Spring 2020 Season Announcement

Today we announce the Almeida Theatre’s Spring 2020 season:

The return of Mike Bartlett’s acclaimed Albion for a four week run, with Victoria Hamilton reprising her award-winning performance.

The UK premiere of Daddy, by Jeremy O. Harris (Slave Play), directed by Danya Taymor.

The world premiere of Beth Steel’s new play The House of Shades, directed by Blanche McIntyre.



Rupert Goold: I'm really excited to be announcing this 2020 season. Two wonderful new plays: Jeremy O. Harris's "Daddy" and Beth Steel's The House of Shades, and before those the first revival we've done in my time at the Almeida which is a return to the garden with my Mike Bartlett's Albion.

Jeremy O. Harris: My name is Jeremy O. Harris and I wrote the play "Daddy". "Daddy" is a melodrama, it's sort of in the tradition of 19th century melodrama. It's about an intergenerational interracial relationship between a man of a certain age who collects art and his 26 year old artist and muse.

Rupert Goold: It's one of the most breathtaking stagings of anything I've ever seen but above all Jeremy's voice is unbelievably rare.

Beth Steel: I'm Beth Steel and I wrote The House of Shades. The House of Shades tells the story of the Webster family across three generations. It's a play that spans half a century of huge political and social change.

Rupert Goold: A play that addresses the decline or the evolution of the labour movement particularly in the north

Beth Steel: It's a haunted play and at its centre is the character of Constance Webster, like a spider weaving a web.

Rupert Goold: This play, The House of Shades, I think is her masterpiece so far.

Albion is a play about a woman who buys a house with a garden and wants to restore it to its former glory. It contains maybe one of the best performances we've had at the Almeida in my time, Victoria Hamilton who went on to win awards for her role as Audrey.

Above all though, Albion is also a play about a divided country. It's not explicitly a play about Brexit but Brexit does sit under it. The main reason we wanted to bring it back was to look at how the play's meaning had evolved in the crazy years we've had since the referendum. Now I think it is more profound and even more moving