Babes in Arms Performance for The Nest | 25 Nov 11.30am

We are pleased to announce our first ever Babes in Arms performance!

Here at the Young Vic we’re opening our doors to those with little ones. On Friday 25 November at 11.30am we’ve added a special performance of Ian Rickson’s production of Conor McPherson’s new translation of The Nest.

If you’re a parent or a carer with a baby under eighteen months we have an extra performance just for you. The actors will be aware that there may be additional noise from the auditorium and the house lights will remain up throughout. You’ll be welcome to move about the space should you need to settle your baby.

There will be space for buggies to be parked. Baby changing and milk-warming facilities will be available.

This performance is open to everyone but is specifically designed for audiences with babes in arms.


The Nest

Parents-to-be Kurt and Martha just want the best for their baby. They’re not afraid of hard work – the latest buggy doesn’t come cheap. But when Kurt’s boss offers him a chance to make some easy money with a mysterious side job, his rashness catches up with him.

Conor McPherson has written a powerful new version of the German classic.

A fable about the moral and environmental cost of our materialistic nesting instincts, directed by Ian Rickson.

The Nest runs in The Maria at the YV from 28 October – 26 November. More information and how to book tickets here

Just announced: A Midsummer Night’s Dream + See Me Now

We have just announced 2 exciting new shows for 2017! Joe Hill-Gibbins returns to the Young Vic with a dark production of A Midsummer Night’s Dream designed by Johannes Schütz. And See Me Now shares the true stories of sex workers – a collaboration between Young Vic, Look Left Look Right and HighTide.   

A Midsummer Night’s Dream (17 Feb – 1 Apr 2017) 


Joe Hill-Gibbins returns to the Young Vic with a thrillingly nightmarish take on Shakespeare’s Dream.

The dark heart of Titania and Oberon’s domain is explored as Joe Hill-Gibbins returns to the Young Vic’s Main House stage with a bold new production. In a world of grotesque transformations and sexual provocation, repressed conflicts between young lovers and their parents are released. There’s no magic in this place – manipulation leads to complications and desire becomes dangerous.

Design and light for A Midsummer Night’s Dream is by Johannes Schütz, with costumes by Michaela Barth, sound by Paul Arditti, movement by Jenny Ogilvie and dramaturgy by Zoë Svendsen.

Joe Hill-Gibbins follows his Measure for Measure with A Midsummer Night’s Dream. Other credits at the Young Vic include: The Changeling (The Maria , Main House), The Glass MenagerieThe Beauty Queen of Leenane and A Respectable Wedding.  Joe was Genesis Fellow at the Young Vic between 2010 and 2012. Other theatre credits include: Little Revolution (Almeida); Edward II (National Theatre); The Village Bike (Royal Court); and The Girlfriend Experience (Young Vic and Royal Court / Drum Theatre Plymouth). His opera credits include Powder Her Face (ENO).

Internationally acclaimed set designer Johannes Schütz returns to the Young Vic theatre after Three Sisters in 2012. His other theatre credits include: The Merchant of Venice (Royal Shakespeare Theatre), Big and Small (Barbican); On the Chimborazo (Münich Kammerspiele); Mama and the Whore (Schauspielhaus Bochum); Katherine of Heilbronn, Summer Folk (Düsseldorfer Schauspielhaus); Who’s Afraid of Virginia Woolf?, In the Greifswald Street (Deutsches Theater Berlin); Schiff Der Träume, Hysteria and Macbeth (Düsseldorfer Schauspielhaus). Johannes also worked on numerous productions for the Salzburg Festival and Odéon-Théâtre de l’Europe in Paris. His publications include: Stages 2000-2007 and Johannes Schütz: Models & Interviews 2002-2015. His opera credits include: Orpheus and Eurydice and Ariadne on Naxos, works by Brecht and Schiller in Bochum and Mainz.

A Midsummer Night’s Dream by William Shakespeare runs 17 February – 1 April 2017 in the Young Vic’s Main House. It is directed by Joe Hill-Gibbins with design and light by Johannes Schütz, costumes by Michaela Barth, sound by Paul Arditti, movement by Jenny Ogilvie and dramaturgy by Zoë Svendsen.


See Me Now (11 Feb – 4 Mar 2017) 


Photo by Damien Frost 

A new Young Vic, Look Left Look Right and HighTide co-production, See Me Now is created and performed by those who have been, or currently are sex workers.

Based on workshops and testimony given by the performers, writer Molly Taylor weaves together a series of moving and funny true stories in a production directed by Mimi Poskitt.

Neither victims nor villains but everything in between, See Me Now challenges the stereotypes and stigma around sex workers and celebrates the group of male, female and transgender performers who share their stories on stage.

Director Mimi Poskitt said: “Sex workers are one of the most marginalised groups in the world. This project was born out of wanting to work with and understand more about who sex workers are. The industry is multi-faceted, often invisible, yet shrouded in controversy. Over the past year we have been fortunate enough to work with an awesome group of performers who have shared their own deeply personal histories. They are writers, teachers, musicians, cleaners, parents; they work in IT, in public services. By no means definitive, what they are creating reflects a kaleidoscope of life experiences; some touching, some tough, some hilarious.

A version of See Me Now was originally performed as part of The Brolly Project in August 2015, a Young Vic Taking Part project. The team worked closely with outreach projects across London to find a company of participants who have, or do work in the sex industry. The aim was to make an original performance created by the company, formed by whatever they chose to share. A reading of The Brolly Project took place in September as part of the 2016 HighTide Festival.

Molly Taylor is a writer and theatre-maker and an Associate of Look Left Look Right. Her other theatre credits include: The Neighbourhood Project (The Bush Theatre), What We Talk About When We Talk About Food (commissioned by the Wellcome Trust), My Desert Island (Old Vic New Voices) and Make We Waka (Lagos Theatre Festival/British Council). Molly developed her writing practice when on attachment at the National Theatre of Scotland; her one-woman play Love Letters to the Public Transport System had a sell-out run at the Edinburgh Fringe in 2012 and has since been performed at the Royal Court and internationally.

Mimi Poskitt is the Founder and Artistic Director of Look Left Look Right. Her directing credits in theatre include work at the Royal Court, Roundhouse, Lyric Hammersmith, Covent Garden, Coney and the Old Vic New Voices. In addition, Mimi’s work has toured across the UK and worldwide including Sri Lanka, Australia and Nigeria. As an Assistant Producer for ITV and the BBC, she won a Royal Television Society Award for a documentary about 9/11 and was nominated for The Hospital Club’s h.Club 100, which recognises the most innovative and influential people in the British creative and media industries.

See Me Now created by Mimi Poskitt, Molly Taylor and the company and directed by Mimi Poskitt runs in the Young Vic’s Maria theatre 11 February – 4 March 2017. Sound is by Emma Laxton with music composed by Tom Parkinson.

Tickets go on sale to the public on Wednesday 28 September at 10am. You can become a friend and book today at

Once in a Lifetime | Cast announcement

We are thrilled to let you know that Harry Enfield will play studio boss Herman Glogauer in Christopher Hart’s adaptation of Kaufman and Hart’s classic Hollywood comedy Once in a LifetimeEnfield is joined in the cast of Richard Jones’ production by John Marquez as George, Claudie Blakley as May and more!



Harry Enfield by Charlie Carter

Harry Enfield is a BAFTA Award-winning writer, comedian, actor and director. His film credits include: Swallows and Amazons, Scottish Mussel, Acts of Godfrey, Churchill: The Hollywood Years and Tooth. His television credits include: The Windsors, Upstart Crow, Ruddy Hell! It’s Harry and Paul, for which he won a British Comedy Award and two BAFTA TV Awards, Bad Education, Psychobitches, Blandings, It’s Kevin, The Hunt For Tony Blair and Skins. His writing credits for television include: Saturday Night Live, Friday Night Live, Harry Enfield’s Television Programme, Harry Enfield And Chums, for which he won a Writers’ Guild of Great Britain Award and Smashy and Nicey: End Of An Era.



Claudie Blakley by Scarlet Page

Claudie Blakley returns to the Young Vic after appearing in Love and Money.
Other theatre credits include: Rules for Living, Peter Pan, The Cherry Orchard, Attempts on Her Life (National Theatre); Macbeth, Lear (Sheffield Crucible), Chimerica (Almeida, West End), The Painkiller (Garrick Theatre), All’s Well That Ends Well (Royal Shakespeare Company), The Seagull (West Yorkshire Playhouse) and Kosher Harry (Royal Court Theatre).
 credits include: Bright Star, Severance, Pride & Prejudice, The Cat’s Meow, Gosford Park and War Bride.
Television credits include: Larkrise To Candleford, Cranford, The Driver, Silent Witness, What Remains, The Night Watch and Marple.



John Marquez by Wolf Marloh

John Marquez returns to the Young Vic following his appearances in Annie Get Your Gun and The Good Soul of Szechuan. His other theatre credits include: The Taming of the Shrew (Royal Shakespeare Company); Ding Dong the Wicked (Royal Court Theatre); The Emperor Jones, Market Boy (National Theatre); House of Games, The Hypochondriac (Almeida Theatre) and Privates on Parade (Noel Coward Theatre). His television credits include: Doc Martin, In the Club, Hotel Babylon, Death in Paradise and Suburban Shootout.


Daniel Abelson,  Okorie Chukwu, Lucy Cohu, Lizzy Connolly, Buffy Davis, Otto Farrant, Amy Griffiths and Amanda Lawrence will also join the company of Once In A Lifetime, with more wonderful talent to be named soon.

Once in a Lifetime by Moss Hart and George S. Kaufman, adapted by Christopher Hart, is directed by Richard Jones and runs 24 November – 14 January 2017 in the Young Vic’s Main House. It is designed by Hyemi Shin with costumes by Nicky Gillibrand, light by Jon Clark, sound by Sarah Angliss and casting by Julia Horan CDG.

Find out more and book your tickets today.


trade | Cast announcement

The cast for trade are here! We are very excited to tell you that Ayesha Antoine and Jo Martin will make their Young Vic débuts, and we’ll be welcoming back Sharon Duncan-Brewster, in Bryony Shanahan’s production of trade by debbie tucker green.



Ayesha Antoine by Anna Nightingale

Theatre credits include:The Suicide (National Theatre); Red Velvet ( Kenneth Branagh Theatre Company, Garrick Theatre); The Wolf in the Snakeskin Shoes, The House That Will Not Stand (Tricycle); The Ghost Train (Royal Exchange / Told By An Idiot); Venice Preserv’d (The Spectator’s Guild); We are Proud to Present… (Bush Theatre); Tartuffe (Birmingham Rep); Surprises and Absurd Person Singular (Stephen Joseph Theatre); Cinderella, Red Riding Hood, Madblud and Familyman (Theatre Royal Stratford East); and The Thirteen Midnight Challenges of Angelus Diablo (RSC).
Film credits include: Pompidou, Bellamy’s People, Skins, Mouth to Mouth and Doctor Who.
Television credits include: Operation Gadgetman.




Sharon Duncan-Brewster by Bader Hower

Theatre credits include:
A Streetcar Named Desire (Manchester Royal Exchange); The Iphigenia Quartet, Yerma (The Gate Theatre); Swallow (Traverse Theatre, Edinburgh); A Midsummer Night’s Dream (Liverpool Everyman); Hope and Babies (Royal Court); The El Train (Hoxton Hall); A Few Man Friday’s (Riverside Studios) ; The Swan and There is a War (National Theatre); Tiger Country (Hampstead Theatre); Detaining Justice, Seize the Day and Category B, Let there be Love, Fabultion – Premiere Production and Playboys of the West Indies (Tricycle); The Horse Marines (Theatre Royal Plymouth); The Bacchae (National Theatre Scotland); Black Crows (Clean Break/Arcola Theatre); and Dirty Butterfly (Soho Theatre).
pera credits include: Gaddafi   (English National Opera).
 work at the Young Vic includes: A Season in the Congo.
Film credits include: Three and Out, A Blues for Nia (Short film) and The Child (Short film).
 credits include: Unforgotten, Cuffs, Cucumber, The Mimic, The Bible, Top Boy, Doctor Who, EastEnders, Shoot the Messenger, Waking the Dead and Bad Girls.



Jo Martin by Marylin Kingwill

Theatre credits include:
The Rolling Stone (Orange Tree); The Westbridge (The Royal Court); Everything Must Go (Soho Theatre); Family Man, Ready or Not, Funny Black Women on the Edge and Eldarado (Theatre Royal Stratford East); Frontline (Shakespeare’s Globe); Noughts and Crosses, Don Carlos and Oronooko (RSC); Dona Flor and Her Two Husbands (Dende Collective/ Lyric  Hammersmith); and Coyote on a Fence  (Royal Exchange, Manchester/Duchess Theatre).
 credits include: A Hundred Streets, Dragonfly, Chalet Girls, 4 3 2 1, Batman Begins and Jolly Boys Last Stand.
Television credits include: Still Open all Hours, Together, EastEnders, Emmerdale, Hollyoaks, Casualty, Top Boy, Wizards vs. Aliens, Holby City, The Culshaw and Stephenson Show and Katy Brand Big Arse Show.



Established by John Studzinski 15 years ago, the Genesis Foundation works in partnership with the leaders of prestigious UK arts organisations such as the Royal Court, The Sixteen, Welsh National Opera and the Young Vic. Its largest funding commitment is to programmes that support directors, playwrights and musicians in the early stages of their professional lives.

In addition it awards scholarships to exceptional student actors at LAMDA and commissions stimulating new works, from choral compositions to light installations.

In 2015 the Genesis Foundation launched its first partnership outside the UK, funding residencies for playwrights at New York’s Signature Theatre.

Bryony Shanahan is the seventh recipient of the Genesis Future Directors Award, following Ola Ince (2016), Rikki Henry (2015), Finn Beames (2014), Tinuke Craig (2014), Matthew Xia (2013) and Ben Kidd (2012).

trade by debbie tucker green is directed by Bryony Shanahan and runs 16 – 26 November in the Young Vic’s Claire. Find out more and book your tickets today.  

11 Questions with the cast of Yerma – Maureen Beattie


Maureen Beattie in Yerma. Photo by Johan Persson.

Maureen is currently staring in Yerma at the Young Vic. She plays Helen in Simon Stone’s adaptation of Lorca’s classic. Here are her answers to our 11 questions:

Can you describe your character in Yerma  in three words?

A terrible mother.

What’s it been like working with Simon Stone?


How did you find the rehearsal process in comparison to other productions you’ve been in?

Unlike anything I’ve ever experienced before.

What are you usually doing 10 minutes before the show begins?

Finishing off my make-up.

What is your favourite play (seen, read or worked on)?

Medea, in a version by Liz Lochhead after Euripides. I was Medea.

What is your favourite midnight snack?

Fried egg sandwich.

What was it that first got you interested in the theatre?

I was always a show off! Also, my father was a variety artiste.

Where is your favourite place in the world?

The Island of Bute, in the Clyde Estuary.

Who is your ultimate hero, and what would you say to them if you ever met them?

My darling brother, who has battled mental illness for decades and yet remains a kind and courteous man.

If you could have been born in any era, which would it be and why?

I’m pretty happy with now.

If you could have any one supernatural power which would you choose and why?

I’d like to be able to de-materialize and re-materialize anywhere in the world at will.

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‘People need to know the stories of those who to everyone here are invisible’

Michael, YV TP LGBT Refugee Workshop Portrait

Michael, a participant in the Now We Are Here workshops.

I like the theatre. It’s something I know communicates something to everyone. I got involved in the Young Vic through another group. I went to a session, and they asked lots of questions. They asked me to write a letter as if I was writing to my best friend about my life. I haven’t seen my best friend in such a long time, the experience of writing that moved me. Then they asked me who my favourite person was. I said my grandmother. They asked me how I would describe her in one word, I said “flower”. They asked me how she would describe me in one word, I said “clown”. And then they asked me who she is to me, I said “shield”.

Then we started talking about our stories. The some people who gave their stories wanted to talk about their home country. Like Jamaica. Everyone here thinks Jamaica is a happy place, lots of reggae, lots of sunshine. They don’t know the reality of what it’s like to live there if you aren’t like everyone else. One person wanted to talk about his cancer. His cancer, and the vulnerability it gave him made him safer in the eyes of the social services. The cancer that was harming him was his protection, his proof that he was a victim and his guarantee that he could stay. He doesn’t want his cancer to go, because that means that he himself might have to go too.

But I wanted to talk about what life is like here. I don’t want to tell the story of how I got here. People always ask me about my journey but they don’t realise that my journey is still going on living here. People need to know the stories of those who to everyone here are invisible. What I want to do is to communicate that pain is not limited to being a refugee or an asylum seeker. Pain is universal, pain doesn’t discriminate. Pain is something that we all feel. Sometimes it’s like people don’t understand the every-day reality of what it’s like feeling lost.


The cast of Now We Are Here. Photo by Helen Murray.

They treated us so well at the Young Vic. They gave us a lot of purpose, food to eat and friendship. I am still in touch with the people who we did the production with. I made sure that the money that was raised went to the charities that have helped us, like Room to Heal. An outcome that I am very proud of is the creation of the Cotton Tree Trust. An audience member with an amount of money they had saved for thirty years was so moved by the play that he has started to think of creating a trust to practically help refugees and asylum seekers like me. Theatre can keep creating this compassion, and I am grateful to have been apart of this project.

This blog post was originally featured by Room To Heal, a charity which supports refugees and Asylum Seekers in the UK. Their blog can be found here. This post was written by Michael, a participant in the workshops that led to the production of Now We Are Here which ran at the Young Vic in July 2016.

11 Questions with the cast of Yerma – Charlotte Randle

Charlotte Randle (Mary) in Yerma at the Young Vic. Photo by Johan Persson

Charlotte Randle as Mary in Yerma. Photo by Johan Persson.


Charlotte is currently playing Mary in Simon Stone’s adaptation of Lorca’s classic, Yerma. Here are her answers to our 11 questions:

Can you describe your character in Yerma  in three words?

Daughter. Sister. Mother.

What’s it been like working with Simon Stone?


How did you find the rehearsal process in comparison to other productions you’ve been in?

Unprecedented. Minimal. Relaxed and fairly bar based!

What are you usually doing 10 minutes before the show begins?

Phoning my son.

What is your favourite play (seen, read or worked on)?

King Lear. I studied it for A levels, have seen 10 productions and was in it here with Pete Postlethwaite.

What is your favourite midnight snack?

Taramasalata scooped up with ready salted Hula-Hoops, from the corner shop on the way home.

What was it that first got you interested in the theatre?

My parents taking me as a kid.

Where is your favourite place in the world?


Who is your ultimate hero, and what would you say to them if you ever met them?

All the doctors, nurses and volunteers doing humanitarian work in war zones and the refugee camps. I would say thank you.

If you could have been born in any era, which would it be and why?

I think I’d have enjoyed the 1920’s quite a lot! If I had money…

If you could have any one supernatural power which would you choose and why?

The ability to go back in time and change the outcome of the Brexit referendum!


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