The world premiere of *My Neighbour Totoro* triumphed at the 2023 Olivier Awards, winning six categories out of its nine nominations at the ceremony. It’s a good time for the Studio Ghibli stage adaptation, too, as *My Neighbour Totoro* will open in the West End next year, with performances at the [Gillian Lynne Theatre](https://www.londontheatre.co.uk/theatres/gillian-lynne-theatre) from 8 March.

Based on Hayao Miyazaki’s 1988 Studio Ghibli film, *My Neighbour Totoro* follows Satsuki and Mei,...

Here's why 'My Neighbour Totoro' deserved all the Oliviers

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Based on Hayao Miyazaki’s 1988 Studio Ghibli film, *My Neighbour Totoro* will return to London later next year, opening at the Gillian Lynne Theatre.

Next year, the [Royal Shakespeare Company’s](https://www.londontheatre.co.uk/stars-on-stage/royal-shakespeare-company) triumphant 2022 stage adaptation of [*My Neighbour Totoro*](https://www.londontheatre.co.uk/show/25389-my-neighbour-totoro) heads to the West End's [Gillian Lynne Theatre](https://www.londontheatre.co.uk/theatres/gillian-lynne-theatre) for a third run due to enormous popular demand. The show won six Olivier Awards and broke the Barbican’s box office record for the most tickets...

What to expect from London shows based on Studio Ghibli films

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Studio Ghibli is a renowned Japanese animation film studio founded in 1985. They are known for creating imaginative movies, including *My Neighbour Totoro* and *Spirited Away*.

A stage adaptation of television comedy *Inside No 9* will arrive in the West End next year. The show opens for a 12-week run at Wyndham's Theatre from 18 January 2025.

The TV show's original writers and performers Steve Pemberton (*The Pillowman*) and Reece Shearsmith (*A Very Expensive Poison*) will star in the West End show, titled *Stage/Fright*, which will blend original material with familiar characters from the series. 

Speaking about the announcement, Pemberton and Shearsmith said:...

Steve Pemberton and Reece Shearsmith's 'Inside No 9' to be adapted for the West End 

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The TV show's original creators Steve Pemberton and Reece Shearsmith will star in the West End adaptation when it opens next year. 

The hit musical comedy *Titanique* has confirmed plans for a West End run later this year. The show is currently performing at Off-Broadway venue the Daryl Roth Theatre.

The musical, which is co-written by Tye Blue, Marla Mindelle, and Constantine Rousouli, has received critical acclaim and multiple awards since its premiere off Broadway at Asylum Theater in 2022.

The parody of James Cameron's Oscar-winning *Titanic* film features a raft of Celine Dion’s iconic songs including “My Heart Will...

'Titanique' confirms planned West End run

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The musical has received critical acclaim and multiple awards since its premiere off Broadway at Asylum Theater in 2022. It is currently at the Daryl Roth Theatre.

The British writer James Graham is on an incredible run at the moment. He just won the Olivier Award for Best New Play for *Dear England*, a fantastic drama about football manager Gareth Southgate, which enticed new audiences into theatre, and the musical *Tammy Faye*, for which he supplied the book, is opening on Broadway this autumn.

He’s also a prolific screenwriter, with recent hits including the crime series *Sherwood* and the dystopian drama *The Way*. Graham has that rare combination of...

Learn more about James Graham’s career ahead of 'Boys from the Blackstuff'

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From plays *Dear England* and *This House* to TV hits like *Sherwood*, Graham is unstoppable – and now his *Boys from the Blackstuff* is coming to the West End.

The bright lights of West End theatres are always appealing, but there are also a number of exciting Off-West End venues in the capital, such as the small but mighty [Bush Theatre](https://www.londontheatre.co.uk/theatres/bush-theatre), which is nestled in west London.

This theatre has always punched above its weight, launching the careers of hugely successful writers such as James Graham and Lucy Kirkwood, as well as actors like Victoria Wood, Alan Rickman, Andrew Scott, and Phoebe...

A complete guide to the Bush Theatre

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Get to know this exciting new-writing venue in west London, which has launched the careers of Phoebe Waller-Bridge and Victoria Wood, among others.

The acclaimed screen and stage actor Ben Whishaw is back in town, starring in the premiere of Margaret Perry’s *[Bluets](https://www.londontheatre.co.uk/show/39930-bluets)* at the Royal Court. The play is an adaptation of Maggie Nelson’s book and follows someone obsessed with the colour blue – taking in artists like Joni Mitchell and Billie Holiday as they navigate a devastating heartbreak.

Whishaw is joined in *Bluets* by *House of the Dragon* star Emma D’Arcy and *The Girl Before*’s Kayla...

Learn more about Ben Whishaw's career ahead of 'Bluets' at the Royal Court

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The James Bond and *Paddington* actor is co-starring in this new adaptation of Maggie Nelson's book *Bluets* with Emma D'Arcy and Kayla Meikle.

It’s another fantastic year for [Shakespeare plays](https://www.londontheatre.co.uk/whats-on/shakespeare) in London, and as the weather (finally!) improves, you can start getting those outdoor shows in the diary, as well as all of the brilliant productions in the West End and beyond.

If you’re after a fresh take on the Bard, you’re definitely in luck. Sir Ian McKellen is already wowing audiences, giving his Falstaff a dynamic new spin in Robert Icke's adaptation of *Henry IV*, *[Player...

See modern adaptations and outdoor productions of Shakespeare plays in London

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From Ian McKellen in *Player Kings* to an incredible open-air season at Shakespeare's Globe, there's a wide variety of shows on offer in London.

You just can’t beat family when it comes to riveting drama. Perhaps that’s because no one gets under your skin quite like the people you love and who know you best – and who are bonded to you by blood, like it or not. From Greek tragedy through Shakespearean slanging matches and contemporary clans, shows with family drama at their centre have always ruled our stages.

That’s certainly true of London theatre this year, which features a range of bickering families – from plays like *[Long Day's...

Watch West End family dramas on the London stage

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Enter the homes of these loving but fraught families in West End plays such as *Long Day's Journey Into Night* and musicals like *Back to the Future*.

Get ready for what promises to be the most talked-about play of the year. Hollywood star John Lithgow will play Roald Dahl in a new drama, *[Giant](https://www.londontheatre.co.uk/show/39984-giant)*, which sees the famous author about to release his children’s book *The Witches*, but then rocked by a scandal surrounding anti-Semitic comments he made in an article.

Mark Rosenblatt’s debut play, directed by Nicholas Hytner (artistic director of the Bridge Theatre), also stars Elliot Levey...

Learn more about John Lithgow's career ahead of him playing Roald Dahl in 'Giant'

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The Tony and Emmy-winning Hollywood actor is starring in Mark Rosenblatt’s provocative new play *Giant* at the Royal Court in London this autumn.

Find out the full cast for [*Orlando*](https://www.londontheatre.co.uk/show/26188-orlando-tickets) in the West End this autumn. *Orlando* begins previews at the [Garrick Theatre](https://www.londontheatre.co.uk/theatres/garrick-theatre) on 26 November, with an opening night on 5 December, and performances to 25 Feb. 2023. Book *Orlando* tickets on London Theatre.

Emma Corrin will play *Orlando* in the production. *The Crown* star made their West End debut in *ANNA X* at the Harold Pinter Theatre. 

Deborah Findlay joins Corrin in *Orlando* as Mrs Grimsditch. The Olivier-winning actress and Tony-nominated actress last performed in *Alllelujah!* at the Bridge Theatre. Jessica Alade, Debra Baker, Akuc Bol, Lucy Briers, Richard Cant, Melissa Lowe, Jodie McNee, Oliver Wickham and Millicent Wong complete the cast.

Virginia Woolf’s *Orlando* follows the title character as they embark on a five-century long journey to find out how it's possible to live authentically. The *Orlando* story is inspired by novellist and Woolf's lover, Vita Sackville-West. 

Michael Grandage directs Neil Bartlett's *Orlando* adaptation, with set and costume design by Peter McKintosh, lighting design by Howard Hudson, and composition and sound design by Alex Baranowski.

*Orlando* is at the Garrick Theatre.

Book *Orlando* 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=26188&content_product_id=26188&venue_id=117)

*Photo credit: Emma Corrin (Photo courtesy of production)*

‘Orlando’, starring Emma Corrin, sets full casting 

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Michael Grandage directs the Golden Globe-winning actor [Emma Corrin](https://www.londontheatre.co.uk/stars-on-stage/emma-corrin) in Virginia Woolf’s *Orlando* at the Garrick Theatre. 

Emma Corrin leads the 11-strong *Orlando* cast, and Michael Grandage directs. The pair previously worked together on the 2022 Michael Grandage Company film, *My Policeman*, starring Harry Styles. Grandage’s previous theatre credits include *The Lieutenant of Inishmore* with Aidan Turner, and *Photograph 51* featuring Nicole Kidman. 

The *Orlando* play is a time-travelling story like no other. Meet Orlando, born as a male in Elizabeth I’s reign. After a sex change in their early 30s, they live through five centuries without aging and meet key figures in English literary history. As Orlando continues to ask thought-provoking questions, the hero-heroine is left with a major question — how can we find the courage to be ourselves?

Although the *Orlando* protagonist is fictional, Woolf's lover and contemporary novelist, Vita Sackville-West, is said to inspire the story. Sackville-West had an open relationship with her husband, Sir Harold Nicholson, and the pair had same-sex relationships before and during their wedding. Sackville-West believed that the feminine side of her personality was attracted to men, while the harsher side leaned to women.

Neil Bartlett adapts Virginia Woolf’s *Orlando* in London. He’s previously collaborated with *War Horse* creators Handspring Theatre Company, as well as the Royal Shakespeare Company and the National Theatre. 

### Who is Emma Corrin?

Emma Corrin is an award-winning actor. They are best known for playing Lady Diana Spencer in *The Crown*. Corrin made their West End debut in 2021, playing Anna in *Anna X* at the Harold Pinter Theatre and picking up their first Olivier nomination for Best Actress. Corrin plays Orlando in *Orlando*. 

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Buy Orlando tickets showing at Garrick Theatre, London. Choose your own seats with the best availability at London Theatre.

Orlando Tickets | Garrick Theatre | London Theatre

Orlando wants to answer one question. What does it mean to be ourselves? Journeying over five centuries, Orlando realises it's a lifelong mission. Emma Corrin stars as the title character in Virginia Woolf's classic. Get *Orlando* tickets at the Garrick Theatre today.

Sadly, we can't live throughout five centuries. But, elements of the *Orlando* story are based on truths. Virginia Woolf's *Orlando* is inspired by Woolf's close friend, Vita Sackville-West, told from the time of her ancestor, Thomas Sackville. 

While Sackville-West was married to her husband, Sir Harold Nicholson, the pair often engaged in consensual same-sex relationships on the side. Sackville-West believed she had a split personality: her dominating side leaned to women, while her passive side was geared towards men. Neil Bartlett adapts Virginia Woolf’s *Orlando* into a joyous, inspiring tale fit for the 21st century. Don't miss the *Orlando* play in London.

## What to Watch For:

- Virginia Woolf’s *Orlando* was published in 1928. Other books published in 1928 include D. H. Lawrence’s *Lady Chatterley’s Lover*, A. A. Milne’s *The House at Pooh Corner*, and Bertolt Brecht’s *The Threepenny Opera*.
- Corrin works alongside director Michael Grandage for *Orlando*. The pair previously collaborated on the 2022 film, *My Policeman*, starring Harry Styles.

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How do we define those most fundamental questions in life: who we are and who we love? And what happens when our feelings about gender, sexuality and identity come into conflict with rigid social structures? A century ago, Virginia Woolf ploughed headlong into what feels like a shockingly modern debate with *[Orlando](https://www.londontheatre.co.uk/show/26188-orlando-tickets)*, her forward-thinking 1928 novel. Now, [Emma Corrin](https://www.londontheatre.co.uk/theatre-news/news/discover-emma-corrin-award-winning-performances-on-tv-in-films-and-on-stage) – who rose to fame as Princess Diana in *The Crown* – stars in a new stage version of Woolf’s remarkable work.

The non-binary-identifying Corrin is particularly exciting casting for Orlando, an Elizabethan nobleman who wakes up one day to find that he is now physically a she, and who then proceeds to question the distinctions of gender as the centuries pass (Orlando is immortal and forever young, too). We know that the character is anatomically male at the start of the production, thanks to a flash of prosthetic genitals, but the transformation is left deliberately, and effectively, ambiguous.

Instead, Woolf’s playful tale shows up the absurdities – why should Orlando have to eat daintily as a woman, but not a man? – and the raging inequalities: Orlando can no longer inherit the family estate when he becomes female. Amusingly, some elements remain the same, too. Society keeps pressuring Orlando to marry, presenting first a collection of eligible wives, then potential husbands. 

*Orlando* is essentially an extraordinary love letter from Woolf to her paramour Vita Sackville-West, written to capture all of her many and contradictory facets. That boundless generosity comes blazing through Neil Bartlett’s adaptation: the joy of seeing Corrin’s androgynous, fiercely independent Orlando slipping in and out of different guises, boldly seeking adventure and growth, and pursuing lovers of the same or opposite sex, simply because that’s where happiness lies. 

There are profound moments that speak soberly to us, as well – most poignantly when Orlando emphasises, twice, that when he changed gender, some people wanted to kill him. That rings out with terrible force during a World Cup in a nation where homosexuality is criminalised, and at a time when many in the trans community face hostility and violence.

Michael Grandage’s nimble production also captures some of Woolf’s formal inventiveness. A chorus of Woolfs (fracturing her identity between them) narrates in fragmented, overlapping, layered language, glorying in the power of words to create and complicate. And a wonderful Deborah Findlay, acting as Orlando’s housekeeper and, here, dresser, breaks the fourth wall with panto vigour.

However, in zipping through hundreds of years in just 90 minutes, Bartlett resorts too often to comic zaniness – *Horrible Histories* style. There are so many quotes and references that it grows distracting, whether it’s lyrics from *Cabaret*, the peerless final line of *Some Like It Hot*, or even a riff on the Just Eat ad, alongside dodgy cod-Shakespearean blank verse.

Likewise, with casting that is cheerily gender- and colour-blind, Orlando ceases to be such a radical figure; it’s just one more person putting on a costume. That means nothing is “real”: not just the exterior constructs that Woolf was challenging, but the people within them as well, reduced to cameos. In particular, I wanted more of Lucy Briers’s world-weary Elizabeth I, and Millicent Wong’s smouldering princess and shrewd sex worker. Lampshading the latter as the “working-class supporting character” in a comic aside doesn’t excuse this use of her.

And yet this *Orlando* worth seeing for Corrin alone. Their performance is a glorious feat of shapeshifting, from wide-eyed boy to swaggering, sexy nobleman and self-possessed lady – while always retaining the soul of the character, their curious mind, quick wit and passionate heart. Corrin’s Orlando feels deeply: “I could taste her,” they gasp as lust overcomes them, and their heartbreak is all-consuming. 

Though Bartlett references how the past can speak to the here and now, his script stops short of really engaging with contemporary concerns. He over-emphasises some fairly obvious takeaways (of course you were better off as a man than a woman in most of recorded history, and still today really) and is too heavy-handed, even slightly tasteless, in how he prefigures Woolf’s suicide. 

But I was charmed by Peter McKintosh’s evocative design, which whisks us from the great frost of 1607 (dry ice and exquisite stillness) to a raucous Russian banquet, sumptuous tent in Constantinople, or the splendour of court – all juxtaposed with blasts of rock music. A flawed but engaging experiment, and one given a beating heart by the magnificent, mercurial Corrin.

*Orlando is at the Garrick Theatre through 25 February. Book Orlando 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=26188&content_product_id=26188&venue_id=117)

*Photo credit: Emma Corrin in Orlando (Photo by Marc Brenner)*

'Orlando' review – Emma Corrin is magnificent in this experimental Virginia Woolf adaptation

Born in Tunbridge Wells in 1995, Emma Corrin is a Golden Globe-winning actress, best known for playing Lady Diana Spencer in Netflix’s *The Crown*. She made her West End debut as Anna in *[Anna X](https://www.londontheatre.co.uk/show/anna-x)* at the [Harold Pinter Theatre](https://www.londontheatre.co.uk/theatres/harold-pinter-theatre).

While at school, Corrin developed a keen interest in the performing arts, eventually taking a gap year by doing a Shakespeare course at the London Academy of Music and Dramatic Art. After twelve months at LAMDA, Corrin then began a drama degree at Bristol University, later leaving to pursue Education, English, Drama and the Arts at St John’s College, Cambridge. While studying, Corrin appeared in two films: *Cesare* and *Alex’s Dream*, later graduating from Cambridge University in 2018.

It didn’t take long for Corrin to make her television debut. In 2019, she played Esther Carter in an episode of *Grantchester*, starring alongside Jemma Redgrave and Robson Green. She then played Esme Winikus in *Pennyworth*, an American crime drama using characters from DC Comics. She’s also starred in *Misbehaviour*, a British comedy film with Rhys Ifans, Keeley Hawes, Jessie Buckley and Keira Knightley.

Corrin’s breakout role came in 2020, cast as Diana, Princess of Wales in Netflix’s *The Crown*. She joins an illustrious line up of British actresses in the show, including Claire Foy, Olivia Colman and Helena Bonham Carter. To date, Corrin has won Best Actress categories at the Critics Choice and Golden Globe Awards, with this number likely to grow.

Corrin made her professional stage debut in Joseph Charlton’s play *Anna X*. She played the title character who tries to find herself in a mix of New York parties.

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Born in Tunbridge Wells in 1995, Emma Corrin is a Golden Globe-winning actress, best known for playing Lady Diana Spencer in Netflix’s The Crown. She made her West End debut as Anna in Anna X at the Harold Pinter Theatre.

Emma Corrin - Stars on Stage | London Theatre

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The Gruffalo's Child

Follow the Gruffalo’s Child on her adventurous mission in Tall Stories’ enchanting adaptation of the much-loved picture book by Julia Donaldson and Axel Scheffler.

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Hamnet

When the plague steals 11-year-old Hamnet from his loving parents, Agnes and William, they must each confront their loss alone. 

The Garrick Theatre opened in 1889, and is named after actor David Garrick. When the theatre was built, architects discovered an underground river on the site!

The theatre became associated with comedy in 1982 with a four-year run of the farce *No Sex Please, We’re British*. This was the longest-running show at the Garrick, until J. B. Priestley’s *An Inspector Calls* transferred from the [Aldwych Theatre](https://www.londontheatre.co.uk/theatres/aldwych-theatre) in 1995 and resided for six years.

In recent years, a number of musicals have played here, including *A Little Night Music*, *Chicago*, and *The Scottsboro Boys*. In 2015, [Kenneth Branagh](https://www.londontheatre.co.uk/stars-on-stage/kenneth-branagh) took up residency at the Garrick for a year-long season of plays with his own theatre company. 

## Garrick Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle. In the Stalls, the view of the top of the stage is slightly obscured by the overhang of the Dress Circle from Row N onwards. 

In the Dress Circle, the view of the stage is not obscured by the overhang of the Upper Circle, but the ceiling can feeel low for those in the last row. The seats are designed in a horseshoe shape around the theatre and the Dress Circle offers good sightlines.

‘Orlando’, starring Emma Corrin, sets full casting

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