facebook play-alt chevron-thin-right chevron-thin-left cancel location info chevron-thin-down star-full help-with-circle calendar images mail whatsapp directions_car directions_bike train directions_walk directions_bus close spinner11

The Light Princess

First Published 10 October 2013, Last Updated 11 October 2013

Once upon a time a wise and much loved leader King Nicholas of Southbank decreed that a musical should be created. From amid the throng at the riverside court, a flame-haired sorceress of song named Tori Amos stepped forward to accept the challenge. A humble writer, Samuel Adamson, who had previously entertained the leader with tune-free shows was eager to help.

Together they struggled for years on the quest for new musical theatre perfection. Each time they brought their creation to the leader he would deem it not yet ready.

One day, after much anticipation and chattering among court, the flame-haired sorceress’ entertainment was finally staged, and it was full of theatrical magic and fairytale wonderment, though much of this came from one of the leader’s favourite West End wizards, director Marianne Elliott, who had previously made King Nicholas smile with her tales about a War Horse and a Curious Incident.

Many of her inventive team joined her to tell the story of The Light Princess, a teenage girl who, hiding from grief and responsibility, takes life so lightly that she floats through it, even when her people need her most, much to the infuriation of her king and father who takes drastic action to solve her air-headedness.

The wizard Elliott had a gift for stage magic, and the floating of the princess, so simple but so effective, pleased many as much as her previous work, owing much to the invention of Steven Hoggett.

The crowds were wowed too by how Rosalie Craig, the talented young actress chosen to star in the grand production, managed to sing so beautifully while drifting through the air or floating upside down. Even while being supported by hands and feet, or being manipulated like a little puppet girl, she found the angst of adolescence and fear of reality in the princess’ character.

While Nick Hendrix sang delightfully as the solemn prince of a warring land who would inevitably fall for the light princess – this is a fairytale after all – Hal Fowler was suitably evil as his father and court favourite Clive Rowe latterly found the beautiful agony and anguish of a father struggling to come to terms with a daughter he loves but can’t control, it was the work of wizard Elliott’s team that shone through.

Her designer Rae Smith created a forest of puff-headed dandelion trees and a magical lake in which the royal couple could cavort alongside care-free frogs, flying fish and suggestive anemones while the land’s master of puppetry Toby Olié helped bring life to both a majestic blue hawk and a mouse as cute as the loved-leader could hope to see.

No-one ever knew what the wise old leader, who was soon to leave his kingdom behind but was yet to name a successor, thought of his musical, and whether the lightness of story and character, which matched the weightlessness of the princess herself, was counterbalanced by the enchantment of the production. But, as with all good fairytales, one suspected they all lived happily ever after, whether they stayed on their own side of the river or later took their tale to the land of West End on the far side.


Sign up

Related articles

If you click through to seat selection (where you'll see either best available or a seating plan), you will be seeing the most up-to-date prices. If this differs from what we've written on the calendar, please bear with us, as those prices will update soon.

We now sell our famous TKTS Booth discounts online here at Official London Theatre.

We are now cancelling all performances up until and including 31 May 2020 to help us process existing bookings whilst we wait for further clarity from the government in terms of when we will be able to reopen.

We are so sorry that in these testing and difficult times you are not able to enjoy the show you have booked for and hope the following helps clarify next steps in respect of your tickets .

There is nothing that you need to do if your performance has been cancelled, but we do ask for your patience.

If you have booked directly with the theatre or show website for an affected performance, please be assured that they will contact you directly to arrange an exchange for a later date, a credit note/voucher or a refund. If you have booked via a ticket agent they will also be in contact with you directly.

We are processing in strict date order of performance, so you are likely to be contacted after the date you were due to go to the theatre. However, we want to reassure you that you will be contacted, and your order will be processed, but please do bear with us.

We’d like to thank everyone who has been patient and kind in dealing with their ticket providers so far and we are sorry that we cannot process your order as quickly as we would like.

Please do not contact your credit card company as that will slow the process down and put an additional burden on our box office and ticket agent teams.

In order for us to serve our audiences the best we can, please do not get in touch with your point of sale if you have booked for performances after 31 May. Please be reassured that if we have to cancel future performances you will be directly contacted by your theatre or ticket provider. Our producers continue to plan for all eventualities dependent on the individual needs of their shows and we will provide further updates on specific shows as and when they become available.

We look forward to welcoming you back into our theatres as soon as we are allowed to resume performances. In the meantime stay safe and healthy.

While theatres are currently closed, various venues and productions are making announcements for their individual shows, including cancellations and rescheduled performances. Please check with the individual shows for details.