Review: Sierra Boggess (Theatre Royal Drury Lane)

Review by Sam Woodward

⭐️⭐️⭐️⭐️⭐️

It has been three long years since Sierra Boggess last performed in London’s West End with her extraordinary voice and unmistakable warmth. Best known to many as one of the definitive Christines in The Phantom of the Opera, as well as Broadway’s original Ariel in The Little Mermaid, Boggess has become a well-loved musical theatre icon. For one night only at Theatre Royal Drury Lane she returned with a concert that promised a variety of songs, stories and more than a few surprises. Expectations were high, the excitement in the room was even higher, and before Boggess had even sung a note, Theatre Royal Drury Lane already felt ready to welcome her, in her own words, ‘home’.

From the moment she appeared, she proved that Love Never Dies, and the audience was as captivated as ever. Boggess was funny, glamorous, open-hearted and completely engaging, moving between polished Broadway star and endearingly eccentric friend with ease. Nothing about the evening felt distant or overly polished. Instead, she spoke with honesty about her career, the highs and the lows, including the number of shows she has been part of that closed far sooner than hoped. It was self-deprecating and disarmingly down to earth, giving the evening a sense of intimacy. Sierra Boggess was not simply singing at an audience, but welcoming them in.

The programme was impressively varied, allowing her voice to move from haunting softness to full vocal power, drawing from across her career and far beyond the obvious choices. There were expected moments from The Phantom of the Opera and Love Never Dies, but also selections from Company, Harmony and Carousel, to name just a few. In another performer’s hands, such a setlist might have felt scattered, but Boggess made it feel like a guided tour through the eclectic, beautiful and sometimes unpredictable life of a musical theatre performer. It was a deep-cut evening, and anyone arriving purely for a run of instantly recognisable showstoppers may have found some of the choices unexpected. But there was something refreshing about that. Boggess clearly knows her audience, and rather than offering only the most familiar numbers, she gave them something more personal and more revealing. The result was a concert that felt personal rather than predictable, shaped by memory, affection and genuine musical curiosity.

Vocally, she was in phenomenal form. Boggess has the kind of voice that carries clarity, warmth and emotional precision in equal measure. Her Phantom numbers were, unsurprisingly, stunning, with ‘Think of Me’ becoming one of the evening’s most playful and technically impressive highlights. Singing parts in French, Japanese, English and even a witty Las Vegas-style version, she managed to honour one of her signature songs and the global audiences that she has helped discover it. It brought new light to a classic, proving that even one of her most familiar songs can still surprise.

Some unexpected guest appearances gave the evening an extra sprinkling of star power. Liz Robertson and Joe Millson joined Boggess for a moment filled with enduring friendship and theatrical history, as well as a moving rendition of ‘Wouldn’t It Be Loverly’ from My Fair Lady. But the appearance of Ramin Karimloo was, quite frankly, the moment many in the room had clearly been quietly hoping for. Seeing Boggess and Karimloo together again, singing from Love Never Dies, was sensational. Their connection remains electric, effortless and emotional. It was a testament to performers who have shared iconic material and know exactly how to respond to one another. For fans of that score, it was a spine-tingling reunion.

Fans of Sierra Boggess probably already knew about her recent work with John Wilson on a series of new musical albums, but for me it was an eye-opening revelation. With Oklahoma! released in 2023 and promises of more to come, the duo have been working on albums created using only the original scores, honouring the history of classic musicals. It said a lot about Boggess as an artist. This is not someone who treats musical theatre history as inconsequential, but as something worth preserving, studying and honouring. Her affection for the art form is clear to see and hear, and deeply felt.

Musical director Joseph Thalken led the evening with elegance from the piano, joined by a small but beautifully textured band that included reed, violin, cello, percussion and double bass. Rather than trying to overwhelm Drury Lane with vast scale, the arrangements leaned into colour and intimacy, allowing Boggess’ voice and storytelling to remain at the centre. In a theatre as large and grand as Drury Lane, this concert filled every inch of it with warmth.

By the end of the night, what lingered was not only the beauty of the singing, though there was plenty of that, but the feeling of being in the company of someone who truly loves what she does. Boggess spoke often about gratitude, her history and the strange paths a career can take, and there was something moving about seeing all of that held inside one evening. This was a concert for the fans, but also for anyone who believes musical theatre can be funny, heartfelt, technically dazzling and emotionally overwhelming all at once. Sierra Boggess did not just return to London, she came home, and Drury Lane welcomed her with open arms.

Sierra Boggess played at Theatre Royal Drury Lane on Sunday 31 May.

You can catch another concert at Theatre Royal Drury Lane when Italian singer Mario Biondi plays on 7 June. Tickets from: https://lwtheatres.co.uk/whats-on/mario-biondi/

Photos by Danny Kaan