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Kwame Kwei-Armah announces first season as Artistic Director at Young Vic

Kwame Kwei Armah
Kwame Kwei Armah

Kwame Kwei Armah

  • A musical adaptation of Kwame Kwei-Armah and Shaina Taub’s Twelfth Night
  • Black Panther’s Danai Gurira’s play The Convert
  •  Jesus Hopped the ‘A’ Train  by Stephen Adly Guirgis to be directed by Winner Kate Hewitt
  •  Genesis Future Director Award Winner announced as Debbie Hannan who will direct Things of Dry Hours by Naomi Wallace in the Clare
  • A new strand of work, YV Unpacked, taking the highest quality theatre to the community
  • Digital project My England, a celebration of Englishness from playwrights across the country
  • The Young Vic to host VR experience Draw Me CloseNational Theatre and National Film Board of Canada production
  • Crying in the Wilderness to join the Young Vic as new Associate Company
  • Initial casting for Twelfth Night is also announced: Gabrielle Brooks as Viola; Gbemisola Ikumelo as Maria; Jonathan Livingstone as Antonio and Silas Wyatt-Barke as Sir Andrew Aguecheek
  •  £5 First Previews announced – all Main House show first preview tickets will be sold at just £5 via a TodayTix lottery 
Kwame Kwei-Armah, Artistic Director, said:
 The Young Vic as a producing theatre has become synonymous with staging international works created by some of the world’s finest directors, performers and creatives; productions and projects that say something about the world that we live in. My first season as Artistic Director will attempt to balance on those shoulders the things that are important to me: joy, community, politics and these are deeply embedded in all that we do.

That’s why the musical reworking of Twelfth Night – that I previously directed at The Public Theater in New York – is the show that I have chosen to kick-start my tenure with. A show that stands community members shoulder to shoulder with professional artists, it’s filled with joyful, soulful music by Shaina Taub; it’s a celebration.

After this we will see Danai Gurira’s The Convert and Stephen Adly Guirgis’s Jesus Hopped the ‘A’ Trainboth, in my opinion, modern classics one portraying Rhodesia 1896 and the other prison in Rikers Island. Both plays ripe for interpretation by some of the most interesting young directors in the country.

Alongside these productions, today we announce two projects that will develop throughout the year. My England: a series of monologues from across England created by playwrights, actors and directors telling us how they define “Englishness” in our potentially fractious society. Through this we are committing to pushing the boundaries further, taking theatre outside our four walls and performing the highest quality shows in prisons, community hubs and centres across London. The first of these shows, Spring Awakening by Frank Wedekind, looks at the sexually oppressive culture of Germany in the nineteenth century.”

MAIN HOUSE

Twelfth Night
by William Shakespeare
Conceived by Kwame Kwei-Armah and Shaina Taub
Music and Lyrics by Shaina Taub
Directed by Kwame Kwei-Armah and Oskar Eustis
Tuesday 2 October – Saturday 17 November 2018
Press Night: Monday 8 October 2018

A Young Vic adaptation of Kwame Kwei-Armah and Shaina Taub’s Twelfth Night, originally performed at The Public Theater in New York as part of their Public Works program in 2016, and revisited this summer as part of their free Shakespeare in the Park Delacorte season.

This musical reworking of Shakespeare’s comedy with music and lyrics by critically acclaimed songwriter Shania Taub, will be designed for the Young Vic stage by Rob Jones with Oskar Eustis, Artistic Director of The Public Theater, co-directing with Kwame Kwei-Armah.

Initial casting includes: Gabrielle Brooks as Viola; Gbemisola Ikumelo as Maria; Jonathan Livingstoneas Antonio and Silas Wyatt-Barke as Sir Andrew Aguecheek.. These professional artists will perform alongside community members from Southwark and Lambeth in this classic tale of love and disguise.

The Convert
by Danai Gurira
Main House Friday 7 December 2018 – Saturday 19 January 2019
Press Night: Friday 14 December

Black Panther star and Tony-nominated writer Danai Gurira’s striking play explores the impact of colonialism and Catholicism on black identity.

Set in 1896 Rhodesia, a young girl is taken into the household of a black Roman Catholic missionary, escaping a forced marriage at the cost of leaving behind her family and converting to Catholicism.

Jesus Hopped the ‘A’ Train
by Stephen Adly Guirgis directed by Kate Hewitt
Thursday 14 February – Saturday 30 March 2019
Press Night: Wednesday 20 February 2019

From Pulitzer Prize-winner Stephen Adly Guirgis (The Motherfucker with the Hat) Jesus Hopped the ‘A’ Train takes places in a prison in Rikers Island New York. A frightened young man accused of murdering a cult leader is confronted with a charismatic born-again serial killer and a sadistic guard. Will one man’s redemption lead to another’s damnation?

Originally directed by Philip Seymour Hoffman, this adaption will be directed by Kate Hewitt, winner of the JMK Award 2014.

CLARE STUDIO

Things of Dry Hours
by Naomi Wallace and directed by 2018 Genesis Future Director Award Winner Debbie Hannan
Wednesday 15 August – Saturday 25 August 2018

2018 Genesis Award winner Debbie Hannan directs this tantalizing, poetic play. Weaving the spiritual into the political, Things of Dry Hours interrogates the idea that humans cannot change; are we really all that black and white?

Due to the nature of the Genesis Future Director Award, there will be no press night performance. 

WORK BEYOND THE STAGE


 YV Unpacked is a new strand of work, taking the highest quality theatre to people who do not normally think that theatre is for them. We will be taking shows to refugee centres, prisons, community hubs and homeless shelters as part of this work. The first work to be taken out to the community is: Spring Awakening by Frank Wedekind, directed Caroline Byrne.
My England is a celebration of playwrights from across regions of England. The works look at what it means to be English. Monologues will be recorded and shown on the Young Vic social media channels.

Confirmed commissions include work from: Lucy J Skilbeck, Omar El-Khairy, Polly Stenham, Barrie Rutter, Jack Thorne and May Sumbqanyambe.

Draw Me Close by Jordan Tannahill is a preview of the National Theatre and National Film Board of Canada production, presented by Young Vic. Draw Me Close blurs the worlds of live performance, virtual reality and animation to create a vivid memoir about the relationship between a mother and her son in the wake of her terminal-cancer diagnosis.
 Crying in the Wilderness Productions join the Young Vic as an Associate Company. Crying in the Wilderness Productions is dedicated to producing groundbreaking productions which are anchored to an intercultural philosophical practice. They have produced work in collaboration with the Bush Theatre, Arcola Theatre and at Stratford Circus Theatre.

Young Vic announces casting for Fun Home

fun home
fun home

fun home

Director Sam Gold makes his Young Vic debut with the five-time Tony award-winning musical Fun Home. Casting includes: Kaisa Hammarlund as Alison; Eleanor Kane as Medium Alison; Jenna Russell as Helen; Ashley Samuels as Roy, Mark and Jeremy; Cherrelle Skeete as Joan and Zubin Varla as Bruce, Alison’s father.

The production is produced in association with Sonia Friedman Productions, Fox Theatricals and Barbara Whitman.

Casting for Small Alison, John and Christian will be confirmed at a later date.

Fun Home, based on Alison Bechdel’s celebrated 2006 graphic novel, made a sensational debut at The Public Theater in New York in October 2013, followed by a triumphant Broadway run and a successful US National tour.

Fun Home explores the memories of Alison’s uniquely complicated family at three different stages in her life – her volatile, brilliant, enigmatic father, mother and brothers – that connect with her in surprising new ways. Fun Home is a refreshingly honest, wholly original musical about seeing your parents through grown-up eyes.

Choreography is by Danny Mefford, set and costume design by David Zinn, light by Ben Stanton, sound by Kai Harada, music supervision by Chris Fenwick, music direction by Nigel Lilley and casting by Julia Horan CDG. The Associate Director is Portia Krieger. The Jerwood Assistant Director is Leo J Skilbeck. This role is supported through the Jerwood Assistant Director Program at the Young Vic.

This is the final show in David Lan’s last season as Artistic Director of the Young Vic.

Fun Home runs from 18 June – 1 September 2018 in the Young Vic’s Main House.   

West End transfer announced for The Jungle

The Jungle at the Young Vic.
The Jungle at the Young Vic.

The Jungle at the Young Vic. Credit David Sandison

Following universal critical acclaim, and a sold-out run at the Young Vic, producers Sonia Friedman Productions, Tom Kirdahy andHunter Arnold have announced the West End transfer of the National Theatre and Young Vic co-production with Good Chance Theatre of Joe Murphy and Joe Robertson’s The Jungle, directed by Stephen Daldry and Justin Martin. The production is set in Europe’s largest unofficial refugee camp, the Calais Jungle, which in 2015, became a temporary home for more than 10,000 people.  Previewing from 16 JuneThe Jungle will have an Opening Night on 5 July at the Playhouse Theatre. The first wave of tickets will go on general sale on 15 March.

The Jungle will transfer to the Playhouse Theatre in the West End, where the traditional proscenium theatre will undergo a remarkable transformation. The auditorium stalls will be completely reconfigured to house Miriam Buether’s critically-acclaimed set design as seen at the Young Vic, where audiences were invited to sit at the benches and tables of the Afghan café in the Calais camp. The Dress Circle will be renamed “Cliffs of Dover” and will allow unique views over the performance space, which extends out beyond the proscenium arch and over the stalls. This in-the-round transformation will reduce the capacity of the theatre to 450 seats, to more closely recreate the intimate and immediate experience audiences had at the Young Vic. Top price tickets are directly enabling 40% of the house to be priced at £25 and under, and a proportion of tickets will be held off sale to be offered to refugees and targeted groups in order to maximise diversity and accessibility.

This is the place where people suffered and dreamed.  Meet the hopeful, resilient residents of the Jungle – just across the Channel, right on our doorstep. The Jungle tells stories of loss, fear, community and hope, of the Calais camp’s creation – and of its eventual destruction. Join the residents over freshly baked naan and sweet milky chai at the Afghan Café, and experience the intense, moving and uplifting encounters between refugees from many different countries and the volunteers who arrived from the UK.

The majority of the original cast will transfer with the production, including actors from refugee backgrounds, some of whom came through the Jungle.  The full cast includes: Ammar Haj Ahmad, Mohammad Amiri, Girum Bekele, Elham Ehsas, Trevor Fox, Moein Ghobsheh, Ansu Kabia, Alex Lawther, John Pfumojena, Rachel Redford, Rachid Sabitri, Mohamed Sarrar, Ben Turner and Nahel Tzegai.

Official charity partner, Help Refugees, will be supported by the production, with fundraising efforts taking place at the venue throughout the entire run.

Joe Robertson and Joe Murphy said: The Jungle was a reluctant home for thousands of people from all over the world. It was a place where people built temporary lives and communities formed out of necessity. People who visited asked why we built a theatre in a refugee camp, but it’s always seemed clear to us that theatre should be at the centre of the conversation. That’s why we’re thrilled to bring this play to new audiences and to the West End, in a totally transformed Playhouse Theatre, a stone’s throw from Parliament. The metamorphosis of the Playhouse is a bold statement: that we need new spaces for this conversation to happen, and that the stories of the people in this play belong on our most significant stages.”

Josie Naughton, CEO, Help Refugees said: “Help Refugees is honoured to be the charity partner for the West End run of The Jungle. We have worked with Good Chance since we first met in Calais in 2015, where their theatre provided camp residents with a vital outlet for self-expression. We are excited that in addition to having local social impact, funds will be raised to actively support displaced people in the UK and in Calais. In northern France, there are currently more than 1,000 people sleeping in the forests with no shelter from the rain and snow, with limited access to drinking water, showers and toilets, with no access to safe and legal routes to sanctuary and no opportunity to learn, work and start a new life. Our teams and our partners are still working tirelessly to provide for people’s basic needs, including food, shelter, information and protection.”

Rufus Norris, Director of National Theatre said: Having visited the Calais Jungle at the end of 2015 it felt incredibly important to tell this story. Joe and Joe’s script together with Stephen and Justin’s production perfectly captures the lives of so many individuals caught up in an impossible situation. The Jungle is an unforgettable experience which is both powerful and moving, and it is wonderful that it has now found a home in the West End.”

David Lan said: “It was clear from the start that The Jungle would be one of the most provocative and significant shows we’ve produced.  It tells a powerful real-life story that matters hugely to everyone.  It’s created and performed in an enthrallingly inventive way by some of those who lived it. Those who saw it at the Young Vic said they’d never seen anything like it – and that it was as if they’d been on the journey of a lifetime.  I’m delighted it will now be seen by so many more.”

Sonia Friedman said: “Sometimes plays have to respond to a space. Here, thanks to the commitment of all involved, the space has responded to the work. Experiencing The Jungle at the Young Vic was extremely powerful. Audiences were plunged emotionally and physically into the world of the camp in Calais – a place I visited several times – and the combination of the setting, extraordinary performances and storytelling was a real a sucker punch. I am therefore so happy that we have found a way to transport the world and atmosphere of the play to the West End in a unique and intimate way. The West End needs productions like The Jungle and we have created a democratic pricing structure that allows, I hope, a wide range of people to see it, and to take part in the debate it provokes.”

Sonia Friedman Productions and Tom Kirdahy, Hunter Arnold present A National Theatre and Young Vic Co-Production with Good Chance Theatre.

Mental health in millenials is examined in new play at Lion and Unicorn Theatre

Breathe by Lucrezia Pollice
Breathe by Lucrezia Pollice

Breathe by Lucrezia Pollice

New play Breathe, after readings at the Young Vic and scratch night performances at the Bread and Roses, is staged in a full production at the Lion and Unicorn Theatre this February. The play tackles the thorny issue of mental health amongst millenials trying to make their way in life.

“ambitious (…) I look forward to see the (full production)” The Blog of Theatre Things

Breathe pans across the struggles of four housemates living in London trying to successfully accomplish their dreams. Personal secrets, fears and dreams emerge as their lives intertwine, revealing the importance of human connection and friendship in the face of anxiety and depression. Will they choose security or transform their fears into fuel to conquer their dreams?

Writer Lucrezia Pollice is a freelance theatre & film director and producer based in London. After training as an actor at the famous Italian drama school Paolo Grassi Academy and the RADA foundation course at CSVPA, Lucrezia graduated with a First Honours Degree from the Royal Central School of Speech and Drama, in Drama, Applied Theatre and Education – focusing her degree on Directing, Producing and Playwrighting. She recently produced and directed the critically acclaimed short documentary IDENTITY ,which premiered at the United Nations WTPFilm Festival at the BFI Southbank. She will soon be producing and directing a documentary short film for Westminster Council.

Producer Aretusa Campagnolo worked as an assistant producer for MDA Contemporary Dance Company and as an executive producer for RedWedge Srl, a film production company based in Rome. She moved to the UK to undertake a Master’s degree in Culture, Policy and Management at City University of London, where she graduated in October 2017. Prior to moving into assisting in producing Metal Rabbit Productions in  2017, she interned as a Company Administrator for circus company Gandini Juggling.

Lucrezia Pollice and Aretusa Campagnolo present:
BREATHE
February 1st 2018 –  February 2nd 2018, 7.30pm, The Lion and Unicorn Theatre
Press Night: February 1st 2018, 7.30pm

The Inheritance cast announced including Vanessa Redgrave, John Benjamin Hickey and Kyle Soller

The Inheritance
 
The Inheritance

The Inheritance

Young Vic has announced casting for The Inheritance, a major world premiere in two parts: 
Andrew Burnap (Toby)

John Benjamin Hickey (Henry)
Samuel H. Levine (Adam/Leo)
Kyle Soller (Eric)

With Hugo Bolton, Robert Boulter, Hubert Burton, Syrus Lower, Michael Marcus, Luke Thallon and Michael Walters.

Vanessa Redgrave plays the role of Margaret.

The Inheritance gives a panoramic view of gay life in New York City today, a generation after the height of the AIDS crisis.

Of those fears, that activism, the new communities and the new kinds of isolation, what has survived? And what does the experience of the plague years mean to the young, overflowing with life, looking for love?

Due to demand extra performances have been added.

This production is supported by Nattering Way LLC and Sonia Friedman Productions Ltd.

This new play in two parts by Matthew Lopez (The Whipping Man, The Newsroom, The Legend of Georgia Mcbride) is directed by Stephen Daldry (The Jungle, An Inspector Calls, Billy Elliot, The Hours and The Reader). Design is by Bob Crowley (An American in Paris, Skylight and Aladdin) with light by Jon Clark, sound by Paul Arditti and Chris Reid, UK casting by Julia Horan CDG and US casting by Jordan Thaler CSA & Heidi Griffiths CSA.

Justin Martin is Associate Director. The Jerwood Assistant Director is Sadie Spencer. This role is supported through the Jerwood Assistant Director Program at the Young Vic.

The Inheritance 

by Matthew Lopez
direction Stephen Daldry

Main House 

Friday 2 March – Saturday 19 May 2018
Press Day Wednesday 28 March 2018

Casting Announced for The Brothers Size

Sope Dirisu
Sope Dirisu

Sope Dirisu

Academy Award winner Tarell Alvin McCraney was an unknown writer when The Brothers Size was first seen at the Young Vic in 2007. Today casting for the highly-anticipated revival from the Evening Standard Award-Winning writer is announced:

After playing Coriolanus at the Royal Shakespeare Company, Sope Dirisu plays eldest brother Ogun. Jonathan Ajayi plays younger brother Oshoosi, reunited with Ogun after a spell in prison. Both make their Young Vic debuts.

Finally, Anthony Welsh returns to the role of Elegba, Oshoosi’s ex-cell mate who tempts him back to his life of crime. Anthony originally performed this role during the 2008 revival of The Brothers Size at the Young Vic and UK tour in the same year.

Bijan Sheibani returns to direct this deeply moving fable following his hit production of The Barbershop Chronicles at the National Theatre.

The Brothers Size by Tarell Alvin McCraney is directed by Bijan Sheibani, designed by Patrick Burnier with live music and sound design by Manuel Pinheiro. A co-production with Actors Touring Company.

It runs from 19 January 2018 – 14 February 2018 in the Young Vic’s Main House.

There will be a Jerwood Assistant Director working with Bijan Sheibani The Brothers Size. The role is supported through the Jerwood Assistant Directors Program at the Young Vic.

Cast biographies can be found on the Young Vic blog here.

Listings

The Brothers Size

19 January 2018 – 14 February 2018
Main House, Young Vic, 66 The Cut, Waterloo, London SE1 8LZ
Press Night: Friday 26 January 2018, 7.00pm
Performances: Monday – Saturday at 7:30pm | Matinees on Wednesday & Saturday (except 20, 24, 27 January)
Access Performances
Captioned Performance: Thursday 8 February at 7.30pm
Audio Described Performance: Thursday 6 February at 7.30pm
Tickets: Previews 19 – 25 January £20, £10 | 27 January – 14 February £38, £29, £20, £10
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922
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Playwright, Elinor Cook interview: “If the dudes are pitching great plays — then those of us who aren’t the white men need go in there and nail those commissions.”

Elinor Cook is not some no-frills interviewee. My time with the feisty young playwright involved her batting my base level questions politely, while occasionally pouring herself a glass of water.

image

Elinor Cook

Not having arrived today with any sort of agenda, we simply had a chat. She tells me that yesterday she had an ‘impromptu Mexican dinner’ with the Lady From The Sea cast and Kwame Kwei-Armah to celebrate his recent appointment as Artistic Director of the Young Vic. ‘FYI’ she had pan-seared tuna tacos and a beer… And a margarita. “Two drinks — Mexican appropriate,” she says, laughing.

Her new version of The Lady From The Sea, directed by Kwei-Armah opens at the Donmar tonight. Ibsen’s play encompasses those familiar Ibsen themes: obligation, accountability, the role of women and how the past impinges on the future. How has she found adapting such a classic text? “I’ve found it a complete joy,” says Cook. “I’ve loved it and I definitely want to do more of this sort of thing because there is something about having the map in place. It’s gone through a couple of permutations in terms of the setting of it. The first draft was all set contemporary, in time of the second draft we had a conversation and decided it would be more helpful to make it post-colonial and that mirroring Ellida’s own restless and need to be independent herself.”

395439_770_preview.jpg

The Lady From The Sea at The Donmar Warehouse

Cook is revelling the opportunity to work with the new Artistic Director of the Young Vic. “He has this ability to facilitate an incredibly open rehearsal room,” she says, smiling. “He’s able to make people trust him and each other. There’s a beautiful lightness and airiness with the work and with what is happening on stage and it’s all there because of his attention to detail. He’s really big on psychology and emotion and my God you can really see that. It’s just extraordinary. He’s incredibly generous and honest.”

Every Playwright has a unique approach to writing. Where does she work best? “I work in the library – I go to the Wellcome Collection Library, which I’d highly recommend as a place to work,” she says. “I try and do a full work day because I need the structure and just to have other people around. It’s nice to feel that you are part of something.”

We talk about the lack of female writers on our biggest stages. “You can’t ignore that conversation because everyone’s having it”, she shrugs when I suggest that the scenario is not exactly ideal. “It does anger me, but I’m reluctant to go: ‘The reason it’s taken me 10 years is because I am a woman.’ However, I am conscious of the fact that I am white, privileged and straight. I think it’s more about how you get into those rooms in the first place.”

Not, she hastens to add, that she’s had it easy. “As someone who’s had every opportunity, but struggled so much with confidence for a long time and that feeling that I didn’t know how to hold my own in the room the way my male counterparts did. I wrestled with the feeling that at any second I’d be chucked out because I had nothing of interest to say.”

How can we ensure a real shift toward gender equality? “It starts before the theatres are making those decisions,” she says.

“If the dudes are pitching great plays — then those of us who aren’t the white men need to make sure that we are enabled to go in there and nail those commissions. There are so many reasons why I would struggle to pitch something and if I find it hard then how hard would those who hadn’t had those privileges and opportunities to get on?”

Out%20of%20Love%20-%20web.jpg

Out of Love – Paines Plough

Does she feel obliged to write about politics, I ask. “The whole gesture of playwriting is political in itself,” she states. “With a play like Out of Love, I wanted to write something very human, getting to the complexity of the relationship between two women. I wanted to excavate something that I hoped would touch people on a human level. If you succeed with something like that then you are asking the audience for their imagination and empathy. In this increasingly fractured world, where the divisions are widening, if we are not able to imagine what it’s like to be in someone else’s shoes then we are kind of doomed.”

She continues: “A political play doesn’t have to be one set in the House of Commons, it can be perceived to be a smaller beast. My play Image of An Unknown Woman is my most overtly political play because it directly critiques a repressive regime and questions democracy. But I’d argue that Pilgrims or Out of Love, which are smaller in scale are political in a different way.”

Cook talks of the lucky opportunities that have come her way and in particular the pace at which she has progressed. “There’s something about being the age I am now and my career taking off that feels really right. I’m not sure I would have been prepared for the opportunities had I been younger… I was so crippled with a lack of self-confidence and self-consciousness… It was challenging.”

And now, following a storming debut at Edinburgh Fringe Festival, Out of Love is on tour as part of Paines Plough’s pop-up space, the Roundabout. The play is a comic exploration of female friendship spanning 30 years. What are the challenges of writing for such a unique performance space? “When you are writing for Roundabout the work has to have a universality to it – it has to have something that is going to resonate in Poole and in Stoke and in Darlington or Edinburgh,” she says. “There is something about that space; being in the round and with no props. It demands a particular kind of playwriting, it has to be very front-footed. It has to be very clear about what it is from very early on.”

She looks to Tamara Harvey, Amelia Sears and Charlotte Gwinner, particularly at the start of her career, for inspiration. “I’ve had really great relationships with directors. The first skill of a director if they read a draft and are able to help you as the writer really get to the nub of what you have to say.”

Today, she is honest about her commitments beyond The Lady From The Sea. “I’m at that glorious stage where I don’t know what the next project is,” she says, with a glint in her eye.

“I am looking forward to being able to see where my brain takes me and where the world takes me. I’d love to do more adapting and having written two very intimate plays with Pilgrims and Out Of Love, I’d love to go back to a bigger Image Of An Unknown Young Woman size cast and with international heft. But what that actually is I don’t know and that’s really exciting!”

The Lady From The Sea is at the Donmar, London, until 2 December. Box office: 0844 871 7624.

Out Of Love is currently on a UK Tour as part of Paines Plough’s pop-up theatre Roundabout.

Kwame Kwei-Armah announced as the new Artistic Director of Young Vic Theatre

Kwame Kwei-Armah

Kwame Kwei-Armah

The Young Vic has announced that Kwame Kwei-Armah will become the new Artistic Director in February 2018.

Kwame Kwei-Armah is an award-winning director and playwright and the outgoing Artistic Director of Baltimore Center Stage where he directed extensively. Directing credits also include New York’s Public Theater, Signature Theatre, Oregon Shakespeare Festival, the Baltimore Symphony Orchestra and Birmingham Repertory Theatre. His production of One Night in Miami at the Donmar Warehouse was nominated for an Olivier Award for Best New Play.

His works as playwright include One Love (Birmingham Rep), Marley, Beneatha’s Place (Baltimore Center Stage), Elmina’s Kitchen, Fix Up, Statement of Regret (National Theatre) and Let There Be Love and Seize the Day (Tricycle Theatre). Kwame was the Chancellor of the University of the Arts London from 2010-15, and in 2012 was awarded an OBE for Services to Drama.

Kwame will succeed David Lan further to the announcement that he would be stepping down in 2018 after 18 years in the role. Kwame will announce his first season of work as Artistic Director in the new year.

Kwame Kwei-Armah says: “To walk into the Young Vic is to come face to face with everything I love about theatre, so I am beyond humbled, if not a little scared. But to lead this magnificent theatre at this time in our nation’s history, after such a visionary as David, excites me beyond words. I can’t wait to get started.”

Patrick McKenna, Chair of the Board, says: “After meeting Kwame the panel was unanimous in its decision to appoint him as the next leader for this remarkable institution. Kwame’s wealth of experience directing, writing and working with the local community in Baltimore and beyond will translate beautifully to his new role leading the work on the Young Vic’s three stages as well as its pioneering outreach and education work in London.”

David Lan, outgoing Artistic Director, says: “The choice the panel has made is inspired. I welcome it wholeheartedly and will do whatever I can to support Kwame in the early days as he finds his own distinctive way to keep the Young Vic one of the great producing theatres of this country and the world.”

More about Kwame Kwei-Armah

Kwame Kwei-Armah, born in 1967, is the outgoing Artistic Director of Baltimore Center Stage where he has directed: Jazz, Marley, One Night in Miami, Amadeus, Dance of the holy ghosts, The Mountaintop; An Enemy of the People, The Whipping Man and Things of Dry Hours. Other work as a director includes: Twelve Night, Comedy of Errors, Much Ado About Nothing, Detroit’67 (Public Theatre, New York), The Liquid Plain (Signature Theatre, New York and Oregon Shakespeare Festival), Porgy and Bess (Baltimore Symphony Orchestra) the Olivier Nominated One night in Miami for Best New Play 2016 (Donmar Warehouse) and One Love (Birmingham Repertory Theatre).

As a playwright his credits include One Love (Birmingham Repertory Theatre), Beneatha’s Place (Baltimore Center Stage) Elmina’s Kitchen, Fix Up, Statement of Regret (National Theatre) Let There Be Love and Seize the Day(Tricycle Theatre).

Kwame was Artistic Director for the Festival of Black arts and Culture, Senegal, in 2010. He conceived and directed the opening ceremony at Senghor National stadium. He is an Associate Director of the Donmar Warehouse and has served on the boards of the National Theatre, Tricycle Theatre, and Theatre Communications Group. Kwame was the Chancellor of the University of the Arts London from 2010 to 2015, and in 2012 was awarded an OBE for Services to Drama.

In 2012, 2013 and 2014 Kwame was named Best Director in City Paper’s Best of Baltimore Awards and in 2015 was nominated for the prestigious Stage Directors and Choreographers Zelda Fichandler Award for Best Regional Artistic Director. In 2016 he was awarded the Urban Visionary Award alongside House Representative Elijah Cummings by the Center for Urban Families for his work in the Baltimore community.

NTLive broadcast for Cat On A Hot Tin Roof

CAT ON A HOT TIN ROOF
CAT ON A HOT TIN ROOF

CAT ON A HOT TIN ROOF © Johan Persson

The Young Vic’s highly praised West End production of Cat On A Hot Tin Roof, currently playing to capacity each night at the Apollo Theatre, will be broadcast to cinemas around the world on 22 February 2018 marking the fourth collaboration between the Young Vic and National Theatre Live.  Tickets will be released for sale on Monday 25 September 2017.  The National Theatre’s ground-breaking project broadcasts plays live from the stage to over 700 cinemas in the UK and over 60 countries internationally.Cat On a Hot Tin Roof concludes its 12 week limited West End run on 7 October 2017.

The cast includes Sienna Miller (Maggie), Jack O’Connell (Brick), Colm Meaney (Big Daddy), Lisa Palfrey (Big Mama), Hayley Squires (Mae), Brian Gleeson (Gooper), Richard Hansel (Doctor) andMichael J. Shannon (Reverend).  Directed by Benedict Andrews, this twelve-week limited run at the Apollo Theatre, which had its official opening night on 24 July, has its final performance on 7 October 2017.  Set designs are by Magda Willi with costumes by Alice Babidge, lighting by Jon Clark, music byJed Kurzel and sound design by Gareth Fry.

The truth hurts. On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday.  The scorching heat is almost as oppressive as the lies they tell.  Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?

For this production there are seats at £10 for under 25s for each performance booked through the Young Vic Box Office.  Cat On A Hot Tin Roof is the Young Vic’s first production to debut in the West End and is presented by the Young Vic and The Young Ones.

Details of all NTLive screenings can be found at  http://ntlive.nationaltheatre.org.uk/

Launched in 2009, National Theatre Live broadcasts have been seen by an audience of over 7 million people at 2500 venues in 60 countries. The first season began in June 2009 with the acclaimed production of Phédre starring Oscar winner Helen Mirren. Recent broadcasts include Angels in America with Andrew Garfield, Who’s Afraid of Virginia Woolf? with Imelda Staunton and Conleth Hill, Rosentcrantz and Guildenstern Are Dead with Daniel Radcliffe, Hedda Gabler with Ruth Wilson and Sir Ian McKellen and Sir Patrick Stewart in No Man’s Land, Sky Arts is the UK sponsor for National Theatre Live.

LISTINGS INFORMATION  

Theatre:                  Apollo Theatre, 31 Shaftesbury Avenue, London W1D 7ES

Box Office:              Apollo 0330 333 4809, Young Vic 020 7922 2922

Website:                 www.youngvicwestend.com

Young Vic Full 2017/2018 listings and Show details

A Young Vic and National Theatre co-production commissioned by the National Theatre

The Jungle

by Joe Murphy and Joe Robertson of Good Chance Theatre 

direction Stephen Daldry and Justin Martin
design Miriam Buether

7 December 2017 – 6 January 2018 
Press Night: Friday 15 December 2017, 7.00pm

Main House

10% of tickets will be offered to refugees

Europe’s largest unofficial refugee camp, the Calais “Jungle” became a temporary home for more than 10,000 people at its peak – many desperate to find a way to enter the UK.

When volunteers from the UK arrive to help, they’re shocked by the squalid conditions – but even more surprised by the thriving communities who’ve built a bustling city complete with cafes, libraries, mosques and schools. What impact do compassionate well-wishers truly have in a crisis like this? Is it possible that they’re only making things worse?

This vigorous and engaging new play written by the founders of Good Chance Theatre tells stories of loss, fear, community and hope in The Jungle.

Good Chance builds temporary theatres of hope promoting freedom of expression, creativity and dignity for eve-ryone. Founded by two British playwrights, Joe Murphy and Joe Robertson, Good Chance established its first temporary theatre space, an 11m geodesic dome, in the heart of the refugee and migrant camp in Calais in Sep-tember 2015. After seven months in Calais, the theatre travelled to London’s Southbank for a nine-day festival of introductions led by refugees in July 2016. At the start of 2017, Good Chance began working in Paris starting with a five-week residence at La Station, Gare de Mines, in collaboration with Collectif MU and Emmaüs Soli-darité. From here, the Good Chance dome travelled to the gardens of Théâtre de la Ville for the duration of the Chantiers d’Europe Festival. Good Chance is an Associate Company of the Young Vic Theatre and recipient of the Evening Standard Editor’s Award (2016), an Empty Space Peter Brook Award (2017), and was nominated for Index on Censorship, Freedom of Expression Award.

Stephen Daldry started his career at the Sheffield Crucible Theatre and directed extensively in Britain’s regional theatres. In London he was Artistic Director of the Gate Theatre and the Royal Court Theatre where he headed the £26million redevelopment. He has also directed at the National Theatre, the Public Theatre in New York and transferred many productions both to Broadway and the West End. His award-winning 1992 National Theatre production of An Inspector Calls recently completed a 16 week run in the West End following a successful UK tour. Billy Elliot the Musical opened at the Victoria Palace Theatre in 2005 where it ran for 11 years. It has also played on Broadway, in Holland, Seoul, Sydney, Melbourne, Chicago, Toronto and across the US with two further productions opening in Japan and Korea in 2017. In 2009, the production won ten Tony awards including Best Musical, more than any other British show in Broadway history. Its first UK and Ireland Tour will finish its highly successful 18 month run in Hamburg. Stephen’s first four films Billy Elliot, The Hours, The Reader and Extremely Loud and Incredibly Close together received 19 Academy Award® nominations and two wins. His film, Trash, set in the favellas of Rio de Janeiro, was nominated for Best Film Not In The English Language at the 2015 BAFTAs. He also directed The Audience and Skylight to critical acclaim both in London and on Broadway with Skylight winning a Tony award for Best Revival. Stephen has previously directed for BBC Radio and Television. He is Executive Producer and Director on the highly acclaimed Netflix series The Crown by Peter Morgan, which won Best Drama Series at the Golden Globes. Stephen was Creative Executive Producer of the Opening and Closing Ceremonies for the London 2012 Olympic and Paralympic Games.

Justin Martin previously directed Last Chance with Good Chance Theatre at the Young Vic in 2016. Other theatre credits include: Street Development (site specific), Low Level Panic (Old Fitz Theatre, Sydney, Galway Theatre Festival and Irish tour), The Black Balloon (in development), Harvey and Frieda (Arcola Theatre), Far Away, Skintight (fortyfivedownstairs, Melbourne), The Kitchen (Helen MacPherson Smith Theatre), Echarcissus (Natya Mandala Theatre) and Billie (The Studio, Sydney Opera House and La Mama). As an assistant director he has worked on: Inheritance (Hartford Stage, workshop), Skylight (Wyndams Theatre), The Audience (Gielgud Theatre), Let The Right One In (National Theatre Of Scotland, The Royal Court, Apollo Theatre), Billy Elliot (New York, Toronto, Brazil, Chicago, North America tour, Korea and Australia) and The Give and Take (Sydney Theatre Company, Melbourne Theatre Company).His television credits include: The Crown(series 1 and 2).

Miriam Buether returns to the Young Vic where she previously designed The Trial, Measure for Measure, Public Enemy, Wild Swans, The Government Inspector, In the Red and Brown Water, The Good Soul of Szechuan, Generations. Her other theatre credits include A Doll’s House 2 (Broadway); Escaped Alone (Brooklyn Academy of Music); Sunny Afternoon, Chariots of Fire (Hampstead Theatre and West end); In the Republic of Happiness, Love and Information (also New York), Escaped Alone, Get Santa!, Sucker Punch, Cock, My Child (Royal Court Theatre); Wild (Hampstead Theatre); Bend it Like Beckham (West End); The Father (Theatre Royal Bath); Boy, Game, When the Rain Stops Falling, Judgement Day(Almeida Theatre); The Effect, Earthquakes in London (National Theatre); Decade (Headlong); King Lear (New York); Six Characters in Search of an Author (Chichester Festival Theatre and West End); Everybody Loves a Winner (Manchester International Festival); The Wonderful World of Dissocia (Edinburgh International Festival and Royal Court); Red Demon, The Bee (Young Vic and Japan); Trade (RSC and Soho Theatre); Guantanamo: “Honor Bound to Defend Freedom”(Tricycle Theatre, West End, New York, and San Francisco), Tenterhooks ( National Ballet of Canada); Awakenings (Ballet Rambert), Frame of View (Cedar Lake, New York). Opera credits include La Fanciulla Del West (English National Opera and Santa Fe Opera); Turandot, Wozzeck (English National Opera); Suor Angelica (Royal Opera House); Anna Nicole(Royal Opera House and Brooklyn Academy of Music ); Carmen (Salzburg Festival); The Death of Klinghoffer (Edinburgh Festival and Scottish Opera).

There will be a Jerwood Assistant Director working with Stephen Daldry and Justin Martin on The Jungle. The role is supported through the Jerwood Assistant Directors Program at the Young Vic.

The Jungle by Joe Murphy and Joe Robertson of Good Chance Theatre, directed by Stephen Daldry and Justin Martin and designed by Miriam Buether runs 7 December 2017 – 6 January 2018 in the Young Vic’s Main House.  


A Young Vic and Actors Touring Company production

The Brothers Size

by Tarell Alvin McCraney
direction Bijan Sheibani

19 January – 14 February 2018 
Press Night: Friday 26 January 2018, 7.00pm

Main House

Tarell Alvin McCraney’s first play The Brothers Size, acclaimed when first produced at the Young Vic in the Maria studio in 2007, returns to the Young Vic Main House, once again as a co-production with the Actors Touring Company.

There are two Brothers Size. There is Ogun who owns an auto-repair shop. And there is Oshoosi, fresh out of prison, who always takes the wrong track. When his ex-cell mate Elegba gives him a clapped-out car, true freedom seems just around the corner.

Winner of the Evening Standard Most Promising Playwright Award 2007.

Tarell Alvin McCraney is best known for the Oscar-winning film Moonlight (Best Film and Best Adapted Screenplay), which was based on his script In Moonlight Black Boys Look Blue. For theatre, his trilogy The Brother/Sister Plays which consists of The Brothers Size, In The Red and Brown Water and Marcus or the SECRET of SWEET, has been widely performed. Other plays include his edit of Antony and Cleopatra (RSC, Public Theater NY and Gable Stage Miami), Head of Passes (Steppenwolf Theater, Berkeley Rep, Public Theater), Choir Boy (Royal Court, Manhattan Theater Club),Without/Sin and Run, Mourner and Run, The Breach and Wig Out! (Vineyard Theater, Royal Court). Tarell is the recipient of a MacArthur “Genius” Grant, the Whiting Award, Steinberg Playwright Award, the Evening Standard Most Promising Playwright Award, the New York Times Outstanding Playwright Award, the Paula Vogel Playwriting Award, the Windham Campbell Award, and a Doris Duke Artist Award. He was recently named the new Chair of the Playwriting Department at the Yale School of Drama.

Bijan Sheibani‘s first production at the Young Vic was The Brothers Size in 2007, revived in 2008 and co-produced with ATC, where Bijan was Artistic Director 2007-2010. He also directed Eurydice by Sarah Ruhl at the Young Vic in 2010, co-produced with ATC and Drum Theatre Plymouth. Most recently he directed Inua Ellams’ new play Barber Shop Chroniclesat the National Theatre. His recent production of Nothing for Glyndebourne was nominated for a 2017 Southbank Sky Arts Award for best opera. He was an Associate Director of the National Theatre from 2010-2015. Theatre credits at the National Theatre include; Our Class (Olivier nomination for Best Director), The Kitchen, A Taste of Honey, Emil and the Detectives, and Romeo and Juliet. Other theatre credits include Giving (Hampstead), The House of Bernarda Alba(Almeida), Moonlight (Donmar), The Typist (ATC/Riverside/Sky Arts), Ghosts (ATC/Arcola), Other Hands and Flush (Soho Theatre) and Gone Too Far! (Royal Court/Hackney Em-pire/Albany/ATC) which won an Olivier award in 2009 for Outstanding Achievement in an Affiliate Theatre. Film credits include Groove is in the Heart, which was selected for the BFI London Film Festival and Samira’s Party produced by Film London and the BFI as part of the 2017 London Calling Plus scheme. Bijan’s opera credits include; Nothing (Glyndebourne / Danish National Opera), The Virtues of Things and Through His Teeth (Royal Opera House) and Tarantula in Petrol Blue (Aldeburgh).

The Brothers Size by Tarell Alvin McCraney with direction by Bijan Sheibani, a co-production with Actors Touring Company runs from 19 January 2018 – 14 February 2018 in the Young Vic’s Main House. 


The Inheritance

by Matthew Lopez
direction Stephen Daldry
design Bob Crowley

2 March – 5 May 2018
Press Day: Wednesday 28 March 2018

Main House

Matthew Lopez’s new play in two parts is a panoramic view of gay life in New York City today, a generation after the AIDS crisis.

Of the fears, the activism, the new communities and the new kinds of isolation, what has survived? And what does it mean to the young who, over-flowing with life, are looking for love?

Real estate developers, actors, mothers and the destitute, all looking for the best way to live – socially, politically, morally, sexually – in the new realities of modern day America.

Matthew Lopez is the author of The Whipping Man (premiered at Luna Stage Company and New York premiere at Manhattan Theatre Club), one of the most widely-produced new American plays of the last decade. His play The Legend of Georgia McBride completed runs at the Denver Centre for Performing Arts, MCC New York, and the Geffen Playhouse LA. In London theatre, he was represented in Headlong Theatre’s 9/11 Decade anthology with his short play The Sentinels. Other works include Somewhere (Old Globe Theatre, Hartford Stage Company), Reverberation (Hartford Stage Company) and Zoey’s Perfect Wedding (Denver Centre for Performing Arts). Matthew was a writer on the HBO series The Newsroom.

Stephen Daldry started his career at the Sheffield Crucible Theatre and directed extensively in Britain’s regional theatres. In London he was Artistic Director of the Gate Theatre and the Royal Court Theatre where he headed the £26million redevelopment. He has also directed at the National Theatre, the Public Theatre in New York and transferred many productions both to Broadway and the West End. His award-winning 1992 National Theatre production of An Inspector Calls recently completed a 16 week run in the West End following a successful UK tour. Billy Elliot the Musical opened at the Victoria Palace Theatre in 2005 where it ran for 11 years. It has also played on Broadway, in Holland, Seoul, Sydney, Melbourne, Chicago, Toronto and across the US with two further productions opening in Japan and Korea in 2017. In 2009, the production won ten Tony awards including Best Musical, more than any other British show in Broadway history. Its first UK and Ireland Tour will finish its highly successful 18 month run in Hamburg. Stephen’s first four films Billy Elliot, The Hours, The Reader and Extremely Loud and Incredibly Close together received 19 Academy Award® nominations and two wins. His film, Trash, set in the favellas of Rio de Janeiro, was nominated for Best Film Not In The English Language at the 2015 BAFTAs. He also directed The Audience and Skylight to critical acclaim both in London and on Broadway with Skylight winning a Tony award for Best Revival. Stephen has previously directed for BBC Radio and Television. He is Executive Producer and Director on the highly acclaimed Netflix series The Crown by Peter Morgan, which won Best Drama Series at the Golden Globes. Stephen was Creative Executive Producer of the Opening and Closing Ceremonies for the London 2012 Olympic and Paralympic Games.

Bob Crowley designs The Inheritance, his first production at the Young Vic. Recent productions include An American in Paris (Broadway, London and Paris – Tony Award), Skylight (London and Broadway), Aladdin (Disney – Toronto and Broadway), The Glass Menagerie (American Rep Theatre, USA & Broadway), The Audience (London and Broadway), Once (London, Broadway & US Tour – Tony Award), People (National Theatre), The Dark Earth & Light Sky (Almeida), Disney’s The Little Mermaid (Netherlands, Russia). National Theatre credits include: Travelling Light, Collaborators, King James Bible, Juno & the Paycock (Abbey Theatre, Dublin), The Habit of Art, The Power of Yes, Phèdre, Every Good Boy Deserves Favour, Gethsemane, and Fram (which he also co-directed with Tony Harrison), The History Boys (Broadway – Tony Award), The Madness of George lll, His Girl Friday and Mourning Becomes Electra, plus more than twenty-five productions for the RSC, including Les Liaisons Dangereuses and The Plantagenets (Olivier Award) and for the Donmar Warehouse, Into the Woods and Orpheus Descending. Other credits includes: Mary Poppins (Prince Edward Theatre, UK Tour & Broadway – Tony Award), Disney’s Aida (Broadway – Tony Award), Disney’s Tarzan which he also directed (Broadway, Germany & The Netherlands), and The Year of Magical Thinking (Broadway & NT), The Coast of Utopia (New York – Tony Award), Carousel (New York – Tony Award), The Seagull (Public Theatre New York), Paul Simon’s The Capeman, The Sweet Smell Of Success. Opera & Dance includes: Strapless, The Winter’s Tale and Anastasia (The Royal Ballet) and Alice in Wonderland (The Royal Ballet & National Ballet of Canada), Don Carlos (MET, NY), Pavane, La traviata(The Royal Opera), The Cunning Little Vixen (Châtelet), Great Scott (Dallas Opera). Film includes: Othello, Tales of Hollywood, Suddenly Last Summer and costume design The Crucible.

The Inheritance by Matthew Lopez with direction by Stephen Daldry and set and costume design by Bob Crowley runs in two parts from 2 March 2018 – 5 May 2018 in the Young Vic’s Main House.


Fun Home

music Jeanine Tesori, book and lyrics Lisa Kron
based on the graphic novel by Alison Bechdel
direction Sam Gold

18 June – 1 September 2018 
Press Night: Wednesday 27 June 2018, 7.00pm

Main House

Fun Home, based on Alison Bechdel’s celebrated 2006 graphic novel, made a sensational debut at The Public Theater in New York in October 2013, followed by a triumphant Broadway run that won five Tony Awards, and a successful US National tour.

Fun Home introduces us to Alison at three different ages, revealing memories of her uniquely complicated family – her mother, brothers and volatile, brilliant, enigmatic father – that connect with her in surprising new ways. Fun Home is a refreshingly honest, wholly original musical about seeing your parents through grown-up eyes.

New York’s leading theatre director Sam Gold directs with a UK cast.

Sam Gold makes his directorial debut at the Young Vic, bringing Fun Home to the UK. He directed Fun Home in 2015 (Public Theatre) winning a Tony for Best Direction of a Musical. Other Broadway credits include A Doll’s House, Part 2(John Golden Theatre), The Glass Menagerie (Belasco Theatre), The Real Thing (American Airlines Theatre), The Realistic Joneses (Lyceum Theatre), Picnic (American Airlines Theatre), Seminar (John Golden Theatre). Off-Broadway credits include Hamlet (Anspacher Theatre), Otello (New York Theatre Workshop), John (Signature Theatre; Obie Award, Lortel and Drama Desk Award nominations), The Flick (Barrow Street Theatre, Playwrights Horizon, National Theatre and Lortel Award nomination), The Mystery of Love and Sex (Newhouse Theatre), The Village Bike (MCC), Uncle Vanya (Soho Repertory Theatre; Drama Desk nomination), The Cradle Will Rock (Encores! Off-Centre), Kin (Playwrights Horizon), The Big Meal (Playwrights Horizons; Lortel), Look Back in Anger (Laura Pels Theatre), Circle Mirror of Transformation(Playwrights Horizon) and The Aliens (Rattlestick Playwrights Theatre).

Lisa Kron wrote the book and lyrics for Fun Home which won five 2015 Tony awards including Best Book, Score and Musical, and was finalist for the Pulitzer Prize. Her other plays include In The Wake, Well, 2.5 Minute Ride (Obie). As an actor she received a Tony nomination for her performance in Well and a Lortel Award for her turn as Mrs. Mi-Tzu and Mrs. Yang in the Foundry’s acclaimed production of Good Person of Szechuan. She is the recipient of Guggenheim, Sundance and MacDowell fellowships, a Doris Duke Performing Artists Award, Cal Arts/Alpert and Helen Merrill Awards, the Kleban Prize, and grants from Creative Capital and NYFA. She is a founding member of the OBIE- and Bessie-Award-winning collaborative theater company The Five Lesbian Broth-ers and serves on the boards of the MacDowell Colony and the Sundance Institute, and on the Council of the Dramatists Guild of America.

Jeanine Tesori was awarded a Tony Award for Best Original Score for Fun Home. For Broadway her credits in-clude: Violet (American Airlines Theatre); Caroline, or Change (Eugene O’Neil Theatre, National Theatre); Shrek the Musical(Broadway Theatre, US National Tour, Theatre Royal Drury Lane, UK tour); Thoroughly Modern Millie (Marquis, Shaftesbury Theatre, UK tour); Twelfth Night (LCT); John Guare’s A Free Man of Color (Vivian Beaumont Theatre) Mother Courage starring Meryl Streep (Delacorte). Opera credits include: A Blizzard on Marblehead Neck (libretto, Tony Kushner; Glimmerglass); The Lion, the Unicorn and Me (libretto, J.D. McClatchy; Washington National Opera). Her songs are featured in the Netflix revival of Gilmore Girls. She is the artistic director/co-founder of A Broader Way, an arts empowerment program for girls from underserved communities; the founding artistic director of Encores! Off-Center.

Fun Home with music by Jeanine Tesori, book and lyrics by Lisa Kron and direction by Sam Gold runs from 18 June – 1 September 2018 in the Young Vic’s Main House.


A JMK Trust, Young Vic and Covent Garden Productions production

My Name is Rachel Corrie

taken from the writings of Rachel Corrie
edited by Alan Rickman and Katharine Viner
direction Josh Roche

29 September – 21 October 2017 

Press Night: 4 October 2017, 7.00pm

The Clare

Josh Roche directs My Name is Rachel Corrie as the JMK Award-winning production for 2017

Casting announced: Erin Doherty takes on the role of Rachel Corrie   

Rachel Corrie, a 23 year old American peace campaigner, was killed by an Israeli tank while protecting Palestinian homes from demolition. Edited from her vivid diaries and emails by Alan Rickman and Katharine Viner, My Name is Rachel Corrie is a testament to Rachel’s skill as a writer and commitment to her cause. First staged at the Royal Court in 2005, it has subsequently been performed across the world.

Winner of the 20th annual James Menzies-Kitchin Award, Josh Roche directs in the Clare studio. Erin Doherty takes on the role of this extraordinary woman.

Josh Roche is the previous Writer’s Centre Associate at the Soho Theatre and an Associate Reader for Shake-speare’s Globe and Sonia Friedman Productions. From 2011 – 2016 he was the Artistic Director of Fat Git Theatre and is currently Associate Director with Poleroid Theatre. His work with Fat Git Theatre included new work from UK and International writers, produced at Soho Theatre, Theatre 503, The New Diorama, Warwick Arts Centre and across the Edinburgh Festival Fringe. Most recently he directed Magnificence by Howard Brenton at the Finborough Theatre. Josh has worked extensively as an assistant director with John Dove, Gregory Doran, Polly Findlay, Maria Aberg, Joe Murphy and Steve Marmion. He has directed one-off events for Shakespeare’s Globe and The Royal Shakespeare Company. He was an associate director for Nabokov on Blink, which toured the UK and Off-Broadway, and is an Educational Associate Practitioner with the RSC.

Erin Doherty makes her Young Vic debut in My Name is Rachel Corrie. Theatre credits include: The Divide (Old Vic), Junkyard (Bristol Old Vic, Theatr Clywd, Rose Kingston), Wish List (Manchester Royal Exchange, Royal Court), Who Cares(The Lowry), The Glass Menagerie (UK tour) and Pink Mist (Bristol Old Vic). Her television credits include: Call The Midwife.

My Name is Rachel Corrie taken from the writings of Rachel Corrie and edited by Alan Rickman and Katharine Viner is directed by Josh Roche, winner of the JMK Award 2017. It runs in the Young Vic’s Clare studio 29 September – 21 October 2017 and is designed by Sophie Thomas with light by Joe Price and sound by Kieran Lucas. It is produced in association with Paul Casey. 

New Listings 

My Name is Rachel Corrie   

29 September – 21 October 2017
The Clare, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: 4 October 2017, 7.00pm
Performances: Monday – Saturday at 7.45pmWednesday & Saturday matinees at 2.45pm (except 30 September & 4 October)
Access Performances
Captioned Performance: Tuesday 17 October at 7.45pm
Audio Described Performance: Monday 16 October at 7.45pm
Tickets: Previews 29 September – 3 October £10 | 5 – 14 October £15 | 16 – 21 October £25
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

The Jungle 

7 December 2017 – 6 January 2018
Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Friday 15 December 2017, 7:00pm
Performances: Monday – Saturday at 7.30pm (except 25 & 26 December1 January) | Matinees on Wednesday and Saturdays at 2.30pm (except 9, 16 December and 3 January)
Access Performances
Captioned Performance: Thursday 4 January at 7.30pm
Audio Described Performance: Friday 5 January at 7.30pm
Tickets: Previews 7 – 16 December 2017 £20, £10 | 18 December 2017 – 6 January 2018 £38, £29, £20, £10.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922



The Brothers Size 
 

19 January 2018 – 14 February 2018
Main House, Young Vic, 66 The Cut, Waterloo, London SE1 8LZ
Press Night: Friday 26 January 2018, 7.00pm
Performances: Monday – Saturday at 7:30pm | Matinees on Wednesday & Saturday (except 20, 24, 27 January)
Access Performances
Captioned Performance: Thursday 8 February at 7.30pm
Audio Described Performance: Thursday 6 February at 7.30pm
Tickets: Previews 19 – 25 January £20, £10 | 27 January – 14 February £38, £29, £20, £10
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

The Inheritance  

2 March 2018 – 5 May 2018
Main House, Young Vic, 66 The Cut, Waterloo, London SE1 8LZ
Press Day: Wednesday 28 March 2018
Performances: Monday – Saturday at 7:15pm | Matinees on Wednesdays and Saturdays at 1.15pm (with exceptions, please visit https://www.youngvic.org/whats-on/the-inheritance)
Access Performances
Captioned Performance: Monday 23 April at 7.15pm (Part One), Tuesday 24 April at 7.15pm (Part Two)
Audio Described Performance: Monday 30 April at 7.15pm (Part One), Tuesday May 1 at 7.15pm (Part Two)
Tickets: Previews 2 – 27 March £25, £20, £10 | 29 March – 5 May £38, £29, £20, £10
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Fun Home 

18 June 2018 – 1 September 2018
Main House, Young Vic, 66 The Cut, Waterloo, London SE1 8LZ
Press Night: Wednesday 27 June 2018, 7:00pm
Performances: Monday – Saturday at 7:30pm (except 27 August) | Matinees on Wednesday & Saturday at 2:30pm (except 23, 27 June, 18 July & 4, 15 August)
Access Performances
Captioned Performance: Thursday 19 July at 7.30pm
Audio Described Performance: Friday 27 July at 7.30pm
Tickets: Previews 18 – 26 June £25, £20, £10 | 28 June – 1 September £40, £30, £20, £10
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Previously announced Listings

Nina – a story about me and Nina Simone

Wednesday 19 July – Saturday 29 July 2017
The Maria, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Friday 21 July 2017, 7.00pm
Performances: Monday – Saturday at 7.45pm (No matinee performances)
Access Performances
Captioned Performance: Monday 24 July at 7.45pm
Audio Described Performance: Wednesday 26 July at 7.45pm
British Sign Language Performance: Friday 28 July at 7.45pm
Tickets: Previews 19 & 20 July £10 | 22 – 26 July £20 | 27 – 29 July £25.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Yerma 

Wednesday 26 July – Thursday 31 August 2017
Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Performances: Monday – Saturday at 7.30pm (except 7 – 20, 28 August) | Matinees on Saturday 5 & 26 August
Access Performances
Captioned Performance: Thursday 24 August at 7.30pm
Audio Described Performance: Saturday 26 August at 2.30pm
Tickets: Previews 26 – 28 July £20, £10 | 29 July – 31 August £38, £29, £20, £10.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Wings 

Thursday 14 September – Saturday 4 November 2017
Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Wednesday 20 September 2017, 7.00pm
Performances: Monday – Saturday at 7.30pm | Matinees on Wednesdays and Saturdays at 2.30pm (except 16 & 20 September)
Access Performances
Captioned Performance: Thursday 12 October at 7.30pm
Audio Captioned Performance: Saturday 14 October at 2.30pm
Tickets: Previews 14 – 19 September £20, £10 | 21 September – 28 October £38, £29, £20, £10.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

The Suppliant Women
Monday 13 November – Saturday 25 November 2017
Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Wednesday 16 November 2017, 7.00pm
Performances: Monday – Saturday at 7.30pm | Matinees Saturdays at 2.30pm
Access Performances
Captioned Performance: Thursday 23 November at 7.30pm
Audio Captioned Performance: Saturday 18 November at 2.30pm
Tickets: Previews 13 – 15 November £20, £10 | 17 – 25 November £38, £29, £20, £10.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Yellowman 

Wednesday 22 November – Saturday 2 December 2017
The Clare, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Performances: Monday – Saturday at 8.00pm | Matinees on Wednesdays and Saturdays at 3.00pm (except 22 & 25 November)
Tickets: £15, £10 concessions
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

How to Win Against History 

Thursday 30 November – Saturday 30 December 2017
The Maria, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Thursday 5 December 2017, 7.00pm
Performances: Monday – Saturday at 7.45pm (except 23 December) | Matinees on Wednesdays and Saturdays at 2.45pm (except 2, 6 December)
Access Performances
Captioned Performance: Thursday 7 December at 7.45pm
Safe Space Performance: Tuesday 19 December at 7.45pm
Audio Described Performance: Wednesday 20 December at 2.45pm
Tickets: Previews 30 November – 4 December £10 | 6 – 16 December £20 | 18 – 23 December £25.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922