rebecca Caine

Welcome back to Access London and Thank You once again for supporting disability access and awareness to the arts in the Capital.

Many of you will already know that throughout September, Access London ran celebration posts for Phantom of the Opera's 25th Anniversary, these posts will be continuing throughout October. Today is officially Phantom's 25th Birthday, so, from Access London, a big Happy Birthday to the show and all current and former cast, crew and creatives - here's to another fabulous 25 years!

The show enjoyed a weekend of celebrations last week at the Royal Albert Hall where one of the concerts was also streamed live to cinemas across the globe on Sunday. Encore showings of this are happening throughout the next couple of months abroad, so make sure you check out your local cinema for any forthcoming showings. Those in the UK will see the dvd and cd recordings released in November.

Unfortunately for those who require disabled access and additional requirements to venues, it seems that the Royal Albert Hall most certainly did not deliver on this front to many last weekend - myself included. I have received many messages about this via email and Twitter and will be dedicating a separate post to some of the issues that people faced at the Hall this coming week. If you have a story of your own about Access at the Hall, I would very much like to hear about it - see my contact details below.

I initiated enquiries this week as to the Access failings at the Hall and these and any changes discussed will be in the next post.

On a more positive note, if you didn't make it to see the live celebrations at RAH or missed the cinema screenings, then don't forget, you can always go and see the show at its London home - Her Majesty's Theatre on the Haymarket. This theatre, I am pleased to say, is most definitely accessible and has some of the most disability aware FOH staff I have experienced at any London theatre - so thank you to everyone there!

More detailed Access information will appear in future posts but for now...Her Majesty's has level access to the rear of the stalls through a side entrance on Charles II Street. There are 4 wheelchair spaces in row S in the stalls with companion seats. If you can transfer, then you can book for any aisle seat and your wheelchair or scooter will be stored for you until the end of the performance. There is an adapted WC next to the accessible entrance/exit and wheelchair space users/transfer seats are assigned an usher to assist and order interval drinks if wished. Please see next post for more detailed explanations on seating at Her Majesty's and facilities for other disabilities.

In keeping with all of Access London's other Phantom25 posts, I'm delighted to share with you another interview with a former cast member, Rebecca Caine. Access London would like to offer a huge Thank You to Rebecca for answering some questions for us. Rebecca joined the original London cast of Phantom and then went on to repeat her role as Christine in the Canadian premiere of the show alongside Colm Wilkinson.


AL: When you joined Phantom, did you realise how big and how loved the music and story would become?
RC: I went in 6 months after it opened to alternate with Claire Moore and for a month Sarah Brightman so I wasn't quite original cast although I did perform with them.
Yes, I did realise because I had just come out of another big show, Les Mis, in which I created Cosette.
No one thought at the time either shows would run as long as they have.


AL: Have you been back to see the show since you left?
RC: Just once, when I went to see my friend Gina Beck a year ago. She was fabulous, I screamed all the way through.


AL: What was your favourite scene/song to perform?
RC: I never had a favourite but The Overture is spectacular.


AL: You played alongside Michael Crawford as The Phantom initially but which other Phantoms did you play alongside and who were your Raoul's?
RC: I opened the Canadian production opposite Colm Wilkinson who I'd worked with in Les Mis. We also recorded it. I played opposite many Phantoms including Peter Karrie.
My Raoul's were Steve Barton, Michael Ball and Byron Nease


AL: What emotions do you think Christine is feeling when she sings the song 'Wishing you were somehow here again'?
RC: I can't remember really. Sad about her father. I certainly felt it when I sang it for the first time after my father had died.
Though during my long run it was generally at that time I started wondering about what was in the fridge when I got home....


AL: You are part of the cast of The Three Phantoms. What is it like going back to sing songs you sang when Phantom first opened?
RC: Difficult to remember any of them as the BOYS will attest! I do notice I can sing them no matter how tired I am and that my body does the moves still. Muscle memory...


AL: Lastly, do you have a Birthday Message for The Phantom of the Opera and its fans?
RC: I'd like to thank ALW for my bathroom refit, Kitchen remodelling and Facelift Fund. x
HAPPY BIRTHDAY!


Once again, a huge Thank You Rebecca, your support for access to the arts is much appreciated.

Rebecca's recordings include the original Canadian cast recording of Phantom, which is personally my favourite recording of the show (for those that have asked me recently). To hear her sing as Christine Daae, pick up you copy from Dress Circle shop or their online store. You can also hear her sing as Cosette (the role that she created) in the original London cast recording which can also be bought from Dress Circle.

Rebecca's beautiful album 'Leading Ladies' can also be purchased from Dress Circle and features her performing 17 stunning tracks including works by Gershwin, Coward and Novello.

"It was the beauty of the music that first attracted me to this repertory, but when I began looking into the women who made it famous, I became increasingly fascinated by their personalities, and the lives they led. They were among the most glamorous stars of their days, on a par with today’s movie and television celebrities.

I do not seek to impersonate them but to interpret them. Their vocal qualities are quite different, from Gertie Millar’s soubrette charm in Moonstruck to Jose Collins’s richer operatic quality in Love Will Find a Way, Gertie Lawrence’s matchless style and Jessie Matthews energy and vivacity. Mary Ellis was a "cross-over" in the truest sense of the word, having started her career at The Metropolitan Opera, singing with Caruso and Chaliapin before she became a serious actress. Evelyn Laye starred in Bitter Sweet on Broadway. Lizbeth Webb could sound like a lyric soprano one minute and a 1950’s pop singer the next. Julie Andrews needs no introduction, being the most internationally famous of all these leading ladies, having become, like Jessie Matthews before her, a great movie star and one of the last true soprano voices in musicals.

I would like to thank Gerald Martin Moore for being the guiding force behind this recording. Without his his knowledge, inspiration and encouragement, this album would have never happened.

I would also like to thank him for his vocal versatility which has given us Noel Coward, American juv lead, George Metaxa, George Guetary, Vaudeville Boy, Hooray Henry voice, four cockney costermongers and my particular favourite, Olive Gilbert.

Rebecca Caine"

Rebecca also performs with the Three Phantoms which is soon to start its new concert dates later this month. She is currently scheduled to perform: 21 and 22 Oct at Wales Millenium Centre, Cardiff, 4 and 5 November New Wolsey Theatre, Ipswich, 6 Nov Bournemouth Pavillion, 19 Nov Theatre Royal Plymouth and 10 and 11 Feb 2012 at the Chichester Festival Theatre - if you can get tickets for any of these, make sure you do for a great and entertaining night out with some top class performers!

To keep up with all of Rebecca's news and performance dates SEE HER WEBSITE
You can also follow her on Twitter @RebeccaCaine


If you would like to get in touch about any Access issues you have had at the Royal Albert Hall, you can do so via claire@horizon-va.co.uk
Or, contact me on Twitter @HorizonVA


To buy any of the above recordings featuring Rebecca Caine and to search the treasure trove that is Dress Circle, visit the website www.dresscircle.co.uk


COMING NEXT: Royal Albert Hall Access
COMING SOON: More Phantom 25 posts & Interviews, London Coliseum, Les Mis, The Globe

Priscilla Queen of the Desert & Cast Interview with Steven Cleverley

Welcome back to Access London and Thank You once again for supporting disability access and awareness in the Capital.

Today's post is dedicated to the hugely popular and entertaining show that is Priscilla! Performed at The Palace Theatre on Shaftesbury Avenue, the show is a bright, colourful night out!

Unfortunately, The Priscilla bus is shutting its doors and leaving The Palace at the end of the year so if you haven't already seen the show, or want to see it again, make sure you book tickets soon!

For wheelchair and scooter users there is a shallow (about 3cm) step into the theatre though an Exit door on Shaftesbury Avenue - there is a ramp available to get up this also. Simply go to the front of the theatre and someone from FOH will escort you around to the entrance and assist you. This entrance leads into the back of the stalls (this area also has an accessible WC). There is space for 2 wheelchairs at the back of the stalls, with an adjacent companion seat. Alternatively, if you can transfer, you can book any aisle seat in the stalls. The theatre can store up to 5 wheelchairs and 1 scooter per performance.

Assistance dogs are allowed into the auditorium or staff can sit them during the performance (maximum of 4 dogs per performance). There is also an induction loop system at The Palace. There is no step-free access to a bar but staff are happy to go and fetch drinks for you at the interval - I found all staff to be amazingly helpful at The Palace and would like to send out a big Thank You to all.

To book Access tickets to see Priscilla, please call: 0844 412 4648 (current Access price is £25.00 per ticket for disabled person and 1 companion, seated in the stalls!). For all other ticket types, please call: 0844 755 0016.


Access London had the opportunity to speak with one of the cast members recently and would like to say a huge Thank You to Steven Cleverley for taking time out to chat. Here's what he had to say....

AL: When did you first become involved with the show?
SC: I've been doing the show now for two and a half years, I was in the original London cast and went through the whole rehearsal process. We did 6 weeks at the rehearsal space, called Jerwood Space, which is based over in London Bridge. So, we were there for 6 weeks with that and then we came into the theatre and did tech and everything, so I've been doing it for quite a long time.
It's nice because we're all like a family, we don't just come in and do our job, we spend a lot of time with one another - it is your extended family. We all get along well and have lots of laughs backstage.

AL: What was the audition process like?
SC: I got the audition through my agent. I'd just finished Le Cage Aux Folles so they said 'oh we think you'd be perfect for this' and I knew the casting director and she knew I had done drag before. So I went along to the audition process and I think I went to about 9 or 10 auditions. It was a really long process, especially because they were doing an original cast. I got offered the job in the August and then it took 6 months for the actual job to start. Obviously the creative team had to come over from Australia and it's not like it's round the corner so they came for long stints at a time, about 3 months.
It was actually quite painful trying to find out if I'd got it or not - I was sat at home waiting for the phone to ring - I couldn't believe it when I got the phone call!

AL: Did you realise at the time it would be such a long process for the production to start?
SC: Well the phone did ring at one point and they asked me to come back and read for....because I cover one of the parts in the show, Miss Understanding, so they called me back and said 'we'd really like you to come in and go through the script and do the song again'. From then until getting the phone call, I think it was about 4 or 5 weeks.

AL: You play more than one role in the show?
SC: Yeah I play Farrah and Young Bernadette

AL: What's it like playing more than one part?
SC: Well the thing is, everyone has their own little feature bits and then obviously you do your bits in the ensemble. We are always busy changing...I go from being a girl, being a drag queen, to being a man, then I go to being a paintbrush and things like that. And then in the interval I've got 15 minutes to get my drag make-up back on and go on again to play Young Bernadette and then I'm back to being a boy but I've still got a full face of make-up - so I keep my head down and have sunglasses on to hide the drag make-up.

AL: So with that many extreme costume changes, I assume it's all a bit manic?
SC: Yeah, it's crazy! The fastest change I do is I've got about a minute to get out of a cupcake and into a drag casino outfit and then come on - and I've got to be there as I've got a line. When we first started I was thinking, 'I'm never going to make this' and then now I just sort of walk round the back really breezy.

AL: Do you have a favourite costume?
SC: Young Bernadette, it's a big, spectacular costume - it's massive and lots of feathers.

AL: Any favourite songs in the show?
SC: My favourite is actually MacArthur Park when we're all dressed up as cupcakes because you look out to the audience and everyone's happy, smiling - that's probably my favourite bit.

AL: How do you prepare before a show?
SC: Normally, in our dressing room, I share with two of the boys, we've got our music playing very loud and having a laugh. I'm going onstage as an over the top drag queen - I've not really got to think about what I'm doing, it comes naturally. It is hard to wind down after, we go for a drink or like tonight I've got to go and do a gig afterwards. It's such a party atmosphere in a show like this, you can't often just go home.

AL: What's The Palace like as a theatre to perform in?
SC: It's great! I mean this building has got so much history with the shows that have been here. I mean, Les Mis was here for years and I remember coming here to watch it with a school trip and we went onto the stage to get shown the set - to think however many years later I am actually performing on that same stage is crazy!

AL: If you could play any part in any musical, what would it be?
SC: I would love to be a drag Velma Kelly in Chicago - do something like that, just because it's so camp! I've always wanted to be in Cats, that was the kind of show that got me into dancing, I loved it.

AL: What would you say to people that haven't seen the show yet?
SC: I think they should see it because it's a really feel good show and there's not many productions like this around. You can walk in here having had a miserable day and just forget about it all for 2 and a half hours - it's a really fun night out. We see people in the audience clapping and dancing away - I think London needs that right now.

AL: Lastly, if you could be in a production anywhere in the world, where would it be?
SC: Well I'd love to go over to Broadway and do something. I'd also like to work in Germany - my friend works there in Starlight Express and I've visited the country a lot - Actually, I'd love to do Starlight Express over there.

AL: Can you skate?
SC: No, not very well, but I could do skate school. I'd probably fail though, I'm so clumsy!


A huge Thank You once again to Steven for answering those questions. Remember, if you want to see the show, it closes on 31 December 2011, so get booking!!



COMING NEXT: More from Phantom 25 & Interviews
COMING SOON: Billy Elliot, Globe Tours and Exhibition, 39 Steps

The Cavendish Hotel - Autumn/Winter Deals!

Welcome back to Access London and Thank You once again for your continued support for disability access and awareness in the Capital.

The Cavendish Hotel is Access London's recommended hotel for 2011. It is in the heart of the West End, on Jermyn Street, and 5 minutes from Piccadilly, making it the ideal location for visiting theatres, the Royal Academy, National Gallery, restaurants and the Royal Parks.

The Cavendish is a superb, contempory and stylish hotel with some of the most welcoming, friendly and attentive staff you will ever find. The Cavendish is Access London's recommended hotel for 2011 because of its central location, great access and accessible facilities, disability aware staff and fabulous value for money. For those of you that use a wheelchair or scooter, the hotel now has the added benefit of extra dropped kerbs around the Duke Street entrance which is completely step-free and accessible.

The hotel has several accessible rooms set up for those who use a wheelchair. They include fully accessible shower rooms, grab rails, emergency pull cords, extra space for wheelchairs and much more. For those who can transfer out of a wheelchair and step into a shower, there are also some beautiful and stylish Executive Rooms that I would definitely recommend.

The Petrichor restaurant offers some beautifully presented and delicious dishes that have their ingredients sourced as locally as possible. With pre-theatre, lunch, a la carte, and afternoon tea options all available, there is plenty to choose from.

The Cavendish has some fabulous offers on this Autumn and Winter: Autumn Weekend Breaks from £159 valid until 27th November including breakfast. Winter Rates from £149 valid 7 days a week from 15th December until 23rd January 2012, including breakfast (not including 31st December). For all the details on these offers, to make a booking and to find out more about the hotel VISIT THE CAVENDISH WEBSITE

For those interested in the wheelchair and scooter accessible rooms, I would advise ringing the hotel first to check availability of these rooms before you book online. You can ring the hotel on +44 (0)20 7930 2111.

To make reservations at The Petrichor Restaurant or for afternoon tea, contact 0207 389 3500.





COMING NEXT: More from Phantom 25, including Cast Interviews
COMING SOON: Billy Elliot, Priscilla, Phantom 25, Globe Tours and Exhibition

Phantom of the Opera's 25th Anniversary & Interview with Original Carlotta, Rosemary Ashe

Welcome back to Access London and Thank You once again for your continued support for disability access and awareness in the Capital.

It is now less than a week until the celebrations for Phantom of the Opera's 25th Anniversary are held at the Royal Albert Hall and by all accounts, it is going to be some event!

For those lucky enough to have got tickets to one of the concerts, the Hall's restaurants and bars are all accessible to those using a wheelchair or scooter. Tables can be booked from two hours before the start of a performance. If you do use a wheelchair or scooter, make sure you take advantage of the access booking line to reserve your table - 020 7070 4410. This line can also be used to book and enquire about disabled car parking. The Hall has a limited number of spaces on site reserved for disabled visitors. If travelling in from outside of London, please remember that the single and double yellow line rules differ from other parts of the country - please check the latest guidelines on the blue badge scheme website.

I have heard of a few problems with the onsite disabled parking at the Hall for Phantom 25 - people having made reservations for a space when they booked their concert tickets are now being told that the spaces are being used by other people! However, the Hall are offering spaces at a nearby car park to compensate for this at no charge. If you are affected however, the Hall should have contacted you by now.

The lifts inside the Hall are located near to Doors 1 and 8 (8 being the nearest to the disabled parking bays) and these service all levels of the Hall. For wheelchair spaces in the Hall:

"Fourteen wheelchair spaces with adjacent companion seats are situated in the Stalls at Ground floor level. We have a limited number of chairs that can be elevated which may be used by customers seated at the back of the Stalls platforms who are able to transfer from their wheelchair. If you are interested in this facility, please speak to a Steward on arrival.

There are also six wheelchair spaces in the Circle at sections P, R, V and X and four spaces within the unreserved standing area of the Gallery. Please note that due to the physical limitations of the circular shape of the auditorium, the spaces in the Circle are more suitable for customers with good upper body mobility."

If you are able to transfer, more seating options will be open to you and the Hall can store your chair or scooter throughout the performance. For most events at the Hall, including Phantom 25, a companion/carer can have access to a free ticket when accompanying a disabled guest. The number of companion seats is limited for each performance and is down to the organisers of each individual show there. For all access ticket enquiries, please call 020 7070 4410. For all other tickets, the Hall's box office number is 0845 401 5034.

The Hall also has a scheme called the Access List that enables those with disabilities to book tickets and make enquiries with a more efficient service. It works by registering your details for free with the hall - your access requirements, whether you are a blue badge holder, seating requirements etc. This allows the access box office line (020 7070 4410) to be able to deal with your call more efficiently, rather than having to go through all of your requirements every time. It also entitles you to the free companion/carer tickets (depending on availability).

Access London has been lucky enough to bring you an interview with a current or former cast member with each of our Phantom 25 posts and this post is no different. Today's interview is with the original London Carlotta, Rosemary Ashe. Access London would like to say a huge Thank You to Rosemary for taking the time to answer some questions...

AL: You joined Phantom as part of the original cast. Did you think at the time that it would go on to be one of the longest running and best-loved shows?
RA: When I was rehearsing the new production of 'Phantom' I had no idea it was going to be such a massive hit and run for years. I thought and hoped I would get a year's work out of it. It wasn't really until the press night, when we received a standing ovation, that I realised we were on to a winner. Up until that time you could still purchase tickets quite easily, then the box office went mad, and the rest is history!


AL: In your opinion, why do you think that people love the show so much and come back to see it time and again?
RA: It's such a good story and a brilliant production. The music is very memorable and the whole experience of watching the show is magical and provides escapism


AL: Have you been back to see the show since you left it? If yes, has it changed much since it originally opened?
RA: I've seen the show a few times since I left, as various friends have gone into it. It hasn't really changed that much, although the last time I saw it, there was less humour than before.


AL: Carlotta is such a deliciously extrovert and diva character, what did you enjoy most about playing her?
RA: I loved playing Carlotta because not only is she a wonderfully extrovert character, but she has to sing incredibly difficult music (some of that is MY fault as I was allowed to give my input with the top notes and show off)! Many people just talk about the singing but it's a real acting part too. My favourite combination. Also, having previously done a lot of opera, it was the ideal role for me, to play an opera singer in a musical.


AL: The designs for the production are magnificent. Did you have a favourite costume in the show?
RA: I loved Carlotta's second act costume, the red dress with an ermine stole (originally they used real fur, then had to dye it down as the white of the ermine was too bright! Think they use fake fur these days!). That costume was made after the opening and I didn't get it until several months into the run.


AL: What was your favourite song or scene to perform in Phantom?
RA: 'Prima Donna' because it's so brilliantly written and is a fantastic ensemble number, very operatic in form.


AL: Phantom is full of special effects and technical surprises. Do you have a tale to tell of any mishap during a performance?
RA: There was a performance when the chandelier didn't fly out. I was so busy preparing for my opening cadenza I didn't know until I got on stage. Apparently the stage manager had been gesturing to me from the wings not to go on stage, but I was oblivious. I walked on, singing, carried on until the end, at the same time walking around the chandelier on the floor. When I finished, the stage manager came on stage and stopped the show. So I had to go off while they sorted it! It was all to do with the air conditioning being installed in the theater apparently, someone hadn't switched a simple switch back on. So it didn't take too long to sort out. Then I had to come back on and sing the cadenza again. The audience went wild. It was a matinee day too!


AL: From an Access point of view, Her Majesty's Theatre has made some great efforts to make itself accessible to as many as possible. But, what is it like as a theatre to perform in?
RA: It's a lovely theatre to perform in; in fact I sang there quite recently in a gala concert. It feels very intimate.


AL: Finally, do you have a Birthday Message for Phantom and its fans?
RA: It's incredible that Phantom has reached it's 25th birthday. I am so proud to have been a part of its inception. I have a feeling it will be around for at least another 25 years, and I look forward to being at the 50th celebration!!


Once again, a huge Thank You to Rosemary for taking part. Rosemary will be performing in the 25th Anniversary Concerts this coming weekend. To keep up to date with all of her news, buy cds and watch videos or her perform SEE HER WEBSITE

To see the full cast list for Phantom 25 CHECK OUT THE OFFICIAL WEBSITE



COMING SOON: More from Phantom 25 and Interviews (right through the October anniversary month), Priscilla, The Globe Tour and Exhibition, Billy Elliot.

Phantom of the Opera's 25th Anniversary & Interview with former Christine, AJ Callaghan

Welcome back to Access London and Thank You once again for supporting disability access and awareness in the Capital.

Access London has been running a special series of posts over the last month or so in the lead up to Phantom of the Opera's 25th Anniversary celebrations in October. Thank You to everyone for your kind comments on the posts and access information provided and also your feedback on the interviews - although these Thank You messages go to all the lovely cast members who have given their time to answering the questions. These posts will continue throughout the Anniversary month of October. To read past interviews and posts, please scroll down.

The anniversary concerts are being held at The Royal Albert Hall on the 1st and 2nd October. The majority of the tickets have now been sold but I believe there may still be a few available - although be warned, they may well be in the higher price bracket of around £250! If you are looking for accessible seating, your best bet is to call the dedicated access line at the Hall on 020 7070 4410 as there may be some accessible seats available at a more reasonable price. You can also use this number to pre-book one of the Hall's disabled parking bays to be able to park for free from up to 2 hours before a performance.

The Hall has its own Access Scheme which allows you to register your details and requirements so that the access box office can better assist you in booking seats for you and your companion/carer. For most events at the Hall (including Phantom 25), a companion/carer can go in for free with every full paying disabled visitor. Prices will differ depending on where you are sitting and which event you are going to see. For more information and to register for the Access Scheme, please contact the access box office line on 020 7070 4410. For all other ticket types, please call the main box office on 0845 401 5034. All of the restaurants and bars are accessible at the Hall for those using a wheelchair or scooter. These must be booked in advance of any event and tables can be booked from 2 hours before the performance. For wheelchair and scooter users, again please use the access box office line to book a table and make enquiries to any of the restaurants at the Hall on 020 7070 4410.

Throughout this series of posts we've been lucky enough to bring you interviews with current and former Phantom cast members and today is no different. We're delighted to share with you an interview with former Christine, AJ Callaghan. Access London would like to take this opportunity to say a huge Thank You to AJ for her support and taking the time out to answer the questions.

AL: You were involved with Phantom of the Opera between 2001 and 2004 playing cover, alternate and stand-by Christine Daae. Why did you choose to stay with the production for that amount of time?
AJ: Initially I was hired as first cover Christine for which I completed two nine month contracts. I was then asked back as the alternate for a few months in 2003. It wasn’t until 2004 that I went back as standby Christine. At the time I was actually in Les Miserables, they needed someone to standby, as both the Christine’s at the time were ill. It was brilliant going back to the show and rehearsing Christine again but unfortunately I didn’t get to actually perform.


AL: Now approaching its 25th birthday in London, why do you think that Phantom has been the worldwide success it has?
AJ: For me personally it is the marriage of characters. The love story of Christine and Raoul but also the bittersweet twist of the Phantom and what he brings to the dynamic of the relationship. On the one hand you have this wonderful relationship between Christine and Raoul, which is the typical princess finding her prince analogy and then darkly underlying this is the parallel story of the tortured soul of the Phantom. Reflecting on this from an audience perspective, the story helps the audience relate on a personal level, as it takes a journey from innocence through to broken dreams and aspirations as we watch the characters develop, change and grow. I also think it taps into the every day psych of the fact we all love an underdog and those whose story is so much more challenging than the norm. Then of course, this inter cut with the relationships, twists and turns is a great story set to the most beautiful and incredible score, although quite dark in places it is still a very romantic piece.


AL: Who played opposite you as The Phantom and Raoul?
AJ: I was very fortunate to have two very talented, incredibly supportive and very lovely Phantoms in John Owen Jones and Richard Halton, who was the standby. Equally, my Raoul’s were just as good in Matt Cammelle, who later went on to play the Phantom, and Rob Finlayson. When I returned as standby in 2004 I was lucky to rehearse with Ramin Karimloo, with whom I was later to work with in Les Miserables.


AL: When you were the alternate Christine, are you still involved with the show on the nights you aren't playing her or are you free to pursue other projects?
AJ: As alternate you perform two shows a week. However, each day you are on standby until 3pm, but the company manager will try to let you know as soon as possible if you are performing. When the main Christine is on holiday, as alternate you take over her six shows and the first cover performs your two, which is great as first cover as you are guaranteed to perform the role within the contract.


AL: What was your favourite song/scene to perform in the show and why?
AJ: Christine was my ideal role and part of what helped me decide to choose a career in musical theatre. ‘Think of me’ is a beautiful song to perform as it’s the first time the audience hears Christine sing, starting from a shy nervous ballet girl to a blossoming future opera star by the end of the song. There are many individual lines in the show I particularly enjoyed, ‘and through music my soul began to soar’ on the roof top to where Christine grows in confidence as she questions Carlotta with ‘how dare you’ in the build up to ‘the point of no return’. Christine is confused as she questions her love for Raoul and begins to understand the deeper thoughts of the Phantom with ‘twisted everyway.' I particularly like this as it’s the point in the show we see Christine take a shift from the innocent ingénue to a more mature persona. Ultimately, I loved the final scene, for me, this is the most emotive, passionate and intelligent we see Christine. Her journey has finished and no longer is she scared or naive. I would say she is actually, by the end of the show, the strongest character and shows the audience she has lost all fear of the Phantom and his hold over her and realised her love for him was a confused manifestation of love for her father who she deeply misses. She is now free to love Raoul as she understands he is the one she truly loves, this is highlighted as she finally, and freely, kisses the Phantom goodbye. It really is such an incredibly powerful and poignant scene.


AL: The song 'Wishing You Were Somehow Here Again' is an iconic moment in the show for Christine. What do you believe she is feeling and thinking at this time?
AJ: During this scene Christine takes a very compelling internalised, personal journey. At first she is facing her demons of the Phantom, questioning who he is and why he is there, this soon becomes more significant as she realises she is talking to her father. She has spent so long wanting to see and hear him she has convinced herself the Phantom is an angel sent in a metaphysical manifestation of him. Upon realising this by the end of the song she has freed herself from the Phantom’s clutches by acknowledging finally her father is dead and that she has to go on with out him, thereby engaging finally in her internal strength to face the Phantom and become the force in the situation.


AL: Phantom has many special effects and technical elements in it. Do you have a tale to tell of a mishap or something funny happening during a show?
AJ: One time, the trap doors were open due to a malfunction during the second managers scene. Whilst reading the score walking in circles and singing, I could hear someone in the wing calling out to me, I saw stage management telling me don’t walk straight downstage as the trap door was open. I had to take a strange convoluted route around the stage in order to confront Carlotta which lead to many smirks and hidden laughter by the other cast members and probably confused the audience as to what exactly I was doing.


AL: If you could choose any other female character to play in Phantom, apart from Christine, who would it be and why?
AJ: Definitely Carlotta, she has a fiery and passionate personality which is a great contrast to Christine, they are like Ying and Yang. Christine the calm and intelligent thoughtful one and Carlotta the wild and passionate one, its almost the other side of the same character and would be very interesting to visit the role with this in mind having played Christine. She has some great numbers in the show and her costumes are truly outstanding. Nan Christie was my Carlotta and at the same height as me, 5ft, proved in her fantastic portrayal that Carlotta can be larger than life and a noticeable character regardless of height through portraying the passion and understanding deserved of the role.


AL: Phantom has had many successful productions staged worldwide. If you could choose to perform as Christine anywhere in the world outside of London, where would it be and why?
AJ: Obviously being Welsh my first place would be Cardiff; I would like to bring the character home for the Welsh audiences. Other than Wales, the Netherlands, I love the country and spend a lot of time there. As I am also learning Dutch I would love to sing the role in another language, which would probably bring a whole new dimension to my character analysis and portrayal and could prove a very interesting challenge. Having worked in Sweden and other countries, I know audience reaction changes from country to country so it would also be interesting to see how the reactions to the show form a different perspective to the characterisation.


AL: Do you have a Birthday Message for Phantom and its fans?
AJ: Well obviously to say happy 25th birthday and hope it will live for many more. I also would like to add how wonderful it is that the amateur rights have been released for schools and amateur groups taking the show to a whole new audience for future generations. May it live on for a very long time with new and renewed energy and interpretations! See you at the 50th!


Again, a huge Thank You to AJ for answering the questions, I hope you enjoyed reading them. AJ will be performing in the 25th Anniversary Concerts next weekend. She is also in the current London cast of Les Miserables at The Queens Theatre in ensemble and cover for Fantine until 16th June 2012, so make sure you go and see her perform there also. The cast of Les Mis are also performing a charity concert on Thursday 8th December called Les Mis Gives at Christmas in the Delfont Room at the Prince of Wales Theatre, tickets will go on sale soon.

Remember that the Phantom 25th Concert on 2nd October will be broadcast across cinemas in the UK and worldwide so check with your local cinema to see if it is being shown there. There will also be a DVD and CD release in November. Plus, you can always book tickets to see it at Her Majestys. Please note: There will be no performances at Her Majestys on Friday 30th September and Saturday 1st October because of the anniversary celebrations. Also, as of the beginning of November, the mid-week matinee performance will be on Thursday and not Tuesday!


COMING SOON: The Globe Tour and Exhibition, Priscilla, Les Mis, Billy Elliot, more from Phantom 25 with interviews....

The Belle's Stratagem & The Southwark Playhouse

Welcome back to Access London and Thank You once again for your continued support for disability access and awareness in the Capital.

Hannah Cowley's The Belle's Stratagem is the latest production brought to us by the award-winning team of last year's The Rivals. One of the greatest hits of the Georgian stage, this production is the show's first major London revival.

"In a time when women were second-class citizens, a group of wily women are determined to get their own way…

When, beautiful Letitia Hardy’s ...betrothed returns from the Grand Tour convinced that English women are dull, she sets out to gain his love with an ingenious scheme to prove him wrong.

Meanwhile, the jealous Sir George Touchwood arrives in town with his new wife, Lady Frances, in tow. It’s not long before two of London’s most rambunctious wits, Miss Ogle and Mrs Rackett, make it their mission to convert her into a lady of fashion.

THE BELLE’S STRATAGEM features Marc Baylis as Courtall, Gina Beck as Letitia Hardy, Holly Blair as Mrs Fagg, Cassandra Bond as Kitty Willis, Jackie Clune as Miss Ogle, Samuel Dent as Crowquill, Tim Dorsett as Villers, Mark Fountain as Dick, Jeremy Joyce as Saville, Michael Lindall as Doricourt, Christopher Logan as Flutter, Joseph Macnab as Sir George, Nigel Munson as Silvertongue, Hannah Spearritt as Lady Frances, Maggie Steed as Mrs Rackett and Robin Soanes as Hardy."

This is a truly funny show that won't fail to make you smile. It really engages with the audience in the fairly intimate space of the Southwark Playhouse and has some exquisite costumes too. Jackie Clune, Maggie Steed and Joseph Macnab will have you laughing long after they leave the stage and Gina Beck is superb as the sprightly and beautiful Letitia Hardy.

The Belle's Stratagem is at the Southwark Playhouse until the 1st October, so get your tickets fast!! There are performances Monday-Saturday evenings at 7.45pm and a matinee on Saturdays at 3.15pm. There has also been an additional matinee performance added on Tuesday 27th September at 3.15pm.

Southwark Playhouse is fantastically accessible to those using a wheelchair or mobility scooter. Set back from the main road of Tooley Street, the entrance is in Shipwright Yard and has level access across the courtyard and through the large double doors to the box office. The Belle's Stratagem is performed in the Main House, the entrance of which is just off the box office. There is level access to a bar area with lots of seating and an accessible WC. Staff are happy to keep wheelchairs and scooters in this area throughout the performance.

When booking tickets with the box office (on 020 7407 0234) please tell them if you are a wheelchair or scooter user. Tickets are collected from the box office on arrival and seats are not allocated. However, if staff know that you have certain access requirements, the most accessible seats along the front row, or a wheelchair space, will be reserved for you. A companion or carer can attend for free with each disabled visitor. Staff are happy to sit assistance dogs throughout the performance.

All the staff at Southwark Playhouse were amazingly helpful.

London Bridge train station is 5 minutes away and is accessible (as much as any accessible station is in London!!). There is also a taxi rank outside on Tooley Street. If you are a blue badge holder, there is a bay on Tooley Street (just past the junction with Bermondsey Street). It doesn't look like a conventional blue badge bay as it has red lines around it but it is reserved as a permit and disabled bay until 7pm, whereafter anyone can park there. Please remember to use your blue badge timer also as there is a 3 hour limit up until 7pm.

Don't forget, book tickets now for The Belle's Stratagem, less than 2 weeks left of this fabulous show. Box Office number: 020 7407 0234 - open 10.30am-6.30pm Monday-Friday.



To find out more about The Belle's Stratagem and future productions, see THE SOUTHWARK PLAYHOUSE WEBSITE

To find the location of more blue badge bays in the area SEE THIS WEBSITE

COMING NEXT: More from Phantom 25 Celebrations & Interview with former Christine A J Callaghan.
COMING SOON: The Globe Tour & Exhibition, Priscilla & Interview, More from Phantom 25 and Interviews