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Review: One Flew Over The Cuckoo’s Nest (The Old Vic)

Review by Daz Gale


⭐️⭐️⭐️⭐️⭐️


After an incredible run, Matthew Warchus’ final season as the Artistic Director of the Old Vic is coming to a close. Going out with a bang, his final season has featured a newly reconfigured setting, leading to a more intimate, 360-degree viewing experience. Previous titles in his final season have included the acclaimed Arcadia, Mary Page Marlowe and a reinvigorated production of his now traditional A Christmas Carol, but for his latest, he has teamed up with another proven Artistic Director to bring a new take on a classic story. With a cast every bit as impressive as the creative team, could One Flew Over the Cuckoo’s Nest fly to crazy new heights, or would the whole thing be in need of serious treatment?



One Flew Over the Cuckoo’s Nest has transcended multiple media in the 66 years since it debuted. Beginning life as a novel by Ken Kesey in 1962, it was swiftly adapted into a play on Broadway and the West End, and is also known for its 1975 film adaptation starring Jack Nicholson. It is a story that is loved by many, with new takes still popping up, including a prequel series about the iconic character of Nurse Ratched in 2020. Cut to 2026, and Dale Wasserman’s 1963 play is back in London, and bursting with life.


Set in a psychiatric facility, the regular patients are rocked by the arrival of Randle P. McMurphy, a rebellious and disruptive character who threatens to shake up the daily lives of everyone there, much to the dismay of the strict Nurse Ratched. Having been stripped of their humanity, he encourages his fellow patients to challenge authority and reclaim the sense of freedom that had been long lost; he just may hold the key to a different kind of treatment for them. With the question of who actually has the patients’ best interest at heart and who is on a power trip, his actions risk having severe consequences for all involved.



Ken Kesey’s original novel is a timeless classic, though I must admit having never read or seen any version of One Flew Over the Cuckoo’s Nest before. I believe that worked in my favour on this occasion by having nothing to compare it to and taking the source material at face value and being wowed by the intricacy of both Kesey’s writing and Dale Wasserman’s thrilling adaptation of it. This production seemingly aims to blur the lines between good and evil/right and wrong, choosing to focus on the grey middle areas as opposed to the black and white world the original is set in. This is demonstrated by never giving explicit answers for who is being entirely honest, and what the nature of every character is in this play, leading to a fascinating and captivating watch. All characters have both good and bad qualities to them, with our supposed hero, McMurphy, acting as more of an anti-hero. The result is a compelling character study that touches on themes such as power, freedom and sanity.


If you are wondering the reasons for the five-star rating at the top of this review, the first huge reason is the awe-inspiring and intricate direction of Clint Dyer. Dyer had a clear vision for this production, and it has been faultlessly executed, with meticulous and incredibly detailed choices to be found at every turn. The programme mentions how the Old Vic’s current In The Round configuration was integral to the success of this production, and it isn’t hard to see why. The beauty of this new configuration is the intimacy and unrivalled connection the space offers, with nowhere to hide, exposing every detail. In a show that can be as occasionally disturbing and unsettling as One Flew Over The Cuckoo’s Nest, the connection is unparalleled, stripping back the story and all of its complex themes to reveal the core theme at the heart of it - humanity. Watching the suffering of the characters in such close proximity doesn’t fail to tug at the heartstrings and elicit some extreme responses. I found my heart in my chest throughout, reminding myself to breathe at certain moments, and even had to resist the temptation to audibly react during one pivotal moment. This is the response theatre should create at its best - that raw and visceral feeling that demolishes all barriers between doctor and patient, performer and audience, and reminds us we are all flawed humans trying to make it through the day.



Dyer’s creative vision is felt from the unlikely opening moments, with the play beginning with an allusion to Congo Square, before harshly placing the audience back to reality. These escapes into fantasy are called back throughout with supposed flashbacks (or fantasies) to Chief Bromden’s life in a fantastic callback to the narrative of the original novel as well as hinting at themes of colonialism and social structures. There is a concern of making light of mental health with the characterisations in ways that I imagine would be more problematic today than when the play first premiered. Dyer handles this sensitively, offering well-thought-out characters who all have their struggles, but are never made light of. While there is humour to be found in the story, this is never at the expense of any of the characters or those who suffer similar ailments. It is the extreme and often exaggerated mannerisms that each character has that speak both for the genius of Dyer’s direction as well as the intricacy of Lucie Pankhurst’s movement, with each having distinct and rich characteristics.


One Flew Over The Cuckoo’s Nest also benefits from some striking design aspects, with Ben Stones’ set making full use of the In The Round configuration at the Old Vic, offering a multi-level experience with characters regularly climbing and descending stairs to head to Nurse Ratched’s office. A stunning usage of lighting design from Chris Davey elevates the visuals of the play, with an unlikely but effective inclusion of video design from Gino Ricardo Green furthering the success of this. The set may be largely static for the most part, but it never proves boring, with each design element used to complement the incredible cast and never detracting from them. Sound from Benjamin Grant is used to create a tense atmosphere, rather sparingly at times, but always coming to life in key moments to accentuate the action.



Speaking of the cast, they are the other reason for this five-star review. Taking on the tricky role of Nurse Ratched, Olivia Williams was a rather late addition to the cast, as a relatively last-minute replacement for Michelle Gomez, who had to withdraw from the production. A wonderful actress in her own right, you could tell she may not be quite as confident with the material as I'm sure she will be later in the role, with a handful of fumbles throughout. However, her stage presence and overall quality in the role made these minor mistakes all the more forgivable, bringing a rather loathsome character to life in a magnificent way.


Whenever Giles Terera is in a production, there is a reliable level of quality you expect with him as an actor who always amazes. This is no exception, with his characterisation of Dale Harding playing to all of his many strengths, with musical moments showcasing his incredible vocals, as well as aspects of comedy and the authenticity Terera can bring to any role he takes on. Arthur Boan is a highlight as Chief Bromden in a slow-burn of a performance that comes into its own in the second Act in a truly captivating portrayal. Jason Pennycooke has a small but mighty role as Martini, while Kedar Williams-Stirling provides a key emotional moment in a sweet and lovable performance as Billy Bibbit.



There is one undoubted standout in this production, however, and that is Aaron Pierre. Leading the cast as Randle P. McMurphy, what Pierre does in this role is nothing short of miraculous. Somehow managing to embody conflicting characteristics simultaneously, there is an admirable nature to his quest to free his fellow patients, mixed with the selfishness of doing what he can to free himself and the very real threat of violence that makes his portrayal feel all the more dangerous. You never quite know where you stand with McMurphy, and if you are seeing the real character, Pierre's flawless performance captures that beautifully. The moments of comedy, moments of power, and moments of fear are all handled with ease, with Pierre delivering what can only be described as a masterclass performance. This year’s Olivier Awards may have just taken place, but with this performance, Pierre has just marked himself as a real contender for the Best Actor Award next year.


One Flew Over the Cuckoo’s Nest has captivated audiences for 66 years. There is the question of how you can bring something new and different to the story in 2026, while retaining the essence of the original? The answer is here, through Clint Dyer’s breathtakingly brilliant production. Intimate and effective, every choice that has been made here comes together to create a truly terrific show, and an early contender for the best play of the year. If you want to experience what theatre can do at its best, and come out of the Old Vic bursting with emotion and feeling, get yourself a ticket to this show. You’d be crazy to miss it!


One Flew Over the Cuckoo’s Nest plays at the Old Vic until 23rd May.


Photos by Manuel Harlan

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