Rosmersholm

Multi-award winning Helen McCrory returns to the Almeida having appeared in Five Gold Ringsin 2003, Platonov in 2001, and The Triumph of Love in 1999.

Her other extensive theatre credits include Rosalind in As You Like It for Wyndhams Theatre, Old Times, Twelfth Night & Uncle Vanya, In A Little World of Our Own, and How I Learned to Drive all for the Donmar Warehouse, Les Enfants du Paradis for the RSC, The Seagull, Devil’s Disciple, Fuente Ovejuna and Blood Wedding all for the National Theatre, and Lady Macbeth in Macbeth for the Tricycle Theatre.

Her television work includes Frankenstein, Charles II, Carla, Dead Gorgeous, The Jury, Lucky Jim, North Square, Anna Karenina, Split Second, The Fragile Heart and The Entertainer. Her film credits include Harry Potter And The Half-Blood Prince, Flashbacks of a Fool, Casanova, Enduring Love, Charlotte Gray, and Cherie Blair in Stephen Frears’ award winning film The Queen.

Paul Moriarty was last at the Almeida in Jonathan Kent’s productions of Richard II andCoriolanus (2000).

His other theatre credits include Market Boy, Pillars of the Community, Sing Yer Heart Out for the Lads, Macbeth, As I Lay Dying, The Crucible, Racing Demon, Murmuring Judges and The Absence of War all for the National Theatre, Afterbirth for the Arcola Theatre, Kingfisher Blue for the Bush Theatre, King Lear, Antony and Cleopatra, Troilus and Cressida and Bingo all for the RSC, The Elephant Man for Sheffield Lyceum and on tour,A View From The Bridge for Sheffield Crucible, Saved for the Abbey Theatre Dublin, and Love and Money for Manchester Royal Exchange and the Young Vic.

His film and television credits include Eastenders, Pride and Prejudice, Jack of Hearts, Peak Practice, A Touch of Frost, Murder Most Horrid, and Hidden Agenda.

Veronica Quilligan’s extensive theatre credits include A Pagan Place, The Key Tag, From Cockney to Toffs and The School Leaver all for the Royal Court, The Shagaround for Brighton Theatre, Spring Awakening, The Way of the World, The Tempest and Romeo and Juliet all for the National Theatre, Zigomania for the Bush Theatre, A Lesson in Blood and Roses for the RSC, The Glass Menagerie, Wild Oates,Translations and Says I Says He all for Bristol Old Vic, and Gigi at the Fortune Theatre, West End.

Her television credits include Casualty, Family Affairs, Doctors, Centrepoint, Rough Justiceand Peak Practice.

Her film credits include My Zinc Bed, Call At Corazon, The Seaweed Children, Robin and Marian and Listzomania, while her work in radio includes The Street Sings, Winners, and Uprooted.

Malcolm Sinclair returns to the Almeida having appeared previously in Heartbreak House(1997) and Cressida (Almeida in the West End, 2000).

His other theatre credits includeDealer’s Choice for Trafalgar Studios, The History Boys for the National Theatre on tour and on Broadway, Luther, Racing Demon, Misanthrope, Richard III and House/Garden also for the National Theatre, What The Butler Saw for Hampstead Theatre and in the West End,Journey’s End at the Playhouse Theatre West End, My Fair Lady at the Theatre Royal Drury Lane, Privates on Parade for the Donmar Warehouse, Twelfth Night for Sheffield Theatres, and Richard III, Uncle Vanya, The Comedy of Errors and Hamlet for the RSC.

On television his credits include The Brief, Making Waves, Daphne, Foyle’s War, Hustle, Judge John Deed, Victoria and Albert, Anna Karenina and Pie in the Sky. He has recorded regularly for BBC radio, and his film credits include Casino Royale, V for Vendetta, The Statement and God on the Rocks.

Peter Sullivan has performed previously at the Almeida in Lulu (1991) and Certain Young Men(1999).

His other theatre work includes The Pain and The Itch and Rock ‘n’ Roll for the Royal Court, Mercy for Soho Theatre, Napoli Milionaria, Richard III and King Lear all for the National Theatre, Way of the World for the Lyric Hammersmith, Drummers for the New Ambassadors Theatre, and The Bacchae for Opera Factory.

His television credits include The Passion,Wire in the Blood, A Very Social Secretary, Extras, The Brief, The Last Detective, Single, Nathan Barley, Sex Traffic and State of Play.

His film credits include Chromophobia, Puritan, Monsieur N, Conspiracy, The Day of the Jackal, The Adventures of Young Indiana Jones and Christie Malry's Own Double Entry.

Mike Poulton began writing for the theatre in 1995. His first two productions - Uncle Vanya andFortune’s Fool - were staged by the Chichester Festival Theatre in 1996 and subsequently Broadway. Since then his work has included The Canterbury Tales and St Erkenwald for the Royal Shakespeare Company, a new version of Strindberg’s The Father for Chichester’s Minerva Theatre, a new adaptation of Hedda Gabler for West Yorkshire Playhouse, Three Sisters for Birmingham Repertory Theatre and Don Carlos for the Crucible, Sheffield and in the West End. In 2001 his adaptation of the York Mystery Plays was performed in York Minster. He is currently under commission by the RSC, Birmingham Repertory Theatre and Chichester Festival Theatre.

Anthony Page was Artistic Director of the Royal Court between 1964 and 1973 where he directed the premieres of five John Osborne plays.

For the Almeida he directed Edward Albee’s The Goat, or Who is Sylvia? in 2004 which later transferred to the West End.

His other West End productions include Ibsen's The Master Builder and A Doll's House, Tennessee Williams’ The Night of the Iguana and Cat on a Hot Tin Roof, and Edward Albee’sThe Lady from Dubuque, Who’s Afraid of Virginia Woolf?, Three Tall Women and A Delicate Balance. For the National Theatre he has directed The Rules of the Game, Mrs Warren's Profession, Absolute Hell and Marriage Play/Finding the Sun.

He has directed many productions for both British and American television, most recently Middlemarch for the BBC. His films include Inadmissible Evidence, Alpha Beta and Absolution.

Hildegard Bechtler has previously worked with the Almeida on The Goat, Or Who is Sylvia?, The Saxon Shore, The Creditors, Mainly After Dark, and The Tourist Guide, and for Almeida Opera Jacob Lenz, The Undivine Comedy and The Golom.

She has designed extensively for a range of other theatre and opera productions, including Harper Regan, The Hour We Knew Nothing of Each Other, The Hothouse, Therese Raquin and Iphegenia at Aulis all for the National Theatre, All About My Mother for the Young Vic, The Seagull and Krapp's Last Tapefor the Royal Court, My Name is Rachel Corrie for the Royal Court, West End and Broadway, Primo for the National Theatre, on Broadway, and the film version for HBO, The Lady from Dubuque for Theatre Royal Haymarket and Madame Butterfly for Opera North.

Peter Mumford has previously worked with the Almeida on Cloud Nine, Hedda Gabler and The Goat or Who is Sylvia?.

His other extensive theatre work includes Shadowlands for Wyndhams Theatre, Hothouse, The Rose Tattoo, Exiles, The Talking Cure, Luther andSummerfolk for the National Theatre, Fiddler on the Roof for the Savoy Theatre, Amy’s Viewfor the Garrick Theatre, A Voyage Round My Father for the Donmar Warehouse/West End, The Seagull, Drunk Enough to Say I Love You? and Dying City for the Royal Court, The Entertainer and Richard II for the Old Vic, Summer And Smoke, Waiting for Godot, and You Never Can Tell in the West End, and Brand and Hamlet for the RSC.

His opera work includes Madama Butterfly for English National Opera and The Metropolitan Opera House, New York, Eugene Onegin for the Royal Opera House and Finnish Opera, The Midsummer Marriage for Lyric Opera Chicago, La Cenerentola at Glyndebourne, Katya Kabanova and Madama Butterfly for Opera North, as well as extensive international productions across Europe and America.

Amy Roberts has designed extensively for theatre, television and film, including Oliver Twist,Confessions of a Diary Secretary, Dracula, Perfect Parents, Elizabeth I: Virgin Queen (BAFTA Craft Award 2007 Best Costume Design), The Only Boy For Me, Family Business, Too Good To Be True, Carrie’s War (BAFTA Wales Award for Best Costume Design), Pollyanna, Helen West, Station Jim, Plain Jane, Amongst Women, A Likeness in Stone, Real Women, Brassed Off, Ultraviolet, The Heart Surgeon, Cold Comfort Farm, Summer Day’s Dream, Close My Eyes, Foreign Affairs, A Question of Attribution, Traffik, Madame Sousatzka, The Tale of Beatrix Potter and An Englishman Abroad (both winners of the BAFTA Award for Best Costume Design).

Gareth Fry’s work as a sound designer includes Black Watch for National Theatre of Scotland,The Overwhelming for Laura Pels Theatre, New York, Jump and OK Computer for BBC Radio 4; Noise of Time, Strange Poetry and Mnemonic for Theatre de Complicite; Women of Troy,A Matter Of Life and Death, Attempts on Her Life, Waves,The Overwhelming, Theatre of Blood, Fix Up, Iphigenia at Aulis, The Three Sisters, Ivanov,and The Oresteia all for the National Theatre; Harvest, Forty Winks, Under the Whaleback, Night Songs, Face to the Wall, Redundant, Mountain Language, Ashes to Ashes, and The Country all for the Royal Court;How Much is Your Iron? and The Jewish Wife for the Young Vic; O Go My Man, Talking to Terrorists and Macbeth for Out of Joint; Romans in Britain and Shadowmouth for Sheffield Crucible; Phaedra's Love for Bristol Old Vic and the Barbican; and World Music and The Darkfor the Donmar Warehouse.