The National Theatre’s acclaimed production of The Ocean at the End of the Lane is now playing at the Duke of York’s Theatre in London’s West End. Now booking to May 2022 due to popular demand.
From the imagination of Neil Gaiman, best-selling author of Good Omens, Coraline and The Sandman, comes the National Theatre’s acclaimed new production of The Ocean at the End of the Lane. Adapted by Joel Horwood and directed by Katy Rudd, this spectacular and thrilling theatrical event is a 5-star tour de force of magic 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 35 mins, including an interval. This production is suitable for ages 12+.
This production contains the following effects; high intensity lighting and strobe, haze and smoke, pyrotechnics, loud sound, blackouts and some scenes that people may find frightening. The production contains some adult themes that some people may find distressing, including a depiction of suicide and scenes discussing suicide. If you would like any further information before you book your tickets please email [email protected]
Now playing to 14 May 2022.
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 20 Dec, 27 Dec, 3 Jan, 21 Feb, 4 April, 11 April, 18 April, 2 May and 9 May
Subject to availability. Restrictions may apply.
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 20 Dec, 27 Dec 20201, 3 Jan, 21 Feb, 4 April, 11 April, 18 April, 2 May and 9 May
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
Audio-described performance on Saturday 15 January 2022, at 2.30pm
Captioned performance on Tuesday 18 January 2022, at 7.30pm
BSL (British Sign Language) interpreted performance on Saturday 19 March 2022, at 2.30pm
A limited number of £25 tickets are available on the day of the performance from the Duke of York’s Theatre Box Office. Day seats will go on sale at 10am on the day of the performance, subject to availability. Tickets must be purchased in person from the Duke of York’s Theatre Box Office.
Ruby Ablett trained at the Royal Central School of Speech and Drama. Work in theatre includes The Wind in the Willows at Derby Theatre; 8: A Steampunk Opera at The Other Palace; Double Act at Polka; Why is the Sky Blue at Southwark Playhouse; A Christmas Carol and The Threepenny Opera at Bolton Octagon; The True History of Julia Pastrana at Hope Mill; and Brass at Hackney Empire.
James Bamford trained at the Oxford School of Drama. His work in theatre includes Twist at Theatre Centre; and Harry Potter and the Cursed Child in the West End. TV includes The Crown, Showtrial, Masters of the Air and Rogue Heroes.
Emma Bown trained at the University of Bristol and Royal Birmingham Conservatoire. Her work in theatre includes Seduced and State of Nature for TheatreScience; What Happened After Nora Left Her Husband at the Arcola Studio; No One Sees the Video and The Love Child for Red Shift; Les Femmes Savantes, As You Like It and Romeo and Juliet for Original Shakespeare Co.; The BFG (also on UK tour), Harry Potter and the Cursed Child, Labour of Love, Who’s Afraid of Virginia Woolf?, McQueen, Hay Fever and Di and Viv and Rose in the West End. TV includes The Last Bus and History’s Ultimate Spies. Film includes Landing Lake, To the Grave (short; Best Drama 2017 Euroshorts, Bronze Palm Award 2017 Mexico International Film Festival and Best Foreign Picture 2016 Velvet Rope Film Festival), The Red Bull Film, Summer Dark, De Sul (winner of the Govynn Kernewek Award), Mindgames & Playgrounds (short) and The Sweet Rain. Radio includes Strangers and Brothers.
Charlie Cameron trained at Rambert School of Ballet and Contemporary Dance. Work in theatre includes The Tempest at Sam Wanamaker Playhouse; A Midsummer Night’s Dream/Macbeth at Shakespeare’s Rose; Beauty and the Beast at Theatre by the Lake; Clockwork Canaries at Theatre Royal Plymouth; Joan of Arc in New York; The Hairy Ape and The Master Builder at the Old Vic; Stop at Trafalgar Studios; Macbeth in New York and at Manchester International Festival; West Side Story on UK tour; Salad Days at Riverside Studios; Don Juan Comes Back from the War at the National Theatre Studios and Finborough; The Crucible at Regent’s Park; Peter Pan at Theatre Royal Brighton; Saturday Night and Grease in the West End. TV includes Angelina Ballerina, Lisa, Third and Bird and Poppy Cat. Film includes Artemis Fowl and Death on the Nile. Video games include Demon Soul and Dragon Age. Audio includes listentopeterpan.com.
Kieran Garland’s work in theatre includes The Curious Incident of the Dog in the Night-Time on UK and international tours and in the West End for the National Theatre; RIFT’s Macbeth at Balfron Tower, Poplar; Lysistrata on 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 and Locked Up Abroad.
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 Gir lat Chichester; The Country Wife and Working at Southwark Playhouse; Guys and Dolls, From Here to Eternity, Tommy, Grease, Marguerite, We Will Rock You and Les Misérables in the West End; 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; and Carmen on UK tour. TV includes Holby City, Doctors and The Song of Lunch. Film includes Little Deaths.
Miranda Heath’s work in theatre includes United Queendom for Les Enfants Terribles; Betrayal for Jamie Lloyd Company; Small Wonders for Punchdrunk; The Jungle Book and The Comedy of Errors on UK tours for Oddsocks; and Twelfth Night at Gainsborough Arts Theatre. TV includes Code 404, The Capture, Get Even and EastEnders. Film includes Get Luke Lowe. Video games include Division 2.
Penny Layden’s work in theatre includes 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 National Theatre; Seeds for tiata fahodzi and Soho Theatre; Cleft for Rough Magic and Galway Festival; The Lorax and Cinderella at the Old Vic; Bright Phoenix at Liverpool Everyman; Beryl at West Yorkshire Playhouse; Jellyfish and 66 Books at the Bush; Lidless at Trafalgar Studios, HighTide and Edinburgh; Draw Me Close, Vernon God Little and The Art of Random Whistling at the Young Vic; The Bacchae, Mary Barton, Electra and Mayhem at the Royal Exchange; Dancing at Lughnasa at Birmingham Rep; The Spanish Tragedy at the Arcola; Romeo and Juliet, The Antipodes and Hamlet at Shakespeare’s Globe; Comfort Me with Apples at Hampstead and on tour; Assassins at Sheffield Crucible; Seasons Greetings and Popcorn at Liverpool Playhouse; Romeo and Juliet at Southwark Playhouse; The Tempest, Roberto Zucco and Measure for Measure for the RSC; A Passage to India, The Magic Toyshop and Jane Eyre for Shared Experience; The Winter’s Tale, Ghosts for Method & Madness; Maid Marian and her Merry Men at Bristol Old Vic; What I Did in the Holidays for Cambridge Theatre Company; The Plough and the Stars, Hunchback of Notre Dame, Dangerous Corner and A Midsummer Night’s Dream at the New Vic, Stoke; and The Laramie Project in the West End. TV includes Father Brown, Belgravia, Casualty, My Country; a work in progress, Grantchester, Dark Angel, EastEnders, Doctors, Prisoners’ Wives, Call the Midwife, Land Girls, Sirens, South Riding, Silent Witness, Poppy Shakespeare, Bad Mother’s Handbook, Waterloo Road, No Angels, The Bill, Murphy’s Law, Fat Friends, Outlaws and M.I.T. Film includes Broken and The Libertine. Radio includes Second Chance, Uganda and Crime and Punishment.
Tom Mackley trained at the Royal Conservatoire of Scotland. His work in theatre includes The Silver Sword on UK tour; The Tale of Mr Tumble at Manchester Opera House; The BFG at the Royal Lyceum, Edinburgh; Our Day Out at Oldham Coliseum; Story Hunters at Theatr Clywd; The Little Mermaid and Mother Goose for Adam Smith Theatre; Forest Boy at the Arcola and The Other Palace; The 25th Annual Putnam County Spelling Bee on UK tour; Harry Potter and the Cursed Child (original company) in the West End. TV includes Sex Education, Ghosts and The Tale of Mr Tumble. Film includes Sunshine on Leith and Realtime.
Charleen Qwaye’s work in theatre includes The Butterfly Lion at the Minerva, Chichester; A Midsummer Night’s Dream and Our Country’s Good at the Tobacco Factory; The Curious Incident of the Dog in the Night-Time in the West End for the National Theatre; Kiki’s Delivery Service at Southwark Playhouse; The Taming of the Shrew and Doubt at the Landor; 4:48 Psychosis at the Edinburgh Fringe; The Full Monty at Charing Cross Theatre; Elephant Man and The Peculiar Tale of Pablo Picasso and the Mona Lisa at the Brockley Jack; Chicago, Chess the Musical, I Can’t Stop Loving You, Oh! What A Night! and Viva La Diva on UK tour; The Blues Brothers and This Is the Night (also at Richmond Theatre) on European tour. Choreography includes Classical Spectacular and Jingle Bell Christmas at the Royal Albert Hall. TV includes Jerk and Crimes Stories. Film includes Mind-Reading Algorithms. Charleen Qwaye is also the Co-founder and Director of Training for the accredited Fourth Monkey Actor Training Company.
Grace Hogg-Robinson’s work in theatre includes Sitting for BBC Arts, 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.
Laura Rogers’ work in theatre includes The Memory of Water, 55 Days and Revelations at Hampstead; Our Town at Regent’s Park; Pressure in the West End; Suzy Storck for the National Theatre of Brittany; Rules for Living for English Touring Theatre; A Lie of the Mind at Southwark Playhouse; Winter Solstice at the Orange Tree; A Lovely Sunday for Creve-Coeur for Print Room at the Coronet; Private Lives on UK tour; Tipping the Velvet at Lyric Hammersmith; An Ideal Husband, Pressure, Blue Remembered Hills and Hay Fever at Chichester; Masterpieces at the Royal Court; The Comedy of Errors, Macbeth, A New World, As You Like It, A Midsummer Night’s Dream, Timon of Athens, The Taming of the Shrew and Richard III at Shakespeare’s Globe; The Dark Philosophers for the National Theatre of Wales; The 39 Steps and Bad Girls the Musical in the West End; See How They Run at the Royal Exchange; The Three Musketeers and The Barber of Seville at Bristol Old Vic; Celestina at Birmingham Rep; Jamaica Inn at Salisbury; and Blackwater Angel at the Abbey. TV includes EastEnders, Holby City, New Tricks, Law and Order UK, Dates, Doctor Who: Christmas Special, Midsomer Murders, Albert’s Memorial, Missing, Bad Girls, Rockface, Relic Hunter and The Sins.
Jeff D’Sangalang trained with the NYT REP Company, where his productions included Victoria’s Knickers, Consensual, Macbeth and To Kill a Mockingbird. His work in theatre includes The Ocean at the End of the Lane at the National; BOYS with The PappyShow at the Vaults Festival and the North Wall; and That Pesky Rat at Chichester. Short films include Broken Crumbs and BOYS.
Nicolas Tennant trained at Drama Centre, London. His work in theatre includes The Curious Incident of the Dog in the Night-Time for the National Theatre on UK tour; The Duchess of Malfi, All’s Well That Ends Well, As You Like It and Hamlet for the RSC; The Seagull at Lyric Hammersmith; The Alchemist at Liverpool Theatre; Twelfth Night and Tiger Country at Hampstead Theatre and Three Kingdoms at Lyric Hammersmith, Munich Kammerspiele and NO99. TV includes Peaky Blinders, The Bill, Hogfather, Holby City, The Residents and The Bomb Maker. Film includes Denial, Sex Lives of the Potato Men, Tube Tales and Oscar and Lucinda.
Nia Towle trained at Guildhall School of Music and Drama. This is her theatre debut. Film includes Persuasion and the short films Late, Sparklers and They Found Her in a Field.
Peter Twose trained at East 15. His work in theatre includes War Horse on UK tour and in South Africa for the National Theatre; The Hatchling (world premiere) for Trigger Productions; Dinosaur World Live on US tour; Dracula at Esplanade, Singapore; The Love Suicides at Sonezaki and Visions of Tiriel and the Daughters of Albion at Wilton’s Music Hall; Antigone for Chris Vervain Theatre; and Moominland Midwinter with Theatre Royal Bath.
Katy Rudd’s work in theatre includes Camp Siegfried at the Old Vic; The Almighty Sometimes at the Royal Exchange; A Curious Night at the Theatre at the Apollo; and The Butterfly at Salisbury Playhouse. As associate director theatre includes Groundhog Day (also on Broadway; Olivier Award for Best New Musical), Lungs 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.
Fly Davis trained at RADA and Motley School of Design. Her work in theatre includes Beginning (also West End, Queen’s Theatre Hornchurch and on UK tour), The Ocean at the End of the Lane and Pericles at the National Theatre; Caroline, or Change at Studio 54 and in the West End; Groan Ups on UK tour; Appropriate at the Donmar Warehouse; Vassa and Shipwreck at the Almeida; Tao of Glass at Manchester International Festival; and The Hour We Knew Nothing of Each Other at Edinburgh Royal Lyceum.
Samuel Wyer is a theatre designer, puppet maker and illustrator. As designer his work includes, Lazuli Sky at Sadler’s Wells with Birmingham Royal Ballet; Wolf, Witch, Giant, Fairy at the Royal Opera House with Little Bulb; Alice’s Adventures Underground, The Terrible Infants, The Trench and Dinner at the Twits for Les Enfants Terribles; Marvin’s Binoculars and WILD! at the Unicorn; and The Elephantom at the National Theatre and for Gyre & Gimble. As costume and puppet designer, his theatre includes She Described it to Death at the Royal Opera House; and The Wizard of Oz at the Birmingham Rep. As puppet designer his theatre includes The Boy in the Dress for the RSC; How to Hide a Lion at Polka; Raymond Briggs’ The Bear for Pins and Needles.
Steven Hoggett’s recent work as movement director/ choreographer include Harry Potter and the Cursed Child on Broadway, in the West End and internationally; Angels in America on Broadway; The Crucible on Broadway; The Curious Incident of the Dog in the Night-Time (also West End and on Broadway), The Ocean at The End of the Lane and The Light Princess for the National Theatre; The Last Ship, Rocky, American Idiot and Peter and the Starcatcher on Broadway; Brooklynite for Vineyard Theatre; Let the Right One In for National Theatre of Scotland and at St Anne’s Warehouse; The Glass Menagerie at A.R.T., on Broadway and at Edinburgh International Festival; Once at A.R.T., on Broadway and in the West End; Saint Joan at the Public Theater; and as associate director / movement, Black Watch forNational Theatre of Scotland and at St Anne’s Warehouse. As director, recent work includes Social! Distance Dance Club at Park Avenue Armory; and Close to You: Bacharach Reimagined at New York Theatre Workshop and in the West End. Hoggett was a director and founding member of Frantic Assembly Theatre Company, and with Scott Graham co-wrote The Frantic Assembly Book of Devising Theatre (Routledge).
Jherek Bischoff is a composer, arranger, producer and multi-instrumental performer. His work in theatre includes Andersen’s Stories, The Sandman, The Flying Classroom, Johnny Breitwieser and The Journey. His symphonies include Jump!Star and his ballets include Wash of Gray for Pacific Northwest Ballet. His work has been performed by orchestras and ensembles including The National Symphony Orchestra, BBC Symphony Orchestra, Stargaze and yMusic, and he has collaborated with David Byrne, Robert Wilson and Anna Calvi amongst others. His compositions include work for Kronos Quartet, Lincoln Center, St Ann’s Warehouse and the Royal Conservatory. Jherek Bischoff’s releases include Cistern, Composed, Chestnuts Roasting on an Open Fire Walk with Me and Strung Out in Heaven: A Bowie String Quartet Tribute (co-release with Amanda Palmer). His work for TV and film includes The Devil Makes Three, The Beauty of Decay, New Amsterdam, Glow, The Grave of St Oran, Dog Days, A Futile and Stupid Gesture, Thank You For Coming, Blunt Talk and Wet Hot American Summer: First Day of Camp.
Paule Constable trained at Goldsmiths, University of London. Her recent work in theatre includes The Normal Heart, The Visit, or the old lady comes to call, The Ocean at the End of the Lane, ‘Master Harold’… and the boys, Nine Night (also West End), Pericles and Follies at the National Theatre; …and breathe at the Almeida; Tenebrae: Lessons Learnt in Darkness (co-creator and lighting designer) at Brighton Festival; The Nico Project at Manchester International Festival; The Cherry Orchard at ITA, Amsterdam; Local Hero at Edinburgh Royal Lyceum; The Meeting at Chichester; ear for eye at the Royal Court; Les Misérables in Concert (at the Sondheim and Gielgud), Les Misérables and The Moderate Soprano in the West End.
Ian is an award-winning sound designer and with extensive credits in the UK and internationally. Hi work has included The Ocean At The End Of The Lane, Translations, Small Island, Angels in America (also Broadway), Husbands and Sons for the National Theatre; Camp Siegfried at the Old Vic; 2:22 at the Noёl Coward; Company and Hangmen on Broadway and in the West End; Uncle Vanya at the Pinter Theatre and Audible Play; The Lion The Witch and The Wardrobe at the Bridge Theatre and Leeds Playhouse; Europe, Elegy, Roots and The Weir at the Donmar Warehouse; True West at the Vaudeville; Heisenberg at Wyndham’s; Fatherland at the Lyric, Hammersmith and The Royal Exchange, Manchester; Junkyard at Bristol Old Vic and on tour; Fracked! at Chichester Festival Theatre and on tour; Before I Leave at the Sherman Theatre, Cardiff; Before the Party, Uncle Vanya, Children’s Children and Mrs Klein at the Almeida; Jerusalem at the Apollo; This House at the Garrick and on tour; Absent Friends at the Pinter; Love’s Sacrifice for the Royal Shakespear Company; The Nether at Duke of York’s; The River on Broadway; A Midsummer Night’s Dream, All My Sons and To Kill a Mockingbird at Regent’s Park Open Air Theatre; and The Machine at Manchester International Festival and in New York.
Ian has received Tony nominations for his work on Broadway, most notably for Rock & Roll, Jerusalem and Angels In America. He was the recipient of both an Olivier and Drama Desk Award for The Curious Incident of the Dog in the Night-Time, which has played at the National Theatre and toured venues worldwide. Ian has been a member of the Autograph team since 2009. autograph.co.uk
Finn Caldwell is a director, designer and performer and co-artistic director of Gyre & Gimble, a theatre company specialising in puppetry. His work in theatre includes Angels in America, The Light Princess and War Horse at the National. As puppetry director and co-designer work includes Life of Pi at Sheffield Crucible and in the West End; The Wicker Husband at the Watermill; The Grinning Man at Bristol Old Vic and in the West End; Dr Seuss’ The Lorax at the Old Vic and Toronto; and Running Wild at Chichester, on UK tour and Regent’s Park. Other theatre work 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; and The Elephantom at the National and in the West End, for Gyre & Gimble. As director his work 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.
Jamie Harrison is co-artistic director of Vox Motus and has co-created, co-directed, and designed all of the company’s work, most recently Bedknobs and Broomsticks on UK tour with Disney / Michael Harrison Entertainment, Flight (Critics’ Awards for Theatre Scotland, Best Design; Herald Angel; New York Times Theatre moments of 2018) at Edinburgh International Festival and Dragon (UK Theatre Awards, Best Production for Children and Young People), a collaboration between Vox Motus, National Theatre of Scotland and Tianjin People’s Theatre, China. Other recent work includes set and illusion design for Mozart’s The Magic Flute for Ex Machina and Quebec Opera Festival; magic and illusion design for The Ocean at the End of the Lane and Pinocchio at the National Theatre. He created the magic and illusions for the multiple Olivier and Tony award-winning production Harry Potter and the Cursed Child in London’s West End, on Broadway, in San Francisco, Melbourne and Hamburg. Harrison also designed the puppets and illusions for Charlie and the Chocolate Factory at the Theatre Royal Drury Lane. Jamie Harrison has won several international awards for his work including a special citation from the New York Drama Critics’ Circle and the San Francisco Bay Area Theatre Critics’ Circle ‘Excellence in a Theatre Specialism’ Award. In 2017 he was the recipient of the Edinburgh International Magic Festival’s Great Lafayette Award for outstanding contribution to stage magic. Jamie Harrison trained as an actor at the Royal Conservatoire of Scotland.
A special illustrated edition of The Ocean at the End of the Lane, the bestselling magical novel from master storyteller Neil Gaiman, is available now.
The official soundtrack release of the original score from composer Jherek Bischoff. Now available to stream and download on all major platforms.
CD edition available to buy from the National Theatre Bookshop and in person at The Duke of York’s Theatre. A special limited-edition vinyl will also be released in 2022.
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.
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.