Lyric Hammersmith
Photo: Jim Stephenson

Lyric Hammersmith

Leftfield theatre remains at the heart of this striking Hammersmith arts hub
  • Theatre | Private theatres
  • Hammersmith
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Time Out says

The Lyric Hammersmith is closed due to the coronavirus epidemic. The programme is technically due to resume with ‘Antigone: The Burial at Thebes’ on April 18.

Emerging in 2015 from a multimillion pound makeover, the Lyric Hammersmith is less a simple theatre, more a multipurpose community hub that includes everything from recording studios to digital development rooms.

But plays remain at the heart of it all, thanks to the singular artistic directorship of Sean Holmes, who has turned the Lyric Hammersmith into a venue both avant-garde and accessible, marking it with his own, very European directorial style. He's leaving in 2019, to be replaced by incoming artistic director Rachel O'Riordan, who's had an impressive run of success at the helm of Cardiff's Sherman Theatre.

Exploring the Lyric's interior is a play of two halves; the front of house areas are all shiny concrete-floored modernity. But step inside the theatre's auditorium and you're suddenly transported into a carefully preserved 1895 Frank Matcham-designed roccoco interior of rare splendour, complete with an unusual, curved proscenium arch. That's because when the original Lyric Theatre was demolished in 1969, its auditorium was painstakingly removed and carefully preserved in a new theatre down the road, which opened in 1979, before being thoroughly revamped and expanded in the 21st century. 

The Lyric Hammersmith's tickets are cheaply priced, with many major shows staging a free preview for local residents. It's never fuller than at panto season, when the auditorium is packed out with families, and its regular Little Lyric strand of programming lures in kids during the school holidays. 

It's also arguably one of the best spots in central Hammersmith to grab a pint and a bite to eat, not least on its first floor roof terrace, which is a green and pleasant oasis in the middle of gritty W6.

Details

Address
Lyric Square, King St
London
W6 0QL
Transport:
Tube: Hammersmith
Price:
Various
Opening hours:
Check website for show times
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What’s on

The Children

3 out of 5 stars
As the world around us has burned or flooded this summer, the environmental themes of Lucy Kirkwood’s pointedly allegorical drama The Children have only grown more relevant in the decade since it debuted – as Lyric Hammersmith artistic director Rachel O’Riordan’s anniversary revival production makes clear. Ex-nuclear physicists and long-married couple Hazel (Meera Syal) and Robin (Declan Conlon) are living on a remote part of the British coast, trying to eke out a life in the radioactive aftermath of a disaster at a nuclear facility they originally helped set up. When ex-colleague Rose (Kerry Fox) suddenly reappears, the fallout from their past has ramifications for the future. The actors conjure an effectively brittle and on-edge atmosphere as the nuclear plant looms – literally and symbolically – over them in the form of the enormous reactor tunnel of Gary McCann’s set. It acts as the backdrop and frame for Hazel and Robin’s darkly post-apocalyptic The Good Life-style organic lifestyle. Ever-present and impossible to ignore, the aesthetic neatly evokes the situation’s blunt urgency. Syal’s Hazel, dressed in muted, earthy tones, is prickly and defensive, wielding a tight smile, yoga and healthy living as her defence against Rose’s incursion. Fox is nervy, frustration fuelling her too-loud laughter and as out of place in the couple’s tautly beige domesticity as her blue jacket. As Robin, Conlon rolls in with a forced jollity that deflates like a punctured balloon....
  • Drama

Cinderella

Although the regular churn of writers and directors means the Lyric Hammersmith panto can be a pretty mercurial affair, it’s probably taken the title of London’s best musical in recent years, wresting it away from the Hackney Empire’s less edgy offering. We don’t know a huge amount about 2026’s Cinderella yet other than the creatives, but they’re pretty interesting: it’s being written by Joel Horwood, whose recent CV revolves around big, bold adaptations, notably this year’s Sherlock Holmes and the recent West End hit The Ocean at the End of the Lane. And it’s directed by Robin Belfield, who has a mercurial CV that leans towards younger audiences. They’re both Lyric panto newcomers, but hopefully they stay true to its smart pop cultural humour and fearlessness about the odd political jibe.
  • Panto
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