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Katie Mitchell

December 2018

  • Cat In The Hat 4

    The Cat in the Hat review – Dr Seuss's rascal reborn as a madcap circus star

    Storytelling is secondary to spectacle in this chaotic retelling that features cakes, wigs and a fraught balancing act

November 2018

  • Toil and trouble ... Danielle Bird as Mildred Hubble in The Worst Witch.

    Ten of the best theatre shows for Christmas 2018

    Musical improv elves, cabaret and interactive hijinks abound in these festive shows for families

August 2018

  • La Maladie de la Mort, at Edinburgh International Festival 2018. Director Katie Mitchell, script by Alice Birch, with Laetitia Dosch as the woman, Nick Fletcher as the man, Irène Jacob is the narrator.

    La Maladie de la Mort review – clinical dissection of male gaze

  • Marguerite Duras

    A desire for Duras: Katie Mitchell and Alice Birch on the writer's erotic, existential mystery

June 2018

  • Cate Blanchett

    Cate Blanchett to debut at National Theatre in new Martin Crimp play

    Actor is cast opposite Stephen Dillane in production to be directed by Katie Mitchell

May 2018

  • Embargo on image use until 9.45pm on 10-05-18.<br>Stephane Degout (King) and Gyula Orendt (Gaveston) in Lessons In Love And Violence by George Benjamin @ Royal Opera House. Text by Martin Crimp. Conducted by George Benjamin. Directed by Katie Mitchell. (Opening 10-05-18) ©Tristram Kenton 05/18 (3 Raveley Street, LONDON NW5 2HX TEL 0207 267 5550 Mob 07973 617 355)email: tristram@tristramkenton.com

    Lessons in Love and Violence review – soaring tale of a brutal royal downfall

  • Despair … rehearsals for the Royal Opera House’s Lessons in Love and Violence, about Edward II’s relationship with the Earl of Cornwall.

    Katie Mitchell on ROH's brutal new opera: 'There is optimism – for 10 seconds'

February 2018

  • David Lan View from the Bridge (with Mark Strong) Three Sisters (Benedict Andrews directed) Sweet Nothings (in 2010) Scottsboro Boys (2013)

    How the Young Vic's David Lan dared to put the world centre-stage

    Lan, who ran the theatre for 18 years, reached out to bold, dynamic directors from across the globe – and they repaid him with spectacular shows

November 2017

  • The Cherry Orchard at Nottingham Playhouse

    Chekhov's revolutions: the Russian master still speaks to a world in flux

    On the centenary of the Russian revolution, a glut of revivals show Chekhov’s characters struggling to adjust to the social earthquakes that engulf them

July 2017

  • Teh Internet is Serious Business at the Royal Court

    The Guardian picture essay
    'How does the internet feel?' Chloe Lamford's astounding stage designs - in pictures

    Hacktivists in ball pools, teenagers riding unicorns and a world powered by actors on bikes … Chloe Lamford’s playful sets take audiences by surprise. She explains how she creates them

June 2017

  • ‘Brilliant’: Hattie Morahan in Anatomy of a Suicide.

    Anatomy of a Suicide review – unhappy days are here again

    Alice Birch’s riveting play, expertly directed by Katie Mitchell, examines how devastating sadness can seep through generations of women
  • Hattie Morahan as Carol in Anatomy of a Suicide, by Alice Birch, at Royal Court, London.

    Anatomy of a Suicide review – a startling study of mothers and daughters

    Alice Birch’s radically experimental play, directed by Katie Mitchell, tests the theory that trauma can pass across three generations of women
  • Alice Birch, playwright. Photograph: Graham Turner For ARTS

    Alice Birch: ‘I’m interested in whether trauma can be passed on through DNA’

    The playwright on creating a drama about birth and suicide, moving into film and TV, and portraying women behaving badly

January 2017

  • Barbara Hannigan as Agnès with Christopher Purves as her husband, the Protector, in Written on Skin by George Benjamin

    Written on Skin review – Hannigan is spellbinding in parable of beauty and violence

    Soprano Barbara Hannigan revisits the role created for her in George Benjamin’s tale of sexual jealousy and artistic revelation, interpreted forensically by Katie Mitchell

December 2016

  • The Maids, directed by Katie Mitchell, at Stadsschouwburg Amsterdam

    The Maids review – Katie Mitchell puts Genet's wealth-gap murder story in drag

    Jean Genet’s symbolist crime drama seems all too tense and real in this contemporary setting, with a trans victim who forgot to check her privilege

June 2016

  • The Complete Deaths by Spymonkey and Tim Crouch

    Theatre blog
    Who needs fake blood? Eye-catching ways to play dead on stage

    Theatre has found all sorts of lively ways to represent death – it’s been done with butchered cabbages and even bright pink blancmange
  • Theatrical vandal? Simon Stone at the 2015 Dubai international film festival.

    Simon Stone: 'If theatre could be half as good as HBO, we'd be hitting gold'

    At 31, Simon Stone has adapted Woody Allen, re-written Ibsen not once but twice, and helmed various iconoclastic stage productions – all after starting out as an actor. He explains why going to the theatre is still a ‘cathartic social ritual’
  • Chest-battering sounds... Rebecca Benson in Let The Right One In.

    Big audio dynamite: how theatre is moving at the speed of sound

    Long treated as a final flourish, sound design is now sitting at the heart of theatre productions – and new technology means it can make drama more tense and terrifying than ever before

May 2016

  • Jenny König in The Forbidden Zone

    The Forbidden Zone review – Katie Mitchell probes the science of war

  • Anya Khalilulina as Miranda in The Tempest, Jenny Konig in Ophelias Zimmer and Patsy Ferran as Celia in As You Like it

    Theatre blog
    Alas, poor Ophelia: the minor characters who deserve the spotlight

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