The original West End production, directed by Tommy Steele and choreographed by Peter Gennaro, opened on June 30, 1983 at the London Palladium, where it ran until September 1985.

The original film's vocal score was embellished with additional tunes by Comden, Green, and Roger Edens, Dorothy Fields and Jimmy McHugh, George and Ira Gershwin, Johnny Mercer and Richard Whiting, and Cole Porter.

[2] After touring the UK, Singin' in the Rain returned to the London Palladium from June 29 to November 18, 1989, again with Steele as Don, Bunny May as Cosmo, Danielle Carson as Kathy, and Sarah Payne as Lina.

The new production, again directed by Steele, starred Paul Nicholas as Don, Shona Lindsay as Kathy, Tony Howes as Cosmo with Sarah Payne reprising her role as Lina from the original cast.

The show was revived at the 2011 Chichester Festival Theatre, starring Adam Cooper as Don, Daniel Crossley as Cosmo, Scarlett Strallen as Kathy, and Katherine Kingsley as Lina.

The show received positive reviews, and then transferred to London's West End, at the Palace Theatre, in February 2012, where Cooper, Crossley, Strallen, and Kingsley all reprised their roles.

The Théâtre du Châtelet in Paris presented a new production from March 12 to 26, 2015, and again from November 27 to January 17, 2016, directed by Robert Carsen, choreography by Stephen Mear, and costumes by Anthony Powell.

[11] This production faithfully reproduced the dialogue and action of the film, with its songs by Nacio Herb Brown and Arthur Freed, and its famous splash-in-the-puddles, rain-drenched dance solo for Don Lockwood.

[16] The 2012 London production was revived at the Sadler's Wells Theatre from July 30 to September 5, 2021, with Adam Cooper reprising his role of Don Lockwood, Charlotte Gooch as Kathy Selden, Kevin Clifton as Cosmo Brown, and Faye Tozer as Lina Lamont.

After the first talking picture, The Jazz Singer, proves to be a smash hit, the head of the studio, R. F. Simpson, decides he has no choice but to convert the new Lockwood and Lamont film, The Dueling Cavalier, into a talkie.

It descends from the flies of the Gershwin Theater in sheets at the end of Act I, drenching a Santo Loquasto courtyard set that floats beneath a distant, twinkling Hollywoodland sign..."[19] Of the London "rain" effect, a reviewer wrote: "The stage downpour is so noisy -- and poses such a danger of microphone short circuits -- that Steele has to mime his song to a tape recording.