Changing Destiny Programme


Check out our digital programme for Changing Destiny which is full of behind the scenes photos and videos!






Character Joan Iyiola

Character Ashley Zhangazha

Across the performance run, cast members Joan Iyiola and Ashley Zhangazha

will share the role of Sinuhe, with a game played on stage at the start of each

performance dictating who will play the role in that show.



Ben Okri


Kwame Kwei-Armah

Set and Costume Designer

Sir David Adjaye

and Adjaye Associates

Lighting Designer

Jackie Shemesh

Sound Designer

and Musical Director


Projection Designer

Duncan McLean


Tunde Jegede

Movement Director

Rachael Nanyonjo

Voice and Dialect Coach

Hazel Holder

Fight Director

Yarit Dor

Jerwood Assistant


Khadifa Wong

Boris Karloff Trainee

Assistant Director


Mime Consultant

Marcello Magni

Casting support

Charlotte Sutton CDG

Additional film and voice

Rakie Ayola

Ebe Bambgoye

Doña Croll

Kobna Holdbrook-Smith

Company Stage Manager

Debra Tidd

Deputy Stage Manager

Mary O’Hanlon

Assistant Stage Manager

Stefani Zivanic

Costume Supervisor

Sarah Hamza

LX Programmer

Jason Addison

LX Programmer and

Lighting Operator

Saul Richardson

Sound Operator

Xander Smith

Wardrobe Manager

Maddie Bevan

Stage Operator

Glyn Dodd

Video Programmer

and System Engineer

Dan Trenchard

Hair for Joan Iyiola

styled by

Purely Natural Salon

Make Up for filming

Sam Lascelle

Video Programmer

Jack Jewell


Stanley Orwin-Fraser

Bradley Purnell

Video Equipment Supplier

Stage Sound Services

Film Equipment Supplier

Kagey Lightin

With thanks to: Holly Aston, Duncan Wilson, Ed Cooper, Dan Bond, Sub Pac Company and Steve Snooks, Edith

Nazziwa, Gertrude Najjombwe, Malwah Family, Imogen Sarre, Roman Bednarz, Enric Ortuno, Tom Ilube, Jo Braun,

Primo Productions, Claw Collective, Luke Shires, Becky Pepper, TEA Creatives, LLoyd Stringer, Sarah Stratton

Khadifa Wong is supported by the Jerwood Assistant Director Program at the Young Vic.

Xanthus is supported by the Boris Karloff Trainee Assistant Director Program at the Young Vic.



by Ben Okri

This play, Changing Destiny, takes its

life from a 4000-year-old poem from

ancient Egypt. The poem is called Sinuhe.

There are some who see the poem as the

unknown precursor of many legends that

are part of the world’s narrative tradition.

But the poem, composed during the middle

kingdom, a period considered the height

of ancient Egyptian literary culture, and

unread for three and a half millennia,

retains an uncanny ability to speak to

our times. It is this quality that makes it


Anyone who has an abiding interest in ancient

Egypt would see it as part of the history of African

civilisations. There seems to have been concerted

attempts to separate ancient Egypt from Africa. Here

we have a civilisation conceived on an exalted plane,

but whose most famous literary text is about identity,

immigration, social disorder, the mystery of power,

changing fortunes, and the inexplicability of the deep

motives of our actions. In a strange way, Sinuhe

foreshadows Hamlet. In its meditation on the nature

of exile and homecoming, it foreshadows The Odyssey.

A casual encounter with Kwame Kwei-Armah at an

event about Mandela led to a conversation about

Sinuhe. The discovery of a mutual interest in this

poem led to the realisation that there was something

intrinsically dramatic about the poem, and that it

would make a striking play that resonates powerfully

with our times.


The writing was begun in the spring of 2019; other drafts

were written during the long lockdown. What began as a play

about power, the ancient world, and immigration, became

focussed on the curious destiny of Sinuhe. The play absorbed,

in the indirect way these things do, many of the underlying

currents of our times. It opens with conspirators plotting to

assassinate a toxic leader, then it delves into the condition

of exile and immigration. But at its heart is something that

has fascinated us since the earliest days of civilisation: the

mystery of what makes us human. What are our constituent

parts, what are we made of, what is it that is most authentic

about us, and what is it in us that we sacrifice on the

relentless path of survival and achievement?

Like all ancient cultures, the ancient Egyptians believed

that human beings are composed of two selves, which they

roughly designated the BA and the KA. The metaphysics

of these terms are too complex to go into here, but they

are a fundamental aspect of what we are. In Hinduism, in

Christianity, in most African traditions, these aspects that

make up human beings have their clear designation. The

ancient Greeks, according to Plato, saw that we are body,

pnumena, and spirit. The Chinese use the same word Chi

to designate a mysterious force in us that the Igbos use to

refer to one’s personal spirit. This concept runs through

most cultures. It is worth remembering that the scribe in

whose tomb the papyrus containing Sinuhe was found also

transcribed a poem called ‘A Man’s Dialogue with his Soul.’

In Changing Destiny there is the idea that one can sin

against one’s spirit, that one can perform acts that separate

one from one’s essential, or authentic, self. In our time we

are just as haunted by the idea of authenticity. We celebrate

our heroes and heroines to the degree that they live out their

authentic choices.

In the original poem, there is an enigma as profound and

perhaps more baffling than the enigma at the heart of Hamlet

or Oedipus Rex. With Hamlet it is the conundrum of the ghost

and its effect on Hamlet’s constant delays in exacting revenge

for the murder of his father. With Oedipus Rex it is the

enigma of the immutability of destiny itself. With Sinuhe,

it is the question of a mysterious flight and an assumed

guilt, and the impact this has on the rest of his life. The

assumption of guilt when one has not done the thing for

which one feels guilty is a very modern phenomenon. Kafka

is perhaps its greatest modern exponent. Sinuhe anticipates

Kafka by nearly four thousand years.

Such a work hints at something universal about the human

condition. Since the dawn of time, we have known what it is

like to have to find a way to live and thrive under a sky different

from the one under which we were born. We have known what

it is like to make existential decisions that alter, forever, the

tone and nature of our lives. The eternal questions pursue us

whether we are at home or are exiles. We all feel in our blood

an attachment to our lands. We all feel that something is lost in

us when we are unduly severed from it.

Literature makes us aware of the invisible umbilical cords

that connect us to the universe, to the land, and to our

communities. In both the ancient and the modern world the

nature of home is complex and undergoes constant mutation.

Historical events alter all things. A single war can shift the

configuration of what we call home. Today you are free, but

tomorrow finds you a refugee.

The fugitive nature of human certainties gives us cause to

wonder. The urge to alter one’s destiny, in a world over which

one has little control, is as old as humanity itself. Changing

Destiny, taking the poem as its starting point, explores these

themes. But it leaps off into its own discoveries.

A silent mantra runs through this production. It emerged in the

close collaboration with Kwame Kwei-Armah and the actors.

Within the lightness of the lines are sublimated worlds.

All is real, yet all is dream. A person who fled for reasons that

they do not know, arrives at somewhere they did not expect,

where the synthesis which is at the core of a great civilisation is

at the root of a new genesis.


4 Photographer: Marc Brenner







Previous Young Vic: Tree, A Season In The Congo.

Other theatre includes: The Duchess of Malfi, A Midsummer Night’s

Dream, The White Devil, The Arden of Favesham, The Roaring Girl,

The Life of Galileo, Boris Godunov, The Orphan of Zhao (RSC); Three

Guineas, Boudica (Shakespeare’s Globe); The Convert, Eclipsed, The

Rise and Shine of Comrade Fiasco (Gate Theatre), They Drink it in the

Congo (Almeida), Omeros (Shakespeare’s Globe & St Lucia Tour).

Television includes: Too Close (ITV), Enterprice S1 &2 (BBC/

Netflix), Black Earth Rising (BBC/Netflix), New Blood (BBC/Netflix),

Yonderland (Sky).

Film includes: Twice as Good, DỌLÁPÒ . IS FINE, A Fortress Built By

Nature, Don’t Come Here, Nyx, Words, Show Dogs, Denial.

Joan is co-founder of The Mono Box, a non-profit arts organisation that

supports and nurtures the development of emerging and professional

talent with workshops and courses, digital resources and new writing

opportunities most notably, RESET THE STAGE and PLAYSTART.

Joan is also co-founder of Apatan Productions, under which she cowrote,

produced and acted in DỌLÁPÒ . IS FINE (HBO/Netflix), and

was the awarded HBO Short Film Award for 2020. Joan is part of

BFI Network x BAFTA’s Crew for 2021, and is an Associate Artist at

Donmar Warehouse.

Previous Young Vic: Ah, Wilderness!

Other theatre includes: Tina The Musical (Aldwych Theatre); Death

of a Salesman, Guys & Dolls, Hamlet (Royal Exchange); Pericles

(National Theatre); The Country Wife (Chichester Festival Theatre);

Terror (Lyric Hammersmith); The Lottery of Love (Orange Tree

Theatre); Human Animals, Belong, Truth and Reconciliation (Royal

Court); A Raisin in the Sun (Sheffield Crucible/Eclipse Theatre

Company); Image of an Unknown Young Woman (The Gate); Henry V

(Michael Grandage Company); Fences (Duchess Theatre/Theatre Royal

Bath); Macbeth (Sheffield Theatres (Crucible)); Richard II, King Lear

(Donmar); Danton’s Death (National Theatre).

Television includes: Darkness Rising (Channel 4), Manhunt (ITV/

Buffalo Pictures), Victoria II (Mammoth Screen), Doctors (BBC),

Humans (Channel 4), Ordinary Lies, Lenny Goes To Town (BBC),

Axon (BBC/Illumina Digital).

Radio includes: Schreber, Lorenzaccio (BBC Radio 3), Rasselas, Prince

of Abyssinia (BBC Radio 4).

Film includes: Parlour Games (Short).

Ashley won the UK Theatre Award for Best Performance in a Musical

for Guys and Dolls at the Royal Exchange, and the Ian Charleson Award

for Macbeth at the Sheffield Crucible. He trained at the Guildhall

School of Music and Drama.



We commissioned photography by artist,

photographer and former Young Vic Young

Associate Jamel Duane Alatise




Ben Okri is a poet, novelist, and

playwright. His novel, The Famished

Road, won the Booker Prize in 1991.

His works have been translated into

27 languages. He wrote a much

acclaimed adaptation of Camus’s The

Outsider for the Coronet in London

and his play Madame Sosostris was

performed to full houses at the Pullof

Theatres in Lausanne, Switzerland.

His latest novel is The Freedom Artist

and his latest volume of stories is

Prayer for the Living, both published

in 2019. A new collection of his poems

A Fire in my Head was published in

January 2021.



Kwame Kwei-Armah OBE is Artistic

Director of the Young Vic theatre. He

was Artistic Director of Baltimore

Centerstage (2011-18) and Artistic

Director of the Festival of Black Arts

and Culture, Senegal (2010), where

he wrote and directed the opening

ceremony at Senghor stadium. As

a playwright, Kwame was the first

African Caribbean to have a play

produced in London’s West End

(Elmina’s Kitchen). His triptych of

plays was produced at the National

Theatre, where he later created

the online resource The Black Play

Archive. Kwame was Chancellor of the

University of the Arts, London (2010-

2015), is Patron of Ballet Black, and

The Black Cultural Archives, Chair

of Warwick Arts Centre Advisory

Board and Fellow of Lady Margaret

Hall, Oxford University. Kwame was

awarded an OBE for Services to Drama

in 2011, and in 2020 listed as one of

100 Great Black Britons.



Architecture Projects: Smithsonian

National Museum of African American

History & Culture (Washington DC),

Abrahamic Family House (Abu Dhabi,

UAE), Ruby City (San Antonio, Texas),

Cherry Groce Memorial Pavilion

(London, UK), Sugar Hill Mixed-Use

Development (Harlem, New York),

Moscow School of Management

SKOLKOVO (Moscow, Russia), Aishti

Foundation (Beirut, Lebanon), George

Street Plaza Building (Sydney,

Australia), Idea Stores (London, UK),

National Cathedral of Ghana (Accra,

Ghana), Edo Museum of West African

Art (Benin, Nigeria), Princeton

University Art Museum (Princeton,

New Jersey).

Exhibitions and Installations:

Asaase, Social Works (Gagosian),

Sankofa Pavilion: Is this Tomorrow?

(Whitechapel Gallery), Ghana

Freedom Pavilion (58th Venice Art

Biennale), Making Memory (Design

Museum), Magdalene Odundo: The

Journey of Things (Sainsbury Centre

for Visual Arts).

Awards: RIBA Gold Medal (2021),

World Economic Forum’s 27th Annual

Crystal Award (2021), Isamu Noguchi

Award (2020), Louis Kahn Memorial

Award (2018), Ghana Legacy Honors

Impact in Architecture (2017).



Previous Young Vic: In the Penal

Colony, Man, Oh my Sweet Land.

Other theatre includes: Death of

England, Hansard, Death of England:

Delroy (National Theatre); Misty, The

Beloved, Islands (Bush Theatre); What

if Women Ruled the World, Ceremony

(MIF); Vanya, Mary Stuart (Almeida);

The Seagull (Jamie Lloyd Company);

The Return of Danton (Collective


Dance includes: Heavy Handed we

Crush the Moment (Jamila Johnson-

Small); Run Mary Run (Sadler’s

Wells); Goat (Rambert); The

Murmuring, Young Men (BalletBoyz);

Beheld, Hot Mess, Let’s Talk About

Dis (Candoco Danc); Girl A (Scottish

Dance Theatre); Lunatic (NDC Wales).

Other collaborations include:

Il ritorno d’Ulisse in patria (Grange

Opera); Recital for Cathy, From

Canyons to Stars (Hamburg Symphony

Orchestra); TUTBU TV, JRMIP

(Hebbel Berlin;) Sante (LSO).




Previous Young Vic: TWENTY,

TWENTY, Fairview, Ivan and the


Other theatre includes:

The Body Remembers (Fuel

Theatre); Strange Fruit (Bush

Theatre); Blood Knot (Orange

Tree Theatre); Burgerz (Hackney


Installation includes: Joy Inside

Our Tears (Harold Offeh, Wellcome


Film includes: A Reunion of

Hands (Sonny Nwachukwu, dir. Myah

Jeffers Brownton Abbey), Reset the

Stage (Mono Box Productions), House

Made of Tin (Raisa Kabir), Hope

and Her Two Daughters (dir. Tobore

Dafiaga), A Response to your message

(Somalia Seaton).



Previous Young Vic: Tree (Mif/

Young Vic) and The Jungle.

West End theatre includes: Magic

Goes Wrong (Vaudeville); Labour Of

Love (Noël Coward); Big Fish (The

Other Palace); Committee, Saint Joan,

Limehouse, One Night In Miami...,

Privacy, City Of Angels and Phyllida

Lloyd’s Shakespeare Trilogy, Julius

Caesar, Henry VI and The Tempest

(Donmar Warehouse);All My Sons, The

Hairy Ape, A Flea in Her Ear, The

Tempest, The Real Thing, The Norman

Conquests and All About My Mother

(Old Vic); Shrek The Musical (Theatre

Royal Drury Lane/UK Tour); Derren

Brown – Infamous (Palace/UK Tour);

All New People (Duke Of York’s/UK

Tour);Frost/Nixon (Gielgud).

New York theatre includes: Matthew

Bourne’s The Red Shoes and Swan

Lake (City Center); Privacy (Public

Theater); The Jungle and The Tempest

(St Ann’s Warehouse); Let It Be (St


International theatre includes:

Starlight Express (Bochum, Germany);

Chess (Japan); Bodyguard The Musical

(Australia/North America/Europe/

China/Korea); Evita (International

Tour); Ghost The Musical (Germany).




Theatre includes: Who Am I?; Emidy:

He Who Dared To Dream; The Griot’s

Tale; African Messiah; Tell Them

That I Am Young And Beautiful;

Red Fortress; Baby Balloon; Cry of

Innocence; The Prophet; Othello.

Television includes: African

Apocalypse; Winged Bull in the

Elephant Case; Hopes on the Horizon;

Africa I Remember.

Film includes: African Apocalypse;

Khartoum Offside; In Search of

Voodoo: Roots to Heaven; 93 Days;

Mission Impossible: Rogue Nation;

Waking At Dawn; Agadez, The Music

and the Rebellion; The First Grader;

Ara’s Sojourn; The Nanny Diaries; Our

Story, Our Voice; To The Unknown;

Life & Lyrics; The Idea; 500 Years

Later; Fantôme Afrique; Tunde; Franz

Fanon: Black Skin, White Mask.



Previous Young Vic: In a Word,

American Dream, The Jumper Factory

(Young Vic, Bristol Old Vic).

Other theatre includes: Death of a

Black Man (Hampstead Theatre);

Cinderella (Nottingham Playhouse);

Spine (20 Stories High); Great

Expectations (National Youth Theatre

at Southwark Playhouse); Either

(Hampstead); Two Trains Running

(ETT – Royal & Derngate);Does My

Bomb Look Big In This (Soho Theatre,

Tara Arts); Babylon Beyond Borders

(The Bush Theatre); Macbeth (Orange

Tree); Misty (Trafalgar Studios)

Olivier Award Nominated; Sleeping

Beauty (Theatre Royal Stratford

East) Nominated For The Black

British Theatre Best Choreographer

Award; After It Rains (National Youth

Theatre); Shebeen (Nottingham

Playhouse & Theatre Royal Stratford

East); Bernstein’s Mass (Royal

Festival Hall, Southbank Centre);

Twilight (Gate Theatre); The Divide,

Cover My Tracks (Old Vic).

Television include: CBeebies:

Christmas In Storyland (BBC, 2020).

Film includes: The Statistical

Probability of Love at First Sight

(Ace Entertainment, 2021); Pirates

(Hillbilly Films/ BBC/BFI, 2020).



Previous Young Vic: Death of a

Salesman, The Convert, Fairview, The

Emperor, The Mountaintop, Cuttin’ It,

The Sleeping Beauty.

Other theatre includes: Uncle Vanya

(Harold Pinter); Pass Over (Kiln);

Death of England: Delroy, Death of

England, Small Island, Nine Night,

Barber Shop Chronicles, Pericles,

Angels in America, Les Blancs

and Ma Rainey’s Black Bottom

(National Theatre); Richard II (Sam

Wannamaker Playhouse); Dreamgirls

(Resident Director) (Savoy); Ear for

Eye, Poet in Da Corner, Father Comes

Home from the Wars (Royal Court).

TV includes: The Power.

Film includes: Small Axe; Silent

Twins; Death on the Nile (Letitia




Previous Young Vic: Death of A

Salesman (Young Vic & West End

Transfer also credited as additional

movement support and Intimacy

Director), Wild East (also Movement


Other theatre includes: Richard

II, Hamlet, As You Like It, Much

Ado About Nothing (Shakespeare’s

Globe); Miss Julie (Storyhouse),

Strange Fruit (Bush Theatre); Daddy

(Almeida); Macbeth (Royal Exchange

Manchester); Assata Taught Me (Gate

Theatre); The Effect (Boulevard

Theatre); Romeo & Juliet, As You

Like It, Midsummer Night’s Dream

(Shakespeare In The Square); Little

Voice, Disgraced (Park Theatre);

Titus Andronicus (Greenwich


Dance includes: Rooms (Rambert);

Between A Self And An Other, Leah,

2B, Sunday Morning (all Hagit Yakira


Television includes: Adult Material,

Atlanta Season 3, Superhoe,

Girlfriend Experience 3, The Wheel of

Time, Spanish Princess 2, Becoming

Elizabeth, Domina, White Lines,


Film includes: The Colour Room, Born

of Hope.




Other theatre includes: HOW I


ROPE, La Gringa, Adventurous (Jermyn

Street Theatre), BLACK WOMEN


Fringe, The Drayton Arms).

Film includes: Uprooted – The Journey

of Jazz Dance.

The Jerwood Assistant Director Program

is made possible by




Theatre includes: The Gin

Game (Chiswick Playhouse); Love

Always Wins (Uproot

Productions); PYNEAPPLE (Paradise

by Way of Kensal Green), So Long,

Babe (CLF Arts Cafe); Care (Working

Laboratory) The Bunker Theatre.

Film includes: Posters (Mountview)

Assisted on: A Moment’s Peace (The

Hope Theatre).

The Boris Karloff Trainee Assistant Director

Program is made possible by the Boris Karloff

Charitable Foundation.



10 Photographer: Marc Brenner


Programme design: Eureka! Design Consultants Ltd


We produce new plays, classics, musicals,

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By co-producing with leading theatre, opera, dance,

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Artistic Director

Kwame Kwei-Armah

Executive Director

Despina Tsatsas

Associate Artistic Director

Sue Emmas

Genesis Fellow / Associate Director

Jennifer Tang

Creative Associate

Teunkie Van Der Sluijs

Lead Producer (maternity leave)

Holly Aston

Lead Producer (maternity cover)

Nisha Modhwadia

General Manager

Robyn Keynes

Young Vic Artistic Associates

Glenn Davis

Alfred Enoch

Anna Fleischle

Marcus Gardley

Kate Hewitt

Afua Hirsch

Kirsty Housley

Alex Basco Koch

Doña Kroll

Gregory Maqoma

Prema Mehta

Duncan McLean

Chinonyerem Odimba

Wendell Pierce

Caitriona Shoobridge

Charles Randolph-Wright

Charlotte Sutton


Associate Companies

Belarus Free Theatre

Crying In The Wilderness Productions

Regional Theatre Young Director Scheme

Sour Lemons


Operations Director

Rathi Kumar

Digital Systems Manager

Damilola Senbanjo


(Producing Team)

Lucy Steward

Executive Assistant to the Artistic Director

Olivia Nwabali

Directors Program Administrator

Tia Begum

Channel 4 playwright

Lulu Raczka


Development Director

Alex Tonetta

Corporate Development Manager

Elisha Owen

Trusts and Foundations Manager

Bernadette Witham

Individual Giving Manager

Cameron Henderson-Begg


Finance Director

Ivor Stockdale

Finance Manager

Sophie Wells

Finance Officer

Janine Carter

Finance Assistant

Sarah Lloyd

Front of House

Head of Theatre Operations

Bryan Lewis

Interim Head of Theatre Operations

Kimberley Thomas-Currie

Front of House Manager

Will Bowden

Facilities Manager (Outgoing)

George Mills

Facilities Manager (Incoming)

Samuel Hailey-Watts

Duty Managers

Lauren Holden

Maryam Shofowora

Coral Tarran


Joe Ackerman

Rosemarie Akwafo

Michael Asiamah

Simone Bell

Cassiopeia Berkeley-Agyepong

Debbie Burningham

Oliver Byng

Shankho Chaudhuri

Aran Cherkez

Maurice Chung

Daniella Connor

Luca Criscuolo

Molly-Rose Curran

Andre Da Silva-Jenkins

Francesca De Sica

Eboni Dixon

Aisha Edwards

Donal Finn

Albert Graver

Kanishka Gupta

Susan Harrold

Owen Haslegrave

Patrick Hatch

Josh Hitchman-Pinnock


Theo Hung

Jess James

“Newton” James Thomas Newton

Hana Jennings

Grace Kayibanda

Aaron Kelly

Urielle Klein-Mekongo

Lynn Knight

Melina Morris

Glenn Mortimer

Dynzell Muguti

Taz Munyaneza

Tobi Oludipe

Julie Patten

Grainne Pearson Cockrill

Daniel Pickard

Sahana Rackal

Gracjana Rejmer-Canovas

Thea Sandall

Malika Sandover

Jonathan Savage

Joanna Selcott

Paula Shaw

Chenta Shayen Mariqueo

Linden Sloan

Edd Soper

Tom Sparkes

Lethanial Stacey-Coombe

Mark Vanderstoop

Isaac Vincent

Kitti Wells

Annys Whyatt

Eve Williams

Marketing & Audiences

Director of Marketing and Audiences

Beatrice Burrows

Head of Press and Communications

Emma Hardy

Marketing Manager

Steph Cullen

Ticketing Manager

Zoe Fitzpatrick

Digital Marketing and

Communications Officer

Jarrod Jones


Technical Director

Stuart Robertson

Production Manager

(Technical Director from 19 July)

Jaz Sandalli

Head of Sound

Kyle MacPherson

Head of Stage

Craig Tye

Head of Costume

Sarah Hamza

Head of Lighting

Sam McLeod

Deputy Head of Sound

Bryony Blackler

Deputy Head of Stage

Rhodri Sion Evans

Deputy Head of Lighting

Faye Hetherington

Workshop Carpenter

Rachel MacLoughlin

Lighting Technician

Saul Richardson

Production Administrator

Rachel Salenius

Taking Part

Director of Taking Part

Shereen Jasmin Phillips

Neighbourhood Theatre Producer

Alisha Artry

Participation Producer

Lorna McGinty

Learning Producer

Melanie Anouf

Taking Part Administrator

Vicky Olusanya

Welcome Team

Welcome Team Manager

Ciara O’Toole

Welcome Team

Johanna Kean

Rory Horne

Chris Gyllenhaal

Max Puplett

Julie Patten

Edd Soper




4 AUG – 13 AUG 2021

Diyan Zora, Genesis Foundation

Future Directors Award recipient,

directs Jessica Siân’s acclaimed

debut play, Klippies, a gritty

coming-of-age drama about

an unlikely friendship and the

intensity of first love.

The Genesis Future Directors Award Program

is made possible by


23 AUG – 25 AUG 2021

Jennifer Tang, Genesis Fellow and

YV Associate Director, directs AI

– a unique collaboration between

human and computer minds.

Developed by Chinonyerem Odimba

and Nina Segal & written alongside

GPT-3 Open AI technology,

this play is an exciting hybrid of

research & performance.


25 SEP – 13 NOV 2021

Cush Jumbo makes her YV debut

as Hamlet in Greg Hersov’s muchanticipated

production of the

Shakespearean tragedy.

YOUNGVIC.ORG 020 7922 2922 #YoungVic




18 OCT – 23 OCT 2021

Love Reign is a love letter to

friendships, how we begin them,

how we honour them and how

we preserve them against all

odds in our lives. Written by

Director of Taking Part

Shereen Jasmin Phillips and

directed by Stef O’Driscoll.


5 NOV – 12 NOV 2021

Filling the Maria with sequins,

celebratory togetherness, and a

healthy dose of shade, Sundown Kiki

will bring the world of theatre and

ballroom together in an explosive

evening of music, dance, walking,

and partying. Creative direction

by Jay Jay Revlon, directed by

Tristan Fynn-Aiduenu, with sound

and composition by XANA.


2 DEC 2021 – 22 JAN 2022

1968. Divided America. As

two men fight to become the

next President of the United

States, all eyes are on the battle

between two others: the cunningly

conservative William F Buckley Jr.,

and the iconoclastic Gore Vidal.

James Graham’s new play is

directed by Jeremy Herrin, in

a co-production with Headlong.

Inspired by the documentary by

Morgan Neville and Robert Gordon.




Changing Destiny Tue 17 Aug, 7.30pm

Hamlet Tue 2 Nov, 7pm

Best of Enemies Thu 13 Jan, 7.30pm


Changing Destiny Thu 19 Aug, 7.30pm

Hamlet Tue 19 Oct, 7pm

Best of Enemies Fri 17 Dec, 7.30pm


Changing Destiny Thu 5 Aug, 7.30pm

Klippies Thu 12 Aug, 7.45pm

Hamlet Thu 4 Nov, 7pm

Best of Enemies Thu 6 Jan, 7.30pm

If you would like to book an induction loop,

require someone to look after your assistance

dog during a performance, or have any other

access requirements, please let us know in

advance so we can make your visit as enjoyable

as possible.

For more information call: 020 7922 2922

Textphone 18001 020 7922 2922



Taking Part is our creative engagement department that works with young

people, adults, schools, and our local community. We engage with over 15,000

people a year, providing free tickets to all our shows and free creative and

artistic opportunities to our participants.

Our three strands, Learning, Participation, and

Neighbourhood Theatre, create work that is the

beating heart of the organisation. Each year

Taking Part’s programme responds to a shared

theme. Last year we explored ‘Home, History and

Heritage’ and this year we are responding to the

provocation ‘Freedom of Expression’.

We think of the Young Vic as ‘the home you didn’t

know you had’ – come in and join us. To find out more

about our projects and how you can get involved,

please visit or follow

@yvtakingpart on Twitter.



Public Support

Season Support

The Young Vic’s 2021 season is also supported by the Genesis Foundation and IHS Markit.

We gratefully acknowledge Ian Burford and Alec Cannell for generously supporting the Young Vic’s mission.



Board of Trustees

Glenn Earle (chair)

Varun Chandra

Nicky Dunn OBE

Robert Easton

Farah Ramzan Golant CBE

Kobna Holdbrook-Smith MBE

Ali Hossaini

Kwame Kwei-Armah OBE

Ebele Okobi

Abigail Sewell

Fiona Shaw

Sita Thomas

Steve Tompkins MBE

Anna Williams

Development Board

Rachel Conlan (co-chair)

Ebele Okobi (co-chair)

Beatrice Bondy

Gerard Crichlow

Annabel Duncan-Smith

Glenn Earle

Sophie Hale

Will Meldrum

Barbara Reeves

Sarah Thorpe

The Young Vic gratefully recognises

the following Trustees who retired from

board service between March 2020

and April 2021:

Sean Egan

David Fletcher

Rory Kinnear

Rita Skinner



Young Vic supporters realise our mission of creating extraordinary theatre, sharing

the joy of creativity with our community and investing in the artists of tomorrow.

They make everything we do possible, and we are deeply grateful to them all.

For their recent support we thank:


Arts Council England


Ian Burford & Alec Cannell

Culture Recovery Fund, DCMS

Glenn & Phyllida Earle

Garfield Weston Foundation

Genesis Foundation

IHS Markit

Patrick & Sholpan McKenna

£50,000 – £99,999

Backstage Trust

Bank of America*

Jo Braun

The Charlotte Aitken Trust

Robert Easton & Elza Blankenburgs

Southwark Council

£20,000 – £49,999

Anonymous (1)

American Express


The Austin & Hope Pilkington Trust

Sarah & Tim Bunting

Calouste Gulbenkian Foundation

Cockayne – Grants for the Arts

H&M Foundation

Sophie Hale & Roland Rudd

Jerwood Arts

Lambeth Council

Paul Hamlyn Foundation

Karl-Johan Persson

Clive & Sally Sherling

Rita & Paul Skinner

and all our members and supporters,

whose generosity strengthens and

sustains our work.

*Young Vic Corporate Member

Listing current as of 25 June 2021.


£10,000 – £19,999

Bankside Hotel

Lionel Barber &

Victoria Greenwood

The Boris Karloff

Charitable Foundation

Sandra Cavlov

Ian & Caroline Cormack

Lin & Ken Craig

Manfred & Lydia Gorvy

The Harold Hyam

Wingate Foundation

Tracey, Eloise & Max Mayerson

Ingenious Media Plc*

Jack & Linda Keenan

Adam Kenwright

Kidron Hall Charitable Trust

Sarah & Dominic Murphy

Richenthal Foundation

Sea Containers London*

Jon & NoraLee Sedmak

Dasha Shenkman

United St Saviour’s Charity

Dominic Wallington

£1,000 – £9,999

Anonymous (3)

The 29th of May 1961 Charitable



The Andor Charitable Trust

Jennifer Bailey

Chris & Frances Bates

Lady Primrose Bell

Sarah Billinghurst Solomon

Adrian & Lisa Binks

Tony & Gisela Bloom

Beatrice Bondy

Simon & Sally Borrows

The Boshier-Hinton Foundation

Katie Bradford

CJ & LM Braithwaite

Dr Neil & Sarah Brener

Sylvie & Leon Bressler

Clive & Helena Butler

Monkey Chambers

Chapman Charitable Trust

The Charlotte Bonham-Carter

Charitable Trust

The Cleopatra Trust

The John S Cohen Foundation

Rachel Conlan

Victoria Corcoran

Lord Mervyn Davies

Roger & Alison De Haan

Scott M Delman

Annabel Duncan-Smith

Robyn Durie

Marielle Ednalino & Ken Lamb

Jennifer & Jeff Eldredge

Sir Vernon & Lady Ellis

Don Ellwood & Sandra Johnigan

Embassy of Spain

David Fein & Liz Oestreich

Finsbury Glover Hering*

Adam Freudenheim

Gillian Frumkin

The Golden Bottle Trust

The Golsoncott Foundation

Alan & Ros Haigh

Sarah Hall

Katherine Hallgarten

Frances Hellman & Warren Breslau

Nick Hern

Madeleine Hodgkin

Nik Holttum & Helen Brannigan

Mike & Caroline Howes

The Hoxton Southwark

Tom & Caron Ilube

John Lyon’s Charity

The John Thaw Foundation

Melanie Johnson

Jones Day*

John & Gerry Kinder

Carol Lake

Ben Langworthy

Victoria Leggett

Clive Lewis

Jill & Justin Manson

The Martin Bowley Charitable Trust

Memery Crystal*

Barbara Minto

The Lowy Mitchell Foundation

Carole Neuhaus

Newcomen Collett Foundation

The Noël Coward Foundation

Georgia Oetker

Ebele Okobi

Rob & Lesley O’Rahilly

Simon & Midge Palley

Sarig Peker

Heather & Julia Randall

The Red Hill Trust

Barbara Reeves

The Richard Radcliffe Charitable


The Rix-Thompson-Rothenberg


Corinne Rooney

Sue Roy

Royal Norwegian Embassy

Sir Paul & Lady Ruddock

Carol Sellars

Dr Bhagat Sharma

Jenny Sheridan

Justin Shinebourne &

Laurence Chaussinand

Florian Simm

Demola Soremekun

Jan & Michael Topham

TowerBrook Foundation*

Nick Tsatsas

U+I Group Plc

Bill Updegraff & Aliza Bartfield

Katleen van Roost

Walcot Foundation

Rob & Gillian Wallace

Edgar & Judith Wallner

Bill & Anda Winters

Jill Hackel Zarzycki

Julia Zilberman & Maxim Seltzer

and all our members and supporters,

whose generosity strengthens and

sustains our work.

*Young Vic Corporate Member

Listing current as of 25 June 2021.


Join us as we present a new way to stream live theatre. Best Seat in Your House

is our immersive, multi-camera broadcast designed to give you optimal choice as

you watch a live show.

Artistic Director Kwame Kwei-Armah:

“As the pandemic year saw us engage with theatre in

online spaces, I’ve been grappling with how technology

could be used to heighten the liveliness that sits at the

heart of the in-person theatre experience. How can

we make our audience feel part of the show from their

homes? How can we make the experience as flexible

and accessible as possible? These are questions that

shape the Young Vic’s mission as a theatre, and

so must naturally extend to our digital offer.

With Best Seat in Your House, we’ve taken a bold step

into the future of the theatre-streaming experience.

We’ve put choice at the heart of every element, giving

audiences the space to engage with our streamed work

in an entirely new way.”


Designed with flexibility in mind, our innovative

next step in live theatre streaming is designed

to place you at the heart of the action, with

each show feeling like a brand new experience.

We give you two streaming options: Director’s Chair

or Director’s Cut.

Director’s Chair

By taking the Director’s Chair, YOU take control

of your view of the show, as you cut between any

of the cameras placed around the theatre at any

time throughout the live performance. The choice is

yours. Whatever your preference, your view will be

complemented by a high-quality audio mix of the show.


Director’s Cut

Alternatively, you can choose our Director’s Cut

option. Sit back as we deliver a more traditional live

edit of the show from the theatre to your screen,

created with the show’s director and mixed by our

production team.


The Young Vic has famously one of the most

flexible auditoriums in London, where our artists

are encouraged to design without barriers. In our

theatre, the seating is never quite the same from

one show to the next.

Similarly, the broadcast experience for each show

will be designed bespoke for the production, with

cameras positioned to offer exciting perspectives of

our live shows.

A robo-camera rig with multiple cameras will be

contstructed around the auditorium to capture the

performance, and these feeds will be broadcast

direct to your device. Camera operators will control

the robo-cameras, continually ensuring every shot

gives you an exciting new perspective of the show.

From the comfort of home, you will be able to pick

which camera feed you watch. At any point, you can

switch to a different view for a new perspective –

almost as though you were able to move seats in our

auditorium to continually find your favourite view!


With flexibility at the centre of this new innovation,

we want our broadcasts to be compatible with as many

devices as possible. Stream on a phone, tablet, laptop,

or even cast to your television. However, for the best

experience, we recommend using a laptop.


Captions, audio description and British Sign

Language will be available for every performance.



Best Seat in Your House is made in collaboration

with YV Artistic Associate Duncan McLean.

The development of Best Seat in Your House

is supported by the Genesis Foundation’s Genesis

Kickstart Fund.


Proud sponsor

of the funded ticket programme

Through IHS Markit’s support, the Young Vic offers nearly

10,000 free tickets to young people and many that

would not otherwise be able to enjoy the theatre.

Our Friends and Soul Mates receive priority booking for all of our productions and enable us to create

challenging and inspiring work on our stages and with our local communities. Be right at the heart of it all.

Membership starts at £40 a year. Join at the box office today or call the Development Team on 020 7922 2810.

It’s a big world in here.

Data and Insight for the world’s global industries


at the

“The Young Vic organised a fantastic communications training event.

Personally I would like everyone from GFT to go through this training.

Sales Director Enterprise and Services, GFT

For more information on how we can tailor a bespoke

high performance workshop to your business needs contact or call 020 7922 2813

Clients include






/thecutbar @thecut66 @the_cut_bar





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