1. The Barbican Centre (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  2. The Barbican Centre (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  3. The Barbican Centre (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  4. The Barbican Centre (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  5. The Barbican Centre (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  6. The Barbican theatre (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  7. Barbican theatre's stage (Rob Greig for Time Out)
    Rob Greig for Time Out
  8. The Barbican Centre (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  9. The Barbican  (Nigel Tradewell for Time Out)
    Nigel Tradewell for Time Out
  10. The Barbican Centre (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  11. The Barbican Centre (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out

Barbican Centre

  • Cinemas
  • Barbican
  • Recommended
Alex Sims
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Time Out says

What is it? 

The Barbican Centre lures fans of serious culture into a labyrinthine arts complex, part of a vast concrete estate that also includes 2,000 highly coveted flats and innumerable concrete walkways. It's a prime example of brutalist architecture, softened a little by time and some rectangular ponds housing friendly resident ducks.

The focus is on world-class arts programming, taking in pretty much every imaginable genre. At the core of the music roster, performing 90 concerts a year, is the London Symphony Orchestra (LSO), which revels in the immaculately tuned acoustics of the Barbican's concert hall. The art gallery on the third floor stages exhibitions on design, architecture and pop culture, while on the ground floor, the Curve is a free exhibition space for specially commissioned works and contemporary art. The Royal Shakespeare Company stages its London seasons here, alongside the annual BITE programme (Barbican International Theatre Events), which cherry-picks exciting and eclectic theatre companies from around the globe. There's a similarly international offering of ballet and contemporary dance shows. And there's also a cinema, with a sophisticated programme that puts on regular film festivals based around far-flung countries or undersung directors. 

As if that wasn't enough, the Barbican Centre is also home to three restaurants, a public library, and some practice pianos. This cultural smorgasbord is all funded and managed by the City of London Corporation, which sends some of the finance industry's considerable profits its way. It's been in operation since 1982; its uncompromising brutalist aesthetic and sometimes hard-to-navigate, multi-level structure were initially controversial, but it's getting increasingly popular with architecture fans and Instagrammers alike.

Why go? 

As the UK's leading international arts centre, this is the place to get cultured.

Don’t miss: 

The huge, succulent-filled Barbican conservatory is a must-see on your London bucket list. It’s one of the biggest greenhouses in London, second only to Kew Gardens and houses 2,000 plant species, including towering palms and ferns, across an extensive series of concrete terraces and beds. There are even koi carp and terrapins. The atmosphere is almost post-apocalyptically peaceful. It’s open on Sunday and bank holiday Monday afternoons, as well as selected Saturdays. You can even book in for an afternoon tea among the plants. 

When to visit: 

Mon-Friday 8am–11pm, Sat-Sun 9am–11pm

Ticketing info: 

Free entry, some events and exhibitions are ticketed. 

Time Out tip: 

If I had a pound for every time I’ve tried and failed to find the entrance to the Barbican Centre among its maze of concrete walkways… If you don’t want to risk being late for the performance you’re seeing, look up the entrance you need in advance. Trust me. 

Find more culture in London and discover our guide to the very best things to do in London.

Details

Address
Beech Street
Barbican
London
EC2Y 8AE
Transport:
Tube: Barbican; Rail/Tube: Moorgate
Price:
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What’s on

Death Note: The Musical

3 out of 5 stars
This review is from summer 2026; Death Note: The Musical returns spring 2027. Death Note: The Musical is a remarkably faithful adaptation of Tsugumi Ohba and Takeshi Obata's classic mid-’00s Death Note manga, which concerns Light Yagami, a Tokyo high school student who (via a capricious death spirit) comes into possession of a book that kills anyone whose name is written in it. Frank Wildhorn, Jack Murphy and Ivan Menchell's adaptation is largely drawn from the first half of the series and simplifies the story in various ways. But it’s doesn't take any major liberties, other than the fact they’re all singing now. This is potentially good news for fans of the series, of which there are clearly a lot: I caught the show the Monday after press night and it was rammed, with a noticeably large number of boy tweens in attendance (the age advice is 12-plus and I’m not sure I’d let my boy tweens watch it but let he who casts the first stone etc). If you’re not a pre-existing fan of the series you may well – like me! – spend the whole time with your jaw on the ground wondering why the hell this is all happening and why the characters are all like this.  It was always going to be an unconventional musical, but the retention of the bizarre, generally sociopathic, undoubtedly manga-accurate behaviour of almost every major character feels like a missed opportunity to do something more interesting and tragic with this story. I would have liked more liberties, please. A...
  • Musicals

Robert Ryman... The Real Thing

4 out of 5 stars
Anyone who’s ever done a bit of DIY at home will know the struggle of picking the right shade of white paint. That lovely, warm, buttery hue you’ve eyed up in the brochure inevitably turns into the jarring white of a doctor’s surgery once it’s on your own walls. The American artist Robert Ryman knew a thing or two about this, devoting his nearly 60-year painting career to exploring how paint, surface and light can transform what we see.  Ryman wanted to ‘paint the paint’, you see. That is, he wasn’t interested in depicting people, places or things, but rather in how paint – more often than not white – behaved on different surfaces, catching and responding to real light rather than simply creating the illusion of it. A major retrospective at the Barbican, Robert Ryman... The Real Thing, brings together more than 60 works spanning his career, from his earliest experiments in the 1950s to his final paintings in the 2000s. Many might look deceptively similar at first glance, but it’s close up, with your nose inches away from the canvas, where things get interesting. A young Ryman discovered the great rewards of looking at paintings while working as a guard at the Museum of Modern Art in New York (a job also once held by British Museum director Nicholas Cullinan) . It was during those years that he made the first painting he would ever exhibit, which is on view here: ‘Gertrud Mellon’, named after the individual who bought it for $70 at the 1958 staff exhibition. Consisting of...
  • Painting

End of the World and Hard-Boiled Wonderland

3 out of 5 stars
Although End of the World and Hard-Boiled Wonderland isn’t even the first Haruki Murakami adaptation to play at the Barbican, I nonetheless maintain that his works are unadaptable. By that I mean that it’s almost impossible to replicate Murakami’s tone, wherein his protagonists – typically deadpan thirtysomething male loners from Tokyo –  live boring lives that are encroached upon by baffling metaphysical forces. It’s magical realism, but it’s magical realism where beautifully precise descriptions of the protagonist making lunch are as important as the strange alternate worlds they find themselves entering. Put it on stage, and it’s inevitable that the magic overrides the mundane. French director-choreographer Philippe Decouflé heads an otherwise Japanese adaption of 1985 classic Hard-Boiled Wonderland and the End of the World (I have literally no idea why the name has been swapped around) that does an impressive job of conjuring the twin, cryptically interlinked strands of the novel. The End of the World is a mysterious walled town – revisited by Murakami in his recent The City and Its Uncertain Walls – populated by herds of unicorns and people without shadows. We witness it through the eyes of regular guy Boku (Kiita Komagine), who has his shadow (Shuntaro Miyao) severed by the town’s Gatekeeper (Shinya Matsuda). Decouflé deploys dreamy projected backdrops and stilt-augmented dancers to play the unicorns. They look great, and both director and adapting writer Ako...
  • Drama

Tom at the Farm (Tom na Fazenda)

A hit at the 2025 Edinburgh Festival Fringe, this intense Brazilian drama follows Tom, a young man who travels to remote rural Brazil for his boyfriend’s funeral, only. to discover a hostile, homophobic environment and a family who claim to have no idea who he is. Armando Babaioff leads the company of this production of his own adapttaion of Michel Marc Bouchard’s play, which is performed in Portuguese with English surtitles.
  • Drama

Barbican Family Film Week

Don’t just plonk your kids down in front of Netflix this half-term. Your little ones are owners of very discerning minds and they want avant-garde cartoons, foreign language animation, and the chance to see The Mandalorian and Grogu again. The Barbican’s Family Film Week is delivering just that, with seven days celebrating movies from all over the world alongside live introductions, free workshops and activities and flash film quizzes. The likes of The Mandalorian, Singin’ in the Rain and Minion and Mobsters will rub up against more esoteric fare like classic ’60s Japanese monster movie Ghidorah, The Three-Headed Monster. Every screening comes with some sort of bonus activity, be it a quiz, a crafting session, or an inbtroductory talk. See the Barbican website for full listings.
  • Film events

Hamlet Hail to the Thief

London hasn’t had a big sleb-centric Hamlet in long while – although James Norton’s doing it next year – but the recent trend for slightly alternative takes on Shakespeare’s greatest play reaches something like its apotheosis with the RSC’s Hamlet Hail to the Thief. Debuting at Manchester’s Factory International last year, the show – directed by Christine Jones and Steven Hoggett – does indeed combine Thom Yorke’s specially rearranged score of tracks from Radiohead’s sixth album Hail to the Thief, with a very edited version of (duh) Hamlet. It’s a pretty mad idea and reviews were slightly mixed. Buf Hoggett has suggested it’ll be a tweaked version of the show. With a live band – not Radiohead – playing the rearranged songs (the most famous which is the top five hit ‘There There’), it’s a short, gloomy, strange take on the play with moments of spine-tingling magic when songs and story do hit mesh perfectly.  Though the cast has been somewhat overshadowed by the songs when it comes to talking aboyt the show, it’s a very decent ensemble – largely retained from Manchester – with Samuel Blenkin as Hamlet and Paul Hilton as Claudius. 
  • Shakespeare
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