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You’re right. Dirty Dancing on stage is more a play with music and phenomenal dancing than a traditional musical. Baby and Johnny barely sing; most of the songs come from a live band or vocals by secondary cast members. If you’re expecting full-on musical numbers, you might feel disappointed—but if you’re after nostalgia, lifts, and legendary dance scenes, it still delivers delightfully.

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Yes, it absolutely still zings! The West End production remains as sharp and electric as ever, with tight choreography, inventive staging, and a cast that brings fresh energy to every show. A standout moment at this year’s West End Live had the company debut “First Burn” live, proving how dynamic and evolving this show remains

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Agree with what Candice said. The Book of Mormon is still side-splittingly hilarious. Its irreverent satire and razor-sharp wit from Parker and Stone are as fresh as ever, even in 2025. You’ll laugh until you cry—and maybe cringe a bit, too. Worth every penny if bold, daring humour is your cup of tea.

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Absolutely—post-show dining in Covent Garden isn’t as limited as it seems. If you’re after a proper sit-down meal after The Lion King, here are a few gems worth noting:

Cafe Murano — Just around the corner on Tavistock Street, they serve a smart post-theatre menu starting around 10 pm.

J Sheekey — A beloved seafood institution with a theatregoer-friendly vibe and late reservations.
The Infatuation

Paro Indian — Conveniently next to the theatre, opens late and offers prompt service with hearty Indian dishes.

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This autumn–winter looks brilliant. Born With Teeth at Wyndham’s is sharp and fresh with Ncuti Gatwa, while Evita at the Palladium feels like a true event thanks to Rachel Zegler. For families, Paddington the Musical at the Savoy will be huge, and if you’re up for something different, the Paranormal Activity stage show at the Ambassadors promises proper chills. A great mix of spectacle, heart, and surprises this season.

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Absolutely agree with what Candice just shared—The Lion King is a completely transformative experience on stage, even if you’ve watched the film countless times.

What truly sets this West End production apart is Julie Taymor’s bold visual language. The puppets, masks, and costumes aren’t just props—they’re living art. Watching actors emerge from the aisles as giraffes or birds in the opening Circle of Life scene drops you right into the heart of the Pride Lands in a way that simply can’t translate through a screen.

One thing newcomers often don’t realize is how the musical adds new narrative depth with songs and scenes not in the film—like Shadowland, Endless Night, and the emotionally charged confrontation between Nala and Scar. It’s more than nostalgia; it builds on the story in meaningful ways.
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The Q-Park “Theatreland Parking Scheme” is a handy one: it offers 50% off up to 4 hours of parking when you’re seeing a show—just book online in advance and present your theatre ticket. Unfortunately, that scheme only applies to West End car parks—places like Burlington, Chinatown, Leicester Square, and Park Lane/Marble Arch are included. Around Big Ben or Westminster, that discount sadly doesn’t apply. Those areas fall outside the Theatreland zone. That said, you’ve got decent alternatives:

1. Q-Park Westminster is the closest secure garage—great for Westminster landmarks, though full rate applies

2. Apps like JustPark offer pre-bookable spaces—including residential driveways or hotel garages—with pricing starting around £2.30/hour or ~£11–12/day. These often include Blue Badge or EV-friendly options too

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Honestly, the West End is compact enough that walking is the easiest way if you’re hopping between theatres. Most venues around Shaftesbury Avenue, Leicester Square, and Covent Garden are within a 10–15 minute stroll of each other. You’ll save time too, since post-show tube stations like Leicester Square or Covent Garden can get quite congested.

That said, if you’re coming from further out (say Apollo Victoria by Victoria Station or the Bridge Theatre near Tower Bridge), the Tube is quickest. Buses can be a slower option in central traffic, but they’re a nice way to get a view if you’re not in a rush.

A good rule of thumb: walk within Soho/Covent Garden, Tube for longer hops, and bus if you’d like to sightsee on the move.

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Yes! Outdoor theatre in London has really grown beyond the Globe. Regent’s Park Open Air Theatre is the standout. I went last summer for Once on This Island and the atmosphere was pure magic. Weather’s always the gamble, but they only cancel in extreme conditions.

It’s a very different energy to the Globe. It’s more polished in terms of staging, with full musicals like Brigadoon this year but both share that feeling of theatre breathing with the outdoors. If you’re curious, Regent’s Park is absolutely worth trying at least once.

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I tried an audio-described performance at the National Theatre when I was in London, and it was amazing. The headsets were easy to use, and the live description filled in everything from set changes to facial expressions. It felt like I wasn’t missing a thing. I only wish more West End theatres offered this more regularly.

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Covent Garden station can be a bit of a squeeze, mostly because it only has lifts and a spiral staircase. It’s usually at its busiest right after matinees and evening shows. Around 5:30–6pm and then again at 10–10:30pm when theatres spill out. If you want to avoid the long lift queues, your best bet is to either leave a little earlier than the crowd, or just walk to Leicester Square or Holborn. They’re only 5–7 minutes away and usually much quicker in the evenings.

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Between Leicester Square and Holborn, the real crush tends to hit between 10:15 and 10:45pm, when most of the big West End shows let out at once. Leicester Square station especially can feel like a bottleneck with queues forming for the barriers. If you want to dodge the rush, I’d either grab a quick drink and wait 20 minutes before heading down, or walk up to Covent Garden or even Tottenham Court Road.

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It can be a bit of a scramble right outside the Lyric or Gielgud when a show finishes. Black cabs do line up on Shaftesbury Avenue, but they go quickly. I’ve found it easier to walk a couple of minutes away (towards Soho Square or Golden Square) and then call an Uber. It’ll be much faster and less stressful than trying to get picked up right at the stage door.

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With Wicked at the Apollo Victoria, booking strategy really depends on what you value most — price or choice. Because it’s such a long-running blockbuster, the theatre rarely has empty seats, and the most popular ones (stalls closer to the centre or front dress circle) get snapped up months in advance. If you know your dates and want a specific view, it’s definitely worth booking early. You’ll usually lock in the lower bands before they creep up, and you won’t be left choosing from the “what’s left” pile.

That said, last-minute deals do exist, but they’re not always as generous for Wicked as for other West End shows. TKTS, TodayTix, or even same-day rush tickets sometimes shave a bit off, but you’re more likely to find those deals on plays or newer musicals that haven’t built the same steady following. With Wicked, the price difference between a last-minute ticket and something you booked a couple of months out is usually pretty modest, maybe £10–£20.

So, does booking in advance save you money? In most cases, yes but more importantly, it saves you from compromise. If you’re not fussed about where you sit and you don’t mind taking a gamble, you can try the day-of deals. But for anyone planning a trip or seeing it as a “bucket list” show, advance booking is the safer and often smarter choice.

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It’s true that ticket pricing in the West End works a lot like airlines or hotels i.e., demand drives cost. For Wicked at the Apollo Victoria, Friday and Saturday evening shows almost always sit at the top end of the pricing scale because they’re peak theatre nights. If you look at Tuesday–Thursday performances, you’ll usually find more availability and lower-tier prices, especially for side or rear stalls and the dress circle.

This isn’t unique to Wicked. Most long-running West End musicals (The Lion King, Les Misérables, Mamma Mia!) follow the same pattern, with midweek performances offering better value than weekend shows. Plays, particularly non-musical productions or those with shorter runs, sometimes have even more noticeable midweek discounts. Monday evenings are often the quietest, so prices dip there.

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