1999

Marathon by Edoardo Erba, directed by Mick Gordon (Artistic Director, 1998-2001)

The Gate collaborated with Turtle Key Arts for Deaf and Disabled Young People on the show to make it the Gate’s first signed show. The interpreter was placed between the two actors on stage, rather than in the corner, and this was said to be refreshing and ‘made the play even more involving, easy to follow and emotional.’

Marathon set precedent for accessibility at the Gate, with Jonathon Lloyd, a young deaf designer working on the set design for the show. Genny Fillery, from Turtle Key’s Apprenticeship programme, also worked on the press and marketing.

1998

Volunteers, by Brian Friel directed by Mick Gordon (Artistic Director, 1998-2001)

The theme for this season was  ‘A Home for the Exiles’, was to ‘explore the notion of exile from the cultural, political, social and personal point of view.’ Volunteers was programmed at the Gate as the theatre’s small size allowed the creative team to ‘react quickly to major political or social events and contribute to the debates surrounding them.’

This production showcased the Gate’s brilliant use of space and design. Liz Cooke transformed the space into an archaeological dig. It was important for Gordon that people would come to the Gate and not recognise it, placing emphasis on transformational capability.

1996

The world premiere of Phaedra’s Love, written and directed by Sarah Kane in her directorial debut. Phaedra’s Love explores the ‘brutal nature of love, social relations, nihilism and belief through the example of an affair between a queen and her stepson.’

David Farr (Artistic Director 1996-8) sold the idea of the play to Kane as a ‘safe place to do her second play. She could be protected – we’d protect her.’ ‘Entering her rehearsal room was like walking into a religion. Every actor was utterly consumed in their individual act of faith.’

1995

Agamemnon’s Children, directed by Laurence Boswell (Artistic Director, 1992-1996). This was a three play cycle consisting of Electra, Orestes and Iphegenia in Tauris. These ancient Greek plays were described as ‘intense and wittily thoughtful’ and as a trilogy was said to give a ‘”prismatic” perspective on the mythic story.’  Read the full Independent review here.

Lawrence Boswell said this epic trilogy ‘sold out before it opened and people fought, literally, to get in! The Gate was a place where young theatre makers worked together collectively, learn the trade and work on an exciting repertoire.’

1994

UK premiere of Carlo Goldoni’s His Lordship’s Fancy featuring the brilliant Sophie Okonedo and directed by Paddy Cunneen.

The Independent described the show as ‘a serious comedy. What it shows is the transformation of a pack of provincial clowns into an instrument of formidable power when their civic rights are threatened.’ (1994) From this Sophie Okonedo went on to be trailblazing in her acting career, receiving a Tony Award and nominations for a Golden Globe and Academy Award for Hotel Rwanda. She has also received the OBE and CBE for her work.

1993

Joseph Pintauro’s Snow Orchid, directed by Tim Luscombe with Jude Law playing the role of Blaise. This was London Gay Theatre Company’s last ever show. Director Tim Luscombe writes how ‘the company had contributed to gay plays being seen as commercially viable and schedulable, and thus it had achieved and outrun its purpose.’

Luscombe also praised the production saying it ‘exploded out of the little space of the Gate Theatre and consolidated the reputation of the London Gay Theatre Company.’

1992

The Crackwalker written by Judith Thompson, directed by James Macdonald

The Crackwalker was known as the ‘horrifying comedy about Ontario’s urban underclass’, portrays the social breakdown of the Canadian working class. It came to the Gate at the same time that workplace regulations were put in place in the UK and were the talk of the nation in 1992.

The Crackwalker stared BAFTA nominated Kathy Burke, early in her career, who then went on to star on screen in the famous Absolutely Fabulous and in Gary Oldman’s Nil By Mouth (1994).

1991

Women of Troy, directed by trailblazing director Katie Mitchell.

Having previously worked as an assistant director for the RSC, Women of Troy was ‘pioneering’, and her direction, ‘gentle but incisive’ and a ‘stunning reminder of the potency of drama even across millennia.’ (City Limits Magazine, 1991). From there she went on to direct work at the National Theatre and The Royal Opera House, with highlights including, winning the Evening Standard Award for Best Director and being awarded an OBE.

In her own words, ‘I cut my teeth as a director in your tiny claustrophobic room, memories of painting walls, planting trees, being welcomed, nurtured, radicalised by the artistic powerhouse that you are.’

Women of Troy starred another familiar face, Emma Rice OBE, formerly Artistic Director of the Globe Theatre. She was the Standard Issue Magazine Woman of the Year 2016. Her performance in Women of Troy was praised across the reviews, and was said to have ‘fearsome intensity’.

1990

Don Gill of Green Breech by Tirso de Molino, as part of The Spanish Golden Age season

Stephen Daldry asked Boswell to work as Associate Director on the promise that ‘you can do those Spanish Golden Age plays you keep banging on about!’ The partnership won the Gate an Olivier Award for Outstanding Achievement.

Ödön von Horváth’s Figaro Gets Divorced, directed by Stephen Daldry,

Designer Ian MacNeil later went on to win the 2009 Tony Award for the design of Billy Elliot as well as receiving various nominations for his work on An Inspector Calls (1994) and Angels in America (2018).

Figaro Gets Divorced’s set consisted of a wall of broken mirrors used to encompass: a forest; a border patrol office, a jeweller; a hotel; a barber shop; run down lodgings, and even a castle.

Michael Billington’s review for the Guardian called it the ‘best use of small space […] ever seen’, with MacNeil’s efforts being praised also. As part of the Consummate Classics, this season went on to win a Time Out Award!