Originally opened 27Dec 1906 as The Hicks Theatre. Formerly The Globe, renamed in 1994 in part in tribute to Sam Wanamaker, so that his dream of a new Shakespeare Globe would be the only Globe in London. 983 seats. Society of London Theatre member. In 1999 Delfont Mackintosh Theatres Limited acquired the freehold of the Queen s and the Gielgud Theatres from Christ s Hospital, Horsham. The lease of the Gielgud Theatre will revert back from Really Useful Theatres to Delfont Mackintosh Theatres in March 2006 after which there are plans to refurbish both venues and to build a 500-seat theatre, The Sondheim, above the Queen s. This will be the first new theatre in Shaftesbury Avenue since 1931.
The celebrated Ealing comedy, The Ladykillers, comes to life on stage this Autumn in a hilarious and thrilling new adaption by Graham Linehan, directed by Sean Foley at the Gielgud Theatre.
The Ladykillers tells the story of the eccentric little old lady Mrs Wilberforce who lives alone with her parrots in a strange lopsided house in King’s Cross. Her life is turned upside down by the arrival of Professor Marcus and his four friends, who between them make up the most unlikely group of criminals. Planning the heist of a security van, they decide to use Mrs Wilberforce as cover and involve her unwittingly in the plot. Things do not go well and the Professor’s plan starts to unravel in spectacular and hilarious fashion.
The stellar cast for The Ladykillers includes James Fleet who recently appeared in The Heretic at the Royal Court; the BAFTA-winning star of The Thick of It Peter Capaldi, Ben Miller, best known as one half of the comedy duo Armstrong and Miller; Clive Rowe, whose West End credits include Guys and Dolls and The Fantasticks and Stephen Wight who won the Evening Standard Award for Outstanding Newcomer for his appearance in Don Juan in Soho at the Donmar Warehouse.
The role of Mrs Wilberforce will be played by two-time Olivier Award-winning actress Marcia Warren.
The Ladykillers writer Graham Linehan's television credits include comedy series Father Ted and The IT Crowd. He co-wrote the first season of Black Books with Dylan Moran and, collaborating with Arthur Mathews, has written material for Harry Enfield, Alexei Sayle, The Fast Show and Steve Coogan.
Director Sean Foley's West End credits include Do You Come Here Often, Play What I Wrote, Ducktastic, Pinter’s People and Joan Rivers: A Work In Progress.
Book your Ladykillers tickets today so catch this classic black comedy.
Peter Capaldi in The Ladykillers. Photo: Manuel Harlan
Date: 8 December 2011
Graham Linehan, the comic brain behind series such as Father Ted and The IT Crowd, brings Ealing comedy The Ladykillers to the West End stage following its try-out run at Liverpool Playhouse last month.
Directed by Sean Foley, the production features an all-star cast of James Fleet, Peter Capaldi, Ben Miller, Clive Rowe and Stephen Wight. Unwitting widow Mrs Wilberforce - who finds herself embroiled with an unlikely group of criminals planning the heist of a security van - is played by two-time Olivier Award-winning actress Marcia Warren.
Opening to glowing reviews from the critical press, each of the cast is individually commended for their contributions, with Michael Taylor's set design also picked out for particular praise.
The Ladykillers, which opened last night (7 December, previews from 26 November 2011) at the West End's Gielgud Theatre, is currently booking until 14 April 2012.
"A heist movie that trips into farce, The Ladykillers is a patchwork narrative … Graham Linehan’s ticklish stage adaptation succeeds because it honours that … The result is a caper that delights, even if it can’t disarm … Linehan offers some cracking lines ('You’re making a mockery of teatime.') and sensibly embraces the stage, even, bravely, playing with the awkwardness of transposition itself … Director Sean Foley… throws in textbook trickery… the gang make a well-tuned ensemble … The casting is note-perfect. Each actor is on home turf, allowing relish and freedom in the playing … James Fleet stutters sweetly as only he can, Stephen Wight is a half-cocked cockney and Clive Rowe dopes with aplomb … They have a tidy foil in Marcia Warren’s Mrs Wilberforce … Best of all, though, is Michael Taylor’s jaunty and jumbled set … The Ladykillers might lack the lethalness of crack comedy, but it still proves the Ealing power of laughter."
Libby Purves The Times ★★★★★
"Old Mrs Wilberforce… takes in “Professor Marcus” as lodger (Peter Capaldi spiderish and insinuating, his donnish, fluting tones suggesting a high-church bishop gone to the dark side). She lets his 'string quartet' rehearse upstairs; but as lovers of the original film know, they are actually planning a robbery … The 1955 Ealing film still gives joy … Graham Linehan… opens up the old comedy to new layers, and Sean Foley faultlessly directs Capaldi and Rowe, plus Ben Miller… James Fleet, a yobbish Stephen Wight… and of course the matchless Marcia Warren as Mrs Wilberforce … Warren’s ability to tread on the end of Capaldi’s long grey muffler gives many moments of joy … Even Michael Taylor’s set is hilarious… the house itself a nightmare of skewed tumbledown Victoriana … The heist itself occurs in miniature, vertical plane, automotive puppetry and flash-bangs on the brick façade, to cheers from the stalls. In the final denouement, that glorious set pulls one last trick. An incredible one. My lips are sealed."
"What Linehan and director Sean Foley have come up with is a very different animal from the 1955 movie; and, while it may lack the Ealing touch, it works very well as a slapstick farce … Foley's production piles on the sight gags: chairs and tables spin across the stage every time a train passes, the robbery is re-created by miniaturised cars colliding on a vertical wall … If something is lost in the process, it is the movie's metaphorical resonance … The film has a state-of-England quality … Peter Capaldi turns the professor into a deluded Moriarty … James Fleet is also very funny as the bogus major… there are lively contributions from Ben Miller… and from Clive Rowe as the ex-pugilist who finds a passion for the cello. Marcia Warren, meanwhile, neatly captures the quiet grit of the lavender-scented landlady … It is an exuberantly inventive evening, one existing in its own right at a tangent to the original, and proving that an ingenious William Rose idea, even when put to a farcical purpose, can still smell as sweet."
"Graham Linehan… shows the extent of his comic proficiency with this affectionate yet brightly original adaptation of a classic Ealing comedy dating from 1955 … 'Being fooled by art is one of the primary pleasures afforded to the middle class,' says Peter Capaldi's Marcus. It's a smart line typical of a piece that's knowing and clever … There are plenty of full-flavoured jokes … Technically, it's an accomplished show. Michael Taylor's wonky, versatile set is brilliantly conceived … Capaldi is animatedly creepy as Marcus … James Fleet delights as a blundering Army major … Clive Rowe relishes his role as a dim-witted ex-boxer … There's nimble work from Stephen Wight … and from Ben Miller as the villainous Louis … Marcia Warren brings a sweetly gentle touch to Mrs Wilberforce … Linehan's layered play seems to speak of a darkness at the very heart of British society, yet it brims with slapstick. There are a few points when the energy drops off, but it's suffused with fun."
"Just the sight of the crooked, dottily eccentric house occupied by the sweet and unsuspecting Mrs Wilberforce raises a smile … Graham Linehan’s new adaptation and Sean Foley’s constantly inventive production are full of fresh gags and amazing physical comedy routines … The show is packed with cracking comic performances. Peter Capaldi can’t quite erase memories of Guinness’s definitively disconcerting professor … James Fleet is superbly shifty as the cowardly bogus Major, and adds a delicious new comic dimension by suggesting that this bristling moustached con man is also a transvestite. The huge Clive Rowe is blissfully funny as the deeply dim and unexpectedly fastidious ex-boxer One-Round, while Marcia Warren is perfect as the plucky old lady who supplies almost the only glimpse of warmth and moral decency. The company is clearly having a ball — even a mishap with an errant doorknob was spontaneously turned into an ad-libbed comic routine on the first night — and you would need to be feeling very glum indeed to emerge from this production without a broad grin on your face."
"Graham Linehan… defies augury with this inspired adaptation that converts the proceedings into a hilarious send-up of loony, slapstick farce. Even Michael Taylor's skew-whiff domestic folly of a set turns in a wonderful performance … I particularly liked Stephen Wight's pill-popping wide-boy … Peter Capaldi is brilliant as the certifiably deluded Prof … In Sean Foley's pitch-perfect production, this masterfully exaggerated performance is counterbalanced by the delicious comic restraint of Marcia Warren's quietly oblivious and faintly sad Mrs Wilberforce … This is a show that is destined to appeal to all brow levels, offering everything from wizardry that can fake the pill-popper's impaling by a banister to coded stuff for the cognoscenti, as when the Major hymns the “compassion” of people in King's Cross area and their understanding of “originality” to Ben Miller's wonderful, word-mangling Romanian. This is comic bliss with (pace the set) brass knobs on."
A heist movie that trips into farce, The Ladykillers is a patchwork narrative. Originally a 1955 Ealing comedy starring Alec Guinness, it flicks between genres, so that what starts out noirish, ends up nutty.
Graham Linehan’s ticklish stage adaptation succeeds because it honours that, spicing up old-fashioned goofing with a contemporary knowingness. It is both homage and histrionics.
What the original’s flitting prevents, however, is the escalating intoxication of truly great farce, which needs to build in pressurised chaos until it whistles like a kettle. The Ladykillers hasn’t the frenetic overlap for that, but its fitful routines are packed with classic slapstick and fine-tuned asides. The result is a caper that delights, even if it can’t disarm.
Led by Peter Capaldi’s lithe Professor Marcus, a ragbag gang of five old-school crooks plot a robbery while operating out of an old widower’s London residence. To keep the scheme hidden, they pose as a string quartet (plus conductor), but a cello case that falls open to reveal the loot gives up the game.
With their landlady Mrs Wilberforce insisting that they turn themselves in, they attempt to bump her off; a feat that proves far trickier than any of them initially imagined.
Linehan offers some cracking lines (“You’re making a mockery of teatime.”) and sensibly embraces the stage, even, bravely, playing with the awkwardness of transposition itself. The robbery itself sees remote-controlled cars crawling the walls and crashing with delicious bathos.
Director Sean Foley, once of the Right Size, throws in textbook trickery: blackboards clatter against foreheads, five squeeze into a cupboard and knives – even a banister – stick out of body parts.
Unlike their musical efforts, the gang make a well-tuned ensemble. Linehan hitches up their individual characteristics for comic effect and the casting is note-perfect. Each actor is on home turf, allowing relish and freedom in the playing. Capaldi is always best when surrounded by morons and there’s a touch of Peter Sellers in his facial gurning and blithering obsequiousness.
Ben Miller has fun with a Romanian accent and an over-zealous attitude. James Fleet stutters sweetly as only he can, Stephen Wight is a half-cocked cockney and Clive Rowe dopes with aplomb as the former boxer One-Round, who has just enough brainpower to stay conscious.
They have a tidy foil in Marcia Warren’s Mrs Wilberforce, whose genial obliviousness becomes prim disapproval.
Best of all, though, is Michael Taylor’s jaunty and jumbled set, which received two separate ovations of its own on press night.
The Ladykillers might lack the lethalness of crack comedy, but it still proves the Ealing power of laughter.
The Ladykillers is yet another screen to stage transfer and the latest in an increasing line of shows to feature special effects and illusions - in fact Michael Taylor's ingenious set designs received the warmest applause. Although the body count is higher in Kind Hearts and Coronets, The Ladykillers is probably the darkest of the Ealing comedies but Sean Foley has chosen to present it as a slapstick farce. It's sometimes rather irritating and repetitive, frequently very amusing but never any more than that. The producers have assembled a cast of superb comic performers and there are especially good perfroamnces from Marcia Warren as her trademark dotty old lady and Clive Rowe as a dim-witted former boxer and the only member of the gang with a hint of a conscience. Peter Capaldi is suitably sinister as the evil Marcus despite having to cope with the all too visible effects of a shocking cold. The Ladykillers provides an amiable and enjoyable couple of hours but not the comic bliss available elsewhere in the West End at the moment. - David Baxter
02 Feb 12
A fun, enjoyable evening of theatre. The first thing to admire is the set which is simply stunning. The casting is perfect. The robbers, led by a Peter Capaldi who's clearly relishing his role are excellent. Clive Rowe, Ben Miller, James Fleet and Stephen Wight make a wonderful ensemble and the icing on the cake is the fabulous Marcia Warren who is quite wonderful as Mrs Wilberforce. The audience didn't seem to laugh quite as much as I'd have expected. I was sitting in the third row of the stalls and wondered if it was a show which is best seen close up rather than from the back of the circle? I laughed lots and left the evening very happy. - Paul Wallis
20 Jan 12
Just back from seeing this comedy and though I was never a great fan of the film, I must say that this stage production was a great night out and enjoyed totally. The set must win some awards as it is superb--so clever and moves around with such ease. The cast are TOP NOTCH for sure. The main group of bungling robbers are perfect in Peter Capaldi,James Fleet, Ben Miller, Stephen Wight and my favourite Clive Rowe--he really was funny in his role of One Round-Mr Dawson. As for the brilliant Marcia Warren, well she never fails to be brilliant. Whatever she is in on stage, I book to see it and she is always the greatest joy to watch--her timing and manner is faultless. I recommend it 100% - Joe Spiteri
04 Jan 12
For me, Graham Linehan takes a step backwards from the current IT Crowd, by creating this old-fashioned comedy. This is a lot more like the Criterion's nostalgic 39 Steps (without the fun of watching the same actors play different parts), than the Adelphi's hilarious provocative laugh-fest, One Man Two Servants. I did enjoy the star cast, all of whom are talented, but the material they were working with was average. Peter Capaldi comes off best. He is funny, channeling a power mad Dr. Strangelove via a pantomime rendition of Richard Wilson's "I can't believe it" sitcom character. And it's sitcom that's prevalent here, like an average episode of Only Fools and Horses, only with guest stars in period costume. There is no star turn to induce belly laughs, like Doon Mackichan in Jumpy, or James Corden in One Man Two Governors. The second half is funnier than the first half, because it's mildly edgy to try to kill an old lady. But all in all, this is a cozy 3 star comedy for those who feel Michael McIntyre is too cutting edge, and miss the old variety shows and the music hall. It is likely to drive young people away from the theatre, if this is their first and only sampling. The biggest laugh from the tepid audience came when Capaldi (in a rare post-modern quip) pointed out that middle class audiences love being fooled by bad art, and that seemed about right, that the audience were laughing about paying so much money to see a souped-up sitcom such as they could have seen on telly for free. Worth it if you can get a cheap seat, then. - steveatplays
29 Dec 11
Fabulous fun. Great acting and impeccable timing from all - including the set, which deserves its own star billing - JN
08 Dec 11
Whoever had the idea of asking Graham Linehan to write, and Sean Foley to direct, this new version of a classic Ealing comedy was inspired. They bring a touch of absurdity, a sprinkling of surrealism and a cartoon-like quality, add lots of physical comedy and create a homage to the film rather than a film-to-stage transfer. Think Patrick Barlow’s 39 Steps meets Improbable’s Theatre of Blood and you’re getting warm.
It’s still set in 1956 and it’s faithful to the story, but freshly written. Designer Michael Taylor’s has created an enormous higgledy-piggledy multi-level house, with a nod to Heath Robinson, which moves to provide exterior locations and itself ‘performs’, aided by terrific (and largely appropriately low-tech) special effects by Scott Penrose.
‘Professor’ Marcus has put together a team for a heist at Kings Cross and hires a room in Mrs Wilberforce’s house where, under the guise of rehearsing his string quintet, they plan their robbery. The successful (off-stage) robbery is cleverly staged, and the spoils brought to the house. Most of the play, however, revolves around their ‘getaway’.
It’s cast to perfection. Peter Capaldi is excellent as a gangling manic Professor, increasingly desperate in his attempts to keep it all together. James Fleet is perfect as a military con (gentle)man who seems a little fond of dresses. Stephen Wight is brilliant at the physical comedy required of his pill-popping cockney kleptomaniac (I just don’t understand why he isn’t covered in bruises – I winced a lot!). Clive Rowe is a wonderful big clumsy intellectually challenged bruiser with foot forever in mouth. Ben Miller is a delicious foreign Mafioso with a penchant for knives and a phobia of old ladies. Harry Peacock’s cameo as the tolerant local bobby is lovely. Then there’s Marcia Warren. What can I say? She’s so perfect as the post-war eccentric old dear who invented neighbourhood watch and quite how she keeps a straight face on stage all evening whilst all the chaos is going on is beyond me.
The original story apparently came fully formed in the dream of original screen writer William Rose and there’s a dreamlike quality to this version and this production. I found it delightfully charming; a smile never left my face and I laughed out loud often. It’s a big theatre to fill, but I do hope it finds its audience because it’s a very welcome, beautifully crafted evening. - Gareth James
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