2009

Nocturnal by Juan Mayorga, directed by Lyndsey Turner. In a Gate first, this production featured a backdrop of live animation. When asked about her memories of the production, Lyndsey said:

“Nocturnal was my first show at the Gate and my memories of it are mostly visual. The set was designed by Hannah Clark to house illustrations and animations by Matthew Walker whose work I love.

I remember a scene set in the nocturnal animals enclosure of a zoo, in which Paul Hunter and Justin Salinger dramatised with aching subtlety a power struggle between two men, whilst constantly risking being upstaged by a drawing of a marmoset whose eyes swivelled from left to right every so often. It should have been impossible to pull off a blend of live action and back projected animation in a room that small, but somehow nothing is ever impossible at the Gate.”

2008

Hedda, adapted from Ibsen’s Hedda Gabler by Lucy Kirkwood and directed by Carrie Cracknell (Co-Artistic Director 2007-2012). After leaving the Gate in 2012, Carrie moved on to become Associate Director at the Young Vic and was then Associate Director at The Royal Court from 2013-14. She is currently on the board of the Almeida Theatre.

The Stage wrote that as a creative team, Carrie Cracknell and Lucy Kirkwood had ‘shifted the play from late 19th century Oslo to up to the minute Notting Hill, and the result is electrifying drama.’ While The Guardian commented, ‘they have definitely created a Hedda for our times.’

2007

The Car Cemetry by Fernando Arrabal, directed by Natalie Abrahami (Co-Artistic Director 2007 – 2012).

The space was filled with broken sections of cars that the audience sat among. 

British Theatre Guide described the show as a “thrilling, chilling, black comedy” which “announces [Abrahami’s] arrival at the Gate in fine style.”

2006

The Chairs, a version of Eugene Ionesco’s absurdist tragic farce adapted by Martin Crimp and directed by Thea Sharrock. This “beautifully judged production” (British Theatre Guide) served as Thea’s swansong production as Artistic Director of The Gate – the production’s soundscape of slamming doors felt fitting. It received glowing reviews, The Times referring to it as “peculiarly moving; utterly compelling.”

Soon after she went on to direct Daniel Radcliffe in Equus in the West End.

2005

The Emperor Jones, directed by Thea Sharrock (Artistic Director 2004-2007). This production is the only Gate show in its history to transfer to the Olivier at the National Theatre. Paterson Joseph took the lead in his “towering performance.” And ★★★★★ reviews were seen left, right and centre from the likes of Michael Billington amongst others. The production was described by @TheStage as “the most ambitious [production] since the Hollywood movie!”

2004

Woyzeck, directed by Daniel Kramer (AD English National Opera 2016-19). The production had big boots to fill after a previous production directed by Sarah Kane in 1997, but it went above and beyond expectation, being called “radical, bold and striking” by The Guardian and “the best and most daring production of Woyzeck” by The Sunday Times.  Woyzeck also featured in Time Out and The Observer’s 10 Best Shows of 2004.

2003

Flu Season, directed by Erica Whyman. The show was described by Lyn Gardner as “stingily funny and really rather beautiful in a wonderful, abrasive little production that sees director Erica Whyman on top form.”

The play, originally by Will Eno, deconstructs the ‘typical love story’ with a dark, comedic tone. See the famous opening monologue featured in the pictures!

2002

Death and the Ploughman by German playwright Michael West. Directed by Deborah Bruce, British Theatre Guide said it was “a fascinatingly staged production, unlike anything else on the London Stage.”

This play consisted of 34 two-minute chapter style segments. It was written as a reaction to the death of the playwright Johannes von Saaz’s wife and centres around death from different angles whilst connecting with past selves.

In Bruce’s production, ‘death’ was personified and played by 3 performers, an old man (Tim Barlow), a young charmer (Ben Nealon – Soldier Solider) and a pregnant woman (Madeleine Bowyer).

2001

A Box of Bananas, directed by Erica Whyman (Artistic Director, 2001-2004) and devised by the company. This was part of Whyman’s first season ‘are you…?’ which explored madness and what is means to be ‘sane’.

A Box of Bananas went in depth into the boundaries between sanity and insanity. The show was completely devised by the company from texts and their own stories.

It was followed by Life With An Idiot, adapted from a short story by Russian writer, Victor Erofeyev, and lastly Murder, by Israeli playwright, Hanoch Levin. Known as ‘Israel’s most admired 20th Century playwright,’ this show kept in line with the political theme with an ‘honest and brutal depiction of the conflict between Jews and Arabs.’

2000 

Cuckoos, by Giuseppe Manfredi, directed by Sir Peter Hall.

This black comedy follows the story of 3 adults discovering their futures.

The play featured Olivier Award nominee, Kelly Hunter and British actor, Paul Ready, known for the BBC hit series, The Bodyguard.

This Italian play was the third in Mick Gordon’s 5 play season ‘Remembering the Future.’ In an interview with Michael Billington, Gordon describes the Gate as a ‘stupid room above a pub that does magic!’