Phantom of the Opera & Interview with former Phantom, Stephen John Davis

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

Tomorrow sees the release of the Phantom 25 dvd and to celebrate Access London has another post in our Phantom series.

This week also saw the release of tickets for venues 2 and 3 of Phantom's 2012 UK tour. Both of these will see John Owen Jones behind the mask as The Phantom and Katie Hall will star alongside as Christine. Phantom will arrive at the Manchester Palace Theatre 5 April 2012 - 19 May 2012. The theatre has wheelchair bays in the Cicrle and lift access to the Circle and Grand Tier. There is also an infra red loop system installed. Access Performances include: BSL - Thurs 26 April 2012, 7.30pm, Audio Described - Wed 2 May 2012, 7.30pm and Captioned - Sat 12 May 2012, 2.30pm. To book access tickets for the Palace, please call: 0161 245 6605. For more information, see the
Manchester Palace Website

Phantom will then be at the Bristol Hippodrome 23 May 2012 - 30 June 2012. For more information on Access performances and facilities, please call the Access booking line on: 0117 302 3222.


Back in London, Phantom's home is at Her Majesty's Theatre on the Haymarket. The stalls are easily accessible to wheelchair and scooter users via a side exit door on Charles II Street - simply inform someone at the front of the theatre and they will open it for you. This leads into the rear of the stalls and has an accessible WC. There is space for 4 wheelchairs and companions in Row S or, if you can transfer from your wheelchair or scooter, any aisle seat is accessible.

There is an infra red hearing system installed at the theatre and 10 headsets are available to use - ask in the foyer or an usher. A maximum of 2 assistance dogs are allowed in at any performance. Both large print programmes and braille cast lists are available on request.

To book Access tickets for Phantom of the Opera (currently available from £22.50 each for you and a carer/companion in the stalls), please call: 0844 412 4648. For all other tickets, please call: 0844 412 4653.

Please note: The Access rate is available to those with a disability, not just those who use a wheelchair or scooter - I'm simply pointing this out as I was at Her Majesty's last week and met a lady who was registered blind yet had no idea she was entitled to this - this rate and service are there for a reason and to help, so please do ring and check to see if you are entitled to them!


As with all of Access London's Phantom posts, I'm delighted to bring you an interview with another former cast member, this week - Stephen John Davis. I'd like to take this opportunity to once again say a huge Thank You to Stephen for his time and support.

AL: How did you become involved with the show?

SJD: I was called in to audition for the show’s associate and resident directors and musical director. I sang Lonely House from Kurt Weill’s “Street Scene”. They then asked me to prepare some of the Phantom’s music and recalled me twice. I was then offered the role of Joseph Buquet and “in house” cover Phantom. Luckily, I was able to perform as the Phantom on many occasions.


AL: Phantom is such an iconic show and so well loved, what did it feel like to be part of this worldwide phenomenon?

SJD: It always feels special when you appear in a show that has such an amazing history and is known by millions around the world. On the days when you’re feeling a bit tired, the buzz from the audience reminds you just how much the show means to those paying to see it.


AL: Who played alongside you in the role of Christine?

SJD: I rehearsed with the lovely Katy Treharne and I was thrilled when we did a couple of shows together. I was also incredibly lucky to work with Gina Beck, Sofia Escobar and Tabitha Webb.


AL: You played The Phantom for the 10,000th performance at Her Majesty's in 2010. What was it like to be onstage with Andrew Lloyd Webber and Michael Crawford to celebrate it?

SJD: It was pretty special to be honest. To be on the original stage at Her Majesty’s where the whole phenomenon began as the Phantom alongside the composer and the original Phantom was a day I will never forget. I will also never apologise for going on about it!!!


AL: What was your favourite scene/song to perform in the show?

SJD: I enjoyed all of it! Sorry that may sound a cop out but it’s true; The Phantom never makes a ”normal” entrance. The powerful first entrance behind the mirror going into the first journey and the boat, I loved the Angel scene at the end of Act 1 (although it was a little uncomfortable!). The Masquerade entrance and exit! The reveal from the cross after “Wishing”, the invasion of Don Juan disguised in the cowl that Piangi should be wearing.
Every scene had something in it that I could really enjoy playing. “Music of the Night” is obviously THE song but there isn’t anything that I didn’t love singing.


AL: What was it like to be a part of the Phantom 25 celebrations?

SJD: Another amazing experience. Don Attilio was such fun to play and the atmosphere was electric. A few of us agreed that we just had to stand at the bows and finale and try to take the whole spectacle in. The RAH is a pretty special place (even if I did rename it the South Ken Village Hall)


AL: In your opinion, why do audiences love the show so much and return to see it time and again?

SJD: The spectacle – Maria Björnson’s designs have never been bettered. The music is probably ALW’s best and the tale of a child being rejected by his own mother, growing up with the world recoiling from him when he has such passion for music and beauty inside is quite heartbreaking. People love a good cry!


AL: Have you watched a performance of Phantom elsewhere in the world? If yes, is it much different to the London production?

SJD: No. I’d love to see it on Broadway. I watched part of the film once.


AL: If you could play any role(s) in musical theatre, what would it/they be?

SJD: I’d like a go at Che in Evita and Albin in La Cage aux folles might be fun!


AL: Do you have a message for Phantom 25 and its fans?

SJD: Thank you! There wouldn’t be a 25th birthday if it weren’t for the “PHANS”. I really hope you enjoyed the RAH performance this year and 10,000th performance last year if you saw them. Here’s to the next 25 years!


You can follow Stephen on Twitter @stephenjdavis1

Stephen is currently appearing in the UK Tour of South Pacific. I saw this production when it was at the Barbican in London and would thoroughly recommend it. To see tour dates and venues, check out THE SOUTH PACIFIC WEBSITE

South Pacific & Nick Wyschna Interview - Part 2

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

Our last post was the first in a two-part series on South Pacific, currently playing at The London Barbican and part 1 of our cast interview with Nick Wyschna - if you missed it, please scroll down to read more. Since then, I have checked with The Barbican box office and Access seats are selling very fast for this production. South Pacific is only at The Barbican until the 1st October when it leaves to go on a UK tour. After this date, you can catch it in Milton Keynes, Manchester, Glasgow, Bristol, Oxford and Southampton throughout the rest of 2011 and into 2012.

If you qualify for Access Seats at The Barbican (have a disability as stated under the disability Act) then don't forget to register for The Barbican's excellent Access Scheme. The scheme allows you to register your details for free so that the box office can assist you in booking the best seats for your particular needs. It also means that, if you use a wheelchair or mobility scooter, you can watch South Pacific in the stalls at The Barbican for only £7.50 a ticket for you and your companion. The scheme entitles you to free blue badge parking in one of The Barbican's car parks - simply take your ticekt to the box office on arrival and they will provide you with your exit ticket. To book Tickets, Access Seats and Blue Badge car parking, please call the box office on 020 7638 8891. To register for the Access Scheme, please see THE BARBICAN'S WEBSITE

After the popularity and all the messages (thank you) sent in after part 1 of our interview with Nick Wyschna, Access London is delighted to share with you the second part - a huge Thank You goes out to Nick again for taking the time out to talk. This second part focusses on Nick's debut album 'Lost In The Wilderness'.

AL: What was it that prompted you to decide to record an album?
NW: I don't know, it sounds quite big headed to do something like that but, I don't think I'll ever be any better and I wanted to actually capture a moment when I was OK. I don't think I'll be doing this job forever, simply because of the money, that was half the reason for it. Another reason is that I was going to work on a cruise ship and to sell an album on a cruise ship is quite nice because people like to take a souvenir home and I was the lead singer on the ship, so it was good to be able to sell it onboard.
Plus, I trained at The Royal Academy of Music and so I was surrounded by all these amazing musicians, so I had lots of friends that were willing to do it with me, which was incredible. And if you listen to it, the band are just....it's only a 4 piece but it's superb.

AL: The band was something I was going to ask you about....if you had worked with them before?
NW: They are amazing lads. I love working with the guys. I'm not into the stereotypical and bad side of what people think the industry is like - I've surrounded myself with mates and people and I'm blessed with that and some amazing friends. They really did me a favor, I was dead chuffed with it.

AL: It does have almost a gig-like sound to it....
NW: I wanted it to sound like that.

AL: It does, as if you've got the band right there with you in the room when you listen to it, quite intimate...
NW: Well if I'd have had my own complete choice, I'd have done it as a live recording, which I didn't, as it's not really practical but, I wanted it to sound as live as possible and most of the takes were in one block, it's not cut and paste. If there was a tiny mistake I didn't really mind, as long as it wasn't flat or anything like that but I didn't mind if a particular note wasn't held for the right length - I wanted it to sound raw.
The original master of it was really raw and rocky, I loved it. But, I wrote off to the record label, Making Records, who are a label for musical theatre people - they've got an album with Julie Atherton and Gemma Atkins - they're fantastic. So I wrote to them and sent them my rough demo, just to ask their opinion as to where I should go from now, not expecting anything to come of it. Then Guy James, the Producer, called me and said 'we'd like to have a meeting with you, we think you've done a great job on this, producing it yourself'. So I went and met him and he said 'we'd like to sign you to the label' - which meant that they re-mastered it and made it sound a little bit less raw, they haven't taken it all away but they've made it alot cleaner - it's much better quality, it's shop quality now. So they did that and thanks to them it's been packaged lovely, they put good money into the album cover and it's a much better product thanks to them.

AL: Your voice does have a jazzy sound to it, do you have many influences in that area?
NW: Neil Diamond. I love jazz, I love swing and I've done loads of it so I can't help but be influenced by that kind of vocal sound.

AL: The choice of tracks on the album are from quite contemporary musicals - how did you go about choosing them?
NW: Well I didn't want, against my mum's best wishes, as she wanted me to do all the Les Mis stuff and I wasn't up for that. I didn't want it to be a self-indulgent album, I wanted to do stuff that people don't always hear. I think there's only one track on there that people would really really know and that's 'High Flying, Adored' from Evita. Other things from The Life people haven't even heard of that musical a lot. I've got Wicked on there, I've got a track from Jason Brown's album which isn't strictly speaking from a musical but it's from JRB who's a musical theatre composer - so they're all songs that are less known. I wanted it to be really contemporary.

AL: I think that helps with the gig/live sound you wanted. If you did Les Mis, it would certainly be a very differernt type of album.
NW: Yeah. If I did that, it would have been very self-indulgent. When I first decided to do it, I knew I wanted to do an album of contemporary musical theatre and I think that's what I've got.

AL: If you did make another album and could have anyone to come in and sing alongside you on it, who would you choose?
NW: Paulo! (laughs). My God but he would make me look really rubbish. But there's so many people. Dan Koek has got a lovely voice, he's playing Cable in the show (South Pacific), but he'd upstage me too so I wouldn't choose him (laughs) but I don't know, there are so many...we have a very talented cast here too.

AL: Would you like to be part of any of the shows that feature on the album?
NW: Well I got down to the finals for Fiyero in Wicked for Germany, so I had to learn the whole score in German, I'd never spoken German before, so it was very intense but, I really wanted the job, but I didn't get it - I would have loved to have been in that. I'm getting to the age now where I can't play young leads so that would have been my last chance to play that kind of part.

AL: You must have really wanted it, to learn it all in German?
NW: Oh my word! I can still remember it, it's imprinted on my brain, the madness!

AL: How long did the recording of the album take?
NW: About a week, working full days. Clive Cherry produced and recorded it for us in a shed at the bottom of his garden, so that's another thing that I think contributed to the live sound, I loved it! And he's an old rocker, long hair, really cool guy. It was fantastic with all the lads, the band, lots of fun.

AL: Do you play your own gigs?
NW: Well I run a company called Prestigious Entertainments which is an entertainments agency and I book out anything to do with entertainment for weddings, corporate events, that kind of thing. That's where I started, I started my career singing swing, jazz and Blues Brothers at weddings and it kind of snowballed and people were asking me if I could put them in touch with a harpist or choir for their wedding and I was saying 'no'! Then I thought, 'why am I saying no?', I trained at The Royal Academy, I know all these musicians, so I just started saying 'yes' and it developed into a business. It's not massive and I couldn't make it massive yet as I'm too busy with other things but I do want it to get to that stage. If I do cut back with tours and musicals, I want it to be in place so I'm not scrabbling around - I think it's very important as an actor to have something to fall back on.

AL: But you would carry on performing yourself?
NW: Oh yes, absolutely. I do, as soon as I'm out of work, out of a musical, I'm straight back into corporate and weddings.

AL: Would you ever make another album?
NW: I'd love to. But I think I'd wait. If I got a lead role in a show then I'd probably re-master this one or bring a new one out, they're very expensive to do (laughs).


A huge Thank You once again to Nick for answering all those questions. Nick's album, 'Lost In The Wilderness' is available to buy from his website www.nickwyschna.com
You can also follow Nick on Twitter
@NickWyschna
For Nicks entertainments agency, see the Prestigious Entertainments Website

COMING NEXT: Phantom of the Opera's 25th Celebrations - Interview with former Christine Myrra Malmberg
COMING SOON: The Tempest, Priscilla, The Globe Theatre and Exhibition

South Pacific at The Barbican & Cast Interview - Part 1

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

Today's post looks at the Lincoln Center Theater production of Rodgers and Hammerstein’s classic musical, South Pacific, currently playing at the London Barbican before going on a UK tour. The show is at The Barbican until the 1st October. After that it will tour the UK and currently has shows booked in Milton Keynes, Manchester, Glasgow, Bristol, Oxford and Southampton.

Whilst at The Barbican, South Pacific is showing on Monday-Saturday evenings and has matinee performances on Thursday and Saturday.

The Barbican is completely accessible to those using a wheelchair or mobility scooter. However, it is a large venue and so for those who find walking difficult, The Barbican does have three wheelchairs for visitors' use, subject to availability; these can be pre-booked by calling the Box Office on 020 7638 8891. The main entrance on Silk Street is ramped and has lifts nearby, allowing access to all levels within the Barbican.

An induction loop is provided in the Concert Hall and Cinema. Visitors with hearing aids can make use of this facility by switching their hearing aid to the 'T' position. A radio network system is provided in the Theatre and Pit - visitors with hearing impairments may benefit from this facility. Headsets can be collected from Theatre Stalls Right prior to performance.

Assistance dogs may be taken into the auditoria or left with a member of staff. Adapted WCs are provided on Levels -2, -1, G, 1, 2, 3 & 4.

The Barbican also has its own Access Membership Scheme - this allows those with disabilities to register your requirements for free so that your needs can be met. The scheme also entitles you to the fantastic Access Rate tickets for shows (the current Access Rate for South Pacific is £7.50 each for a disabled guest and their companion!!). You can also pre-book a blue badge car parking space at The Barbican and park for free - to do this, book your space with the box office on 020 7638 8891 and when you arrive at the theatre, take your show ticket to the box office and they will provide you with a free exit ticket for the car park. To book tickets and find out more about the Access Membership Scheme please visit THE BARBICAN WEBSITE

South Pacific itself is a fabulous show with a beautiful score and an extremely talented cast, including several cast members from the US Tony Award winning show - reinvented for British audiences, this show is a must-see either at The Barbican or on its UK tour later this year and into 2012.

As promised in previous posts, Access London is delighted to bring you an interview with one of South Pacific's cast, Nick Wyschna. Access London would like to take this opportunity to once again say a huge Thank You to Nick for taking time out to answer some questions. Nick's interview will be shared in two parts, so here we go with the first.....

AL: How has it been to work with Paulo (Szot) and Loretta (Ables Sayre) and has it been helpful for you all to be working with them as they have done this show before?
NW: Well we did the first week, week and a half, without them because they were doing other things. I think Loretta was working in Hawaii and Paulo was doing an opera somewhere else, so we didn't have them for the first week and a half. We were learning the show on our own and then they turned up, and obviously they know the show very well, and they are phenomenal. It didn't make it harder at all as their knowledge helped the rest of the cast learn the show to a more broader depth.

AL: That's great! So they were a real support for you all?
NW: Absolutely. I mean, to learn the show from scratch is hard anyway and also exciting but having someone there that's already done it and is happy to reinvent their show - because they're so open - they're not playing the same shows they did on Broadway. That's what Bart, the Director, wanted - they're not precious about it at all, they will work with the new cast, this is a brand new production of it.

AL: That's really good to hear...
NW: Yeah, it's nice because we were all worried about that because they've already done it and with Bart aswell - Bart's directed it twice now, on Broadway and on the US tour. The first day he said 'this is not the same production, this is a reinvention of the same show', and he's stuck to that.

AL: A production for the UK then?
NW: Absolutely, yes. The body of it is the same but you've got different actors and they do it in different ways. I think that's very important for Bart to keep and for Paulo and Loretta to reinvent it.

AL: Yes, they need to make sure they kept it fresh?
NW: Definitely, and they have done - they've kept to their word for sure.

AL: How did you get involved with the show and land a part in it?
NW: My agent. This show has been spoken about for a while and it's been on and off kind of thing but they were seeing everyone in this industry, so many wanted a part in this so I think I did maybe 6 rounds. But I've got an agent, a manager, who puts me up for these closed auditions and they just whittle you down slowly so, a couple of dance calls, a couple of singing calls. We found out quite quickly actually, which was nice. And it was a nice audition process aswell as sometimes the panel don't make you feel completely comfortable so you don't perform at your best. Whereas, with these guys, Neil Rutherford who's head of casting, he is one of the nicest guys you'll ever meet and he makes you feel so at ease so that you can be yourself, have a laugh with them and so they see the best of you - I think that's so important.

AL: That's fantastic, so they can really get to see what you can do then?
NW: Yes, you've got to be able to be yourself. First of all you've got to be talented, second you've got to be someone who can work in a team because we're together for 12 or 13 months and if there was one person in who wasn't a team player then it could go absolutely 'tits up!'. This is a fantastic company, everyone has gelled and it's accommodating and not back-stabbing, it's just a lovely company.

AL: Do you think that it's quite a 'British' thing to be supportive within a company, or not?
NW: I don't know. I worked in America, I did a show in New Orleans and I found them to be just as lovely but it's just a completely different work ethic. I can't really put my finger on it - from day one, it has been so supportive. Before day one we all got a letter from Neil Rutherford saying 'Bart's requested everyone off book for the first day of rehearsals', now I've never heard of that. I mean, I've not worked for years and years, I've only done six years, but I've never had anything like that! To be off book for the first day of rehearsals - so we do a full read through off book -it was incredible! So, we started at that level, so then you start at a place where you can carry on working from, rather than learning your lines on the job, which is a waste of time.

AL: Do you have a favourite part of the show?
NW: The songs are all incredible, I don't have a favourite song as it's such a beautiful show. I love watching Paulo, he is such a natural actor, everything is just so truthful and Loretta aswell. And Loretta has had no training, never been to drama school, it's just amazing!

AL: Are you looking forward to the tour as you only have 7 weeks at the Barbican before you go off on that?
NW: Seven weeks here, yeah. Then we've got a tour planned for 12 months or so - I know we go to Milton Keynes and Manchester to start with. I am looking forward to it because the job is just immense. I've just finished a tour five months ago in Mamma Mia, an international tour, and that was hard - touring is hard anyway but touring internationally throughout most of the year is super hard, so I'm looking forward to being in the UK - you can use your phone for free!!! I've got a girlfriend so I don't want to go too far and this means on my days off I can get home to see her and that's important to me and my family of course.
The thing is, I'm not in a position where I can choose my jobs so, if they said to me 'you've been offered an international tour' then I would have to say yes, but this is much better for me.


A huge Thank You to Nick Wyschna once again and I hope you all enjoyed reading this interview. Part 2 of Nick's interview includes lots of great information about his album so please check back with us to catch up with him again - due for posting on Sunday. In the meantime, to find out more about Nick and his Album 'Lost in the Wilderness', please VISIT HIS WEBSITE HERE
You can also follow Nick on Twitter @NickWyschna

Watch the official trailer for South Pacific here....



COMING NEXT: Nick Wyschna - 'Lost in the Wilderness'
COMING SOON: The Tempest, Billy Elliot, More from the Phantom 25th Celebrations and cast interviews

Access London - Theatre Update

Welcome back to Access London and thank you once again for your continued support for disability access and awareness in the Capital. Firstly, thank you for all your lovely messages about my previous post on Phantom's 25th and the interview with former Raoul, Michael Xavier. If I haven't already replied to you, I'm really sorry and I will reply asap. Lots more to come on that and lots more exciting interviews too.

Today's post is one of Access London's regular theatre updates. Just to remind all readers that The Lincoln Center Theater's production of Rodgers and Hammerstein’s classic musical South Pacific has opened at The Barbican. Currently finishing its first week of previews, the show has opened with great success.

I saw the show this week and will bring a longer and fuller post next week, including a cast interview.

Until then, please book your Access tickets as soon as possible as they are selling very quickly. The Barbican has its own Access Scheme which is free to join and you are able to register your details with your specific needs (wheelchair or scooter user, hard of hearing, unable to manage stairs etc) and they can then help find the best seats for your needs. The wheelchair and scooter accessible bays are at the back of the stalls but because of the height of the venue and the steps (rather than rake) down the stalls, the view is completely clear and you really don't feel very far from the stage at all.

Each wheelchair or scooter space comes with an additional chair for a companion or carer, who can buy their ticket at the same amazing Access Rate as you. The staff are all incredibly helpful at The Barbican and happy to assist. I would suggest however that if you are unsure of whether or not you may need to use a wheelchair, if you are not a full-time user, then on this occasion perhaps you should. The Barbican is a very large venue and although the Access is all very good and there are lifts to all levels, bars and facilities, it can be a fair walk from the car parks or drop-off points.

Joining the Access Scheme also allows blue badge holders to park for free in The Barbican's car parks - simply take your Access theatre ticket to the box office on arrival and they will provide you with a free ticket to get out of the car park after the show.

To book tickets for both Access and regular seats, please call the box office on: 020 7638 8891. To register for the Access scheme you can either phone the box office or complete the form online HERE



September will see the opening of The Belle's Stratagem at The Southwark Playhouse, near London Bridge. The Red Handed Theatre Company's production of this play runs from 6th September until 1st October 2011. There will be performances Monday-Saturday at 7.45pm and a matinee performance on Saturdays at 3.15pm.


"London, 1780. And it’s marriage season. But one group of wily women are determined to challenge the status quo.

Young Letitia Hardy is shocked when her fiancée returns from the Continent convinced that English women are dull. Defying convention, she sets out to gain his love with an ingenious scheme to prove him wrong.

Meanwhile, Sir George is trying desperately to protect his wife from the evils of high society. He hasn’t counted however on two of London’s most rambunctious wits, Miss Ogle and Mrs Rackett, making it their mission to convert her into a lady of fashion.

One of the most popular plays of its time, The Belle’s Stratagem, has not been performed in over a century."

Directed by Jessica Swale, The Belle's Stratagem has a fabulous cast of 16 and stars the talented Gina Beck.

There is level Access in the theatre and dedicated wheelchair spaces and accessible facilities. There is also the opportunity to transfer to a seat too. The Southwark Playhouse' Access policy allows a companion/carer to go in for free when accompanying a disabled visitor. Tickets for this production start from only £10.

To book both Access and regular tickets for this exciting new prodcution, please call the box office on 020 7407 0234. For any Access queries, please email admin@southwarkplayhouse.co.uk


COMING SOON: South Pacific, Priscilla Queen of the Desert, The Tempest, Natural History Museum

Access London - Theatre Update

Welcome back to Access London and thank you once again for your support for better disability access and awareness in the Capital.

Today's post is an update for all theatre and music lovers out there...

The much anticipated Lincoln Center Theatre Production of Rodgers and Hammersteins's South Pacific is set to take the UK by storm from August this year. The show opens at The London Barbican for a 7 week run on 15th August and from then beings a UK tour to include: Milton Keynes, Manchester, Glasgow, Bristol, Southampton and Oxford.

The production enjoyed a successful, 2 year run in New York and now UK audiences will get the chance to see the show. With a fabulously talented cast, this is one show not to be missed this summer. Access London will be seeing the show at the beginning of its run and there will be a more detailed post shortly after on this blog.

The Barbican has good Access for those using a wheelchair or mobility scooter. It also has a great Access Scheme that allows you to register your personal access needs so that the best available seating and options are available to you. Blue Badge holders can also reserve a parking space, free of charge, onsite from an hour before the performance starts.

I cannot comment on the Access to all the venues featured on the UK tour so if you are wishing to see the show outside of London, I would recommend contacting the relevant theatre or venue.

To register on The Barbican's Access Scheme and book tickets for South Pacific CLICK HERE




To book tickets for all other venues on the UK tour, see the SOUTH PACIFIC UK WEBSITE



Other news sees the premature and sad closure of Lend Me A Tenor at London's Gielgud Theatre on Shaftesbury Avenue. This production was due to run until November 2011 but it was reported over the weekend that the show will close in London on Saturday 6th August!

The show has received some fantastic reviews and I have spoken to many that have seen it and really enjoyed it. There appears to be special offers on tickets for the remainder of its run and it would be well worth going to see it before it closes.

The Gielgud is Accessible to those using a wheelchair or mobility scooter via a side door on the same street as the stage door. A member of the front of house staff will meet you at the front of the theatre and take you to the entrance which enters near the cloakroom on the dress circle level. There are 2 allocated wheelchair spaces in the dress circle and other options for those who can transfer. To book Access tickets, please call 0844 482 5137. For all other ticket types, please call 0844 482 5138.

"This uproarious new musical comedy by Peter Sham and Brad Carroll is a riotous, unpredictable explosion of mistaken identities and unexpected romance – based on the award-winning West End and Broadway hit comedy by Ken Ludwig."

"This brand-new production is directed by Olivier award-winning director Ian Talbot (High Society, Anything Goes) and choreographed by Tony-nominated choreographer Randy Skinner (42nd Street, White Christmas). The cast includes the Olivier award-winners Matthew Kelly and Joanna Riding."




COMING SOON: The London Eye, London Eye River Cruise, Access London Celebrates Phantom of the Opera's 25th.