THE HISTORY
The Almeida Theatre was built in 1837 as reading rooms and a lecture hall for Islington's
newly formed Scientific and Literary Institution. Since then, the building has undergone
many transformations having been, over the years, a Victorian Music Hall, a Salvation
Army Citadel and a factory for carnival novelties. In the 1960s it fell into near dereliction
and was only rediscovered in 1972 when Pierre Audi and his associates, realising the
potential for an extraordinary performance venue, renovated the building and opened the
Almeida Theatre in 1980.
Under Pierre Audi, the Almeida's first Artistic Director, the venue gained in reputation,
particularly for its renowned International Festival of Contemporary Music, staged every
summer. The theatre also played host to a number of touring companies from the UK and
abroad.
Since 1990, under the Artistic Directorship of Jonathan Kent and Ian McDiarmid, the
Almeida has become one of the world’s leading producing theatres, characterised by its
ability to produce both classical and contemporary work with the finest international artists
to the highest standards. It offers audiences a stimulating environment for the performance
of challenging seasons of plays, opera and new music. In 2002, Michael Attenborough
took over as Artistic Director and the Company returned home to the refurbished Almeida
Theatre in Islington in 2003, since which time it has gone from strength to strength,
continuing to win awards and transfer productions to the West End.
ARTISTIC POLICY
The cornerstone of the Almeida's policy is the staging of British and international drama
presented to the highest possible standards in productions which reveal the plays in a new
light. The policy embraces classics of the British and Irish repertoire, foreign classics in
newly commissioned versions and new plays. The annual Opera Festival in July presents
specially commissioned operas and music theatre pieces, and concerts of contemporary
music.
The Almeida Islington is a unique arena for public performance. Its distinctiveness as a
"found" space has lent each of its manifestations - as literary institute, music hall, Salvation
Army Citadel and, since 1980, a theatre - a particular quality. The curved back wall - a
signature of many Almeida productions - enfolds performers and audiences in an
embrace, which results in an acting area as large as the auditorium is small. This is part of
the Almeida's success - the intimacy of the relationship between performers and audience.
The success of any theatre company depends, finally, on whether it is a place where
people want to work. And, despite considerable odds, the Almeida is that if nothing else.
Theatre Biograpy
1837 Originally built as Islington Literary and Scientific Institution 1872 Society wound up
and contents sold 1874 Building bought by the Wellington Club to be used as a music hall
1904 Building taken over by the Salvation Army 1956 Becomes factory and showroom for
Becks Carnival Novelties 1971 Building becomes available and great interest is shown
from several theatre companies 1980 Becomes Grade II listed building, opens as the
Almeida Theatre under the Directorship of Pierre Audi, first International Festival of
Contemporary Music 1989 Festival of Contemporary Music wins overall Prudential Award
1990 Almeida becomes full-time producing theatre under the leadership of Jonathan Kent
and Ian McDiarmid; The Rehearsal is the first production to transfer to West End 1991 Sir
John Tooley appointed as Chairman of the Board; All For Love is first production to tour
internationally; First year of sponsorship from AT&T; Almeida Opera launched theatre
freehold bought with grant from Foundation for Sports and Arts; Chatsky is the first
production to have UK tour; Harold Pinter’s Moonlight has its world première; Olivier Award
for Outstanding Achievement 1994 Diana Rigg’s Medea is first Broadway transfer 1995
Ralph Fiennes’ Hamlet plays at the Hackney Empire, followed by Broadway run 1996 First
Almeida Cabaret - Mandy Patinkin 1997Garry Hart appointed as Chairman of the Board;
Nick Starr appointed as Executive Director; Ivanov goes to Moscow: a Channel 4
documentary follows first British production of Chekhov to be taken to Russia.
In 1998, Jonathan Kent’s production of Naked with Juliette Binoche transferred from
Islington to The Playhouse, the first time the Almeida had produced its own work in the
West End. Howard Davies’ production of The Iceman Cometh transferred from
Islington to The Old Vic, where Kevin Spacey recreated his critically acclaimed
performance as Hickey. The Almeida Theatre established an annual summer
residency in Worcestershire, producing a season of international drama in a new
festival for Malvern. Mr Puntila and his man Matti became the first Almeida production
to open at the Edinburgh Festival. The season at the Albery Theatre was launched with
Ted Hughes new version of Racine’s Phèdre and Robert David MacDonald’s new
version of Britannicus. Jonathan Kent’s Racine Company is led by Diana Rigg and
Toby Stephens. Howard Davies appointed as Associate Director.
In 1999 at Islington, Peter Gill directed the world première of his own play Certain Young
Men with Jeremy Northam. Stephen Daldry directed David Hare’s Via Dolorosa. Tom
Cairns directed Glenne Headley and Miranda Richardson in Wallace Shawn’s Aunt Dan
and Lemon. Michael Grandage directed Ian McDiarmid in Marlowe’s The Jew of Malta. At
the Albery Theatre in the West End, Sheila Hancock, Aisling O’Sullivan and Adrian
Scarborough appeared in Maxim Gorky’s Vassa, adapted and directed by Howard Davies,
and Jonathan Kent directed a cast including Cate Blanchett and Julian Wadham in David
Hare's Plenty. Meanwhile, in New York, Jonathan Kent directed Barbara Jefford, Diana
Rigg and Toby Stephens in Racine’s Phèdre and Britannicus and Howard Davies directed
a cast including Tim Piggot Smith, Robert Sean Leonard and Kevin Spacey in Eugene
O’Neill’s The Iceman Cometh.
In 2000 the Almeida performed at its home base in Islington, in the West End, in a
specially created found space at the Gainsborough Studios in North London and on tour
nationally (Sheffield, Malvern, Bath, Oxford, Salford) and internationally (New York and
Tokyo), presenting 3 world premières, 2 British premières, a new adaptation, 2
Shakespeares to play in repertoire, 2 major revivals, 9th Almeida Opera season and a
British stage debut for one of France’s leading actors.
On 3 June 2000, the Almeida performed in three locations in London, to a total audience of
over 3000. The Shakespeares in Shoreditch, Richard II and Coriolanus, played to an
audience of 135,000 worldwide.
In 2001, while major refurbishment takes place to Almeida Islington the Almeida Theatre
Company launched a year of international theatre and created two new performance
spaces in a former bus garage in King’s Cross where Jonathan Kent directed Anna Friel in
title role in Nicholas Wright’s new adaptation of Wedekind’s Lulu, which later transferred to
Washington. It also saw the world premiere of Neil LaBute’s The Shape Of Things directed
by the author with Gretchen Mol, Paul Rudd, Rachel Weisz and Frederick Welle, which
later transferred to New York. Jonathan Kent also directed Aidan Gillen and Helen
McCrory in David Hare’s new version of Chekhov’s Platonov, and Brian Friel’s Faith
Healer with Geraldine James, Ian McDiarmid and Ken Stott
In July 2002, Jonathan Kent And Ian McDiarmid left The Almeida after 12 years as Artistic
Directors and Michael Attenborough took over. Also in 2002: Rick Haythornthwaite was
appointed Chairman of the Board, Oliver Ford Davies appeared as Shakespeare’s King
Lear directed by Jonathan Kent and designed by Paul Brown, and The Distance From
Here by Neil LaBute received its world premiere and was directed by David Leveaux.
In 2003, the Company returned to the refurbished Almeida Street Theatre in early Spring,
and opened to the public again on 8th May. Neil Constable appointed Executive Director in
January 2003. Michael Attenborough appoints a highly distinguished group of Associate
Actors (Richard Wilson, Penelope Wilton, Meera Syal, Josette Bushell Mingo and Simon
Russell Beale) and his first season begins with Ibsen’s The Lady From The Sea directed
by Trevor Nunn and starring Natasha Richardson. This was followed by four premieres:
Nancy Meckler directed the World Premiere of Antony Sher's I.D. and Michael
Attenborough directed Sinead Cusack and John Hannah in the British premiere of Neil
LaBute's The Mercy Seat and the world premiere of Joanna Laurens' Five Gold Rings with
David Calder, Damian Lewis, Will Keen, Helen McCrory and Indira Varma. Edward Albee’s
The Goat received its British premiere in Anthony Page’s production with Jonathan Pryce,
Matthew Marsh, Kate Fahy and Eddie Redmayne. In March, Rufus Norris directed David
Eldridge’s dramatisation of Festen, from the Dogme film and play, with cast including
Jonny Lee Miller, Tom Hardy and Jane Asher. Both The Goat and Festen transferred to
the West End. The season closed with the World Premiere of Sebastian Barry’s new play
Whistling Psyche directed by Robert Delamere. The Annual Opera Season 2004 included
the London Premiere of Sir Harrison Birtwistle’s The Io Passion, libretto by Stephen Plaice,
and the British Premiere of Man and Boy: Dada by Michael Nyman, libretto by Michael
Hastings and directed by Lindsay Posner.
ALMEIDA PROJECTS was launched in September to create links with the local
community. Rebecca Manson Jones was appointed as the Director of Almeida Projects.
2004: This season opened with PUSH 2004 – a two week Black–led arts festival which
included the premiere of Two Step at the Almeida directed by Josette Bushell-Mingo, an
opera in collaboration with ENO and a ballet in collaboration with Royal Opera House. This
was followed by Michael Attenborough’s production of a musical of Graham Greene’s
Brighton Rock – with music by John Barry, lyrics by Don Black and book by Giles
Havergal, and the world premiere of Peter Whelan’s The Earthly Paradise which Robert
Delamere returned to direct. Touring in 2004 included The Io Passion in the UK and Man
and Boy: Dada in New Jersey.
ALMEIDA PROJECTS continued workshop and project work initiated in 2003, including a
mentoring scheme for young writers with established playwrights inspired by Festen. The
work, entitled Celebration, was professionally directed and produced on the Almeida
stage.
In 2005, John Caird directed Associate Artist Simon Russell-Beale in Macbeth and Eve
Best took the lead in Ibsen’s Hedda Gabler, adapted and directed by Richard Eyre, which
transferred to the Duke of York’s Theatre for a limited 12 week season. Rufus Norris
returned to the Almeida to direct Lorca’s Blood Wedding in a new translation by Tanya
Ronder, starring Gael Garcia Bernal. The 2005 Opera season included The Cricket
Recovers by Richard Ayres and Little Red Riding Hood by George Aperghis. In the
Autumn season, Frasier’s John Mahoney appeared in David Mamet’s Romance, directed
by Lindsay Posner, who also directed Richard Beans’ new version of Moliere’s The
Hypochondriac.
ALMEIDA PROJECTS created our first production for young people. SICK! inspired by
The Hypochondriac played on the same set and for 1000 Islington 11 year olds.
In 2006, the Almeida Theatre’s production of Festen, produced by Bill Kenwright,
embarked on a National Tour and opened on Broadway. Michael Attenborough, the
Almeida’s Artistic Director directed Sam Shepard’s The Late Henry Moss, which was
followed by Tennessee Williams’ Period of Adjustment directed by Almeida Associate
Howard Davies. In June Michael Attenborough directed David Hare’s new version of
Gorky’s Enemies. The summer’s Opera season included The Original Chinese Conjuror by
Raymond Yiu and Lee Warren, Love Counts by Michael Nyman and Michael Hastings,
and Les Aveugles, by Xavier Dayer, based on the play by Maurice Maeterlinck. Our
autumn season opened with a revival of Michael Hastings’ Tom and Viv directed by
Lindsay Posner, and Charlotte Jones’ new play The Lightning Play, directed by Anna
Mackmin.
ALMEIDA PROJECTS produced WRITE, a new writing initiative which involved 142 first-
time writers and saw 3 new plays produced at the Almeida directed by Rebecca Manson
Jones, Paulette Randall and Bijan Sheibani.
In 2007, Michael Attenborough directed the world premiere of Frank McGunness’s There
Came A Gypsy Riding, which was followed by Dying For It, a new play by Moira Buffini
based on The Suicide by Nikolai Erdman, directed by Anna Mackmin. In May, Michael
Attenborough’s production of the European premiere of Theodore Ward’s 1937 play Big
White Fog opened. The 2007 Almeida Opera season was opened with the World premiere
of The Silent Twins an Erollyn Wallen and April de Angelis collaboration based on the
book by Marjorie Wallace. The Almeida’s autumn season began with Clifford Odets’
Awake and Sing! directed by Michael Attenborough with award winning actress Stockard
Channing playing Bessie Berger. This will be followed by Caryl Churchill’s Cloud Nine,
directed by Thea Sharrock. The year will then be rounded off with the Almeida’s first
Christmas family show, Marianne Dreams adapted by Moira Buffini from the book by
Catherine Storr and directed and choreographed by Will Tuckett.
ALMEIDA PROJECTS worked with Writer in Residence Roy Williams to create Out of the
Fog inspired by Big White Fog. Out of the Fog played to 1200 teenagers from across North
London.
The Almeida’s current turnover is £3million, with an equal share of income coming
from Box Office, Sponsorship and Arts Council funding.
Principal Sponsor: Coutts & Co.
RECENT AWARDS
1998
Olivier Award for Best Actor – Kevin Spacey for The Iceman Cometh
Olivier Award for Best Director – Howard Davies for The Iceman Cometh
Evening Standard Award for Theatrical Achievement of the Year
Evening Standard Award for Best Director – Howard Davies for The Iceman Cometh
Evening Standard Award for Best Actor – Kevin Spacey for The Iceman Cometh
Barclays Theatre Award for Best Actor – Kevin Spacey for The Iceman Cometh
Critics’ Circle Award for Best Director – Howard Davies for The Iceman Cometh
Critics’ Circle Award for Best Actor – Kevin Spacey for The Iceman Cometh
The Empty Space/Peter Brook Award for 1998 Almeida Opera
1999
Outer Critics Circle (New York) Outstanding Revival of a Play – The Iceman Cometh
Outer Critics Circle (New York) Outstanding Actor in a Play – Kevin Spacey for The
Iceman Cometh
Outer Critics Circle (New York) Outstanding Director of a Play – Howard Davies for The
Iceman Cometh
Drama Desk Awards (New York) Outstanding Revival of a Play – The Iceman Cometh
Barclays Theatre Award for Best Actress – Hayley Carmichael – Mr Puntila and his Man
Matti
Laurence Olivier Award -Best Lighting Designer – Mark Henderson – Plenty and Vassa
Laurence Olivier Award -Best Set Designer – Rob Howell – Vassa
2000
Barclays Theatre Award – Theatre of the Year
Critics Circle Award for Best Actor – Michael Gambon for Cressida
2001
Critics Circle Award for Best Designer – Paul Brown for Richard II, Coriolanus and The
Tempest
2002
Time Out - Most Inspiring Venue
Critics Circle Award for Best Actor - Ian McDiarmid for Faith Healer
Critics Circle Award for Best Designer - Paul Brown for Platonov
Clarence Derwent Award for Best Supporting Actor – Ian McDiarmid for Faith Healer
2003
Whats on Stage Award for Best Director - Trevor Nunn for The Lady from the Sea
British Composers Award for Best Opera - Who Put Bella in the Wych Elm?
2004
Critics Circle Theatre Awards for Best Director – Rufus Norris for Festen
Critics Circle Theatre Awards for Most Promising Newcomer - Eddie Redmayne for The
Goat, or Who is Sylvia?
Evening Standard Award for Best Director – Rufus Norris for Festen
Evening Standard Award for Best Creative Team – Festen
Evening Standard Award for Best Newcomer - Eddie Redmayne for The Goat, or Who is
Sylvia?
2005
Critics Circle Theatre Award for Best Actress - Eve Best for Hedda Gabler
2006
Olivier Award for Best Actress - Eve Best for Hedda Gabler
Olivier Award for Best Revival - Richard Eyre for Hedda Gabler
Olivier Award for Best Director - Richard Eyre for Hedda Gabler
Olivier Award for Best Set Design - Rob Howell for Hedda Gabler
THE ALMEIDA IN QUOTES
“Good news … the Almeida has reopened and the refurbishment is a success … The
stage and auditorium have retained their distinctive character.” Sunday Telegraph
“The most actor-friendly space in London … all is as it marvellously was.” Financial Times
“Splendidly refurbished.” Independent
“The building is brighter and more spacious … the relationship between stage and
auditorium loyally preserved.” Sunday Times
The Lady from the Sea
“ Michael Attenborough’s regime gets off to a glowing start … The Almeida could not have
had a more thrilling and impressive opening.” Sunday Times
“The most superlative account of any Ibsen play London has seen for years” Financial
Times
“The Islington powerhouse opens with this tremendous production … electrifying … leaves
you reeling … boasts a great star performance from Natasha Richardson.” Daily
Telegraph
Five Gold Rings
“I do recommend this pained and painful play. It touches something vital in you … the
acting is superlative … Attenborough’s direction is elegant, tactful and visceral all at once.”
Sunday Times
“A superb production a terrific cast … confirms Laurens as an exciting writer.” The Times
“Bold, elegant, lyrical, finely wraught writing … gorgeously staged and beautifully
performed.” Time Out
The Goat
“A superlative London premiere … staggering tension … wholly astounding performances
… by far the finest staging of an Albee play I have seen.” Financial Times
“Superbly written …brilliant …flawless production … You won’t find more blazing acting
anywhere … see it if you see nothing else.” Mail on Sunday
Festen
“Phenomenally brilliant … a work of genius … utterly essential viewing.” Independent
“Unforgettable … theatre at its finest.” Daily Telegraph
Whistling Psyche
“An intense, haunting and beautiful play…two remarkable performances…marvellously
rewarding.” Mail on Sunday
'Kathryn Hunter is extraordinary...one of the stage performances of the year' Daily Mail
'A beautifully atmospheric production by Robert Delamere' Evening Standard
Hedda Gabler
“An electrifying hit…a wonderful production.” Daily Telegraph
'Exhilarating, sexually - charged, wild & shocking' Sunday Times
Almeida Opera 2005
“Eccentric, engaging, exuberant, provocative and entertaining.” The Times on The
Cricket Recovers
"Lively and subtle as well as mysterious, Georges Aperghis' simplicity cuts to the heart of
the story through theatrical poetry. A little chamber gem, full of fantasy," Liberation on
Little Red Riding Hood
Blood Wedding
“Brilliantly directed by Rufus Norris. Another indication of how well Michael Attenborough’s
management is doing at the Islington playhouse.” Sheridan Morley, Daily Express.
Romance
“I laughed like hell” The Times
“Deliciously loopy and very funny” The Independent
“An explosion of filth” Mail on Sunday
“You laugh uproariously…it’s a silly person who doesn’t…” Financial Times
Macbeth
“The most powerful, chilling, evil-feeling Macbeth since McKellen and Dench” The Times
The Hypochondriac
“Magnificently hilarious. Book now - it's just the tonic for any winter blues. “ Daily Mail
“Lindsay Posner's exuberant, superbly-acted production is riotously entertaining”
Daily Telegraph
“Superlatively silly” Mail on Sunday
The Late Henry Moss
'Vintage Shepardian humour and acted up to the hilt by a remarkable company...an
astonishingly wrought, high drama...' **** Evening Standard
'There’s not one emotionally untrue line in this play. It’s difficult to imagine better actors in
any role' ***** Time Out
Period Of Adjustment
"Howard Davies's production is superb" The Observer
"You must see this play: It’s like a diamond cut with its own stardust." The Sunday Times
"Great stuff" **** Time Out
Enemies
“A superb theatrical achievement… an excellent cast… Michael Attenborough’s admirable
staging… this is a major event in our theatre” Financial Times
Tom and Viv
“A magnificent and superbly acted piece of theatre… the play so powerfully succeeds… a
sublime tragedy” Sunday Times
The Lightning Play
“ Funny, touching and consistently entertaining” Daily Telegraph
There Came A Gypsy Riding
“A magnificent and harrowing play” The Spectator
“Exquisitely acted” The Guardian
“Unmissable” The Observer
Dying For It
"A joyous production...a gloriously frenzied evening" ***** Time Out
"The rediscovery of a subversive Soviet classic: deserves a permanent place in the British
Repertory” **** The Guardian
“Beautifully written comedy…Anna Mackmin’s excellent production is performed with gusto
and precision…desperately funny" The Observer
Big White Fog
"For strong gripping drama and splendid, heartfelt acting, the show is hard to beat." The
Daily Telegraph
"Michael Attenborough's fine production" **** The Guardian
Almeida Opera 2007
“the opera is an unequivocal hit" **** The Guardian (on The Silent Twins)
"… transported us to another world so refined that one could hardly bear the spell to be
broken" **** Evening Standard (on As I Crossed A Bridge of Dreams)
Awake and Sing!
"A welcome, rare and stirring revival...richly rewarding" The Independent
"Michael Attenborough's fine revival" **** The Guardian
"Finely acted revival" **** The Times
PUBLIC FUNDING
Arts Council England - London
(Almeida/Aldeburgh Opera)
The Almeida Theatre, Almeida Street, London N1 1TA
020 7359 4404 Box Office
020 7288 4900 Administration
www.almeida.co.uk
Registered Charity No. 282167