Robert is a writer and theatre director. He is currently Associate Director at the Almeida where his work includes adapting and directing Mary Stuart, Uncle Vanya, The Odyssey, The Illiad, Oresteia (also West End) and 1984 (co-created with Duncan Macmillan, also West End, National and International tours) and productions of The Fever and Mr Burns. Other work includes, The Red Barn (National Theatre); Boys; Romeo and Juliet; Decade (Headlong, where he was previously Associate Director). 1984 won ‘Best Director’ at the UK Theatre Awards 2014, ‘Best Director’ at the Liverpool Arts Awards, and was nominated for ‘Best New Play’ at the 2014 Olivier Awards. For Oresteia, Robert won the ‘Best Director’ Critics Circle and Evening Standard Theatre Awards in 2015, and the Olivier Award for ‘Best Director’ in 2016.
Plays include: People, Places and Things (2015/16 – National Theatre/Wyndham’s Theatre); 1984, adapt. George Orwell (2013-16 – Headlong/Nottingham Playhouse/Almeida/West End and international tour, co-adapted/co-directed with Rob Icke); Every Brilliant Thing (2013-17 – Paines Plough/Pentabus Theatre/Edinburgh Festival/UK, international tours/HBO); 2071, co-written with Chris Rapley (2014-15 – Royal Court Theatre/Hamburg Schauspielhaus); The Forbidden Zone (2014-16 – Salzburg Festival and Schaubühne, Berlin); Wunschloses Unglück, adapt. Peter Handke (2014 – Burgtheater Vienna); Reise Durch die Nacht, adapt. Friederike Mayröcker (2012-14 – Schauspielhaus Köln, Festival d’Avignon, Teatertreffen); Lungs (2011-16 Paines Plough and Sheffield Theatres/Studio Theatre, Washington DC) and Monster (2006 – Royal Exchange).
Chloe trained in Theatre Design at Wimbledon School of Art. Awards Include: Arts Foundation Fellowship Award for Design for Performance in Set & Costume, Theatrical Management Association Award for Best Theatre Design (Small Miracle). Chloe is an Associate Designer for the Royal Court Theatre where work includes: Unreachable, Ophelia’s Zimmer, The Twits, How to Hold Your Breath, God Bless the Child, 2071, The Internet is Serious Business and Circle Mirror Transformation. DESIGNS FOR THEATRE INCLUDE: The Maids (Toneelgroep, Amsterdam); Amadeus, Rules for Living, The World of Extreme Happiness (National Theatre), 1984 (West End/Headlong/Almeida UK and International Tour), Atmen and Ophelias Zimmer (Schaubühne, Berlin), Our Ladies of Perpetual Succour (National Theatre Scotland),The Tempest (Donmar Warehouse), Het Hamilton Complex (Hetpaleis, Antwerp), Salt, Root and Roe (Donmar Warehouse), The Events (ATC and Young Vic), The History Boys (Sheffield Crucible), Disco Pigs and Sus (Young Vic), My Shrinking Life, Appointment with the Wicker Man, Knives in Hens (National Theatre Scotland), Praxis Makes Perfect, The Radicalisation of Bradley Manning (National Theatre Wales), Boys (Headlong Theatre), Cannibals and The Gate Keeper (Manchester Royal Exchange),The History Boys (Sheffield Crucible); It Felt Empty… (Clean Break), Small Miracle (Tricycle/ Mercury, Colchester). DESIGNS FOR OPERA AND DANCE INCLUDE: Pelleas et Melisande and Alcina (Aix en Provence Festival) Verkarte Nacht (Rambert), The Little Sweep and Let’s Make An Opera (Malmo Opera House, Sweden) The Magic Flute (English Touring Opera), War and Peace (Scottish Opera/ RCS).
Tom trained at Central School of Speech and Drama. Recent Theatre Includes: Hedda Gabler (National Theatre) The Red Barn (National Theatre) Sunset At The Villa Thalia (National Theatre) The Crucible (Walter Kerr Theater) People, Places and Things (National Theatre, Winner for Best Sound Design, Olivier Awards 2016) Oresteia (Almeida Theatre/Trafalgar Studios) Anna Karenina (Manchester Royal Exchange), Elephants (Hampstead Theatre), White Devil, As You Like It (RSC), Translations (Sheffield Crucible), A View From the Bridge (Young Vic/Wyndham’s – nominated for Best Sound Design Olivier Award 2015), Happy Days, A Season in the Congo, Disco Pigs (Young Vic), Mr Burns, 1984 (Almeida), The Absence of War, Romeo & Juliet (Headlong), Lion Boy (Complicite), Henry IV (Donmar), Julius Caesar (Donmar, St Ann’s Brooklyn), Grounded (Gate Theatre), The Spire (Salisbury Playhouse), London, The Angry Brigade (Paines Plough), Roundabout Season (Shoreditch Town Hall, Paines Plough), The Rover (Hampton Court Palace), Love Love Love, (Royal Court), Island (National Theatre, Tour), Dead Heavy Fantastic (Liverpool Everyman), Plenty (Crucible Studio, Sheffield), Encourage The Others (Almeida), Wasted (Paines Plough, Tour), Chalet Lines, The Knowledge, Little Platoons, 50 Ways To Leave Your Lover, (Bush Theatre) Hairy Ape, Shivered, Faith, Hope and Charity, The Hostage, Toad (Southwark Playhouse), Sold (503), The Chairs (Ustinov Bath), The Country, The Road To Mecca, The Roman Bath, 1936, The Shawl (Arcola), Utopia, Bagpuss, Everything Must Go, Soho Streets (Soho Theatre), Hitchcock Blonde (Hull Truck)
Tim has worked as head of video for the National Theatre of Scotland and toured internationally. His work has been seen in places as diverse as Sydney Opera House and the Shetland Isles.
Recent Productions Include: Mary Stuart (Almeida), FRACKED! (Chichester) Oresteia, (Almeida and West End) 1984 (Almeida / Headlong / Nottingham Playhouse / West End), Meeting Bea (The Old Laundry Theatre), The Red Barn (National Theatre), Show Boat (Sheffield Crucible / New London Theatre), If You Kiss Me Kiss Me and (Young Vic), Blood Wedding (Dundee Rep / Graeae / Derby Playhouse), Stemmer (Bergen National Opera), Scale (Scottish Dance Theatre), La Musica (Young Vic) Letters Home: England in a Pink Blouse (Grid Iron / Edinburgh International Book Festival), A Christmas Carol (Royal Lyceum, Edinburgh), The Effect, Love Your Soldiers, The History Boys (Sheffield Crucible), Quiz Show, Tree of Knowledge (Traverse Theatre), Carousel (Royal Conservatoire of Scotland), White Rose (Firebrand Theatre), 8 (Glasgay Festival), Biding Time (Remix) (A Band Called Quinn / Tromolo Productions), Ghost Patrol (Scottish Opera / Music Theatre Wales), Educating Ronnie (HighTide / MacRobert Arts Centre, Stirling), Can We Talk About This? (DV8), Clockwork (Visible Fictions / Scottish Opera), Girl X; 99… 100, Peter Pan (National Theatre of Scotland), Playback (Ankur Productions), The Not-So-Fatal Death of Grandpa Fredo, Bright Black (Vox Motus), We Dance WeeGroove (Stillmotion), Treasure Island, One Giant Leap (Wee Stories), Promises Promises (Random Accomplice), Cresseid (Edinburgh International Festival), White Tea (Fire Exit), The Tailor of Inverness (Dogstar). As Video Co-designer: Ten Billion (59 Productions / Royal Court); As One (Royal Ballet). As Projection Designer: Wild Swans (Young Vic / ART).
Associate Director (Australia)
Corey McMahon is a director, producer and dramaturg. He trained at the Flinders Drama Centre, graduating in 2006. He subsequently completed his Master of Creative Arts in Directing, also at the Drama Centre. In 2008 he formed the award-winning independent theatre ensemble five.point.one and was Artistic Director from 2008-2011. During his time with five.point.one he directed work by Edward Bond, Lally Katz, Anna Barnes, Polly Stenham, Caleb Lewis, Dennis Kelly and Daniel Keene.
In 2016 he was Associate Director for Out of Joint Theatre Company (UK) on A View from Islington North. Other directing credits include award-winning and critically acclaimed 2015 season of The Good Son by Elena Carapetis, Eh Joe by Samuel Beckett for State Theatre Company/Adelaide Festival, the 2014 State Theatre Company Umbrella production of Between Two Waves by Ian Meadows, Thieves by Kathryn Ash for the 2014 National Play Festival and the world premiere of Music by Jane Bodie for Griffin Independent. In 2013 he was the director of the world premiere of Rust and Bone by Caleb Lewis for Griffin Independent (and 2011 National Play Festival) and was dramaturg on The Real World, by Melissa Reeves (2011 National Play Festival). In 2011 Corey was both director and dramaturg on Little Borders, by Phillip Kavanagh (in association with Flinders University). Little Borders was subsequently selected for Playwriting Australia’s 2011 National Script Workshop and won the Patrick White Award in the same year. His other new writing credits include the stage one development of Near Life by Jane Bodie, This Place by Nina Pearce (winner of the 2010 Jill Blewett Award) and The Hulk Project adapted by Steve Mayhew in association with the Adelaide Festival Centre.
As assistant director his credits include Ghosts by Henrik Ibsen, adapted by Nicki Bloom (director: Geordie Brookman, STCSA), Shoot/Get Treasure/Repeat by Mark Ravenhill (director: Roxana Silbert, Paines Plough UK) and Holding the Man by Tommy Murphy (director: Rosalba Clemente, STCSA). In 2008 Corey was Resident Assistant Director for Paines Plough (UK) and in 2010 worked at The Bush Theatre (UK) as the company’s Assistant Director. He has taught and directed acting students in numerous productions at Flinders University Drama Centre, Adelaide College of the Arts and University of Wollongong. He has been a reader of new work for Playwriting Australia and is a member of the 2015 Peer Assessment Panel for Arts SA. In 2009 Corey was awarded ‘Emerging Artist of the Year’ by the Adelaide Critics’ Circle for his work for five.point.one. His production of The Share won ‘Best Drama (Professional)’ at the 2010 Adelaide Theatre Guide Awards, and he was also nominated for ‘Best Individual Achievement’ for his direction of The Share by the Adelaide Critics’ Circle. In 2014 Between Two Waves was nominated for ‘Best Ensemble’ by the Adelaide Critics’ Circle and in 2015 his production of The Good Son was awarded ‘Best Ensemble – Professional’ at the Adelaide Theatre Guide Awards.
Associate Lighting Designer
Associate Sound Designer
Theatre as Associate Sound Designer: Years of Sunlight (Seared Productions/Theatre503), The Children (Royal Court), Peter Pan Goes Wrong (Mischief Theatre), Blue Heart (Orange Tree Theatre), 1984 (Headlong/Nottingham Playhouse/Almeida Theatre/Sonia Friedman Productions), I Call My Brothers, Diary of a Madman, The Iphigenia Quartet (Gate Theatre), The Sugar-Coated Bullets of the Bourgeoisie (Arcola/HighTide), A High Street Odyssey (Inspector Sands), Henry IV (Outreach Project for Donmar Warehouse). Theatre as Sound Designer: Birthday Suit (Old Red Lion Theatre/Pluck Productions), Further. Still, Nailhouse (Old Red Lion Theatre), Wet Bread (Sheer Drop). Other media as Sound Designer: Zombies, Run! Season 1&2 (Six to Start, Android/iPhone app).
Associate Video Designer
The Almeida Theatre makes bold new work that asks big questions: of plays, of theatre and of the world we live in. It brings together the most exciting artists to take risks, provoke, inspire and surprise its audiences; to interrogate the present, dig up the past and imagine the future. (Whether new work or reinvigorated classic, whether in the theatre, on the road or online, the Almeida makes live art to excite, enliven and entertain. The Almeida makes argument for theatre as an essential force in an increasingly fragmented society.)
A small room with an international reputation, the Almeida began life as a literary and scientific society – complete with library, lecture theatre and laboratory. From the beginning, the building existed to investigate the world.
In 2013, Rupert Goold joined the Almeida as Artistic Director. His first production was American Psycho: a new musical thriller, which transferred to Broadway in 2016. In 2014 the Almeida productions of Ghosts and Chimerica won eight Olivier Awards and transferred to the West End and Broadway respectively. This was followed by King Charles III, which transferred to the West End at the Wyndham’s Theatre and won the Olivier Award for Best New Play in 2015, transferred to Broadway, and toured the UK and Sydney. Other notable productions as Artistic Director include The Merchant of Venice, Medea and Richard III, which in July 2016 was broadcast to cinemas around the world via Almeida Theatre Live.
In summer 2015, the Almeida presented Almeida Greeks, which included three major new productions of Oresteia, Bakkhai and Medea, the latter of which was directed by Goold, with a festival of events, performances, talks and readings running alongside. The Iliad reached an audience of over 50,000 people across the world, watching online, or in person at the British Museum and the Almeida Theatre. The Odyssey followed the huge success of The Iliad, and involved an army of artists in various locations around London. Both theatrical events were live streamed throughout and achieved ground-breaking levels of online engagement.
Previous productions including Hamlet with Ralph Fiennes, The Iceman Cometh with Kevin Spacey, Rufus Norris’ Festen, Ruined by Lynn Nottage; Albee’s The Goat, or Who is Sylvia? with Jonathan Price and Eddie Redmayne, Ibsen’s Lady From the Sea with Natasha Redgrave, Neil Labute’s The Shape of Things with Rachel Wiesz and Paul Rudd, have given the theatre international renown.
Nottingham Playhouse is one of the UK’s leading producing theatres – creating theatre since 1948. Flanked by Anish Kapoor’s stunning Sky Mirror Nottingham Playhouse creates world-class theatre for all ages on its two stages. From classroom pieces to specially-created sensory experiences for young people with PMLD to main stage new writing and its record-breaking annual pantomime the Playhouse engages with many communities in Nottingham and further afield. It commissions both theatre and dance and tours its work nationally and internationally with recent international tours including 1984, On The Waterfront, Oedipus and The Burial at Thebes and current London West End success with its European premiere of The Kite Runner which tours in 2018.
Via a combination of bold artistic leadership and championing of visionary artists, we are able to create spectacular work with the highest possible production values. We position the next generation of theatre-makers alongside artists of international standing, aiming always to create work that is bold and original. We place digital innovation at the heart of all our activities, working in partnership with digital artists to create innovative content that accompanies and enhances audiences’ engagement with our work.
Our projects tour the UK and the world; many transfer to the West End, including People, Places and Things, Enron, Chimerica, Six Characters in Search of An Author, The Nether and 1984. We have won numerous Olivier awards, most recently for our co-production with the National Theatre, People, Places and Things (Best Actress, Denise Gough; Best Sound Design, Tom Gibbons) and previously for our production of Chimerica, which played at the Almeida Theatre and for a sold-out run in the West End in 2013.
Previous work includes: 1984 (Playhouse Theatre), Observe the Sons of UIster Marching Towards the Somme (UK and Ireland tour), Boys Will Be Boys (Bush Theatre), People, Places and Things (NT), The Glass Menagerie (West Yorkshire Playhouse/ Liverpool Everyman & Playhouse/ UK tour), The Absence of War (Sheffield Theatres/Rose Theatre, Kingston/ UK tour), The Nether (Royal Court/ West End), Spring Awakening (West Yorkshire Playhouse/Nuffield Theatre/ UK tour), American Psycho (Almeida), The Seagull (Nuffield Theatre/Derby Theatre/UK tour), The Effect (NT), Medea (UK tour), Boys (HighTide Festival/Nuffield Theatre /Soho Theatre), Romeo and Juliet (Nuffield Theatre/Nottingham Playhouse/Hull Truck/UK tour), Decade (St Katherine Docks), Earthquakes in London (NT/UK tour) and ENRON (Chichester Festival Theatre/Royal Court/West End/UK tour/Broadway).