Albion

For the Almeida: Vassa; Game; King Charles III (also West End/ Broadway).

Theatre includes: Wild (Hampstead Theatre); An Intervention (Paines Plough/ Watford Palace); Bull (Crucible Theatre/ Off Broadway/ Young Vic); Medea; Decade (Headlong); Chariots of Fire (Hampstead Theatre/ West End); 13 (National Theatre);

Earthquakes in London (Headlong/ National Theatre); Love, Love, Love (Paines Plough/ Plymouth Theatre Royal/ Royal Court/ Roundabout Theatre Company, New York); Cock; Contractions; My Child (Royal Court); Artefacts (Bush Theatre/ Nabokov).

As Director: Medea (Headlong/ Glasgow Citizens/ Watford/ Warwick); Honest (Theatre Royal Northampton).

Television includes: King Charles III; Doctor Foster; The Town.

Radio includes: King Charles III; Cock; Heart; The Core; Family Man; Love Contract; The Steps; Not Talking.

King Charles III won an Olivier award for Best New Play in 2015. Both Bull and Cock, won Olivier Awards for Outstanding Achievement in an Affiliate Theatre. He also won a Theatre Award UK for Best New Play for Love, Love, Love.

Rupert is Artistic Director of the Almeida Theatre, and was founding Artistic Director of Headlong from 2005 to 2013, Associate Director at the Royal Shakespeare Company and Artistic Director of Northampton Theatres from 2002 to 2005.

For the Almeida: The Hunt; Shipwreck; Albion; Ink; Richard III; Medea; The Merchant of Venice; King Charles III; American Psycho; The Last Days of Judas Iscariot.

Theatre includes: The Effect; Earthquakes in London (Headlong/ National Theatre); Time and the Conways (National Theatre); The Lion, the Witch and the Wardrobe (Kensington Gardens); The Merchant of Venice; Romeo and Juliet; The Tempest; Speaking Like Magpies (RSC); ENRON (Headlong/ West End/ Broadway); Made in Dagenham; Oliver!; The Glass Menagerie; No Man’s Land (West End); King Lear (Headlong/ Liverpool Everyman/ Young Vic); Six Characters in Search of an Author (Headlong/ West End); Macbeth (Chichester/ West End/ Broadway); Faustus; Restoration; Paradise Lost (Headlong); Hamlet; Summer Lightning; Insignificance; Paradise Lost; Waiting for Godot; The Weir; Betrayal; Othello; (Royal Theatre, Northampton); Scaramouche Jones (Dublin Festival/ World Tour); The Wind in the Willows (Birmingham Repertory Theatre); Privates on Parade (New Vic Theatre); Gone to LA; Sunday Father (Hampstead Theatre); Broken Glass (Watford Palace Theatre); Habeus Corpus; Summer Lighting; Dancing at Lughnasa (Salisbury Playhouse); The End of the Affair (Bridewell Theatre); The Colonel Bird (Gate Theatre); Romeo and Juliet (Greenwich Theatre).

Opera includes: Turandot (English National Opera); Le Comte Ory (Garsington Opera); Gli Equivoci; Il Pomo D’Oro (Batignano Opera Festival).

Television includes: Macbeth; King Charles III; Richard II.

Film includes: True Story; Judy.

Rupert has twice been the recipient of the Laurence Olivier, Critics’ Circle and Evening Standard awards for Best Director. He won a Peabody Award in 2011 for Macbeth. Rupert was awarded a CBE in the 2017 New Years Honours for services to drama.

For the Almeida: Shipwreck; Machinal; Albion; Boy; When the Rain Stops Falling; Judgement Day.

Theatre and Dance includes: King Lear; To Kill a Mockingbird; Three Tall Women; A Doll’s House 2; The Children (Broadway); The Jungle (Young Vic/ West End/ New York); The Trial; Public Enemy; Wild Swans; The Government Inspector; In the Red and Brown Water; The Good Soul of Szechuan; Generations (Young Vic); Get Santa!; Sucker Punch; Cock; In the Republic of Happiness (Royal Court Theatre); The Children; Escaped Alone; Love and Information (RCT and New York); Sunny Afternoon; Chariots of Fire (Hampstead Theatre and West End); Bend it Like Beckham (West End); The Father (Theatre Royal Bath); The Effect; Earthquakes in London (National Theatre); Six Characters in Search of an Author (Chichester Festival Theatre/ West End); Red Demon; The Bee (Young Vic / Japan); Guantanamo: “Honor Bound to Defend Freedom” (Tricycle Theatre/ West End/ New York/ San Francisco); Frame of View (Cedar Lake, New York).

Opera includes: La Fanciulla Del West (ENO and Santa Fe Opera); Turandot; Wozzeck (ENO); Suor Angelica (Royal Opera House); Anna Nicole (Royal Opera House and New York); The Death of Klinghoffer (Edinburgh Festival/ Scottish Opera).

Miriam trained in costume design at Akademie für Kostüm Design in Hamburg, and in theatre design at Central Saint Martin’s, London. She won The Linbury Prize for Stage Design in 1999, and received the Evening Standard Best Design Award in 2010 for Earthquakes in London and Sucker Punch, and in 2018 for The Jungle.

For the Almeida: The Hunt; Albion; Ink (also West End/ Broadway); The Treatment; Medea; Children’s Children; Mrs Klein; Judgement Day; The Homecoming; Marianne Dreams; Dying for It; Tom and Viv; Romance; Macbeth.

Theatre includes: Harry Potter and the Cursed Child (London/ Broadway/ Melbourne); The Night of the Iguana; The Lieutenant of Inishmore; Labour of Love; Photograph 51; Shakespeare in Love; Henry V; The Starry Messenger; Red; The Weir; Hamlet; Madame de Sade; Twelfth Night; Rosmersholm; No Man’s Land; Bitter Wheat; The Entertainer; The Winter’s Tale; All On Her Own / Harlequinade; Company; Frost/Nixon; Piaf; The Prisoner of Second Avenue; Travesties; A Life in the Theatre; South Downs; The Browning Version; Death and the Maiden; The Children’s Hour; The Goat; Great Britain; Japes; Bend it Like Beckham; Betty Blue Eyes; Much Ado About Nothing; The Sunshine Boys (West End); Buried Child; The Hothouse; Dealer’s Choice (Trafalgar Studios); Blues in the Night (Kiln Theatre); Harry Potter and the Cursed Child; Travesties; Hughie; Cat on a Hot Tin Roof; Evita; Red; Hamlet; The Seafarer; Frost/Nixon (Broadway). Neil has also designed 40 shows at the National Theatre and 26 at the Donmar Warehouse.

Neil was the recipient of the 2019 Tony Award for Ink on Broadway; 2019 Helpmann Award for Harry Potter and the Cursed Child in Melbourne; 2019 Knight of Illumination Award for Company in the West End; 2018 Tony, Drama Desk and Outer Critics Circle Awards for Harry Potter and the Cursed Child on Broadway; the 2017 Olivier and WhatsOnStage Awards for Harry Potter and the Cursed Child in London; the 2011 Laurence Olivier Award for The White Guard, and the 2010 Tony and Drama Desk Awards for Red.

For the Almeida: Albion; Against; The Merchant of Venice; Cloud Nine.

Theatre includes: Rosmersholm; The Goat Or Who Is Silvia?; The Truth; Stepping Out; My Night With Reg; Goodnight Mister Tom; The Vortex; A Voyage Around My Father; And Then There Were None; Some Girls; Waiting for Godot; What the Butler Saw (West End); The Beacon; Shelter; Furniture; Richard III (Druid); Twelfth Night (Royal Lyceum Theatre Edinburgh); Admissions (Trafalgar Studios); The Secret Diary of Adrian Mole Aged 13 ¾ (Menier Chocolate Factory/ West End); Orpheus Descending (Theatr Clwyd/ Menier Chocolate Factory); The Gronholm Method; Fiddler on the Roof; Spamilton; The Bridges of Madison Country; Lettice & Loveage; The Truth; Dinner With Saddam; Assassins; Two Into One; The Lyons; The Color Purple; Travels With My Aunt; Proof (Menier Chocolate Factory); The Two Noble Kinsmen; The Alchemist; All’s Well That Ends Well; Coriolanus; The Merry Wives of Windsor; Tantalus; Cymbeline; A Midsummer Night’s Dream (RSC); A Steady Rain; The American Plan (St James’s); Stepping Out; Henry IV Parts I and II; Jeffrey Bernard Is Unwell; Blithe Spirit; The Rivals; Hedda Gabler; The Winslow Boy; Balmoral; Peter Hall Company Season (Theatre Royal Bath); Welcome Home Captain Fox!; My Night With Reg; Versailles; The Night Alive; A Voyage Around My Father; The Philanthropist (Donmar Warehouse); The Color Purple (Broadway); The Twits; The Ritual Slaughter of Gorge Mastromas (Royal Court); Medea; The Doctor’s Dilemma; Misterman; Tristan & Yseult (National Theatre); Clarence Darrow; A Flea In Her Ear; National Anthems; Six Degrees of Separation (Old Vic); Journey’s End (Duke of York’s/New York); Equus (Gielgud /New York); The Wizard of Oz; The Midnight Gang; The Watsons; A Christmas Carol; Mrs Pat; The Boy in the Striped Pyjamas (Chichester Festival Theatre); Annie Get Your Gun (UK tour); The Birthday Party (Manchester Royal Exchange); The Seagull (Headlong); Donkeys’ Years (Rose Theatre Kingston); Arcadia (English Touring Theatre); King of The Castle; The Irish Shakespeare Project; Brigit; Bailegangaire (Druid Theatre); The Night Alive; The Philanthropist; Pygmalion (New York).

For his work on Journey’s End Gregory won a Drama Desk Award for Outstanding Sound Design. Gregory also won a Tony Award for Best Sound Design of a Play for his work on Equus.

Rebecca is Associate Director at the Almeida Theatre and was previously on the Almeida’s Resident Director Scheme supported by the Eranda Rothschild Foundation.

As director, for the Almeida: Three Sisters; Summer and Smoke (also West End).

As director, theatre includes: Steel (Sheffield Crucible); From Morning to Midnight (Bridewell Theatre); Educating Rita (Durham Gala); Julie; What Are They Like?; Idomeneus (Northern Stage); You, Me, and Everything Else (Soho Theatre/UK Tour); Aftermath (Royal & Derngate); A Streetcar Named Desire - Parallel Production (Young Vic); Something Cloudy, Something Clear (Greenwich Theatre); Summer and Smoke (Southwark Playhouse); Bassett (New Diorama).

As Resident/Assistant Director, for the Almeida: Ink.

As Resident/Assistant Director, theatre includes: James and the Giant Peach; The wonderful Wizard of Oz; Here is the News from Over There; Cyrano de Bergerac (Northern Stage); The Taming of The Shrew (RSC); From Morning to Midnight; Liola (National Theatre); The Lion the Witch and the Wardrobe (ThreeSixty Productions); After Miss Julie (Young Vic); Dream Story (The Gate).

Rebecca trained at Goldsmiths, LAMDA, and on the National Theatre Studio’s Directors Course. Upon graduating she received a Jerwood Assistant Director Bursary to train at the Young Vic and in 2015 she won the acclaimed Regional Theatres Young Directors Scheme Bursary at Northern Stage. She was one of the first winners of the Michael Grandage Company Futures Bursary in 2016, was Runner-Up for the Royal Theatrical Support Trust Director Award 2016 and a 2017 finalist, and was a finalist for the 2014 & 2017 Genesis Future Directors Award at the Young Vic.

For the Almeida: Albion; The Twilight Zone.

As director: Rock Shock Horror (The Wardrobe Theatre); South Western (Tobacco Factory Theatres).

As co-director: The Last of the Pelican Daughters (Pleasance Beyond, Edinburgh); 252AM (Shady Dolls Theatre).

As director and co-writer: RIOT; 33; The Forever Machine (Wardrobe Ensemble); Rocky: A Horror Show (The Wardrobe Theatre).

As co-director and co-writer: 1972: The Future of Sex; Eloise and The Curse of The Golden Whisk (Wardrobe Ensemble).

As co-director and writer: The Episode (UK Tour).

As writer: Weapons; Congregation (North Wall Theatre, Oxford).

As co-writer and performer: Education Education Education (Wardrobe Ensemble/ Trafalgar Studios).

Tom trained in American Theatre at Rose Bruford and on Made in Bristol at the Bristol Old Vic. He is a founding member of The Wardrobe Theatre in Bristol, where in 2011, he founded Closer Each Day, an improvised soap opera that continues to be performed bi-weekly.