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.
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.
Nominated for 3 Olivier Awards including Best New Play
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 for a limited season. Priority booking begins from 9 October 2020 with public booking opening on 19 October 2020.
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.
Groups Rate 12+ £42.50 (usually £55 – £69.50)
Valid on all Monday-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 – £69.50)
Every 11th ticket entitles the group to a free teacher.
Valid on Monday- 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
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.
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. Click here to see current guidelines. 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 (although for group bookings this may require 7 days notice)
Information about safety measures and requirements may be sent to ticket holders ahead of any performance. We may share your data with the venue operator for the purposes of your booking and protecting your health and safety and that of other customers and staff at the venue.
Artwork by Nicolas Delort. Photography by Manuel Harlan