Almeida Info Nov09 by KF3fUk

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									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 Biography

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
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adaptation, 2 Shakespeares to play in repertoire, 2 major revivals, 9 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
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public again on 8 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 was
followed by Caryl Churchill’s Cloud Nine, directed by Thea Sharrock. The year was 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 2008 spring season saw Michael Attenborough direct Harold Pinter’s The Homecoming. This was
followed by the European Premiere of American playwright, Stephen Adly Guirgis’s The Last Days of Judas
Iscariot, a co-production with Headlong Theatre and directed by Rupert Goold. The season was wrapped up
with Ibsen’s Rosmersholm. Anthony Page returning to the Almeida to direct Mike Poulton’s new version of
the Ibsen play.

The 2008 Almeida Festival was comprised of a mixture of opera, drama and music. The festival opened with
A Theatre Cryptic, Aldeburgh Almeida Opera and Ensemble MAE co-production of An Ocean of Rain, a new
opera with music by the Anglo-Cypriot composer Yannis Kyriakides, libretto by Daniel Danis, directed by
Cathie Boyd and performed live by Ensemble MAE from Holland. This was followed by Ensemble MAE in
concert for one night only. Matt Wilde then directed Nocturne, a one man play by Adam Rapp. Cy Twombly
in association with Tate Modern then presented Theatre of Possibilities a concert of songs sung by Mezzo-
Soprano Sally Burgess and directed by Mike Ashman with musical direction by Richard Bernas. Barb Jungr
then returned to the Almeida following her success here in 2007 with a new concert, No Regrets – the
Remarkable Barb Jungr. The festival was successfully concluded by Tiata Fahodzi (Artistic Director, Femi
Elufowoju, jr) who presented six nights of new writing by African writers resident in the UK.

The autumn season began with Dublin’s Abbey Theatre production of Sam Shepard’s Kicking a Dead Horse.
Stephen Rea starred in this one man show written especially for the acclaimed actor and directed by
Shepard. This was closely followed by Harley Granville Barker’s political early twentieth century play, Waste,
to be directed by Sam West. This was followed by Michael Attenborough’s production of In a Dark, Dark
House. This was the European premiere of Neil LaBute’s play.

2009 at the Almeida Theatre promised to be an exciting year with five premieres, two major revivals and a
Shakespeare to follow in 2010.

The year began with Juliet Stevenson and Henry Goodman appearing in Tom Kempinski’s Duet For One,
directed by Matthew Lloyd. After huge critical acclaim, Duet for One toured to Bath, Windsor and Richmond
before transferring to the Vaudeville Theatre in London’s West End. This was followed by the European
Premier of Jez Butterworth’s Parlour Song directed by Ian Rickson. In May 2009, the Almeida presented
another European Premiere, Australian writer, Andrew Bovell’s When The Rain Stops Falling, directed by
Michael Attenborough.

The Almeida Summer Festival took over the Almeida stage throughout July. The theatre welcomed Slung
Low who performed a promenade piece entitled Last Seen, around the surrounding streets of Islington.
American company, The Team performed their work-in-progress show The American Capitalism Project.
Closely followed by a newly formed company Gulp, a group formed from the work of Almeida Projects and
the Young Friends of the Almeida LAB. Fifteen young people will perform Tanya Ronder’s Or Nearest Offer.
The Almeida then welcomes back Tiata Fahodzi after their success in 2008. They will perform Michael
Bhim’s new play The Golden Hour and complete the Festival with a concert of British African music.

The World Premiere of Christopher Hampton’s new version of Judgment Day by Ödön von Horváth, directed
by James MacDonald recently opened at the Almeida. After Judgment Day will be a revival of Nicholas
Wright’s Mrs Klein, directed by Thea Sharrock. And Patrick Hamilton’s Rope to be directed by Roger Michell
will bring 2009 to a close.

2010 will be opened with Michael Attenborough directing Shakespeare’s Measure for Measure.


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

Cloud Nine

“…scorching stuff, and more entertaining than anything in the West End” ***** Sunday Telegraph

“A beautifully modulated, cannily cast…deeply felt production…excellent performances…wonderfully funny.”
The Independent

“An absolute treat…wholly heavenly” Daily Telegraph

Marianne Dreams

"When the noise and glitter of this year's pantomimes have long been forgotten, this I suspect, is a show that
will linger resonantly in the memory" Daily Telegraph

"…it's a joy to come across a piece like Marianne Dreams... beautiful, clear, funny, haunting and visually
imaginative... a great Christmas show..." The Independent

The Homecoming

“Michael Attenborough’s production is exemplary. It is pitch perfect…” The Observer

“Michael Attenborough’s revival does full justice to the play’s below-the-belt observation and flyblown wit…”
**** The Times

“…bitterly funny, powerful revival" **** The Independent

“...Michael Attenborough’s production imparts fresh narrative tension... Attenborough captures the humour in
Pinter’s black comedy...” **** Evening Standard

The Last Days of Judas Iscariot

"...a truly epic production...Guirgis and Goold have a sensational hit on their hands" Daily Telegraph

“…A gloriously intoxicating brew" **** The Guardian

"...extraordinary, comic and gripping...surely going to be on the shortlist for Best New Play of the Year"
Independent on Sunday

Rosmersholm
“A magnificent production...the acting, fiercely restrained but scorching with truthfulness, has a great
liberating power” **** The Sunday Times

“Mike Poulton's sharp new translation and Anthony Page's fluent production give it a palpable urgency” ****
Financial Times

“Anthony Page's Almeida production is lucid and compelling...” **** The Independent

“They keep us spellbound” **** The Guardian

“Helen McCrory's Rebecca is energetic, frank, sexy and rational” ***** Time Out

Waste

"The finest ensemble acting to be seen in London for ages... mesmerising performances... To watch Keen
and Nicholls is to experience theatre acting at its finest... what an overwhelming experience" ***** Evening
Standard

"Another forgotten gem unearthed by the Almeida… Sam West’s production is superlative, with a 15-strong
cast without a weak link… sharp-eyed and, in many ways, timeless"
Independent on Sunday

"A flawless revival...an impeccable cast" **** Mail on Sunday

‘Show of the Week’: "The play, last seen at the Old Vic in 1997, is much better suited to a smaller space like
the Almeida… a sensitive and engrossing production" ***** Time Out

"Barker brings the personal convictions, arguments and plotting thrillingly to life… Will Keen is marvellous as
Trebell, a riveting stage presence… this is a wonderfully rich and assured production of a play of remarkable
contemporaneity" **** Sunday Times

In a Dark Dark House

"Presented with skill...the play has a troubling fascination... Steven Mackintosh invests [Drew] with a
vulnerable charm... Kira Sternbach endows the adolescent girl with a provocative sassiness" The Guardian

"LaBute loads his dice in a fascinating way and Michael Attenborough’s involving production has two
remarkable, unstrained performances from David Morrissey and Steven Mackintosh" whatsonstage.com

"Morrissey is masterly here… the same is true of the script" Financial Times

Duet for One

“Performances of overwhelming emotional power and conviction… the performance of a lifetime… a
triumph.” ***** Evening Standard

“In Matthew Lloyd’s fine revival, there is a perfect balance between the superb performances of Juliet
Stevenson and Henry Goodman. These are two actors at the top of their game… a riveting evening.” ****
The Guardian

“Duet for One bowled me over…Matthew Lloyd's rich and nuanced production…is a noble and deeply
moving piece of theatre. Stevenson…is superb…Henry Goodman creates a highly sympathetic, wise and
comic character… a masterclass in fine acting.” **** The Daily Telegraph

**** The Times, Daily Mail, Sunday Express, Financial Times

Parlour Song

"Ian Rickson's beautifully precise production” **** The Guardian

"The sharpest, funniest piece [Jez Butterworth] has written since his precocious debut... I haven't laughed as
much in ages" **** The Times

“Blissfully funny new play... Ian Rickson directs an almost flawless production...“ **** The Daily Telegraph
**** whatsonstage.com, Financial Times, The Independent

When the Rain Stops Falling

“A superb play…tightly wrought drama…Michael Attenborough’s play is the finest he has done in his
Almeida tenure. Glowing performances.” **** The Guardian

“A bold and sensitive play… exudes a sense of wonder and mystery. Shrewd and sharp and genuinely
moving…” **** The Times

“A work of gripping mystery and emotional depth” **** The Daily Telegraph

“Grabs you by its imagination, its heartrending originality…” ***** Sunday Times

Judgment Day

“A gripping moral fable… a fine translation and a stunning production” **** The Guardian

“A fascinating drama… brought to life in a creepily atmospheric production which powerfully communicates
the play’s thriller-like tension, haunted soul, and mordant humour” **** The Independent

“James Macdonald’s fine production” **** The Daily Telegraph

“Measured, atmospheric, and thoroughly hypnotic…a wonderful restoration of a great play” ****
whatsonstage.com

Mrs Klein

“Skilfully revived… the drama is a psychological power struggle… a rich one for performers…a thoughtfully
conceived production, a treat for admirers of fine acting.” Evening Standard

“Meticulously acted… the great Clare Higgins combines a wry, dry wit with deep emotion… deeply moving”
The Daily Telegraph

“A skilful play… an absorbing production…Clare Higgins plays Melanie Klein to perfection…” The Observer

PUBLIC FUNDING

Arts Council England - London
(Almeida Theatre)

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

								
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