British Theatre

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young-vic-theatre

4.6 · 1.9k Google reviews Box office closed · opens 12pm

The Young Vic Theatre is a performing-arts venue located on The Cut, near the South Bank, in the London Borough of Lambeth, United Kingdom. The Young Vic was established by Frank Dunlop in 1970.

Photos via Google. Attributions: Thomas Schmidt, Rohan Green, Uknow, Ollie Hill

Google rating

4.6 ★ (1.9k)

Venue info

The Young Vic Theatre is a performing-arts venue located on The Cut, near the South Bank, in the London Borough of Lambeth, United Kingdom. The Young Vic was established by Frank Dunlop in 1970.

History

In the period after World War II, a Young Vic Company was formed in 1946 by director George Devine as an offshoot of the Old Vic Theatre School for the purpose of performing classic plays for audiences aged nine to fifteen. This was discontinued in 1948, when Devine and the entire faculty resigned from the Old Vic, but in 1969 Dunlop became founder-director of The Young Vic theatre with Scapino, his free adaptation of Molière's The Cheats of Scapin, presented at the new venue as a National Theatre production. It opened on 10 September 1970 and starred Jim Dale in the title role, with designs by Carl Toms (decor) and Maria Björnson (costumes). Initially part of the National Theatre, the Young Vic Theatre became an independent body in 1974. In the words of Laurence Olivier, then-director of the National Theatre: "Here we think to develop plays for young audiences, an experimental workshop for authors, actors and producers." The aim was to create an accessible theatre which offered high quality at low cost in an informal environment. The aim was to appeal to young audiences, but this time not specifically to children.

Dunlop completed creation of the theatre venue in 1970, a breeze-block building constructed out of a former butcher's shop and an adjacent bomb-site with a red wooden slat auditorium bench seating . The structure was intended to last for five years, but has become permanent. The auditorium, with a thrust stage, has an approximate capacity of 420, although the configuration and capacity can vary depending on the design of each production. The theatre undertook a significant rebuilding and renewal project in the 2000s, designed by architects Haworth Tompkins, boosting its visibility on The Cut. In addition to the Young Vic's main house, there are now two smaller theatre spaces. The Maria, named after theatre designer Maria Björnson, is the larger of the two with a capacity of 150. The Clare, named after Clare Venables, a former artistic director of the Young Vic and Sheffield Crucible, seats 70. Like the main house, both smaller theatres have flexible seating configurations which can be arranged to suit the production design. In the two smaller auditoria, seating is usually unreserved, with the actors performing in close proximity to the audience. The Young Vic performs both new writing and classic plays, the latter often in innovative productions. Despite its small size, like the Almeida Theatre, the Young Vic has attracted well-known actors since its creation. These have included Ian Charleson, who made his professional debut with the Young Vic 1972–74, and who played Jimmy Porter in Look Back in Anger and Hamlet in the first revival of Tom Stoppard's Rosencrantz and Guildenstern Are Dead in 1973, as welk as Vanessa Redgrave, Helen Mirren, Judi Dench, Timothy Dalton, Robert Lindsay, Willard White, John Malkovich, Michael Sheen and Arthur Lowe. The rock band The Who held free, weekly concerts at the Young Vic in early 1971, in order to rehearse what would become their album, Who's Next. One of these shows was released on the Deluxe edition of this album. A memorial at the theatre's south-east corner commemorates the fifty-four people killed in 1941 while sheltering in the cellars of the former building during the Blitz of World War II. In 1982, the theatre hosted a Poetry Olympics, where comedian Pat Condell took part. Virginia Woolf taught at Morley College from 1905, a precursor of the Young Vic's education and community engagement programme. The latter now runs an office which accommodates and houses the "homeless" Belarus Free Theatre, of Nikolai Khalezin, Natalia Kaliada, with Sarah Kane's play 4.48 Psychosis performed underground, illegally in Minsk and Farringdon, in the cold cells of Clerkenwell House of Detention, a secret location in London. Echoing the words of Woolf and mirroring her suicide, Kane's play was sponsored by another feminist, Sue Emmas, who since the year 1993 has been associate director of the social engagement programme, working closely with Kwame Kwei-Armah and leads the Directors Program which provides initiatives for emerging directors, with emphasis on seeking out and nurturing artists from under-represented backgrounds.

Frank Dunlop (1968–1971, also administrative director) Michael Bogdanov (1971–1973) David Thacker Julia Bardsley and Tim Supple (jointly) (1991–1994) Tim Supple (1994–2000) David Lan (2000–2018) Kwame Kwei-Armah (2018–2024) Nadia Fall (since 2025)

2004 – Laurence Olivier Award for Outstanding Achievement in an Affiliate Theatre 2008 – Laurence Olivier Award for Best Musical Revival – The Magic Flute 2013 – Critics' Circle Theatre Award for Best Musical – The Scottsboro Boys 2016 – Laurence Olivier Award for Best Revival – Yerma 2017 – Critics' Circle Theatre Special Award for Commendation for artistic direction at the Young Vic – David Lan 2018 – Critics' Circle Theatre Award for Best New Play – The Inheritance 2018 – Evening Standard Theatre Award for Best New Play – The Inheritance 2019 – Screen Nation Film and TV Diversity in Drama Award – Soon Gone: A Windrush Chronicle 2019 – Laurence Olivier Award for Best New Play – The Inheritance

Box office hours

Box office closed · opens 12pm

  • Monday: 12:00 – 6:00 PM
  • Tuesday: 12:00 – 6:00 PM
  • Wednesday: 12:00 – 6:00 PM
  • Thursday: 12:00 – 6:00 PM
  • Friday: 12:00 – 6:00 PM
  • Saturday: 12:00 – 6:00 PM
  • Sunday: Closed

These are the box office (ticket desk) hours supplied by Google. The theatre itself opens around 45 minutes before curtain-up — always check your ticket for the performance start time. You can book online any time through British Theatre.

Accessibility

Available at this venue:

  • Wheelchair-accessible entrance
  • Wheelchair-accessible toilet

Not available at this venue:

  • Wheelchair-accessible parking

Accessibility information supplied by Google Maps. Please contact the venue directly to confirm details for your visit.

What visitors say

2.0 · 3 months ago
Gritty, raw theatre let down by unfair, shoddy customer service. Watched: Bengal Tiger at the Baghdad Zoo Paid just under £120 for two higher end seats (row F) for this much anticipated show but was forced to miss the beginning of the show. Not sure I’d ever go back after such poor and unfair customer service. We arrived maybe 2-3mins late and saw people let into the theatre space just in front of us, but we were specifically blocked from entry and made to wait outside. The young usher was helpful and tried to let us in checking with her Manager because the show hadn’t started, but the Duty Manager kept saying no. Our seats were right next to the entrance door so it would’ve been quick and easy to let us sit down. When I asked to politely speak with the Manager she came out and gave me a bunch of excuses that made no sense as to why we couldn’t have just quickly sat down inside. I knew the play hadn’t started, she knew the play hadn’t started, our seats were next to the entrance door and yet she was arguing with me loudly and kept us waiting outside for 20mins. Her excuses ranged from “the play has already started” (when it hadn’t) to “it would disturb people with the door opening” to “it’s not fair on others in the row if you walk past them”. As it turned out it was all a bunch of lies. She kept saying 'after 12mins we will let you in' but we were kept waiting outside for 20mins. We were led upstairs to the gallery area to sit as ‘late comers’ which highlighted a number of lies the Manager had told us: 1. Whilst we were waiting the Manager decides to announce “don’t worry the show started 10mins late today so you won’t have missed much”. After all that arguing she contradicted her own excuses as to why she didn’t let us in. Why not just let customers in rather than excluding them when the show hasn’t even started? 2. The upstairs gallery was empty, so again, why did we wait outside for 20mins? It wouldn’t have ‘disturbed’ anyone if we were led upstairs and sat there immediately meaning as paying customers we wouldn’t have missed the start of the performance! 3. At the interval we were then told we could “stay upstairs if we wanted”, which we did, but then the Duty Manager with her chaos said that everyone has to clear out. Totally contradicting her colleagues. 4. When we got to our booked seats someone else was sat in them and when we asked them to move (ushers not present at all) the entire row was actually empty - so we wouldn’t have disturbed anyone if we had just sat in our seats at the beginning. 5. The actors keep walking into the play from the aisles so the doors are constantly opening and ‘disturbing the audience’ anyway! Would’ve made no difference if we had entered 30 seconds after the last customer even if the show had started. There were other lies which I can’t be bothered to list. I think the Duty Manager was just being spiteful. Some sort of power trip. Left me wondering was it our appearance she didn’t like? Who knows. This was my first experience of going to the Young Vic and honestly it was handled in such a poor manner by the Management. I’m disappointed the customer service is non existent! I felt EXCLUDED with no genuine reason why they made us miss the entire start of the performance other than their own sheer INCOMPETENCE or SPITE. The play itself is worth watching, it’s gritty, it’s raw theatre and is a much needed topic in our theatre spaces…the actors are superb and the dark humour is sharp and stings, they move about the stage effortlessly so every seat is a good seat and the lighting and stage set up adds perfectly to the drama of horror and war. I immediately felt transported to war torn Iraq with all the ghosts of conflict and trauma that night. But with such bad customer service I would be wary of returning to the Young Vic as I don’t know if we would be treated fairly??
— Emily Smith
4.0 · 3 months ago
Jan26- first timer. Gosh it's not 15mins walk from Blackfriars per Google- more like 25! It's a lovely vibe and not too busy at bar. The proximity to stage means a good view unless too far round one side. Did feel a draft from a door, as did others sat in row C21, 20, 19 etc. Sound immense and lighting good. Saw A Bengal Tiger at the Beirut Zoo: fascinating! Excellent production and acting amazing especially son of Saddam, the tiger and the gardner. Wow
— D Y
5.0 · 2 months ago
Love Bengal Tiger at the Baghdad Zoo at the Young Vic Very atmospheric, powerful & mesmerising performances in an intimate setting.
— Raj Kumar
3.0 · a year ago
Appreciated getting tickets to see The little foxes a few months ago through the neighbourhood theatre scheme. As a theatre venue, it's good there is a quiet room to decompress for a bit. Also, accommodating of accessibility needs, including a lift and accessible toilet. However, my experience was not good, and I went to a relaxed performance being my first time. The audience member sitting in front of me complained of my movements of eating and drinking, despite people near me doing the exact same thing and coughing, etc, no one bothered them. 3 times this person and I believe partner, turned around to complain couldn't hear performance. I then replied with, it's a relaxed performance and was left alone after. I did want to leave the theatre but stuck through it and used the quiet room after. I felt singled out with my friend and was upset about this situation that I felt I couldn't fully enjoy the performance, especially being neurodivergent. We need places that are accommodating and understanding for all disabilities and people to understand what a relaxed performance means. I've been to many theatre shows, eating and drinking during and after an interval like many people do, and I've never had an issue before. I do appreciate having email responses from the theatre and they are informing colleagues in various departments on how they can further improve the communication to audience members to ensure everybody knows that not only is the performance relaxed, but what it actually means to be relaxed. I would come back again if I get offered another ticket through the scheme. I wouldn't be willing to see a performance and pay because of the experience I had caused me immense anxiety.
— Lucy Brook

Reviews sourced from Google Maps.

Live venue listings

REVIEW: The Convert, Young Vic Theatre ✭✭✭✭✭

16 December 2018

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REVIEW: The Inheritance, Young Vic Theatre ✭✭✭✭✭

29 March 2018

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REVIEW: Golem, Young Vic Theatre ✭✭✭✭✭

21 December 2014

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REVIEW: A View From The Bridge, Young Vic Theatre ✭✭✭✭✭

26 April 2014

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REVIEW: Happy Days, Young Vic Theatre ✭✭✭✭

1 February 2014

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Frequently asked questions

What's on at young-vic-theatre?

There is no production currently on sale at young-vic-theatre. Check back soon, or browse our full list of West End shows.

How can I contact young-vic-theatre?

You can call young-vic-theatre on 020 7922 2922. For tickets and bookings, please use British Theatre to secure the best seats.

What are the box office hours at young-vic-theatre?

The young-vic-theatre box office (ticket desk) operates: Monday: 12:00 – 6:00 PM; Tuesday: 12:00 – 6:00 PM; Wednesday: 12:00 – 6:00 PM; Thursday: 12:00 – 6:00 PM; Friday: 12:00 – 6:00 PM; Saturday: 12:00 – 6:00 PM; Sunday: Closed. Right now the box office is closed · opens 12pm. The theatre itself opens around 45 minutes before curtain-up — and you can book online any time through British Theatre.

Is young-vic-theatre accessible?

young-vic-theatre offers wheelchair-accessible entrance, wheelchair-accessible toilets. Please contact the venue directly if you have specific access requirements.

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