Judgment Day - Almeida Theatre

16
Photo: Jill Furmanovsky
CREATIVE TEAM
Christopher Hampton
Writer
Christopher Hampton has written
extensively for stage, television and
film; most recently a translation of
Yasmina Reza’s God of Carnage for the
West End (2008), an adaptation of
Chekhov’s The Seagull at the Royal
Court and on Broadway (2007-08), and
the film Atonement adapted from the
novel by Ian McEwan (2006).
He has previously adapted several of
Ödön von Horváth’s other plays: Tales
From the Vienna Woods and Don Juan
Comes Back From the War for the
National Theatre, and Faith Hope and
Charity for the Lyric Hammersmith.
In 2000 his translation of Yasmina
Reza’s Conversations After a Burial was
presented at the Almeida; his other
translations and adaptations for
theatre include: Embers; Three Sisters
(West End); Life x 3 (National
Theatre/Old Vic/New York); The
Unexpected Man (RSC/West
End/Broadway); An Enemy of the
People (National Theatre); Art (West
End/Broadway); Sunset Boulevard
(West End); Les Liaisons Dangereuses
(RSC/Barbican/West End/Broadway);
Tartuffe (RSC/Barbican); Tales from
Hollywood (Mark Taper Forum, Los
Angeles/revived Donmar Warehouse);
The Portage to San Christobal of AH
(West End); A Doll’s House (Lincoln
Center, New York); Don Juan (Bristol
Old Vic); Uncle Vanya (Royal Court).
His own plays include The Talking Cure,
Alice’s Adventures Underground and
White Chameleon (National Theatre);
Treats and Savages (Royal Court); and
The Philanthropist (Royal Court,
subsequently revived Chichester
Festival Theatre, Donmar Warehouse,
and on Broadway in 2009).
For television he has adapted novels
including The Ginger Tree, Hotel du Lac,
and The History Man, and versions of
his own plays Tales from Hollywood and
Tartuffe, as well as writing the BBC
drama Able’s Will.
His film work includes Cheri, based on
Colette’s novels; Atonement, based on
Ian McEwan’s novel of same name;
Imagining Argentina; The Quiet
American; The Secret Agent; Mary Reilly;
Carrington; Total Eclipse; Dangerous
Liaisons (Oscar for Best Adapted
Screenplay and BAFTA for Best
Screenplay); The Good Father; The
Honorary Consul; Tales From the Vienna
Woods; and A Doll’s House.
James Macdonald
Director
For the Almeida: The Triumph of Love;
Night Banquet (Almeida Opera).
For the Royal Court: Drunk Enough to
Say I Love You (also Public Theater,
New York); Dying City; Fewer
Emergencies; Lucky Dog; Blood; Blasted;
4.48 Psychosis (including European/US
tours); Hard Fruit; Real Classy Affair;
Cleansed; Bailegangaire; Harry and Me;
The Changing Room; Simpatico;
Blasted; Peaches; Thyestes; The Terrible
Voice of Satan; Hammett’s Apprentice;
Putting Two and Two Together.
Other theatre credits include: Dido
Queen of Carthage; The Hour We Knew
Nothing of Each Other; Exiles (National
Theatre); Top Girls (Broadway/MTC);
Glengarry Glen Ross (West End); Dying
City (Lincoln Center, New York); A
Number (New York Theatre
Workshop); Troilus und Cressida; Die
Kopien (Berlin Schaubühne); 4.48
Psychose (Vienna Burgtheater); The
Tempest; Roberto Zucco (RSC); Love’s
Labour’s Lost; Richard II (Royal
Exchange, Manchester); The Rivals
(Nottingham Playhouse); The
Crackwalker (Gate Theatre); The Seagull
(Sheffield Crucible); Miss Julie (Oldham
Coliseum); Juno and the Paycock; Ice
Cream and Hot Fudge; Romeo and
Juliet; Fool for Love; Savage/Love;
Master Harold and the Boys (Contact
Theatre); Prem (Battersea Arts
Centre/Soho Poly).
Opera credits include: Eugene Onegin;
Rigoletto (Welsh National Opera); Die
Zauberflöte (Garsington); Wolf Club
Village; Oedipus Rex; Survivor from
Warsaw (Royal Exchange
Manchester/Hallé); Lives of the Great
Poisoners (Second Stride).
Film includes: A Number for
HBO/BBC.
James was Associate Director of the
Royal Court from 1992 – 2006, and a
NESTA fellow 2003-6.