Name: Player Kings
Start: 2024-04-01
End: 2024-06-22
Location: Noël Coward Theatre

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Ages 14+. Children under the age of 16 must be accompanied by and sat next to an adult ticketholder (18+). Children under the age of 3 will not be admitted.

Player Kings - LON - BO

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Player Kings

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Player Kings - LON [37071] Product Media

Production image of Player Kings in London starring Ian McKellen as Falstaff

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Production image of Player Kings in London starring ensemble cast.

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Production image of Player Kings in London starring Richard Coyle as Henry.

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Ian McKellen - 'one of the world's greatest actors' (Times) - plays Falstaff in a new version of Shakespeare’s Henry IV, adapted by the award-winning writer and director Robert Icke.

Sir Ian McKellen was born in Burnley&nbsp;in 1939. He was drawn to the theatre from the age of three&nbsp;following a trip to Manchester's Opera House to see Peter Pan. At the age of 18 he attended St Catherine's College in Cambridge where he became a member of the Marlowe Society. His contemporaries&nbsp;included Trevor Nunn and <a href="/actor-profile/derek-jacobi">Derek Jacobi.</a>

After a period working in repertory theatres around the UK, he became a member of Laurence Olivier’s <a href="/theatres/national-theatre">National Theatre</a> Company in 1965. McKellen performed frequently in the Royal Shakespeare Company during the 1970s and&nbsp;1980s, taking leading roles in Macbeth in 1976 alongside Judi Dench.

Outside of his theatrical work he is probably most recognised for his roles as Gandalf the Grey/White in Peter Jackson’s Lord of the Rings Trilogy and Hobbit Trilogy,&nbsp;and as Erik Lehnsherr / Magneto in the X-Men franchise.

2007 marked a return to the RSC and to working wth Trevor Nunn appearing in productions of The Seagulland King Lear, both shows had a residency at the <a href="/theatres/gillian-lynne-theatre">Gillian Lynne Theatre</a>. In 2009, he appeared in Samuel Beckett's Waiting for Godot alongside his X-Men co-star Patrick Stewart at the <a href="/theatres/theatre-royal-haymarket">Theatre Royal Haymarket</a>. They would go on to reprise their roles on Broadway in Godot in 2013, the production running in rep with *No Man's Land* by Harold Pinter. &nbsp;

In September 2016, he and Stewart once again re-united on the West End Stage at the <a href="/theatres/wyndhams-theatre">Wyndhams Theatre</a> in No Man's Land. A year later,&nbsp;McKellen provided&nbsp;the voice of The Demon in the West End premiere of <a href="/show/the-exorcist">The Exorcist</a>.&nbsp;

In summer 2018, Ian McKellen played&nbsp;<a href="/show/king-lear">King Lear</a> in a transfer of Jonathan Munby’s Chichester Festival Theatre. McKellen played the role in Chichester, and told the press it was likely to be his ‘last big Shakespearean part’.&nbsp;King Lear&nbsp;transferred to the&nbsp;<a href="/theatres/duke-of-yorks-theatre">Duke of York’s Theatre</a>. For his 80th birthday, he gave a <a href="/show/ian-mckellen-on-stage">nationwide tour filled with stories, anecdotes and monologues</a>, including a three month run at the <a href="/theatres/harold-pinter-theatre">Harold Pinter Theatre.</a>&nbsp;

Ian McKellen - LON

Ian McKellen On Stage In London [17060]

Ian McKellen On Stage In London

Ian McKellen On Stage In London [17060] Product Media

An unadulterated love letter to the theatre, to the actor's life and the prose and poetry that fuel both, <a href="/actor-profile/ian-mckellen">Ian McKellen</a>'s latest one-man show is a thing of sheer joy and utter wonder: an act of selfless generosity and warmth in every regard.There is, of course, an ever-present danger in any one-person show that it could become an act of self-regard, and it is unquestionably true that McKellen, too, has a lot to be proud of, so he could be forgiven for indulging those qualities. But though false modesty is not one of his vices, this show is also an act of humility, humanity and gratitude; he is a vessel for the words of others - particularly his beloved William Shakespeare - that he communicates with spellbinding intensity and hushed intimacy.It is also his birthday gift to himself - and to the nation. The show was born as a public charity celebration of his 80th birthday, visiting some 80 theatres across London and the rest of the country, many of which he had a long and personal connection to, and allowing each theatre to designate the beneficiaries of the proceeds raised in each place.Now he has brought it to the West End for a further fundraising run of 80 more performances, just as he did when he previously brought a show called Acting Shakespeare to the <a href="/theatres/playhouse-theatre">Playhouse Theatre</a> in 1987 to benefit the London Lighthouse, a west London hospice for those affected by HIV and AIDS. &nbsp;The show is effortlessly structured in two distinct but well-honed acts. He begins with Gandalf - the role that made him internationally celebrated in the film versions of J.R.R. Tolkien's The Lord of the Rings&nbsp;- and it includes a nod to his celebrity status when he invites an audience member on stage for a selfie with his Gandalf sword and autographed programme.But he is also regularly accessible, wandering the stalls in the interval and greeting exiting theatregoers in the foyer afterwards (where he holds a collection bucket for further donations that will benefit some ten charities working with a cross-section of people involved with the arts). &nbsp;The first act also contains much&nbsp;personal biography - we learn, for example, that long before he decided to become an actor he contemplated a career in hotel management, and also toyed with becoming a chef or journalist, but we also find out how the theatrical seed was planted young, when he saw a performance of Peter Pan at the age of three in his native Wigan, before his family relocated to Bolton which was a thriving theatrical hub with three theatres.We also learn of how a speech from Henry V secured him a scholarship at Cambridge, and how appearing in 21 undergraduate productions there set him on his way to becoming an actor, which he began doing professionally in fortnightly rep at the then-new Belgrade Coventry Theatre, earning £8 and 10 shillings a week to play as cast in plays by Shaw, Shakespeare and Agatha Christie, amongst others.&nbsp; &nbsp;It is poignant and revelatory to hear his anecdotes about this now vanished age: an oral history that needs to be preserved. We also hear of his official coming out as gay at the age of 47, on a radio programme that was pre-recorded with a right-wing newspaper editor Peregrine Worsthorne and his hurried trip back home to tell his beloved stepmother Gladys the news before she heard it publicly. (Though, of course, she had long known this). There's a delightful preview of Gus - the Theatre Cat that he will play in the forthcoming film version of TS Eliot and Andrew Lloyd Webber's Cats, plus poetry from Gerard Manley Hopkins and others.But it is in the second act that McKellen really comes into his own, with a celebration of all 37 plays of William Shakespeare (though he admits he has nothing at all to say about Troilus and Cressida); acting scenes from many of them, and offering a rich treasure trove of anecdotes about other productions in which he did not appear (there's a truly priceless Gielgud story about the veteran actor Alan Badel).McKellen is a consummate stage actor, able to speak directly and intimately to every single person listening to his rapt delivery of this rich language.I've been privileged to see McKellen for some 40 years on stage; the first time I ever saw him on stage was in the original production of Martin Sherman's Bent at the <a href="/theatres/royal-court-theatre">Royal Court</a> in 1979. As a young gay man, it changed my life, offering a highly charged perspective on a chapter of gay history I knew nothing about. I am forever grateful to McKellen for his part in this; but I am now forever grateful, too, for the opportunity to share this remarkable journey through his life and career.<a href="/show/ian-mckellen-on-stage">Ian McKellen on Stage</a> is at the <a href="/theatres/harold-pinter-theatre">Harold Pinter Theatre</a> until 5th January 2020.&nbsp;<a href="/show/ian-mckellen-on-stage">Ian McKellen on Stage:&nbsp;With Tolkien, Shakespeare, Others and You tickets</a> are available now.&nbsp;&nbsp;Photo credit:&nbsp;Frederic Aranda

Review - Ian McKellen on Stage at the Harold Pinter Theatre

The Harold Pinter Theatre, established and adorned with Victorian architecture in 1881, is one of the most notable theatre venues in the heart of London. Originally known as the Royal Comedy Theatre, it later adopted the name of 'Harold Pinter', honouring the famous playwright. The theatre is situated conveniently in the centre of the bustling West End, an ideal location for tourists and locals alike. The interior is decorated with an impressive array of original features aligned with its historical era of inception, creating an aesthetically pleasing atmosphere for theatre-goers. The theatre has an audience capacity of 796 people across four levels, with the seats divided into Stalls, Dress Circle, Royal Circle and Balcony. Over time, it has been home to many outstanding performances, including shows like 'The Homecoming', 'Moonlight', and 'Betrayal'. The Harold Pinter Theatre undoubtedly offers a memorable and culturally enriching experience for all those who visit.

### How to Get to the Venue 

Harold Pinter Theatre is accessible and well-connected, located at Panton Street in the City of Westminster. The closest Underground stations are Piccadilly Circus and Leicester Square, both within a short 5-minute walk. Numerous buses service the area regularly, making it straightforward to reach using public transport. For those driving, the MasterPark at Whitcomb Street and NCP at Denman Street are the nearest parking options.

Harold Pinter Theatre - LON

Harold Pinter Theatre

The Harold Pinter Theatre is a historic venue in London's West End, known for hosting many notable performances. Convenient and easily accessible by public transit.

King Lear - LON [24522] - DNU

King Lear

King Lear - LON [24522] Product Media

Kenneth Branagh will direct and play the title role for 50 performances only at Wyndham’s Theatre from 21 October.

Named after its founder and famed actor-manager Charles Wyndham, the **Wyndham's Theatre** is a classic London West End theatre that stands on Charing Cross Road in the City of Westminster. Opened in 1899, the theatre was designed by W G R Sprague, an architect who was also responsible for many other West End theatres. It has a strong reputation for high-quality drama, which is part of its charm and attractiveness. The exterior contains a beautiful portico in the classical style, while the interior is adorned with luxurious ornate plasterwork. Over its history, Wyndham's Theatre has hosted a wide variety of productions, including 'God of Carnage', 'Art', and 'Donkeys' Years'.

**Getting to the Wyndham's Theatre:**

Wyndham's Theatre is easily accessible by multiple modes of transport. The closest Underground station, Leicester Square, is just a two-minute walk away, offering connections via the Northern and Piccadilly lines. Several bus stop directly outside the theatre, including routes 24, 29 and 176. Limited on-street paid parking is available. National car park at St Martin’s Lane Hotel offers a discount to theatre patrons, but the venue encourages sustainable transport options where possible.

Wyndham's Theatre - LON

Wyndham's Theatre

Wyndham's Theatre, established in 1899, is a classic West End venue known for high-quality drama. It's easily accessible via public transport.

The Exorcist [7337]

The Exorcist

The Exorcist [7337] Product Media

The Phoenix Theatre is a West End theatre situated in the heart of London, embracing a rich history of over a century. With a seating capacity of 1,012, the venue emanates elegance with refined gold and bronze interiors along with lush red velvet seats. Known for its magnificent portrayal of widely acclaimed arts from across the globe, the theatre has famously exhibited spectacularly thought-provoking plays and dramatic productions.

Since its inaugural production of Noel Coward's 'Private Lives' in 1930, Phoenix Theatre has circulated a diverse repertoire, from Shakespearean classics to rock musicals like 'Blood Brothers' that ran for 21 years. It also attracts an impressive roster of acting talents, including legendary artists like Dame Judi Dench and Ian McKellen.

**How to get to the venue:**

Phoenix Theatre is easily accessible, just a two-minute walk from the bustling Tottenham Court Road Underground station, which serves the Central and Northern lines. Multiple bus routes through Charing Cross road also connect it well with the rest of the city. Additionally, the nearest NCP car park is situated in Shaftesbury. It's recommended to use public transport due to restrictions on parking in the area.

**Additional Information**

Venue opens 1hr 30min before showtime.
Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

Phoenix Theatre - LON

Phoenix Theatre

The Phoenix Theatre in London's West End showcases a diverse repertoire of theatrical productions, is easily accessible via public transport.

No Man's Land [2219]

No Man's Land

No Man's Land [2219] Product Media

Mother Goose - Duke of York's Theatre - LON 

Mother Goose - Duke of York's Theatre

Mother Goose - Duke of York's Theatre - LON  Product Media

Not every theatre actor would continue working into his 80s but here’s [Ian McKellen](https://www.londontheatre.co.uk/stars-on-stage/ian-mckellen), who turns 84 in May, returning yet again to the stage at a time in life when many of his colleagues might prefer simply to rest. Not for the screen’s Gandalf and Magneto a further foray into the Shakespeare repertoire (Hamlet, Lear, his Bard-heavy solo show) that has kept him busy of late.

This time round, “Serena” – as the show campily and affectionately renames its internationally renowned star – is donning a variety of body-hugging outfits, outré wigs and the like to play Caroline Goose, aka the bosomy Mother Goose that gives Jonathan Harvey’s buoyant West End panto its title. The show, joyously directed by Cal McCrystal, of *One Man, Two Guvnors* renown, is not to be confused with the concurrent entertainment of the same name at the Hackney Empire and starring Clive Rowe.

The references come thick and fast, from Harry and Meghan to past and present Tory grandees, musical theatre excerpts ranging from *A Chorus Line*'s “One” to “Don’t Rain On My Parade”, McKellen’s megawatt grin all the while powering an altogether giddy evening: the actor looks as if he’s having the time of his life and the expert ensemble around him gleefully, on occasion recklessly follow his lead: Oscar Conlon-Morrey’s sweet Jack – here given his own Jill – shares in some untamed tongue action that has to be seen to be believed.

Presiding over an animal sanctuary that was once a Debenhams department store, this Mother Goose isn’t the fairy tale figure of panto lore but a fame-seeking comic ringleader. Wife to John Bishop’s entirely adorable Vic Goose (“I love this man,” McKellen says in passing of his stage spouse), the eponymous waterfowl indulges innuendo about “greasing the bottom” and “raw materials” and meta-reflections on becoming a “mega-global superstar”. 

There’s a nod toward political rebellion in a plot strand involving non-payment to the utilities that are making this winter a challenge for so many. We’re urged to jeer “the energy company” every time that phrase is spoken, and the show’s Boris Johnson out-snouts, to coin a verb, Peppa the Pig. 

The script reminds us of McKellen’s own origins, age 8, discovering panto at the Grand Theatre in his native Lancashire town of Bolton. But it also whooshes into the here and now to accommodate COVID-era super-spreader events – and droll aspersions in the direction of the Palladium offering across town just now with Julian Clary. That *Jack and the Beanstalk* is Goose’s main rival in this year’s celebrity-panto sweepstakes.

I’ve seen McKellen tread similar terrain before, as the Widow Twankey in the Old Vic’s Aladdin nearly 20 years ago. But his game participation on that occasion didn’t prepare me for the breadth of double entendres this time out (a deadpan mention, for instance, of “tossing in my sleep”) or his ability to still the house with Portia’s “quality of mercy” speech from *The Merchant of Venice*; we soon find that Bishop, a long-established staple of the comedy circuit, can navigate his way just fine through Shakespearean verse, as well. 

Liz Ascroft’s sets and costumes suggest a touring production – the show travels the UK and Ireland into April - that has spent proper money on its visuals. A sumptuous vertical bed allows for beneath-the-duvet hijinks whilst headgear finds Camilla Parker Bowles (Genevieve Nicole, fabulous) struggling to navigate an outsized hat through a too-low doorway. Mama Goose’s post-interval sartorial parade extends to a mop-like tray table atop McKellen’s head that is itself a thing of wonder.

The prevailing good nature grants a change of heart to the resident baddie, Malignia (*X Factor* alumna Karen Mavundukure, in sprightly form). Elsewhere, a clarion-voiced Cilla Quack (yes, you read that right) gets a *Les Mis*-style imprisonment followed soon by the ability of the protean Anna-Jane Casey, playing Cilla, to give us her best Barbra Streisand. Casey, seen this time last year in the ongoing West End revival of *Cabaret*, is once again indispensable. 

The show may feel freeform, even anarchic, but courses with an abiding respect for theatrical tradition:  Peter Pan, we’re informed, premiered at this same theatre in 1904, and Judi Dench and Derek Jacobi are foregrounded every bit as readily as the music of ABBA, Sunset Boulevard, and the World Cup. 

By the time the climactic singalong arrives to the familiar tune of “Sweet Caroline,” the audience is nodding as one to the lyric, “good times never seemed so good”. The world may be a dark and often difficult place, but lucky are we to be transported via Gooseland Airways to a rapture-inducing realm of sheer and total bliss.

*Mother Goose* is at the Duke of York's Theatre through 29 January. Book *Mother Goose* tickets on London Theatre.

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=26888&content_product_id=26888&venue_id=116)

*Photo credit: Ian McKellen and John Bishop (Photo by Manuel Harlan)*

'Mother Goose' review — Ian McKellen leads a megawatt pantomime for the ages

The **Duke of York's Theatre** is one of the most prestigious theatres in the bustling city of London. Nestled in the heart of St Martin's Lane, it boasts a rich history dating back to its opening in 1892. The theatre is named after King George V and since its establishment, it has featured an array of stunning performances and world-renowned plays. The auditorium is an impressive spectacle in its own right, designed in proscenium style, with the capacity to accommodate up to 640 spectators. Over the years, it has maintained its classic Edwardian decor, adding to the immersive theatre experience it provides. Furthermore, the theatre has state-of-the-art technical facilities and provides excellent acoustics, ensuring an awe-inspiring experience. 

**How to get to the venue:** 

Duke of York's Theatre is well-connected to public transportation. The closest tube stations include Charing Cross, Leicester Square, and Covent Garden. Alternatively, several buses stop near St Martin's Lane. For those driving, there are car parks nearby. However, due to London's congestion charge, public transport is the most convenient and often, the easiest way to reach the theatre.

**Additional Information** 

Venue opens 1hr 30min before showtime. 
Please arrive with plenty of time. Latecomers will be admitted at a suitable point, which may be the interval.

Duke of York's Theatre - LON

Duke of York's Theatre

The Duke of York's Theatre is a prestigious historical venue in London, showcasing world-renowned plays with modern facilities. It's accessible via public transport.

Player Kings - LON [37071]

**Noël Coward Theatre** is a popular venue in the heart of London that continues to draw audiences with its excellent choice of productions. This theatre is a prominent part of London's cultural fabric and has been a part of the city's arts scene since its opening in 1903. Named after the renowned playwright, Noël Coward, it was formerly known as the Albery Theatre. The theatre has a remarkable capacity of 872 seats, offering a fascinating range of viewing experiences. The venue is well-known for its diverse productions, ranging from musicals to classic plays and modern dramas. Past productions include 'Half a Sixpence', 'The Vortex', and 'Deathtrap'. The Theatre's design is a delightful blend of tradition and modernity, mirroring the diverse array of productions it hosts. The richly decorated interior adds to the sensory experience, making viewing a performance here a complete theatrical event. 

 **How to Get There** 
 The theatre is located in St Martin's Lane, a short walk from Leicester Square and Covent Garden tube stations. This makes the venue quite easily accessible by public transportation. There are also numerous bus routes which stop nearby. For patrons driving to the venue, there is a car park nearby in Chinatown. The theatre also offers bicycle racks for those who prefer to cycle.

Noël Coward Theatre - LON

Noël Coward Theatre

The Noël Coward Theatre is a prominent London venue known for diverse theatrical productions; accessible via public transportation, parking, and cycle.

Read all about Ian McKellen (Lord of the Rings, X-Men) and his performances on the West End stage at LondonTheatre.co.uk

Ian McKellen - Stars on Stage | London Theatre

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Noel Coward Theatre

Noël Coward Theatre - TodayTix

The Noël Coward Theatre opened as the New Theatre on 12 Mar. 1903. In 1973, the theatre’s name was changed from the New Theatre to the Albery Theatre, as a tribute to the theatre’s long-serving manager Sir Bronson Albery. Sir Cameron Mackintosh acquired the theatre through his company, Delfont Mackintosh Theatres, in 2005 and renamed the theatre in memory of the famous playwright, Noel Coward.

The theatre famously played host to two theatre companies whose theatres were destroyed during the Blitz – the [Old Vic](https://www.londontheatre.co.uk/theatres/old-vic-theatre) and [Sadler’s Wells](https://www.londontheatre.co.uk/theatres/sadlers-wells) both performed at the theatre until their new theatres were built in the 1950s. 

The theatre also played host to the premiere of Lionel Bart’s world famous musical *Oliver!* The show was a huge success, running for 2,618 performances.

Several notable actors have appeared in productions at the theatre, including [Judi Dench](https://www.londontheatre.co.uk/actor-profile/judi-dench), [Helen Mirren](https://www.londontheatre.co.uk/actor-profile/helen-mirren) and [Patrick Stewart](https://www.londontheatre.co.uk/actor-profile/patrick-stewart). 

## Noël Coward Theatre Seating Information

The auditorium has four levels - Stalls, Royal Circle, Grand Circle and Balcony.

The Stalls offers excellent views throughout. The high setting of the stage allows for good views.

The view from the Royal Circle is completely unobstructed and the seating is well raked.

The Grand Circle is set fairly high, but again offers unobstructed views of the stage. 

Whilst the Balcony is high, the seats are well raked and comfortable with a good amount of legroom.

Noël Coward Theatre - London Theatre

Opened in 1903, the Noël Coward Theatre, previously New Theatre and Albery Theatre, hosted various theatre companies and famous productions like 'Oliver!'. Actors include Judi Dench and Helen Mirren.

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