The Stage 100 2014 by category: directors
A Doll’s House, which debuted at the Young Vic in 2012, was one of the West End highlights of 2013, while Cracknell directed two new works at the Royal Court, where she has been appointed associate director. Later this year, she will helm Simon Stephens’ Birdland, in SW1. In 2013, she also made her opera debut with Wozzeck at English National Opera.
Billy Elliot extended its booking period into 2015, meaning the musical should see out a decade at the Victoria Palace. Meanwhile, Daldry brought another popular hit to the West End in the form of The Audience, starring Helen Mirren as the Queen. It proved to be one of the big commercial hits of the year.
A perennial within this list, in 2013 Davies continued to plough his – very successful – furrow of Russian classics with Children of the Sun by Maxim Gorky at the National, where he is an associate. Away from Russia and the South Bank, he directed Rory Kinnear’s debut offering The Herd and Howard Brenton’s Drawing the Line at the Hampstead Theatre.
The Curious Incident of the Dog in the Night-Time cleared up at the Olivier Awards with seven wins and has enjoyed a hugely successful transfer to the West End. Elliott’s production of Tori Amos musical The Light Princess divided critics, but was undoubtedly ambitious. But perhaps her greatest achievement of 2013 was to have the good sense to duck out of directing Spice Girls musical flop Viva Forever!.
Despite turning 70 in the course of the year, Eyre was as prolific as ever – he revived musical The Pajama Game in Chichester, as well as a new version of Pirandello’s Liola at the National and Quartermaine’s Terms in the West End. But his biggest hit was Ghosts at the Almeida. It was one of the plays of the year and transferred to the Trafalgar Studios. Oh, and then there’s the small matter of staging a new Andrew Lloyd Webber musical. This year, The Pajama Game transfers to the Shaftesbury. Phew.
Better known as a multi-Olivier award winning performer, Friedman made her directorial debut with the superb Merrily We Roll Along, which transferred from the Menier to the West End in 2013 and picked up a slew of five-star reviews. It will be interesting to see how she follows it up.
Herrin has been in fine fettle for the last few years and is an exciting choice to succeed Rupert Goold at Headlong. That work will start in earnest this year, but 2013 saw him direct The Tempest at Shakespeare’s Globe, Another Country at Chichester, the new Polly Stenham play No Quarter at the Royal Court, and This House, which transferred from the NT’s Cottesloe to its Olivier space. And if that weren’t enough to keep him busy, he’s just embarked on the not insignificant task of bringing Hilary Mantel’s Wolf Hall novels to the stage for the Royal Shakespeare Company.
Lloyd’s all-female staging of Julius Caesar transferred from the Donmar to New York in 2013 and received a more universally warm reception than on home turf. Meanwhile, back in London, she followed it up by reuniting with one of the show’s stars, Cush Jumbo, directing her in Josephine and I at the Bush Theatre. And Mamma Mia! continues to march on at the Novello.
McIntyre is theatre’s current golden girl, following a busy and much- heralded 2013. She picked up the UK Theatre Awards best director gong for The Seagull, which toured for Headlong. Other impressive work included The Birthday Party at Manchester’s Royal Exchange, Ciphers on tour and even The Nutcracker in Southampton. There’s talk of a commercial revival for her breakthrough hit Foxfinder in 2014.
One-time Royal Court supremo Rickson has really hit his stride in the last few years with a string of near-faultless productions. In 2013, these included Pinter’s Old Times with Lia Williams and Kristin Scott Thomas, as well as a revival of Mojo, Jez Butterworth’s breakthrough play, with a starry cast.
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