One Flew Over The Cuckoo’s Nest

(seen at the afternoon performance on 29th April 2026)

There is a certain irony that in a beautifully designed psychiatric hospital (Ben Stones) we see one inmate whom, we know for sure, spent most of last Christmas thinking he was a closet Gay Abraham Lincoln.

It is that sort of production. Director Clint Dyer has the clinical atmosphere to work with. We really are immersed in the grubby whiteness – some audience members literally as the clinical walls extend around the alcove seating on two sides.

Chris Davey’s flashing red lights and harsh blackouts are as stark as Benjamin Grant’s sound, sensitive enough to pick up the slightest aside.

Yet there is little attempt to build a consistent tension and we work hard to suspend disbelief long enough to be fully engaged.

We catch glimpses of revolting bullying of patients by staff – mute Chief Bromden (Arthur Boan) in particular. Boan’s stoicism is admired until he shatters it, his timing impeccable.

Still, for some reason, both his deep work and that of several other characters, including Dale Harding – gentle Giles Terera, dressing-gown and beautiful vocal; Jason Pennycooke as an electricity damaged, brain-shaken Martini, and struggling Kedar Williams-Stirling - young Billy Bibbit; are not quite enough to truly chill.

As a side note, his encounter with Candy Starr (Daisy Lewis) is stomach churning, Ms Lewis revoltingly lascivious yet vulnerable.

Olivia Williams as Nurse Ratched should be a colloquial byword for cruelty in medicine. Here, the velvet glove is far too thick on her iron fist. There is no credibility in her over-rule of Dr. Spivey (Matthew Steer), breaking medical hierarchy.

Her control of the ward is efficient rather than intimidating, punishments like “no television” motherly not despotic. Dale Wasserman’s text and Clint Dyer’s imbalance between patients and staff power draining the impact of her authority.

With casting and performances this good, the deft destruction of our emotions should follow those of the terrified inmates.

Instead, Dale Wasserman’s adaptation of Ken Kesey’s novel tacks towards broader concepts, dissipating the pressure-cooker tension we should be feeling within the tiny nest community.

The noisy dance “Congo Square” opening is explained in Gino Ricardo Green’s pre-show video projections, but is completely at odds with establishing the atmosphere of silent suffering which should prevail from the start, and also close the work.

Between, Dyer breaks the steady flow and rhythm of endless repeated days with blackout jump-cuts in time. Rather than trust the audience to build the world within its mind, he hurries us through, sometimes leaving us slightly disappointed as a promising scene jumps without satisfying resolution.

The story is moving, the final scenes shock almost as they should, but the electricity that challenges our emotions and even changes permanently our perceptions somehow does not flow.

There is a tighter production to be had, but an outstanding cast is still worth committing yourself to joining.

Dress Circle Y25: Would have been a much better view if the people sitting to my right didn't keep leaning forward blocking my view, forcing me to lean forward to see. There was a pillar right in front of me giving me a little space to put my feet and wasn't a big visual obstruction. The padded railing did obstruct a little bit. The front row would have been much better. Seat Y 26 was better than mine as the pillar was not in the way and a little more foot space and the person there moved to the front row during the interval so I took their seat.

Broadway John
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Thought I'd submit a "Reader Comment" of E25 in the Baylis Circle of the Old Vic (One Flew Over the Cuckoo's Nest, preview):

I'm 5ft 9 and could cope with the legroom well enough, as I've known worse. I could cope with the slightly narrower seat without arms, as I've known narrower (yes, Royal Opera amphitheatre, I'm looking at you). What I struggled to cope with was the back of the seat which was very thin and extremely upright. Halfway through each act my back started to ache. Never experienced that in any other West End theatre balcony and I've sat in most. Worth noting that a very small amount of staging is obscured for both sides of the Baylis Circle due to the speakers that are hung as part of the set. You don't miss a huge amount but the seat was not sold as restricted view. Otherwise the view was excellent (as was the production).

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Notes:
Extra 2.30pm performance on 7th May 2026.
No performances on 4th and 5th May 2026.

Venue Box Office & Current Prices

Ticketpipe

LoveTheatre.com

Lovetheatre.com. Charge around 10% booking fee per ticket. They are owned by Ambassador Theatre Group (ATG) and often have good deals on shows at ATG venues.

Ticketmaster

Ticketmaster.co.uk. Charge around 8% to 10% booking fee per ticket. Handling fees may also be added. This is the largest ticketing agency worldwide.

TodayTix

TodayTix. Charge between 10% and 20% booking fee per ticket. Discounts are often available as this is a large global ticketing company with this specific aim.

London Theatre Direct

Londontheatredirect.com. Charge between 10% and 25% booking fee per ticket. Discounts are frequently available. Part of Trafalgar Theatre Group, known for customer service and unique offers.