Get our free email newsletter with just one click

Rewritten Doctor Faustus headlines Glasgow Citz season

by -

Dominic Hill is to direct the Citizens Theatre Glasgow’s first Doctor Faustus in more than 45 years, as he starts his second year in charge of the theatre.

Doctor Faustus will reunite the artistic team behind Hill’s award-winning Peer Gynt at Dundee Rep. Colin Teevan, who updated Peer Gynt, is to rewrite Marlowe’s acts three and four.

The co-production will open in February at West Yorkshire Playhouse, where James Brining, Hill’s former co-director at Dundee Rep is now artistic director, before transferring to Glasgow in April.

Announcing the new season, Hill said: “Producing provocative new interpretations of legendary tales like Doctor Faustus, alongside modern plays that have a universal and enduring appeal, is for me very much what the Citizens is about.”

The theatre continues its association with Headlong with a production of of Chekhov’s The Seagull in May. In a new contemporary version by John Donelly, it will be directed by Blanche McIntyre and co-produced with Nuffield Theatre Southampton.

In a co-production with Edinburgh’s Royal Lyceum, Mark Thomson will direct Donna Franceschild’s stage adaptation of her BBC TV series, Takin’ Over the Asylum in February. Iain Robertson will play Eddie, the role made famous by Kenn Stott, and Brian Vernel will be Campbell, originally played by David Tennant.

The season opens in January, with a new production of Jean Ganet’s The Maids, directed by Stewart Laing, who has cast three male actors as the three female protagonists.

Laing will also revive his immersive musical theatre event, the Salon Project for the Citizens. First seen at the Edinburgh Traverse, it is inspired by the rituals of a 19th century Parisian salon and dresses the audience in period costumes. It a will play the Citizens in March before transferring to the London Barbican in April.

The season finishes in June when Hill will direct a double bill of Caryl Churchill shorts, Far Away and Seagulls.

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.