Sadler's Wells Theatre
Rosebery Avenue, London
Opens: 24 July 2020
Closes: 30 August 2020
Buy tickets:Buy tickets online
Nearest Tube: Angel (allow for walk)
Fri 24 July at 7.30pm
Sat 25 July at 7.30pm
Sun 26 July at 4.00pm
Mon 27 July no shows
Tue 28 July at 7.30pm
Wed 29 July at 2.30pm and 7.30pm
Thu 30 July at 7.30pm
Fri 31 July at 7.30pm
Sat 1 Aug at 2.30pm and 7.30pm
Sun 2 Aug at 4.00pm
Mon 3 Aug no shows
Tue 4 Aug at 7.30pm
Wed 5 Aug at 2.30pm and 7.30pm
Thu 6 Aug at 7.30pm
Fri 7 Aug at 7.30pm
Sat 8 Aug at 2.30pm and 7.30pm
Sun 9 Aug at 4.00pm
Mon 10 Aug no shows
Tue 11 Aug at 7.30pm
Wed 12 Aug at 2.30pm and 7.30pm
Thu 13 Aug at 7.30pm
Fri 14 Aug at 7.30pm
Sat 15 Aug at 2.30pm and 7.30pm
Sun 16 Aug at 4.00pm
Mon 17 Aug no shows
Tue 18 Aug at 7.30pm
Wed 19 Aug at 2.30pm and 7.30pm
Thu 20 Aug at 7.30pm
Fri 21 Aug at 7.30pm
Sat 22 Aug at 2.30pm and 7.30pm
Sun 23 Aug at 4.00pm
Mon 24 Aug no shows
Tue 25 Aug at 7.30pm
Wed 26 Aug at 2.30pm and 7.30pm
Thu 27 Aug at 7.30pm
Fri 28 Aug at 7.30pm
Sat 29 Aug at 2.30pm and 7.30pm
Sun 30 Aug at 4.00pm
Runs ? hours and ? minutes
£? to £?
(plus booking fees if applicable)
Jonathan Church's acclaimed Chichester Festival Theatre revival of Singin' In The Rain in London - starring Adam Cooper - for a strictly limited season
Don Lockwood is a silent movie star with everything he could want - fame, adulation and even a well-publicised 'romance' with his co-star Lina Lamont. But Hollywood is about to change forever. There is rumour in the studio of a new kind of film - a film where the actors actually talk... and sing... and dance.
The silver screen was never the same after silent films gave way to the talkies. Stars who had enchanted millions without saying a word, were now forced to find a voice. And if they could talk, why not have them sing and dance? Singin' in the Rain is the story of the making of that first Hollywood musical. Featuring all the style and spectacle of a golden age, it has a succession of unforgettable songs, including 'Good Morning', 'Make 'em Laugh', 'Moses Supposes', and, of course, 'Singin' in the Rain'. Shining with vitality, wit and romance, this is a musical to lift your heart and set you singin' and dancin' - in any weather.
This Chichester Festival Theatre production - which played an acclaimed 16 month season at the Palace Theatre in London's West End in 2012 - returns to London for a strictly limited season, once again starring Adam Cooper as 'Don Lockwood'.
The cast for this 2020 London season at Sadler's Wells Theatre featured Adam Cooper as 'Don Lockwood' - other cast to be announced. Directed by Jonathan Church with choreography by Andrew Wright, designs by Simon Higlett, video by Ian William Galloway, lighting by Tim Mitchell, and sound by Matt McKenzie.
Based on the 1952 MGM film with story and screenplay by Betty Comden and Adolph Green, music by Nacio Herb Brown, lyrics by Arthur Freed, additional songs by Betty Comden and Adolph Green, and original direction and choreography by Stanley Donen and Gene Kelly. The original 1952 MGM film featured Gene Kelly as 'Don Lockwood', Donald O'Connor as 'Cosmo Brown', and Debbie Reynolds as 'Kathy Selden, with Jean Hagen as 'Lina Lamont', Cyd Charisse and Rita Moreno.
The original London Palace Theatre 2012 cast featured Adam Cooper as 'Don Lockwood', Daniel Crossley as 'Cosmo Brown', Scarlett Strallen as 'Kathy Selden', Katherine Kingsley as 'Lina Lamont', Peter Forbes as 'Roscoe Dexter', Michael Brandon as 'R F Simpson', and Sandra Dickinson as 'Dora Bailey' / 'Miss Dinsmore', with David Birch, Brendan Cull, Jennifer Davison, Flora Dawson, Jaye Juliette Elster, Luke Fetherston, Nancy Wei George, Francis Haugen, Peter Le Brun, David Lucas, Charlie Martin, Scott Mobley, Ebony Molina, Gillian Parkhouse, Sherrie Pennington, Lisa Ritchie, Jack Wilcox, Danielle Crockford, Matthew Croke, Gemma Fuller, Daniel Ioannou, along with Nicholas Le Prevost as 'Sound Demonstrator' (on screen). Previewed from 4 February 2012, opened on 15 February 2012, and closed on 8 June 2013
When this production opened at the Palace Theatre in London in February 2012, Julie Carpenter in the Daily Express praised how "this glorious musical revival... is the type of brilliantly devised show that transports you to another time and place, delivers classic numbers and dazzlingly complex choreography and just oozes joie de vivre... Adam Cooper is sensational as Don Lockwood and so light on his feet that he seems to trip effortlessly through his routines. As Kathy the excellent Scarlett Strallen matches him step for twinkle-toed step and has a wonderful verve. With Daniel Crossley as Lockwood's former Vaudeville partner Cosmo they make for an impressive trio while Katherine Kingsley is a treat as the vindictive, vocally challenged prima donna Lina." Charles Spencer in the Daily Telegraph hailed "Jonathan Church's splendid staging, with thrillingly inventive choreography by Andrew Wright that, though clearly inspired by Gene Kelly's original routines, often takes off in startling and delightful new directions of its own, the show offers almost three hours of continuous pleasure... Adam Cooper brings a mixture of charm, humour, nonchalance and spectacularly fleet feet to the role of Don Lockwood, which confirms him as a major new star of the musical stage... This is a night of sheer delight." Richard Fairman in the Financial Times highlighted how "the cast has no weak link... Daniel Crossley's Cosmo Brown is brilliant in "Make 'Em Laugh", the first knockout number. After that director Jonathan Church delivers a show that never puts a foot wrong. It could be raining in Shaftesbury Avenue for a long time." Paul Taylor in the i newspaper wrote that "Jonathan Church's production contains sequences as rapturously enjoyable as any I have seen in a stage musical - not least the title song and its finale reprise... What mars the show, for me, is that there are places where the desire to do nothing if not knock the audience dead again and again brings in a faintly metallic and driven feel to the proceedings." Patrick Marmion in the Daily Mail described how "it's got feelgood factor galore with the added bonus of shameless nostalgia. You simply can't help but love it. Up to a point that is, because if we're honest, the show doesn't offer anything that the film doesn't. Except that it's live. And as a live performance it is hugely energising... The undisputed star is Scarlett Strallen, who is the spit of Debbie Reynolds from the film. She has a voice like mountain spring water and shapely dancing pins to match." Dominic Maxwell in the Times said that, while "this is not a flawless adaptation... but, oh boy, this is an enjoyable evening, which at its best simply soars." Henry Hitchings in the London Evening Standard thought that, although "the stage version can't eclipse memories of the film... Jonathan Church's deft new production certainly makes a splash... Adam Cooper is likeable as Don Lockwood, with fantastic dance skills. There's engaging work from Daniel Crossley as pal Cosmo. Katherine Kingsley has an irresistible comic touch as Lina, and Scarlett Strallen radiates warmth as Kathy... This is a buoyant revival, lit up by Andrew Wright's superlative choreography."
This production transfers from the Chichester Festival Theatre in West Sussex (previewed from 27 June 2001, opened on 5 July 2011, and closed on 10 September 2011) with a cast that featured the same leads, and the majority of the same ensemble.
When this production opened at the Chichester Festival Theatre in West Sussex in July 2011, Quentin Letts in the Daily Mail described how "this is a night of well choreographed dancing, tight acting and decent, sometimes excellent singing. The tunes and good, with one of them (you know which) a classic... Five stars all round. Great night." Charles Spencer in the Daily Telegraph exclaimed: "An evening of pure joy... In a constantly fizzing production by Chichester's artistic director, Jonathan Church, stylishly designed by Simon Higlett and with a company working as a brilliantly drilled ensemble... Its secret weapon is the choreographer Andrew Wright, who fills the stage with dancing of superb vitality and style... Adam Cooper dances, hoofs and taps with such panache that you forget about Gene Kelly." Fiona Mountford in the London Evening Standard commented how, in "Jonathan Church's elegant and witty production... there's real chemistry between Adam Cooper and Scarlett Strallen, and gifted support from Daniel Crossley in the Donald O'Connor role. Delightful." Michael Billington in the Guardian explained that "although Jonathan Church's revival is near flawless, the show inevitably feels like a replica of the 1952 movie, rather than a true original... The real pleasure of the show lies in the staging of individual numbers, very well choreographed by Andrew Wright... it's hard to resist a show staged with such brio, even if it is no more than a dazzling carbon-copy of the best movie musical ever." Libby Purves in the Times highlighted that "it is Adam Cooper's Don Lockwood - athletic and joyful, charming and cheesy, boyish and truthful - who gives this spectacular nonsense its edge... On stage, this 1980s adaptation of Comden and Green's 1951 Gene Kelly vehicle breathed more life, for me, than the MGM movie... Jonathan Church's direction leaves no absurdity unserved." Neil Norman in the Daily Express praised how "the design is terrific, the ensemble dances executed with verve and Ian William Galloway's film inserts are remarkably authentic simulacra of old movies. Rarely has so much energy been expelled by so many for so long... Choreographer Andrew Wright's complicated manoeuvres are worked out to the smallest period detail and the band are note perfect."
"This loving interpretation of the revered 1952 film musical, about the end of the silent movie era, arrives in the West End with fortuitous timing, given The Artist is still setting hearts aflutter... But to make this show stand apart from the movie, it's the live action that has to grab you. Adam Cooper is an impressive dancer but doesn't really convey the star wattage you'd hope for as Don. Likewise Daniel Crossley, as hang-dog best friend Cosmo: he nails an astonishing, sight-gag-packed routine for his key number Make 'Em Laugh, but isn't a strong singer. The women fare better: Katherine Kingsley has a ball with scene-stealing Lina Lamont's nails-on-a-blackboard Nu Yoik screech, and Scarlett Strallen, as love interest Kathy, is a gorgeously fluid dancer and sings up a storm, particularly for Good Morning. Choreographer Andrew Wright works a big cast with impressive precision... The curtain call is truly spectacular and guaranteed to send you away humming and hoofing." The London Metro
"In this pleasant stage adaptation Adam Cooper offers grace and sheepish self-deprecation in the Gene Kelly role, while Scarlett Strallen and Daniel Crossley make zany hoofers by his side... Jonathan Church's production is a hefty piece of storytelling that squashes the buoyancy a little: it makes for an enjoyable but rarely electric evening. Most sparks are generated by Katherine Kingsley's brilliantly screeching leading lady: a platinum-blonde ostrich sending voice and curves alike into wild undulations. If a migraine could speak, this is what it would sound like." The Sunday Times
"Jonathan Church's glorious stage version of one of the most marvellous movie musicals of all time made quite a splash in Chichester last summer. Now bigger, bolder and even better, Singin' In The Rain has moved to London's Palace Theatre... Silent-movie matinee idol Don has fallen for a chorus girl, Kathy. His co-star, glamorous Lina Lamont, is kicking up a fuss. 'What's wrong with me?' she squawks... What's wrong with Lina is that her voice sounds like a New Yoik cat being slowly strangled... Katherine Kingsley's pouting peroxide broad, with a squawk that makes the sound of chalk squealing across a blackboard seem pleasant by comparison, is funny but also rather touching. Scarlett Strallen is a sweet and tart Kathy, and there's a real spark between her and Adam Cooper's Don. Indeed, their snogging is as hot as their hoofing. Meanwhile, as Don's friend Cosmo, Daniel Crossley combines Chaplinesque clowning with Fred Astaire's footwork. The production is filled with knockout numbers such as You Stepped Out Of A Dream, All I Do Is Dream Of You and Make 'Em Laugh. With a watertight company not just singin' in the rain but dancin' up a storm, this is a weatherproof hit." The Mail on Sunday
Singing in the Rain in London at the Sadler's Wells Theatre opens on 24 July 2020, and closed on 30 August 2020
West End London Premiere 1983 at the London Palladium
Previewed 22 June 1983, Opened 30 June 1983, Closed 28 September 1985 at the London Palladium
Returned 29 June 1989, Closed 11 November 1989 at the London Palladium
The original 1983 cast featured Tommy Steele as 'Don Lockwood', Roy Castle as 'Cosmo Brown', Danielle Carson as 'Kathy Selden', Sarah Payne as 'Lina Lamont', Hatt Zimmerman as 'Roscoe Dexter', Kalman Glass as 'R F Simpson', and Jeanette Ranger as 'Dora Bailey'.
The original 1989 cast featured Tommy Steele as 'Don Lockwood', Bunny May as 'Cosmo Brown', Danielle Carson as 'Kathy Selden', Sarah Payne as 'Lina Lamont', Graham Hoadly as 'Roscoe Dexter', Kalman Glass as 'R F Simpson', and Rachel Ien as 'Dora Bailey'.
Directed by Tommy Steele with choreography by Peter Gennaro, designs by Terry Parsons, lighting by Richard Pilbrow with Eric Delzenne, and sound by Edward Fardell.
This production included additional songs by Roger Edens, Dorothy Fields, Jimmy McHugh, George and Ira Gershwin, Johnny Mercer, Richard Whiting, and Cole Porter.
During the initial run there where four 'cast holidays', covering six weeks, during which the show temporarily completely closed, with no performances taking place: one week from Monday 7 to Saturday 12 November 1983; two weeks from Monday 7 to Saturday 19 May 1984; one week from Monday 5 to Saturday 10 November 1984; and two weeks from Monday 1 to Saturday 13 April 1985.
London Revival at the National Theatre's Olivier Theatre
Previewed 19 June 2000, Opened 22 June 2000, Closed 20 July 2000 at the National Theatre's Olivier Theatre
Returned 18 December 2000 to 27 January 2001 at the National Theatre's Olivier Theatre
The cast featured Paul Robinson as 'Don Lockwood', Mark Channon as 'Cosmo Brown', Zoe Hart as 'Kathy Selden', Rebecca Thornhill as 'Lina Lamont', Tony Timberlake as 'Roscoe Dexter', Adrian McLoughlin as 'R F Simpson', and Annette McLaughlin as 'Dora Bailey' / 'Miss Dinsmore', with Lucas Jordan Akins, Nikki Belsher, Saskia Butler, Elizabeth Cooper, Sarah Cortez, Wain Douglas, Ross Finnie, Mitchell Gaffney, Steven Harris, David Lucas, Jane Mark, Annette McLaughlin, Richard O'Neal, Lee Payne, Rohan Pinnock-Hamilton, Joseph Pitcher, Hope Sellars, Suzanne Toase, Claire Winsper, along with Philip Franks as 'Sound Demonstrator' (on screen).
Directed by Jude Kelly with choreography by Stephen Mear, designs by Huntley Muir (AKA Su Huntley and Donna Muir), video by Mic Pool, Ashley Clough and Jude Kelly, lighting by Andrew Bridge, sound by Simon Whitehorn, and water effects by Mario Borza.
This production originated at the Quarry Theatre at the West Yorkshire Playhouse (now Leeds Playhouse) with the same cast (previewed from 7 December 1999, opened on 13 December 1999, and closed on 5 February 2000).
London Revival 2004 at Sadler's Wells Theatre
Previewed 29 July 2004, Opened 3 August 2004, Closed 4 September 2004 at Sadler's Wells Theatre
The cast featured Adam Cooper as 'Don Lockwood', Simon Coulthard as 'Cosmo Brown', Josefina Gabrielle as 'Kathy Selden', Ronni Ancona as 'Lina Lamont', Claude Close as 'Roscoe Dexter', Peter Forbes as 'R F Simpson', and Jeanette Ranger as 'Dora Bailey', with Patience Aboiralor, Sarah Amos, Simon Archer, Tess Cunningham, Richard Curto, Leigh Daniels, Stuart Dawes, Helen Dixon, Tom Dwyer, Juliet Gough, Rebecca Jackson, Dougal Irvine, Greg Pichery, Amy Ellen Richardson and Craig Turbyfield.
Directed by Paul Kerryson with choreography by Adam Cooper, designs by Robert Innes-Hopkins, video by Ray Scott-Johnson, lighting by Chris Ellis, and sound by Frank Bradley.
This is a co-production with the Leicester Haymarket Theatre (now Curve Theatre) where this production will transfer to from 9 to 26 September 2004, following it's London run.
"Singin' in the Rain has now effectively become dancing in the rain, though the change I found unbearable was the cutting of the lone cop from the title number. Everywhere else this is a joyous musical - it deserves every award going. Even more importantly, it is rooted in the greater lunacies of Hollywood and the would-be career of a singing star Lena (played superbly by Ronni Ancona) who can neither sing nor act. Then there is the all-dancing, all-singing Don (Cooper) and his lover played by Josefina Gabrielle for whom the movie has to end happily. Not surprisingly, with a book by Betty Comden and Adolph Green originally made in the heyday Hollywood musicals, this one is a classic, far and away the best musical on any stage or small screen as of now... Singin' In The Rain has to be seen live on stage, for not only is it the most enjoyably comic dance marathon in town, but also the most brilliantly devised. Arguably the greatest of all Hollywood musicals has been turned into one of the greatest West End shows." The Daily Express
"More a drizzle than a real downpour of entertainment, Paul Kerryson's stage version of the MGM classic is big, handsome and rather dull. It almost entirely lacks joie de vivre... Make 'Em Laugh is the nifty little number sung by film star Don Lockwood's best friend Cosmo Brown, and it is advice that Kerryson might well have heeded in a production where even the comic turn of Ronni Ancona as Lina Lamont, the silent film star with a voice like fingernails on chalkboard, seems laboured. Adam Cooper never really finds his feet or a personality as Don Lockwood, while Josefina Gabrielle as love interest Kathy Selden is insipid. Simon Coulthard as Cosmo comes off best - he has fun, so we have fun, and his loose-limbed rubber hoofing style often looks more relaxed, and is certainly more engaging than Cooper's. The entire evening feels as if everyone is trying too hard. Cooper's choreography is safe rather than satisfying and lacks sparkle and wit; Robert Innes-Hopkins' design is uncharacteristically heavy and bland, and Paul Kerryson's production is so slow you sometimes fear it may shudder to a halt." The Guardian
"The songs are still there, the jokes are still there, the Hollywood mythology is still there. Adam Cooper's dancing skills are never in doubt, and he has choreographed some rousing routines for his colleagues. It all makes for an enjoyable enough evening. But something important is missing - call it Ingredient X, call it zing. Part of the trouble is that Cooper seems less at home in his role - in the singing and acting parts, at least - than he did in his earlier foray into musicals in On Your Toes. But Paul Kerryson's direction has a lot to answer for, too: it makes almost everything seem a bit slow and obvious. Among the high points, the swashbuckling film excerpts where the sound recording goes wrong are hilarious, and give Ronni Ancona as the strident star of the silent screen a chance to do her stuff (elsewhere her screech is past a joke). The production also enjoys a distinct asset in Josefina Gabrielle. She's delightful as Cooper's non-strident sweetheart, and helps to make "Good Morning", which she performs along with Cooper and Simon Coulthard, the most exhilarating number in the show." The Sunday Telegraph
Singing in the Rain in London at the Sadler's Wells Theatre previewed from 29 July 2004, opened on 3 August 2004, and closed on 4 September 2004