Begins October 2021
Duke of York’s Theatre
Following a sold out run at the National Theatre, the acclaimed production of The Ocean at the End of the Lane transfers to the West End from October 2021. Now booking to April 2022 due to popular demand.
Adapted by Joel Horwood from the best-selling novel by Neil Gaiman, this spectacular and thrilling adventure directed by Katy Rudd, is a theatrical tour de force of imagination and storytelling.
Returning to his childhood home, a man finds himself standing beside the pond of the old Sussex farmhouse where he used to play. He’s transported to his 12th birthday when his friend Lettie claimed it wasn’t a pond, but an ocean… Plunged into a magical world, their survival depends on their ability to reckon with ancient forces that threaten to destroy everything around them.
The running time is 2 hours and 20 mins, including an interval. This production is suitable for ages 12+. This production contains scenes that some people may find distressing and strobe light effects.
The Ocean at the End of the Lane will now begin previews at the Duke of York’s Theatre from October 2021 and has now extended to 24 April 2022 due to popular demand.
Please note for bookings made via the National Theatre or ATG Tickets, e-tickets will be sent to booker closer to the chosen performance.
We look forward to welcoming audiences to the thrilling and spectacular world of The Ocean at the End of the Lane.
Ticket prices include a £1.75 Ambassador Theatre Group restoration levy.
Groups Rate 12+ £42.50 (usually £55 – £69.50)
Valid on all Tuesday-Thursday evening performances, excluding w/c 25 Oct, 20 Dec, 27 Dec 2021, 3 Jan.
Subject to availability. Restrictions may apply.
For bookings please contact National Theatre Groups on [email protected] or call ATG Groups on 0207 206 1174.
Schools Rate 10+ £22.50 (usually £35 – £55)
Every 11th ticket entitles the group to a free teacher.
Valid on Tuesday- Thursday performances, excluding w/c 25 Oct, 20 Dec, 27 Dec 20201, 3 Jan.
Subject to availability. Restrictions may apply.
For bookings please contact National Theatre Groups on [email protected]
For access bookings, please call ATG Access on 0800 912 6971
Saturday 15 January 2022, 2:30pm Audio Described with touch tour at 12.30pm
Tuesday 18 January 2022, 7:30pm Captioned
Ruby trained at the Royal Central School of Speech & Drama and with the National Youth Theatre.
Theatre credits include: Ratty in The Wind in the Willows (Derby Theatre); Marley in 8: A Steampunk Opera (The Other Palace); Ruby Barker in Double Act by Jacqueline Wilson (Polka Theatre); Why Is The Sky Blue (Southwark Playhouse); Alyssa in White Trash (VAULT Festival); The Ghost of Christmas Past in A Christmas Carol (Bolton Octogan); Lucy in A Theepenny Opera (Bolton Octogan); Countess in The True History of Julia Pastrana (Hope Mill Theatre); Peggy in Brass (Hackney Empire); Nickie in Sweet Charity (The Curve, Leicester); Reporter in VARIÉTÉ (Riverside Studios).
Screen credits include: Laura in British Horror Film Festival Award winning short film Infracktion; Jane Austen in History Bomb’s Jane Austen’s Guide to 21st Century Dating and History of Jane Austen.
She is thrilled to be making her National Theatre debut in The Ocean At The End Of The Lane.
James Bamford is a Welsh born actor and graduate of The Oxford School of Drama.
His theatre credits include Twist (Theatre Centre), Harry Potter and the Cursed Child (The Palace Theatre).
Screen credits include The Crown, Rogue Heroes, Showtrial and Apple Original Series – Masters of the Air.
Training: University of Bristol; Royal Birmingham Conservatoire
Theatre includes: Harry Potter and the Cursed Child (The Palace Theatre); Labour of Love (Noel Coward); Who’s Afraid of Virginia Woolf (Harold Pinter Theatre); McQueen (Haymarket); Hay Fever (Duke of Yorks); Di and Viv and Rose (Vaudeville); Seduced; The Doctors Show; Hitler on Trial; State of Nature (TheatreScience); What Happened After Nora Left Her Husband (Arcola Studio); No-one Sees the Video; The Love Child (Red Shift); Les Femmes Savantes; As you Like It; Romeo and Juliet (Original Shakespeare Co.); The BFG (Albery).
Film and Television includes: The Last Bus (Netflix); Landing Lake; To the Grave (Best Drama 2017 Euroshorts, Bronze Palm Award 2017 Mexico International Film Festival and Best Foreign Picture 2016 Velvet Rope Film Festival); History’s Ultimate Spies; The Red Bull Film; Summer Dark, De Sul (winner of the Govynn Kernewek Award); Playgrounds and Mindgames; The Sweet Rain. Radio includes: Strangers and Brothers (BBC)
Training: Rambert School of Ballet and Contemporary Dance.
Theatre includes: The Tempest (Sam Wanamaker Playhouse), A Midsummers Night Dream/Macbeth (Shakespeare’s Rose Theatre), Beauty and the Beast (Theatre by the Lake), Clockwork Canaries (Theatre Royal Plymouth), Joan of Arc (New York), The Hairy Ape, The Master Builder, (The Old Vic), Stop (Trafalgar Studios), Macbeth (New York and Manchester International Festival), West Side Story (UK Tour), Salad Days (Riverside Studios), Don Juan comes Back from the War (National Theatre Studios/Finborough Theatre), The Crucible (Regents Park), Peter Pan (Theatre Royal Brighton), Saturday Night (Arts Theatre), Grease (Piccadilly Theatre).
Film includes: Artimous Fowl (Disney), Death on The Nile (Twentieth Century Fox).
Video Games: Demon Soul, Dragon Age.
Cartoons: Angelina Ballerina, Lisa (HIT entertainment), Third and Bird (BBC), Poppy Cat (King Rolo Films).
Kieran Garland’s theatre work includes The Curious Incident of the Dog in the Night-Time (U.K., international and West End) for the National Theatre; RIFT’s Macbeth at Balfron Tower, Poplar; Lysistrata (UK tour), for Actors of Dionysus; Macbeth for Vienna’s English Theatre, Austria; and 10,000 Several Doors (Duchess of Malfi) for Prodigal Theatre at The Nightingale, Brighton. TV includes American Monster for Discovery Channel, Locked Up Abroad for National Geographic/Raw TV.
Siubhan Harrison’s work in theatre includes Home, I’m Darling in the West End for the National Theatre; Wonderful Town for Opera Holland Park; Broken Wings at Dubai Opera House; Me and My Girl at Chichester; The Country Wife and Working at Southwark Playhouse; Much Ado About Nothing, Twelfth Night and All’s Well That Ends Well for Lamb Players; I Call my Brothers at the Arcola; The Armour at Langham Hotel; Pitcairn at Shakespeare’s Globe; Earthquakes in London on UK tour; The Soft of Her Palm and In Quest of Conscience at the Finborough; Marianne Dreams at the Almeida; Carmen on UK tour; and Guys and Dolls, From Here to Eternity, Tommy, Grease, Marguerite, We Will Rock You and Les Misérables in the West End. TV includes Holby City, Doctors and The Song of Lunch. Film includes Little Deaths.
Theatre includes: Queen Caroline in United Queendom for Les Enfants Terribles, u/s Emma in Betrayal for Jamie Lloyd Productions, Bella in Small Wonders for Punchdrunk, Bagheera in The Jungle Book and The Courtesan in The Comedy of Errors both for Oddsocks (UK Tours), Viola in Twelfth Night at The Gainsborough Arts Theatre.
TV includes: Code 404 (Sky) The Capture (BBC) Get Even (CBBC).
For the National Theatre: Paradise, Jellyfish, Macbeth, My Country: A Work in Progress, Another World: Losing Our Children to Islamic State, An Oak Tree, Everyman, Edward II, Table and Timon of Athens.
For the RSC: The Tempest, Roberto Zucco and Measure for Measure.
Other theatre includes: Seeds (Tiata Fahodzi/Soho Theatre), Cleft (Rough Magic/Galway Festival), Sketching (Wilton’s Music Hall), The Lorax and Cinderella (Old Vic), Bright Phoenix (Liverpool Everyman) Beryl (West Yorkshire Playhouse) Nora (Belgrade, Coventry), Jellyfish and 66 Books (Bush), Incoming (Hightide Festival), Lidless (Trafalgar Studios/Hightide Festival/Edinburgh), Draw Me Close, Vernon God Little and The Art of Random Whistling (Young Vic), The Bacchae, Mary Barton, Electra and Mayhem (Manchester Royal Exchange), Dancing at Lughnasa (Birmingham Rep), The Spanish Tragedy (Arcola), Romeo and Juliet, The Antipodes and Hamlet (Shakespeare’s Globe), Comfort Me With Apples (Hampstead Theatre/Tour), Assassins (Sheffield Crucible), Seasons Greetings and Popcorn (Liverpool Playhouse), The Laramie Project (West End), Romeo and Juliet (Southwark Playhouse), The Recruiting Officer (Lichfield Garrick), A Passage to India, The Magic Toyshop and Jane Eyre (Shared Experience), Maid Marian and her Merry Men (Bristol Old Vic), What I Did In The Holidays, The Plough And The Stars, Hunchback Of Notre Dame, Dangerous Corner and A Midsummer Night’s Dream (New Vic, Stoke).
Television: Father Brown, Belgravia, Casualty, My Country: A Work in Progress, Grantchester, Dark Angel, EastEnders, Doctors, Prisoner’s Wives, Call the Midwife, Land Girls, Sirens, South Riding, Doctors, Silent Witness, Poppy Shakespeare, Bad Mother’s Handbook, Waterloo Road, No Angels, The Bill, Murphy’s Law, Fat Friends, Outlaws, M.I.T and Casualty.
Film: Broken and The Libertine.
Radio: Second Chance, Uganda and Crime and Punishment.
Training: Royal Conservatoire of Scotland
Theatre Includes: Harry Potter and the Cursed Child – Original Company (Palace); The Silver Sword (UK Tour); The Tale of Mr Tumble (Manchester Opera House); The BFG (Royal Lyceum Theatre Edinburgh); Our Day Out (Oldham Coliseum); Story Hunters (Clywd Theatr Cymru); The Little Mermaid, Mother Goose (Adam Smith Theatre); Forest Boy (Arcola/The Other Palace); The 25th Annual Putnam County Spelling Bee (UK Tour)
Film Includes: Sunshine On Leith, Realtime
Television Includes: Sex Education (Netflix), Ghosts (BBC), The Tale of Mr Tumble (BBC)
Charleen’s theatre credits include: The Butterfly Lion at the Minerva Theatre, Chichester, A Midsummer Night’s Dream & Our Country’s Good at the Tobacco Factory, The Curious Incident of the Dog in the Night-Time for the National Theatre at The Gielgud, Kiki’s Delivery Service at The Southwark Playhouse, The Taming of the Shrew & Doubt at the Landor Theatre, 4:48 Psychosis at the Edinburgh Fringe, The Full Monty at the Charing Cross Theatre, and Elephant Man and The Peculiar Tale Of Pablo Picasso and The Mona Lisa at the Brockley Jack. UK tours include: Chicago, Chess the Musical, I Can’t Stop Loving You, Oh! What A Night! and Viva La Diva. European tours include: The Blues Brothers and This Is The Night also at Richmond Theatre. Choreography includes Classical Spectacular and Jingle Bell Christmas at the Royal Albert Hall. Rehearsed readings and work in development workshops include: The Alice Birch Clean Break Project, The Malady of Death, Don Juan, Hyenas in Petticoats, Angels in America Part 1, and Welcome! Up Next all for the National Theatre, The Bronzeville Project, Tarento Productions and Coming Clean, Ray Kilby.
TV and Film Credits include; Jerk for Somesuch Productions, Mind-reading Algorithms for Fat Rat Films and Crimes Stories for ITV. Charleen is also the Co-founder and Director of Training for the accredited Drama School, Fourth Monkey Actor Training Company.
Grace Hogg-Robinson’s work in theatre includes Sitting for BBC Arts at Edinburgh Fringe; Broken Biscuits for Paines Plough/Live Theatre; and Jekyll and Hyde for the Rose Theatre and Touring Consortium. TV includes The Coroner, Flatmates, COBRA, Flesh and Blood, The First Team, Pls Like, Mum, Defending the Guilty, Camping, There She Goes, Vera, Troy: Fall of a City, The Durrells, Silent Witness, Casualty, Doctors, Diary of a Snob and Suspects. Film includes Days of the Bagnold Summer, Two for Joy, Edge of Tomorrow, and the short films Candy Floss, The Nest and Birdhouse.
Theatre work includes: The Memory Of Water (Hampstead); Pressure (Touring Consortium); Rules for Living (ETT); A Lie of the Mind (Southwark Playhouse); Winter Solstice (Orange Tree); A Lovely Sunday for Creve-Coeur (Print Room at the Coronet); Private Lives (UK tour); Tipping the Velvet (Lyric Hammersmith/Lyceum); An Ideal Husband (Chichester Festival Theatre); Pressure Chichester (Festival Theatre/Lyceum) and Masterpieces (Royal Court).
Film work includes: Love Me Do; Nylon Ghosts (Short); In Two Minds and The Right Hand Man.
Television work includes: Eastenders (3 Eps); Holby City (Semi-Regular); New Tricks; The Smoke; Law and Order UK; Dates; Dark Matters; Twelfth Night; Doctor Who – Christmas Special and Midsomer Murders.
Radio work includes: Death of a Salesman; Porshia; Black Train and Someone Somewhere.
Jeff D’Sangalang trained with the NYT REP Company. That season he performed as Gary in “Victoria’s Knickers” and Liam in “Consensual” both at the Soho Theatre. With The NYT Rep Company he also performed as a Witch in “Macbeth” at the Garrick Theatre and Reverend Sykes and Boo Radley in “To Kill A Mockingbird” at the Lyric Hammersmith.
Jeff played Jeffrey in “BOYS” with The PappyShow at the Vaults Festival and at the North Wall.
He was part of the original company for “The Ocean At The End of The Lane” playing The Lodger and Ensemble at the National Theatre. He has recently performed the roles of Mr Hoopla and Mr Fortesque in “That Pesky Rat” at The Chichester Theatre Festival and he has just completed two short films “Anghel” and “BOYS” to be released in 2021.
Theatre Credits include: The Dutchess of Malfi; Alls Well That Ends Well; As You Like It; Hamlet; (Royal Shakespeare Company); The Seagull (Lyric Hammersmith); The Curious Incident of the Dog in the Night Time (National Theatre Productions); The Alchemist (Liverpool Theatre); Twelfth Night (Filter Theatre Company/Hampstead Theatre); Three Kingdoms (Lyric Hammersmith, Munich Kammerspieler); Tiger Country (Hampstead Theatre).
Film credits include: Denail; Sex Lives of the Potato; Tube Tales; Oscar and Lucinda.
Television credits include: Peaky Blinders; The Bill; Hogfather; Holby City; The Residents; The Bomb Maker.
Nia Towle’s theatre work includes: There Is A War, Men & Women Talking, Beast, Divided Britain at the Southwark Playhouse Young Company. Film includes Persuasion, The Hollow and also Rocketman.
This will be Nia’s first production at the Duke of York’s Theatre.
Peter graduated from East 15 in 2009. Having trained in Contemporary Theatre, he is now an established physical performer and puppeteer and has performed across Europe, America and the East. In 2013 he embarked on the inaugural U.K. tour of War Horse which also played in South Africa for three months.
Credits include: Joey/Topthorn in War Horse (UK Tour and South Africa), The Hatchling (World Premiere, Trigger Productions), Dinosaur World Live (U.S.A Tour), Dracula (Esplanade Theatre, Singapore), Love Suicides at Sonezaki (Wilton’s Music Hall), Creon in Antigone (Chris Vervain Theatre), Moominland Midwinter (Theatre Royal Bath), Visions of Tiriel and the Daughters of Albion (Wilton’s Music Hall).
At the National: The Ocean at the End of the Lane
As associate director other theatre includes: Groundhog Day (also on Broadway; Olivier Award for Best New Musical) and The Master Builder at the Old Vic; Pinocchio, Husbands and Sons and The Curious Incident of the Dog in the Night-Time (also on UK tour) at the National; Linda and The Twits at the Royal Court; and Mojo in the West End. As assistant director work includes Into the Woods at Regent’s Park; The Playboy of the Western World at the Old Vic; and The Constant Wife at Salisbury Playhouse.
At the National: The Ocean at the End of the Lane, Pericles, I Want my Hat Back and Beginning (also in the West End).
Other theatre includes: Appropriate at the Donmar; Tao of Glass and The Crocodile at Manchester International Festival; Groan Ups in the West End; Caroline, or Change at Chichester and in the West End; Macbeth for the RSC and at the Barbican; Vassa at the Almeida; The Hour That we Knew Nothing of Each Other and The Winter’s Tale at the Royal Lyceum Edinburgh; The Prudes, Pigeons and Primetime at the Royal Court; Othello at the Sam Wanamaker Playhouse and Shakespeare’s Globe; A Tale of Two Cities and Oliver Twist at Regent’s Park; Our Town, A Streetcar Named Desire, Scuttlers, Hunger for Trade, Nothing and How Our Light is Spent at the Royal Exchange; Barbarians, Trade, A Streetcar Named Desire (for Parallel Productions) and Turning a Little Further at the Young Vic; The Last Remains of Maisie; Duggan for National Theatre Ireland; The Glass Menagerie for Headlong and on UK tour; Opera for the Unknown Woman for Fuel and on UK tour; James and the Giant Peach at West Yorkshire Playhouse; The Dissidents at Kiln; I’d Rather Goya Robbed Me of My Sleep Than Some Other Arsehole and Image of an Unknown Young Woman at Gate; and Dealing With Clair at the Orange Tree.
As costume designer other theatre includes: Unreachable at the Royal Court; and Shipwreck at the Almeida.
At the National: The Ocean at the End of the Lane and Elephantom (as set and costume designer).
Other theatre includes: She Described it to Death at the Royal Opera House; and The Wizard of Oz at the Birmingham Rep.
As set, costume and puppet designer other theatre includes: Wild at the Unicorn; Divine Proportions for Shotgun Carousel at The
Vaults; The Terrible Infants, The Trench, Dinner at the Twits, The Marvellous Imaginary Menagerie and The Vaudevillians at Les Enfants Terribles; Goosebumps Alive! at The Vaults; and Ragnarök at Eastern Angles.
As puppet designer other theatre includes: The Boy in the Dress for the RSC; How to Hide a Lion at Polka; The Bear for Pins and Needles; and The House Where Winter Lives for Punchdrunk.
As set and costume designer: The Hartlepool Monkey for Gyre & Gimble; Alice’s Adventures Underground and The Game’s Afoot for Les Enfants Terribles; Under the Eiderdown and The Space Invaders Agency for Punchdrunk; and Bing! Live! and In the Night Garden Live (as set designer only) for Minor Entertainment.
At the National: The Ocean at the End of the Lane, Pinocchio and The Light Princess.
Other theatre includes: Saint Joan at The Public; The End of History and The Twits at the Royal Court; Let the Right One In at St Ann’s Warehouse and in the West End; Black Watch (Olivier Award) for National Theatre of Scotland; Little Dogs (also at National Theatre Wales), Lovesong, Beautiful Burnout and Othello for Frantic Assembly.
As director other theatre includes: Close to You in the West End and at New York Theatre Workshop.
At the National: The Ocean at the End of the Lane.
Other theatre includes: Andersen’s Stories, The Sandman, The Flying Classroom and Johnny Breitwieser. His symphonies include Jump!Star and his ballets include Wash of Gray for Pacific Northwest Ballet.
At the National: The Visit, The Ocean at the End of the Lane, ‘Master Harold’…and the boys, Follies, Pericles, Nine Night, Pinocchio, Mosquitoes, Common, Angels in America, The Red Barn, The Threepenny Opera, wonder.land, Behind the Beautiful Forevers, The Light Princess, Table, This House, The Curious Incident of the Dog in the Night-Time, Phèdre, Death and the King’s Horseman, Waves, Saint Joan and War Horse.
Other theatre includes: Wolf Hall for the RSC, in the West End and on Broadway; ear for eye, How to Hold Your Breath, Clybourne Park and The Weir at the Royal Court; The Cripple of Inishmaan for the Michael Grandage Company; Teddy Ferrara, The Chalk Garden and Othello at the Donmar Warehouse; Happy Days, Feast and Vernon God Little at the Young Vic; and 17, Herons and Blasted at the Lyric Hammersmith.
Opera includes: Benvenuto Cellini, Satyagraha, Medea and Dr Dee for the English National Opera; Billy Budd and Entführung aus dem Serail for Glyndebourne; and Roberto Devereux and Cav and Pag for the Metropolitan Opera, New York.
Dance includes: Romeo and Juliet, Swan Lake, The Red Shoes, Sleeping Beauty, Play Without Words and Dorian Gray for Matthew Bourne.
Paule Constable is an associate of the National and a Royal Designer for Industry.
At the National: The Ocean at the End of the Lane, Common, Angels in America, Husbands & Sons, Evening at the Talk House, The Red Lion, Rules for Living, A Taste of Honey, Emil and the Detectives, Port, This House, The Curious Incident of the Dog in the Night-Time (also on Broadway and tour), 13, Season’s Greetings, After the Dance, Women Beware Women, Our Class, All’s Well That Ends Well, Death and the King’s Horseman, Harper Regan, The Hothouse and Pillars of the Community.
In London’s West End: This House, The Nether
On Broadway: The River
Other recent sound designs include: Europe, Elegy, Roots and The Weir at the Donmar; Small Island, Angels in America (also in New York), Translations, Husbands and Sons, Common, Evening at the Talk House, The Red Lion, Rules for Living, A Taste of Honey, Emil and the Detectives and Port at the National; Company at the Gielgud; True West at the Vaudeville; Hangmen at the Royal Court, Wyndham’s and in New York; Heisenberg at Wyndham’s; Fatherland at the Lyric Hammersmith and the Royal Exchange; The Lion, the Witch and the Wardrobe at West Yorkshire Playhouse; Junkyard at Bristol Old Vic; Fracked! at Chichester and on UK tour; Before I Leave in Cardiff; Before the Party, Uncle Vanya, Children’s Children and Mrs Klein at the Almeida; Love’s Sacrifice for the RSC; A Midsummer Night’s Dream, All My Sons and To Kill a Mockingbird at Regent’s Park; and The Machine in Manchester and New York.
Ian Dickinson has been with the Autograph Design Team since 2009, and before that was Head of Sound at the Royal Court, where he designed over 50 productions.
At the National: The Ocean at the End of the Lane, Angels in America (as puppetry director, movement and puppet co-designer), The Elephantom (co-director), The Light Princess (puppetry and movement), War Horse (puppetry and movement)
At the National as a performer: Saint Joan, War Horse, Or You Could Kiss Me and Every Good Boy Deserves Favour
In London’s West End: Shrek – The Musical (as director of puppetry and movement)
Other theatre includes: The Bear for Pins and Needles; The Tempest at Birmingham Royal Ballet; Alice’s Adventures Underground and Adventures in Wonderland for Les Enfants Terrible; Ariodante at Festival Aix; and Shrek the Musical in the West End and on tour. As movement director theatre includes Groundhog Day at the Old Vic and on international tour. As co-director and puppetry designer theatre includes Vivaldi’s The Four Seasons: A Reimagining at Shakespeare’s Globe; The Hartlepool Monkey for Fuel.
As director other theatre includes: Ex Machina at the Australian National Institute of Dramatic Art; First Hippo on the Moon for Les Petits; and Lardo at the Old Red Lion.
At the National: Pinocchio and The Ocean at the End of the Lane.
In London’s West End: Harry Potter and the Cursed Child and Charlie and the Chocolate Factory (as puppet and illusion designer).
Other theatre includes: Dragon, The Infamous Brothers Davenport, The Not-So-Fatal Death of Grandpa Fredo (also co-writer and co-director), Bright Black, Slick (also co-writer, co-director and puppet designer), How to Steal a Diamond (also co-writer and co-director), Flight, Glamour (also co-writer, co-director and set designer), Gravel and Interference (also co-writer and co-director) for Vox Motus; Traverse
and Tomorrow for Vanishing Point; The Wheel for National Theatre of Scotland; 1000 Paper Cranes for Catherine Wheels; A Conversation with Carmel for Barrowland and Ballet; Pinocchio at the Lyceum, Edinburgh; Jerusalem at West Yorkshire Playhouse.
As magic and illusion consultant other theatre includes: Peter Pan and Mary Queen of Scots Got Her Head Chopped Off for National Theatre of Scotland; Further than the Furthest Thing, A Christmas Carol, The Cherry Orchard and The Visit at Dundee Rep; What We Know for Traverse;
The Last Witch at Edinburgh International Festival; and A Brief History of Time for Vanishing Point.
Other work includes the Olympic Festival Exhibition Road.
In addition to a special illustrated version, Headline Publishing Group’s new paperback edition of The Ocean at the End of the Lane, released alongside Neil Gaiman‘s other iconic works Neverwhere, Stardust, American Gods and Anansi Boys.
Number 24, 29 or 176 to Leicester Square.
Leicester Square, Charing Cross
Charing Cross – less than a 5 minute walk
Waterloo – approx 20 minute walk
The Duke of York’s Theatre will be operating in accordance with any government guidelines on COVID safety measures in place at the time of the production. Please review the current admissions policy for the Duke of York’s Theatre, which is managed by ATG. Information about safety measures and requirements may be sent to ticket holders ahead of any performance.
Please note for bookings made via the National Theatre or ATG Tickets, e-tickets will be sent to bookers closer to chosen performance. For bookings made via the National Theatre, your data may be shared with Ambassador Theatre Group for the purposes of your booking and protecting your health and safety and that of other customers and staff at the Duke of York’s Theatre.
‘We anticipate by October 2021 that it will be safe to have standard seating without social distancing for The Ocean at the End of the Lane at the Duke of York’s Theatre. In the event that this is not the case, such that the production has to be cancelled, the NT will follow its refund and exchange policy for all tickets purchased via the NT.
In the event that you or one of your party are unwell and cannot attend the performance, tickets can be exchanged up to 24 hours before the performance.