Wyndhams Theatre.jpg
  • Theatre | West End
  • Charing Cross Road

Wyndham's Theatre

Busy West End home of serious drama

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Time Out says

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.

Details

Address
Charing Cross Road
London
WC2H 0DA
Transport:
Tube: Leicester Square; Rail: Charing Cross
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What’s on

Next to Normal

4 out of 5 stars

Michael Longhurst’s production of Brian Yorkey and Tom Kitt’s Pulitzer Prize-winning 2008 rock musical ‘Next to Normal’ transfers to the West End having garnered four Olivier Awards following its UK debut at the Donmar Warehouse last year. It’s an ambitious, at times powerfully affecting, show that – even 16 years after it premiered in the US – still impresses with its desire to stretch the expected subject matter of a musical by tackling mental illness as a central theme. We meet Diana (Caissie Levy), her husband Dan (Jamie Parker), son Gabe (Jack Wolfe), and daughter Natalie (Eleanor Worthington-Cox), hanging on by a thread. The manic repetition of ‘Just Another Day’ captures the frantic desperation of a family shadowed by Diana’s worsening bipolar disorder: Dan has locked himself into the role of ‘provider’ and thrown away the key; Natalie, feeling invisible, hides in the certainty of Mozart before and after school; and Gabe, ever watchful, flits in and out of Diana’s life. This fractured routine is ultimately pushed to breaking point like a dam bursting. Where this show unambiguously succeeds is in its sympathetic but clear-sighted depiction of a family buckling under buried grief and an impossible present. Brian Yorkey’s book presents us with clearly-drawn portraits of how people respond differently to trauma. There’s a deftly handled and meaty exploration of how little Western society is prepared to truly face loss, our unwillingness to let go of relationships and the r

  • Musicals

Oedipus

This heavily adapted version of Sophocles’s ‘Oedipus Rex’ by erstwhile Almeida wunderkind Robert Icke first premiered in a Dutch language version for Internationaal Theater Amsterdam way back in 2018. Its journey to the London stage has been a fairly fraught one: it was due to arrive here in 2020 with Mark Strong in the title role and the great Helen Mirren as Oedipus’s mother-slash-wife Jocasta. Although there were efforts made to push it back to 2021, the pandemic essentially put paid to Mirren's involvement and it’s presumably now at least reasonably likely that her stage days are behind her. Four years on, however, and Strong has stayed the course and will be joined by the magnificent Lesley Manville (technically too young to be Strong’s mother, but we’ll allow it). Like all Icke’s adaptations, his ‘Oedipus’ is entirely contemporary in terms of setting and language, aiming to convey the essence of the story and not the period trappings. This is set on the night of politician Oedipus’s great electoral victory – but some very disturbing revelations will come to light about his wife. Further casting is TBC.

  • Drama

Inside No. 9 Stage/Fright

Reese Shearsmith and Steve Pemberton’s long-running BBC comedy horror anthology ‘Inside No. 9’ may be wrapping up on our screens but the duo don’t seem to be in any hurry to step away from it: this new live spin-off entitled ‘Stage/Fright’ premieres in the West End in 2025. Written by and starring the duo, the plot is unknown but we’re told it’ll be a mix of old and new elements and that it’ll lean heavily into being a theatre performance (as opposed to just being bits from the telly faithfully re-enacted) – not a surprise seeing as how both creators are now seasoned stage actors. It’s directed by Simon Evans, probably best known for the extremely meta David Tennant/Michael Sheen lockdown comedy ‘Staged’, though also a heavyweight theatre director.

  • Comedy
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