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Wyndham's Theatre

  • Theatre
  • Charing Cross Road
Wyndhams Theatre.jpg

Time Out says

Busy West End home of serious drama

Wyndham’s is a West End theatre with genuine pedigree. It's named for Charles Wyndham, the 19th century actor who originally had it built, and he launched it in 1899 with a play where he played another acting legend, David Garrick. It was here that JM Barrie staged a series of plays from 1903; 'Rebecca' author Daphne du Maurier launched her play 'The Years Between'; fellow novelist Graham Greene chose it to premiere 1953’s ‘The Living Room’; and Edward Albee presented the autobiographical ‘Three Tall Women’ starring Maggie Smith. It is also where Madonna made her rather awkward West End debut in 2002.

Wyndham's has a grand Portland stone exterior, with neoclassical flourishes that ensure it cuts a dash on busy Charing Cross road. Inside, Wyndham's Theatre is all Louis XVI splendour. With 759 seats across four levels, it's one of the West End's more intimate venues, meaning you get a good view of the action at most price points. 

Basically the order of the day is serious plays and quality comedies, often starring big names, plus the occasional short run for a successful comedian. Runs are typically limited for this busy house, and absolutely do not go expecting to catch a musical here.


Charing Cross Road
Tube: Leicester Square; Rail: Charing Cross
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What’s on

‘Oklahoma!’ review

  • 4 out of 5 stars
  • Musicals

Interview: Anoushka Lucas, the struggling singer-songwriter who accidentally became the star of ‘Sexy Oklahoma!’ When I started hearing salacious rumours online about a New York production of the Rodger & Hammerstein classic nicknamed ‘Sexy Oklahoma!’, I knew I had to see it, seduced by the promise of a staging that would strip all the gingham kitsch and yeehawing jollity from this 1943 musical.  I was raised on Golden Age movie musicals, but was disillusioned with their sanitised aesthetic, with the Technicolor sheen that the friends I attempted to convert had bristled at. Since then, director Daniel Fish’s massively hyped production has soared from New York's St Ann's Warehouse to Broadway, before being remounted (with some original cast in place) at London's Young Vic. A West End victory lap was inevitable. And I was chomping at the bit (to use an appropriately Western metaphor) to finally experience it.It turns out that when people say ‘Sexy Oklahoma!’, they really mean it. Not because this production’s full of rippling biceps or heaving bosoms – or even actual sex – but because it’s an edgy, rock ‘n’ roll depiction of a community whose only way to cut loose is by having sex or firing a gun. And they do plenty of both.With sex so firmly in the foreground, everything about this story shifts. In traditional productions, boy-crazy farm girl Ado Annie is pure comic relief. When she sings ‘I'm just a girl who can't say no!’, it's a straightforward excuse for some jolly old-ti

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