British Theater Now

Throughout Britain, theater is uniquely valued as the preeminent art form–deeply woven into the culture. While we continue to embrace its rich theater history, Britain continues to be an incubator of ground-breaking new work. In our globalized arts world, many would argue that London is the de-facto capital of the international theater community. The British stage balances the best of the old with a propulsive commitment to the new.

HERE ARE SOME EXAMPLES:

In the Loop

Pandemonium, a new satirical play by Armando Iannucci (creator of HBO's Veep), played at the Soho Theatre in London at the start of 2024. The production offered a comedic take on British politics, with a focus on figures such as Boris Johnson and Rishi Sunak. Set in an Elizabethan-style pantomime setting, the play lampooned the mishandling of Brexit and the pandemic with sharp wit and slapstick humor. Iannucci’s portrayal of political leaders as bumbling caricatures entertained and sparked debate about the serious implications of political leadership.

Dugsi Dayz at the Royal Court

Detention on a Saturday? These four girls are keeping tight-lipped on why they’re there. When a power outage at the Mosque plunges them into darkness, the girls retell Somali folktales to break the ice. As they delve into their stories, they discover parallels that may just lead to friendship. Written by Sabrina Ali and directed by Poppy Clifford (Originally co-directed by Warda Mohamed), Dugsi Dayz is a riotous and authentic comedy exploring Somali, Muslim culture and female friendship, inspired by the 1985 movie The Breakfast Club. Following an award-winning run at the Edinburgh Fringe and sold-out national tour, Dugsi Dayz opens the Royal Court’s 2024 upstairs season.  

I’m Not Running

David Hare (Plenty, Skylight, Stuff Happens) was described by the Washington Post as ‘the premiere political dramatist writing in English.’ I’m Not Running is his explosive new play which portrays personal choices and their public consequences, through the tale of a young doctor who becomes the face of a campaign to save her local hospital. She becomes a member of Parliament, and must deal with the realities of politics when she is thrust into leadership. We talk about the multiplicity of the role with Sian Brooke, who plays the central character, Pauline.

The Motive and the Cue

The Motive and the Cue, a new play by Harry Potter and the Cursed Child's Jack Thorne, officially opened at London's National Theatre May 2 following previews that began April 21.

Sam Mendes directs the play. Inspired by the making of John Gielgud’s Hamlet, as well as Letters from an Actor by William Redfield and John Gielgud Directs Richard Burton in Hamlet by Richard L. Sterne, the cast features Johnny Flynn as Richard Burton, Mark Gatiss as John Gielgud, Tuppence Middleton as Elizabeth Taylor, and Janie Dee as Eileen Herlie.

Women Rising

The new Artistic Directors of London’s cutting edge theatres – The Royal Court, the Kiln Theatre, and Shakespeare’s Globe are notably women, all taking charge at theaters that have been headed by men since their foundings.

Applause for Vicky Featherstone now heading the Royal Court, Indhu Rubasingham leading the Tricycle, and Michelle Terry helming the Globe. Their individual merits and prior achievements make them more than worthy successors, gender aside, but their appointments also mark a major step forward for women in theater. An inspiring landmark moment as three powerful women take three powerful positions.

Emily Mann, revered playwright and Artistic Director of acclaimed American theater, the McCarter, considers whether and how the British theater culture poses greater obstacles to women.

London Calling

New American playwrights including Tarell Alvin McCraney and Christopher Shinn and mid-career writers who had found themselves marginalized in the U.S. such as Richard Nelson and Wallace Shawn have found enormous support in England. Most notably from The Royal Court Theatre, the Donmar Warehouse and the Royal Shakespeare Company. We ask Christopher Shinn to tell us about his experiences in working with a famed British theater company and how their audiences differ from American ones.

The Prince of Egypt

A new stage musical based on the DreamWorks animated motion picture The Prince of Egypt opened on the West End at the Dominion Theatre on February 5th. The musical features music and lyrics by Stephen Schwartz, songwriter of Wicked, with a book by the Prince of Egypt film’s writer, Philip LaZebnik, and will be directed by Scott Schwartz. Featuring songs such as Whitney Houston and Mariah Carey’s hit, “Deliver Us,” plus “All I Ever Wanted” and “Through Heaven’s Eyes,” The Prince of Egypt is based on the book of Exodus and tells the story of Moses, who was born a child of Israel, and brought up in Egypt after he was found by Pharoah’s wife in a wicker basket floating on the Nile.

THE NATIONAL'S NEW LEADER

Indhu Rubasingham has been appointed as the first woman and person of color to lead London's National Theater, succeeding a long history of white male artistic directors. Rubasingham, currently head of the Kiln Theater, will officially take over in 2025, working alongside Kate Varah, who will share the role of chief executive. Her new role comes with significant challenges, including managing a shrinking budget, inflation, and repaying a pandemic-related loan. Rubasingham is expected to maintain the theater's high standards, producing plays that attract audiences and generate revenue through West End and Broadway transfers. At the Kiln, she directed acclaimed productions but also faced controversies, including a decision involving the U.K. Jewish Film Festival and the theater's name change from Tricycle to Kiln. Despite these challenges, Rubasingham's appointment marks a significant shift in leadership for the National Theater.