Still crazy, after all these years: The Old Vic’s new take on One Flew Over The Cuckoo’s Nest is like a cage fight in a hospital day room, says our critic

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One Flew Over The Cuckoo’s Nest (Old Vic Theatre, London)

Verdict: Manically impressive

For over sixty years, One Flew Over the Cuckoo’s Nest has remained a hugely important part of our culture. This is due in part to Jack Nicholson’s iconic performance in the 1975 film, and also to the enduring popularity of Ken Kesey’s novel among those interested in the counterculture movement of the 1960s.

At the same time, its sexual politics have grown awkward – not to say ‘problematic’.

Clint Dyer’s vibrant and energetic production reimagines the 1963 stage adaptation as a story about colonialism and the joy of liberation. This interpretation feels natural, fitting with Ken Kesey’s image as a countercultural and imaginative writer.

Oh my gosh, this show? It’s just… everything! It feels like a total fever dream, a crazy, over-the-top drama that’s also strangely beautiful. It starts and ends with this incredible, energetic African dance and drumming – it’s like being swept away into another world! Honestly, it’s not just a story, it’s an experience.

Aaron Pierre delivers a captivating performance as Randle P. McMurphy, a rebellious and charismatic patient who inspires hope among the other Black men held in a strict hospital. This hospital, overseen by the harsh Nurse Ratched (Olivia Williams), operates more like a prison than a place of healing.

He’s especially dedicated to helping Chief (Arthur Boan), a Native American leader, reclaim his people’s identity and well-being. The American pursuit of success has essentially destroyed their culture, spirit, and physical existence.

The main issue with Dyer’s adaptation is its failure to address the sexism present in the original story. It portrays Nurse Ratched as a cold, controlling figure and celebrates McMurphy’s newfound sexual freedom, even though he was convicted of sexually assaulting a minor.

It’s not about connection, but a battle for dominance – a raw, intense fight happening in a sterile, brightly lit space constantly watched by cameras. Traditional ideas about sex and relationships become irrelevant.

Pierre is powerfully built, like a boxer, but he’s also a gentle man who comforts and encourages his fellow patients to stand up against Nurse Ratched.

Williams and her are complete opposites. Where he is chaotic, she is calm and precise – a quiet, patient figure who seems to bring a chilling stillness wherever she goes, often conveyed through her intense, unwavering gaze behind her glasses.

Boan’s mostly silent Chief doubles as a kind of shamanic commentator.

Giles Terera, always a strong performer, delivers a nuanced and understated portrayal of Dale, a middle-aged man voluntarily hospitalized to address a painful sexual problem.

While not everyone in One Flew Over the Cuckoo’s Nest will find freedom, the film is always powerfully and intensely captivating.

One Flew Over The Cuckoo’s Nest runs until May 23 at the Old Vic.

 

Avenue Q (Shaftesbury Theatre, London) 

Verdict: Sex mad marionettes

For pub quiz enthusiasts, here’s a fun fact: Giles Terera, who’s currently starring in One Flew Over The Cuckoo’s Nest at the Old Vic, was also part of the original West End cast of the popular musical Avenue Q back in 2006.

The popular puppet musical, celebrating its 20th anniversary, has returned to London’s West End. However, audiences should be aware that the show includes puppet nudity and suggestive scenes involving the marionettes.

The mischievous glove puppets feature Princeton, a literature graduate who expresses his feelings of purposelessness through the song ‘It Sucks To Be Me’.

Oh my gosh, he’s just… everything! And it’s so frustrating because this sweet trainee teacher, Kate Monster, is totally into him, but he has eyes for Lucy The Slut – yes, she’s a pole dancer, and a gorgeous one at that! It all happens on this crazy, bustling street in Manhattan, where you also see this normal couple, Eve and Brian, trying to navigate life, and then there’s Gary, this former child star who’s now a handyman… honestly, it’s the most amazing, chaotic world, and he’s at the center of it all!

After twenty years, the material feels a bit old-fashioned. The song ‘The Internet Is For Porn’ doesn’t land as a joke anymore, and the rap ‘Everyone’s A Little Bit Racist’ now feels more like a statement of fact than a satire.

However, the story still explores themes of heartbreak and social awkwardness, focusing on characters like Rod, a gay intellectual, who is encouraged by his messy roommate, Nicky, to be more open about his identity.

The music and lyrics by Robert Lopez and Jeff Marx remain strong, blending insightful social observations with moments of delightfully cheesy fun.

I absolutely love how this show doesn’t try to be anything it’s not! It’s wonderfully silly, and the character Christmas Eve, played by Amelia Kinu Muus, perfectly embodies that. There’s this one line she sings – ‘love and hate, they like two brothers who go on a date’ – and it’s just brilliantly absurd and makes me smile every time.

We should also appreciate the puppeteers, especially Emily Benjamin, who powerfully sings Lucy’s suggestive and dramatic songs, much like Shirley Bassey.

Crucially, young adults can relax and relate to a show from a more forgiving, less censorious time. 

Avenue Q is booking until August 29 at the Shaftesbury Theatre.

 

ALSO PLAYING…BY GEORGINA BROWN

Flyby (Southwark Playhouse, London)

Verdict: Mission not quite accomplished

Following the incredible success of the Artemis II mission, a groundbreaking new musical is pushing creative boundaries and exploring uncharted territory.

Theo Jamieson and Adam Lenson’s musical, Flyby, is impressively ambitious and has moments of real inspiration, but it unfortunately loses its way. The story centers around Daniel Defoe, a 34-year-old astronaut (named after the author of Robinson Crusoe – a needlessly quirky detail) who goes missing after stealing a spacecraft. The mystery is: why did he do it?

After Daniel vanishes, the story returns to Earth, confining him and Emily – who are practically strangers – to a simple Airbnb. The narrative then gets bogged down by a chorus of commentators who endlessly analyze Emily’s flaws (pointing out her privileged background and her father’s problematic behavior) and list countless reasons why she and the wounded Daniel are a terrible match. There’s an overwhelming amount of exposition and not enough actual storytelling, which explains why Daniel feels trapped and wants to escape.

However, a kamikaze excursion into the void is absurdly extreme. Maybe it’s just a cosmic metaphor?

Despite Emily’s shortcomings, Poppy Gilbert delivers a captivating and brilliant performance, remaining grounded yet shining brightly.

Stuart Thompson beautifully portrays Daniel, a sensitive and heartbroken character, but his actions are puzzling, especially during his main song – a plea for someone to be his guiding light, building a lighthouse for him. It’s hard to believe he’s singing this to the intimidating Emily.

Jamieson’s music is exciting, blending dramatic strings and piano with beautiful, sweeping melodies. However, these melodies unfortunately don’t quite live up to their potential and aren’t particularly memorable.

The show is complex and captivating, though ultimately a little unsatisfying. It ends with a large sea turtle – it’s unclear if it’s a real creature or a robotic prop – which perfectly embodies the show’s mix of silliness and spectacle. With some refinement, this show has real potential.

Flyby runs at Southwark Playhouse until May 16. 

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2026-04-20 21:36