West End long runners…

According to the Society of London Theatre, there were 17.1million theatregoers in the last year, counted with the majority of tickets sold for £56 or less. There is often reported to be a queue of productions seeking a suitable venue for their new or transferring-in show. So it paints a picture of rude health in contrast to the struggles of the mid-size regional venue. The best London venues are booked out well into that year with long running shows and there are very few available slots for new musicals to come into town in good sized venues. Houses like the National Theatres, The Old Vic, and the London Palladium have their own unique artistic programming philosophies which means they are generally not available for hire by commercial producers. Of course, there are more opportunities for plays with the Trafalgar Theatre, Harold Pinter, Theatre Royal Haymarket, Duke of York’s (soon to be Tom Stoppard) Theatre, Wyndhams Theatre, and the Apollo Theatre generally programming for short runs of 12-16 weeks. The risk here seems greater for the venue owners who can be left with dark weeks between shows especially if they close early, whereas with musicals, the producers have a much greater risk until the show recoups.

However, when a show passes a certain point in its life, it appears to take on a far less risky profile as it becomes a must-see destination for tourists and a return visit on each cast change for its loyal fans. We identify twelve shows that appear to have reached this legendary status in London and four more that have the potential to join them in the coming years. If only we had invested in them!

The Mousetrap

St. Martin’s Theatre (since 25 November 1952) with over 30,600 performances. 550 seat capacity. Olivier Special Recognition award 2022.

Agatha Christie’s novel-turned-play has been a pillar of the West End stage for nearly 75 years at the St. Martin’s Theatre, having transferred from its initial venue, The Ambassadors Theatre next door. Agatha Christie reportedly told the first cast, which included Richard Attenborugh, “we may get a few months out of it, but it won’t break any records!” Indeed, when she sold the film rights, the condition was that they couldn’t make the film until the West End show closed! Originally called Three Blind Mice until producer Peter Saunders changed the name, only the voice of Deryck Guyler and a mantlepiece clock remain from the original production!

The play finishes with an encouragement to all to become a ‘partner in crime’ and keep the secret of The Mousetrap so this will remain a spoiler free zone. But if you haven’t seen it yet, where have you been… you simply have to have seen it call yourself a theatre fan.

Les Misérables

Sondheim Theatre (since 8 October 1985) with over 16,000 performances. 1,137 seat capacity. Olivier Best Musical nominee 1985.

The phenomenal global success of the musical Les Misérables is undeniable; it’s been seen by audiences of over 70 million in 52 countries in 22 languages. There is no getting away from the fact that the show dubbed early on as "The Glums" is a seriously tragic story with more people dead on stage at the end than alive, and the quasi-operatic score makes it feel even heavier when compared to the usual style of musical theatre. Yet the wonderful production values in the staging, lighting and sumptuous sound mix and the majestic songs littered throughout the show carry you through the long episodic story covering all five volumes of the original story. It's inevitable that in a musical version there are large gaps in the story that are only hinted at, and a prior knowledge of the story helps with the jumps. It basically follows the rivalry, verging on obsession, of Javert taking down petty criminal with a heart of gold, Jean Valjean, across two decades. Played against the background of the French Revolt and poverty, it tells the story of their relationship on those they meet.

The Phantom of the Opera

Her - now His - Majesty’s Theatre (since 9 October 1986) with over 15,000 plus performances. 1,200 seat capacity. Olivier Best Musical winner 1986

Andrew Lloyd Webber’s musical masterpiece, with a book by Richard Stilgoe, directed by Hal Prince and choreographed by Gillain Lynne, was originally planned for the larger Palace Theatre where it was thought Les Misérables wouldn’t last but switched to the smaller venue when that show established itself as a hit. With its spectacular (for the time) special effects and soaring music, it soon established itself as a massive hit.

Mamma Mia!

Novello Theatre (since 6 April 1999) with 10,000 plus performances.1,146 seat capacity. Olivier Best Musical nominee 2000

Mamma Mia! is a glorious, effervescent show that will definitely have you dancing up out of your seats! You've probably watched the film, and you've definitely heard the songs! The stage show, however, is a fresh and uplifting treat. Currently celebrating 26 years in the West End, this timeless classic still delights the audience whether it's their first or 100th visit.

Whilst certain points may make you cry, there is definitely no shortage of laughter too; mostly provided by Donna and her best friends, Rosie and Tanya. This joyous trio ensures there is never a dull second with their brilliant comedic timing and infectious positivity, even at their lowest points. Sophie's potential Dads - Sam, Harry and Bill - are charming and caring which makes these characters truly endearing. The large ensemble helps to bring the story to life and provides that famous party atmosphere.

As Mamma Mia! themselves say "you already know you're gonna love it!", indeed you are pretty much guaranteed an amazing night out with this show. Mamma Mia! is a joyful explosion of feel good fun from start to finish, and you have definitely never experienced an electric finale quite like this one. The whole audience are up on their feet dancing as confetti rains down on them.

Disney’s The Lion King

Lyceum Theatre (since 19 October 1999) - over 10,000 performances. 2,100 seat capacity. Olivier Best Musical nominee 2000

The puppetry and sets that were conceived by visionaries Julie Taymor and Richard Hudson back in the mid-nineties, more than hold up over a quarter of a century later and still inspire audiences night after night to suspend their disbelief and embrace the splendour of stagecraft and its ability to transport you to a far-off place. All of which makes The Lion King a perfect kids show, as well as a perfect family experience.

Julie Taymor’s ground-breaking design and direction allows children to understand complex and symbolic stage devices without compromising any artistic integrity. Instead, what she does is open their minds in an accessible way as ensemble members become grass, plants, antelope etc. Stories are told through dance, voice, puppetry, shadow puppetry, and other dialects proving that the majority of communication isn’t through spoken or comprehensible voice, but through body language and emotion.

Wicked

Apollo Victoria Theatre (since 27 September 2006) with over 7,500 performances. 2,328 seat capacity. Olivier Audience Award 2015

With music and lyrics by Stephen Schwartz and based on the bestselling novel Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire, it is directed by Joe Mantello with musical staging by Wayne Cilento. Of course, the West End show has been given another boost by the success of the two movies starring Ariana Grande and Cynthia Erivo in the two central roles.

Matilda The Musical

Cambridge Theatre (since 24 November 2011) with over 5,100 performances. 1,200 seat capacity. Olivier Best Musical winner 2012

Matilda is a 2010 musical based on the 1988 book of the same name by Roald Dahl. It tells of a 5-year-old girl who is hyper intelligent and uses her kindness and gifts to help the important people in her life overcome their obstacles, whilst also taking down her tyrannical headteacher. The musical has a score by Tim Minchin, with a book by Dennis Kelly, and orchestrations and music supervision by Chris Nightingale.

The Royal Shakespeare Company announced their intention to adapt Matilda into a musical in 2009, assigning Mathew Warchus as director, alongside Peter Darling as choreographer, Rob Howell as set designer and Paul Kieve as illusionist and special effects creator. The production opened at The Courtyard Theatre in Stratford-Upon-Avon in December 2010. It opened in London’s West End for previews on 18 October 2011 at the Cambridge Theatre. Matilda was nominated for a huge ten Oliviers, winning seven in total, making it the most awarded production in the awards’ history at that time .

The Book of Mormon

Prince of Wales Theatre (since 21 March 2013) with over 4,700 performances. 1,148 seat capacity. Olivier Best Musical winner 2014.

Co-directed by Trey Parker and Casey Nicholaw, who also choreographed the show, and with set design by Scott Pask and with a unique comic style, it is in our view one of the most surprising of the long running shows.

The Play That Goes Wrong

Duchess Theatre (since 14 September 2014) with over 3,500 performances. 494 seat capacity. Olivier Best New Comedy 2015

The smash hit Olivier and Tony-Award-winning The Play That Goes Wrong celebrates 12 years at the Duchess Theatre in London’s West End. Original company members and creators of The Play That Goes Wrong, Henry Lewis, Jonathan Sayer and Henry Shields said: “It is a such a joyful show that still makes us laugh even now. We are so grateful to everyone who has been part of its long journey.” From its premiere at the Old Red Lion Theatre London in 2012, The Play That Goes Wrong has continued to gain momentum.

The show really begins 10-20 minutes before the official start time. Here we get to see the entire cast, including understudies, as they piece the set together ready for the play to begin. This is the first hint of what’s to come, with mantles refusing to stay in place, stage management doing final touches and the eradication of the fourth wall, whereby the performers often interact with the bemused audience. As the lights go down, we are introduced to Chris, Director of the Polytechnic Drama Society. This is a momentous occasion, the first full blown play with sufficient actors to play each role. The opening tableau encompasses a feeling that anyone who has been to a poor amateur dramatic or school production will recognise. The awkward glances at the audience, the excitement and pride of the actors and the audience praying that all goes right for their loved one or friends up on the stage. As the title suggests, everything that can go wrong, does go wrong.

Harry Potter and the Cursed Child

Palace Theatre (since 30 July 2016) with over 3,000 performances. 1,400 seat capacity. Olivier Best Play winner 2017

This magical show opened in July 2016. It remains one of the best productions in the West End at every level; the central story arc is strong and emotionally engaging, the characterisations are superb and honour the originals in the film franchise, the illusions that bring the magic to the stage are sensational, and the lighting and sound are brilliant in creating the magical world.

The central themes of father/son relationships and student friendships remains as strong as ever but what shines are the performances and acting which bring an emotional heart to the show and make every parent tingle at the thought of their own relationship with their children as they watch Albus, Scorpius and Delphi seeking to understand and earn the trust of their fathers. Are we all blinded by love?

The original production scripted by John Thorne, under the watchful eye of JK Rowling and directed by John Tiffany, created a fresh new theatrical style, a two-part play (that must be seen together in sequence) that is a combination of spectacular magical illusion show, cleverly choreographed dance sequences with luggage, wands, and staircases and narrative description between characters, but which are very engaging and interesting. There are so many delightful details in the production that are joy to see from the swift choreographed scene changes with a swoosh of a cape, the spectacular flying sequences, and wonderful lighting design by Neil Austin which not only brilliantly hides the means by which the illusions are delivered but creates even small intimate spaces on a bare open stage. the two-parter closes on 20 September after the tenth anniversary on 30 July and the one-part version opens on 9 October,

Witness for the Prosecution

London County Hall (since 23 October 2017) with over 3,000 performances, approximately 400 seat capacity. Olivier Best Play revival 2018

Witness for the Prosecution opened at the London County Hall Council Chamber on 6 October 2017 to great acclaim. Taking my place in seat 7 of the Jury, the awesome setting immediately transported us to the Old Bailey courtroom as we were sworn in by the stenographer. In this seat, not only were we lit in view of the rest of the audience, but we are often directly addressed by the cast as they would in a court. It’s a brilliantly immersive experience as you feel the weight of your part in deciding the outcome of this capital punishment crime of murder. The opening scene of the defendant imagining the hangman’s drop leaves you in no doubt of the consequence of the decision ahead!

Agatha Christie’s reputation as perhaps the best crime thriller writer of all time is well known and we are aware to listen for clues, watch for double meanings and assess the characters integrity and believability. Christie reflects the age when this was written (1933) with all the judges, barristers and solicitors being male and the three main witnesses female whose testimony is torn into by the men.

Leonard Vole seems a thoroughly simple chap, besotted with his wife Romaine. He protests his innocence with a passion as he tries to convince you he has been framed by circumstantial evidence. We hear the testimony of loyal housekeeper Mrs McKenzie who would have benefited from a previous will, of the forensic expert Miss Clegg and, of course, from his wife. We are led by the nose to doubt their evidence. The Detective Hearne sticks to the facts with a hint of bias and Dr Wyatt is presented as an eccentric specialist. To find out what really happened, you simply have to go and see this production and for once, the premium priced seats in the jury box (with 2 free drinks, a programme, and a notebook) are definitely worth the price! It is simply brilliant theatre.

Hamilton

Victoria Palace Theatre (since 21 December 2017) 3,000 performances.1,557 seat capacity. Olivier Best Musical winner 2018

With 11 Tony Awards, 7 Olivier Awards, a Pulitzer prize and a Grammy Award under its belt, Hamilton may be considered the most acclaimed show shaping the modern musical theatre world. The sung and rapped-through musical narrates the life of Alexander Hamilton, a founding father, who became George Washington’s right-hand man and ultimately shaped the political history of the early United States through his involvement with the American Revolution. Lin-Manuel Miranda’s culturally driven and beloved show combines music styles including soul, R&B, hip-hop, and pop, producing overall musical theatre bops which the cast delivers superbly. Thomas Kail’s direction alongside Andy Blankenbuehler’s choreography is simply sublime, with the ensemble delivering the physically demanding choreography with precision and constant momentum. The movement perfectly integrates with David Korins’ set design.

These shows below are progressing well and may reach these levels although nothing is certain in the word of theatre, although we feel the only absolute certainty of that will be Paddington which has only just started out on its run.

SIX

Arts Theatre (since 17 January 2019), then at Vaudeville Theatre (since November 2021), 2,000 performances . 690 seat capacity. Olivier Best Musical nominee 2019.

Moulin Rouge! The Musical

Piccadilly Theatre (since 12 November 2021). 1,600 performances. 1,200 seat capacity. Olivier Best Musical nominee 2022.

Cabaret at the Kit Kat Club

Formerly the Playhouse Theatre (since 15 November 2021). 1,500 performances. 650 seat capacity . Olivier Best Musical Revival 2022.

Paddington the Musical

Savoy Theatre, opened 30 November 2025. 1,150 seat capacity. Olivier Best Musical winner 2026.

How many of these sixteen shows will be running in the West End in five years time? Our guess is at least ten of them with SIX, Matilda, Moulin Rouge, Cabaret, The Book of Mormon, and The Play That Goes Wrong, the most likely to see audiences tail off. But then, what do we know as even winning a Best Musical or Play category at the Olivier’s does not guarantee out lasting the competition!

Nick Wayne

Nick has been involved as a Trustee/Director in UK Producer and Venue Organisations for twenty-six years, seen over 1350 productions, visited over 160 of the UK Venues, seen overseas productions in USA, Canada, France, Hungary, Austria, Czech Republic, and Australia and invested in over 40 West End Productions. You can read his long form articles on Stage Whispers UK - Nick Wayne

Looking Forward to New Shows…