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Ages 17+. Under 16s must be accompanied and sat next to an adult (18+). Everyone must have their own ticket. Under 3s will not be admitted.

The Book of Mormon - LON [287]

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Note: Cast has changed since this reviewIf you follow proceedings in the entertainment arena, you may well know as much if not far more than I do about this much-anticipated show. '<a href="/show/the-book-of-mormon">The Book of Mormon</a>' has already been in residence on Broadway for the past two years, where it has been a huge success, and advance publicity for the show means there can't be many people in the UK who do not know about it already.Given the descriptive nature of the title, it is pretty clear that the show is about the religious group informally known as the Mormons, or more accurately the members of the Church of Jesus Christ of Latter-day Saints. The congregation of this church stretches across the globe thanks to missionary activities which form part of the required service of a male member of the church. So, many of us are accustomed to being hailed in the street or on our doorsteps by young men, mostly American, who are desperate to convert anyone and everyone to their faith.The show begins at a Mormon missionary training centre where a group of squeaky-clean young men in their late teens are preparing to head-off on their missions in various parts of the world. Elder Price (Gavin Creel) seems like the ideal young man to succeed in baptising more than any other missionary on his two-year endeavour. He is eagerly anticipating being sent to Orlando, Florida, which has been his dream-destination since childhood. Elder Price has pin-up good looks, and has all the attractive qualities to make him, well, popular. On the other hand another of the trainees is neither as charming or good-looking as Elder Price. Elder Cunningham (wonderfully played by Jared Gertner) is rather overweight for his diminutive stature, and with his spectacles and curly mop of hair, hardly meets the manicured image of the other missionaries who all seem to have inherited identical Mormon genetics. Elder Cunningham cannot remember the basic sales patter which the missionaries are trained to deliver, and moreover has issues with telling the truth. Since the missionaries are sent off on their work in pairs and must never leave each others' sides, you can see where this set-up is heading. Yes, the supremely confident and smooth-operating Price is twinned with the unreliable and gawky Cunningham. Disaster seems imminent as winner is teamed with loser, and is more or less assured when the ill-matched pair are sent, not to Orlando as Price yearned, but to Africa. The results are more or less predictable, though there are some surprises.<iframe align="right" frameborder="0" src="https://embed.spotify.com/?uri=http://open.spotify.com/track/4YfNmQKnrX5DrlAxSAnMoA" style="width: 330px; height: 80px;"></iframe>Given that this is a satire directed against a particular religious group - who are still very much alive and preaching - this show might have attracted a whole string of legal actions, or at least a heated public exchange between the production team and the Mormons. But apparently not from what I can gather. The Mormons seem to have taken the show in their stride - which implies they see no threat and have, in avoiding a public row, preserved their dignity. But I don't really think they have much to worry about anyway. Sure, the show pokes fun at them and their beliefs. In particular, the actual '<a href="/show/the-book-of-mormon">Book of Mormon</a>' is scoffed at because of the incredulous nature of its origins. However, we see Elders Price and Cunningham not just as Mormons, but as individual human beings who find themselves in an extraordinary situation. In a sense, we laugh with them almost as much, if not more, than laughing at them. The satirical nature of the show is certainly never vicious or unduly cruel, though I found the reference to everyone in Africa having AIDS just the wrong side of bad taste for my liking. But most of the audience laughed at that remark as well much else besides.On the evening I caught the show the cast were word-perfect, the action was flawless and the orchestra was in great form. There was an almost audible buzz from the audience almost as soon as they entered the theatre and they seemed ready and willing to laugh, and they did, and very frequently at that. There was an instant standing ovation at the end which in my experience is fairly rare even with long-running and much-loved shows. And when I say a standing ovation, I am referring to the entire audience and not a few ardent fans who have already seen the show. And speaking of fans, I noticed that a couple of people in the front stalls seemed to have already taken the show to their hearts as they were dressed in the missionary uniform of white shirt, black tie and trousers, as well as a name badge. If that does not signify a hit, I am not sure what does - unless, of course, they were Mormon missionaries.I had to fight my way through hoards of people trying to buy last-minute tickets and there were a few dubious characters outside the theatre trying to buy-up any spares. So, whatever I or any other critic might say about this musical, it seems like it will be hard to dislodge it for some considerable time. In fact, the show is very funny - not the funniest I have seen in the past few years, but certainly one of them and very near the top of the 'funniest' list. It is cleverly written and extremely well-produced, and the excellent, energetic performances give the impression that the cast are loving every minute of it. It is enormously enjoyable, and the laughs keep coming even when the story-line seems about to run out of steam. Like the contents of the <a href="/show/the-book-of-mormon">Book of Mormon</a> itself, this show could well end-up being the stuff of legend.Note: This Review is from a preview performance.<a href="/show/the-book-of-mormon">Book of Mormon Tickets</a> are now on sale."While acknowledging that it is often damnably clever and sharp, I find it hard to warm to the show...The Book of Mormon strikes me as a decadent and self-indulgent musical, and its mixture of satire and syrup ultimately proves repellent." Charles Spencer for Daily Telegraph"I absolutely loved it...songs, though not especially memorable, have bounce and bite and colour." Paul Taylor for The Independent"I'm not sure its crude yet clever package is roll-in-the-aisles funny but it's deliciously entertaining and there is certainly nothing like it in the West End." Julie Carpenter for The Daily Express"Its satire is insistently US college-campus adolescent. I tired of it after ten minutes...This is a cowardly, coarse, cynical show, worth avoiding. Quentin Letts for The Daily Mail" Indecently funny...The music...is generally jaunty and from time to time soars operatically, though only three or four of the tunes are really memorable. Henry Hitchings for Evening Standard"A mildly amusing musical, with some knowingly parodic songs, that takes a few pot shots at religious credulity without ever questioning the need for belief. I had a perfectly pleasant time, but the idea that the show, which won nine Tony awards, is either daringly offensive or a Broadway breakthrough is pure codswallop...For all its rude words, this is essentially a safe, conservative show for middle America." Michael Billington for The Guardian

The Book of Mormon London Review

*The Book of Mormon* comes from South Park creators __Trey Parker__ and __Matt Stone__, and *Avenue Q* co-creator __Robert Lopez__. *The Book of Mormon*, winner of nine Tony Awards® and four Olivier Awards, including Best Musical for both, follows a pair of Mormon boys sent on a mission to a place that’s about as far away a from Salt Lake City as you can get. 

The Prince of Wales Theatre is one of the most prestigious locations in London's West End. Opened in 1884, it has since hosted a stunning array of shows, from musicals to comedies, dramas, and more. The theatre is lauded for its ornate decorations, grand yet intimate aura and state-of-the-art facilities. The auditorium boasts a capacity of over 1,000, all with unobstructed views of the stage. All this contributes to its powerful ability to provide every audience member with an immersive, unforgettable theatrical experience. 

## How to Get to the Venue 

The theatre is located at Coventry St, London W1D 6AS, very close to Leicester Square Tube Station. For those planning to drive, please note that the area falls under the London Congestion Charge Zone. Street parking is limited, but there are a few NCP Car Parks in the nearby vicinity. The theatre is well served by buses, with bus routes 3, 6, 9, 12, 13, 14, 15, 19, 22, 23, 38, 88, 94, 139, 159, 453 all stopping nearby. Please plan your journey ahead to enjoy a seamless experience.

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Prince of Wales Theatre

The Prince of Wales Theatre in London's West End offers a unique theatre experience, with brilliant accessibility and top-tier shows.

Ages 10+. Children under 16 must be accompanied and sat next to an adult ticketholder (18+). Children under the age of 3 won't be admitted. Everyone must have their own ticket to enter.

Hamilton - LON [20561]

What's left to be said about <a href="/show/hamilton">Hamilton</a>&nbsp;that's not already been said? One of the central questions the show asks is precisely who the storytellers are of our personal and collective histories: "Who Lives, Who Dies, Who Tells Your Story", as the final number asks of the life story the show has just relayed and replayed of Alexander Hamilton, one of the key players in defining and refining the American constitution. By the same token, who is now telling the stories about the show it comes from? And can and should you believe them, as it has become probably the most hyped Broadway import of the century so far?<a href="https://www.londontheatre.co.uk/theatre-news/interviews/ben-brantley-chief-theatre-critic-of-the-new-york-times">Ben Brantley</a>, chief theatre critic of the New York Times, declared in the opening sentence <a href="https://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html" target="_blank">of his review when the show transferred to Broadway</a> from Off-Broadway's Public Theatre in the summer of 2015, "Yes, it really is that good." He added, "I am loath to tell people to mortgage their houses and lease their children to acquire tickets to a hit Broadway show. But <a href="/show/hamilton">Hamilton</a>&nbsp;might just about be worth it — at least to anyone who wants proof that the American musical is not only surviving but also evolving in ways that should allow it to thrive and transmogrify in years to come."And now the show has arrived in London - its first appearance on non-US territory - and it's even more thrilling than I - already an avid fan who has seen it four times in New York - could hope for. Just as <a href="/show/les-miserables">Les Miserables</a> has proved to be a universal story, stretching far beyond its deeply etched story of revenge, retribution and revolution to speak to a human need for healing and forgiveness, so <a href="/show/hamilton">Hamilton</a>&nbsp;captures the heartbeat and heartbreak of a nation trying to find itself - and relates it directly to a pursuit it is still engaged in trying to define anew today, maybe especially today, in the age of the 45th President Donald Trump. "Immigrants, we get the job done" is a line that gets the biggest cheer of the night - and it's just as relevant in Brexit England as it is in Trump's America right now.

"I'm just like my country, I'm young, scrappy and hungry, and I am not throwing away my shot," sings <a href="/show/hamilton">Hamilton</a>, and the show - composed and written by <a href="/theatre-news/interviews/interview-with-hamiltons-lin-manuel-miranda">Lin-Manuel Miranda</a>, who also originally played the title role - is equally young, scrappy and hungry, and determined not to throw away its shot.There's absolutely no chance of that happening in the dynamic, propulsive staging of director Thomas Kail and choreographer Andy Blankenbuehler, or the extraordinarily talented British cast assembled to perform it here.This show may be about history, but it also makes history itself: not just in the freshness and vivacity of its rap-based score that could come from the charts today, but also in the colour-blind diversity of its cast. Recent RADA graduate Jamael Westman is a riveting presence in the title role, with Rachelle Ann Go (most recently as star of Miss Saigon in the West End and on Broadway) vocally thrilling as Hamilton's wife Eliza. There are also scene-stealing, hilarious performances from Michael Jibson as King George and Jason Pennycooke as the Marquis de Lafayette, with robust performances, too, from Giles Terera as Aaron Burr, Tarinn Calendar as James Madison and Obioma Ugoala as George Washington.But it's also impossible to take your eyes off the amazing dance ensemble who move with utter fluidity.And if it's not enough to give the show a rave review, a separate one is also due to the <a href="/theatres/victoria-palace-theatre">Victoria Palace</a> - the theatre has been given a stunning make-over for <a href="/show/hamilton">Hamilton</a>'s arrival that has seen it almost entirely gutted and remodelled, with new box seating at the rear of the stalls and dress circles and extensive new public areas in a new extension that has added bars and toilets at every level.Both the show and the theatre are here to stay.<hr /><a href="/show/hamilton">Hamilton</a> is booking at the <a href="/theatres/victoria-palace-theatre">Victoria Palace Theatre</a>.<a href="/show/hamilton">Hamilton tickets</a> are available now.&nbsp;&nbsp;<hr /><h3>What the popular press said...</h3>"In the end, however, the power of Hamilton lies in its ability to make the past seem vividly present. It suggests its subject was an Icarus who flew too close to the sun. But it also shows that he was an outsider who believed in strong central government and an enlightened capitalism. Above all, Miranda has created an invigorating and original musical that, at a time of national crisis, celebrates America's overwhelming debt to the immigrant." Michael Billington, <a href="https://www.theguardian.com/stage/2017/dec/21/hamilton-review-musical-london-victoria-palace-lin-manuel-miranda?CMP=twt_gu">The Guardian</a>&nbsp;(five stars)"This musical is history in the re-making and I mean that quite literally." Ann&nbsp;Treneman, <a href="https://www.thetimes.co.uk/edition/news/theatre-review-hamilton-at-victoria-palace-sw1-xdshn0nhs">The Times</a> (five stars)"Whether or not Hamilton&nbsp;is the best musical of our generation - it clearly is, but whatever - it's been a hit for the only reason anything is a hit: because it is a great work of entertainment." Andrzej Łukowski, <a href="https://www.timeout.com/london/theatre/hamilton">Time Out</a> (five stars)"Reviewing it feels like sizing up the Mona Lisa or Beethoven's Fifth and, in truth, Hamilton&nbsp;lands on the London stage looking every inch the classic." Matt Trueman, <a href="http://variety.com/2017/legit/reviews/hamilton-review-london-west-end-1202647480/">Variety</a>&nbsp;""The Greatest Show on Earth", one paper declared the other day. C'mon! But seriously folks, there's going to be more where that came from, because - lock up your doubters: I have to report that it really is as good as we've been told." Dominic Cavendish, <a href="http://www.telegraph.co.uk/theatre/what-to-see/hamilton-west-end-review-believe-every-single-word-hype/?WT.mc_id=tmg_share_tw">The Telegraph</a> (five stars)"Hamilton is a touchstone. It's zeitgeist, youthquake, Momentum, it's woke, it's post-musical. From masculinity, power struggles and the small things on earth, it metastasises into a crying epic about legacy, principle, nations, all the incredible mongrel people within those nations, and how all those people - every single one - can change the world." Tim Bano, <a href="https://www.thestage.co.uk/reviews/2017/hamilton-review-victoria-palace-lin-manuel-miranda-theatre-london/">The Stage</a> (five stars)"Hamilton is a knockout, and its British cast is superb, with two star-making performances from Giles Terera and, in the title role, magnetic newcomer Jamael Westman." Henry Hitchings, <a href="https://www.standard.co.uk/go/london/theatre/hamilton-review-believe-the-hype-linmanuel-mirandas-musical-is-a-knockout-a3725301.html">Evening Standard</a> (five stars)"This has been the most frenziedly anticipated musical in London since The Book of Mormon and the implacable publicity blitz might lead even the most mildly rebellious soul to wonder if anything could possibly live up to this degree of hype. I'm delighted to report that, for the most part, Hamilton manages to do so - quite exhilaratingly..." Paul Taylor, <a href="http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/hamilton-victoria-palace-theatre-london-review-a-magnificent-achievement-thomas-kail-the-book-of-a8122091.html">the Independent</a> (five stars)

Review - Hamilton is 'here to stay' at the Victoria Palace Theatre

Read our five-star review of *Hamilton* at the Victoria Palace Theatre. This review refers to the original cast, including Jamael Westman and Giles Terera.

The multi award-winning West End production of HAMILTON is now playing at London’s Victoria Palace Theatre.

HAMILTON is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and helped shape the very foundations of the America we know today. The score blends hip-hop, jazz, blues, rap, R&B and Broadway – the story of America then, as told by America now.

HAMILTON is the winner of 11 Tony Awards including Best Musical, 7 Olivier Awards, the 2016 Pulitzer Prize for Drama and the 2016 Grammy Award for Best Musical Theater Album.

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