Who Killed My Father digital programme

‘I ALMOST FORGOT EVERYTHING
I SAID TO YOU WHEN I VISITED
YOU LAST TIME, BUT I REMEMBER
EVERYTHING I DIDN’T TELL YOU.
WHEN I THINK BACK TO THE PAST
AND OUR LIVES TOGETHER, I REMEMBER
ESPECIALLY WHAT I DIDN’T TELL YOU,
MY MEMORIES ARE MEMORIES OF
SOMETHING THAT DIDN’T HAPPEN.’

AN INTERNATIONAAL THEATER AMSTERDAM PRODUCTION IN ASSOCIATION WITH YOUNG VIC
CREATIVE TEAM
FOR INTERNATIONAAL THEATER AMSTERDAM
FOR THE YOUNG VIC
ADAPTED BY IVO VAN HOVE
FROM THE BOOK BY ÉDOUARD LOUIS
CAST
Hans Kesting
After the book by
Édouard Louis
Translation, adaptation and direction
Ivo van Hove
Scenography and lighting
Jan Versweyveld
Costumes
An D’Huys
Music
George Dhauw
Co-producer
deSingel Antwerp
Private Producers
Jeroen van Ingen & Jaap Kooijman,
Bertil van Kaam
Assistant Director
Olivier Diepenhorst
Assistant Scenography
Bart van Merode
Voice and Dialect Coach
Anne-Marie Speed
Production Manager
Kiki Meijerhoven
Stage Manager
Kevin Cuyvers
Stage Manager
Daan van Oene
Light Technician
Dennis van Scheppingen
Sound Technician
Emile Bleeker
Head of Technical Staff
Reyer Meeter
Costume Department
Farida Bouhbouh,
Wim van Vliet (head)
Photography
Jan Versweyveld
Photo-editing
Dim Balsem
Publicity
Iris Istha
Production Manager
Craig Tye
Stage Manager
Catriona McHugh
Deputy Stage Manager
Louise Charity
Captioner
Chloe Forestier-Walker
Lighting Programmer
Sam Ohlsson
Lighting Operator
Luke Jackson
Sound System Design
Kyle MacPherson
Sound Operator
Franny Lagemann
Stage Crew
Ryan Underwood
Production Carpenter
Harvey Barker
Stage and Proscenium built by
Centre Line Fabrications
Communications Equipment supplied by
Creative Technologies
Special thanks to: Sea Containers London, Bella Rodrigues and Despina Tsatsas.
Who Killed My Father is generously supported by the Embassy of the Kingdom of the Netherlands.
Cover image: Art direction by Emilie Chen. Photography by Rosaline Shahnavaz.
Programme: Design by Eureka!. Edited by Florence Bell.
2 3

ENCOUNTERING IVO
by Rebecca Frecknall
It’s February 2015 and I am standing among an applauding
crowd with tears streaming down my face. I am on my feet
without realising it, having immediately risen from my seat
as the lights went out before the applause erupted. I have
just watched Ivo van Hove’s production of A View From
The Bridge at the Young Vic. It is my first encounter with
the work of the Belgian theatre director, and it will not
be my last. Fast-forward to December 2021. I am sitting
in the lounge of the Corinthia Hotel with the man himself.
He is in London to watch a production of my own over the
road at the Playhouse Theatre and I am suddenly struck
by what a huge effect that first piece of his had on me. It
is our first meeting, the beginning of a conversation about
working together, and he is not what I had imagined. The
precision, confidence, and masculinity inherent in his work
would perhaps suggest an auteur of similar qualities. But
van Hove is cheeky, playful, unassuming with kind eyes,
and I am suddenly nervous at the thought of him watching
my work.
Since the Artistic Director of Internationaal Theater
Amsterdam arrived on the British theatre scene, the impact
his work has had on my generation of theatre practitioners
in undeniable. Van Hove always attracts audiences eager
to see his next offering, as well critical mutterings around
his ‘European’ theatre aesthetic colliding with a British
theatre tradition.
4
It seems to me that descriptions such as ‘sparse’ and
‘stripped-back’, which I now sometimes hear with regards
to my own work, first began to crop up in articles around
the work of Ivo van Hove. Indeed, I remember exiting
that performance of A View From The Bridge all those
years ago trying to articulate what it was the director had
done that I had found so radical. The best I could come up
with: ‘It’s as though he has taken the play and wrung it out
like a wet towel; leaving its essence on the bare stage.’
Having now seen multiple examples of the director’s
work, I’m not sure I have a better description of how
he approaches texts, but it is interesting to consider the
regular use of phrases such as ‘stripped-back’ in relation
to his productions and to dig further into what viewers are
attempting to express by using such descriptions.
For me, van Hove’s work was the first I’d seen, outside of the
dance world, where I felt every element had truly earned its
place on stage. Nothing was for decoration; all choices were
anchored to what he felt was the central ‘idea’ of the play.
This was a revelation to me, demanding a new level of rigour
in my own work. What do we as directors take as law when
reading a script? The stage directions? The setting? Who
speaks the text? Who enters the space and when do they exit?
The literal nature of that space? The production at the Young
Vic demonstrated something I thought I knew but had perhaps
never seen executed so well – the play is excipient to its idea.
Meaning, all elements inherent in the text are merely vessels
for the delivery to an audience of the artist’s central idea.
Anything that does not aid this communication is not necessary
and can be taken away in production. This to me is the process
behind the resulting ‘stripped-back’ aesthetic. This aesthetic,
often present in van Hove’s work, allows simple bold gestures
to reveal the true core of a work. Indeed, when I recall van
Hove’s productions, each contains one strong image that
immediately flashes to mind – the lifting of the chair in A View
From The Bridge, the tarring and feathering in The Damned,
the ensemble tug-of-war at the end of ‘Tonight’ in West Side
Story, the flowers stapled to the walls in Hedda Gabler.
There is something essential in this artist’s work in the
truest sense. His ongoing collaborations with his theatre
company seem to all have one thing in common: a desire
to distil the absolute essence of the source material and to
deliver it to an audience in the most vital and visceral way.
Indeed, his ability to get right to the heart of a piece (and an
actor) is perhaps in part due to the longevity of his artistic
relationships. Repeat collaborations and continued inquiries
result in richer creative relationships and an artistic
shorthand which demands greater risk-taking. Indeed, to
me, one of the most inspiring elements of this director’s
approach lies in the vastness and ambition of his body of
work. Whilst his pieces divide opinion, with many describing
a kind of love-hate relationship to watching his work, this is
an artist who will always attract returning audiences seeking
a repeat of the emotional gut-punch they received from
whichever piece initially got them hooked.
Rebecca Frecknall is an Olivier Award-winning director, who has directed
in the UK and internationally, and is Associate Director at the Almeida.
5

THE CAST
THE COMPANY
HANS KESTING
Hans Kesting was born in 1960 and has been performing
with Internationaal Theater Amsterdam (ITA) since 1987.
This season his appearances with the company include the
premieres of My Heavenly Favourite (directed by Ivo van
Hove), Blood Wedding (directed by Wim Vandekeybus); and
the revivals of Who Killed My Father, Judas (directed by
Robert Icke), Kings of War, A Little Life and Age of Rage
(all directed by Ivo van Hove). His previous appearances
with ITA include Angels in America and Kings of War,
for both of which he won the Louis d’Or for Best Actor in
a Leading Role; and Who Killed My Father, The Norman
Conquests and Roman Tragedies, for each of which he was
nominated for the Louis d’Or. His films include Robert
Altman’s Vincent and Theo (1989), Character (which won
the Academy Award for Best Foreign Film in 1998), Ivo van
Hove’s Amsterdam (2009) and Jude Law’s Do Not Disturb
(2018). He is the current holder of the prestigious Albert
van Dalsum Ring, which he received in 2015, and he was
appointed Knight in the Order of the Dutch Lion in 2020.
ÉDOUARD LOUIS
Édouard Louis is the author of The
End of Eddy, History of Violence and
Who Killed My Father, and the editor
of a book on the social scientist Pierre
Bourdieu. His work has been translated
into thirty languages, making him one
of the most celebrated writers of his
generation worldwide.
IVO VAN HOVE
TRANSLATION, ADAPTATION
AND DIRECTION
Ivo van Hove was born in 1958
and began his directing career in
1981. He was the artistic director
of AKT, Akt-Vertikaal and De Tijd
before becoming Director of Het
Zuidelijk Toneel in 1990; from 1998
to 2004 he was Artistic Director
of the Holland Festival. In 2001 he
became Director of Internationaal
Theater Amsterdam (formerly
Toneelgroep Amsterdam), with which
he directed in 2021 Battles and
Metamorphoses of a Woman and, this
year, The Damned. His international
theatre credits include More Stately
Mansions and India Song at the 1998
and 1999 Edinburgh International
Festivals respectively; More Stately
Mansions and Hedda Gabler off-
Broadway, for both of which he won
the Obie Award; A View from the
Bridge at the Young Vic, in the West
End and on Broadway, for which he
won Olivier, Tony and Drama Desk
Awards; Network for the National
Theatre of Great Britain and on
Broadway; The Crucible and West
Side Story on Broadway; and The
Glass Menagerie at L’Odéon, Paris.
His opera credits include
productions for De Vlaamse Opera,
at La Monnaie (Brussels) and the
Komische Oper Berlin, and in Madrid
and Amsterdam, and his screen
credits include Amsterdam and
Home Front. In 2004 he became
a Chevalier dans l’Ordre des Arts
et des Lettres. He was appointed
Commander of the Order of the
Crown in 2016, and in 2018 he
received the Stanislavsky Award.
This season (22/23) he will be
directing at ITA My Heavenly
Favourite, based on the novel by
Marieke Lucas Rijneveld.
JAN VERSWEYVELD
SCENOGRAPHY AND LIGHTING
Jan Versweyveld trained at the Sint-
Lucas Institute, Brussels, and the
Royal Academy, Antwerp. In the 1980s
he and Ivo van Hove were founders
of the theatre groups Akt/ Vertikaal
and Toneelproducties De Tijd. In 1990
he became the regular set designer
for the Zuidelijk Toneelgroep, and in
2001 he became Head of Scenography
for Toneelgroep Amsterdam
(Internationaal Theater Amsterdam
(ITA)). His recent collaborations with
van Hove include Age of Rage for
ITA and at the Barbican (London),
Network at the National Theatre and
on Broadway, West Side Story on
Broadway, The Glass Menagerie at
the Odéon, Paris, and Aufsteig und
Fall der Stadt Mahagonny at the Aixen-Provence
Festival. Other theatre
credits include Hedda Gabler at the
National Theatre, London; A View
From the Bridge at the Young Vic,
London, and in the West End; and
All About Eve and The Human Voice
in the West End. His opera credits
include The Diary of One Who
Disappeared for the Royal Opera;
Salome, The Makropulos Affair
and Iolanta in Amsterdam; Fidelio,
Don Giovanni and Boris Godunov
for the Opéra National de Paris; La
clemenza di Tito and Idomeneo at
La Monnaie, Brussels; Mazeppa at
the Komische Oper Berlin; Macbeth
in Lyon; and Boris Godunov and
Brokeback Mountain in Madrid.
In 2016 he received the Knight
of Illumination Award.
AN D’HUYS
COSTUMES
De Moi is a multi-disciplinary
artist, An D’Huys studied fashion
at the Royal Academy of Fine Arts,
Antwerp, and for over 12 years
was a member of the design team
for the Belgian fashion label Ann
Demeulemeester. Her credits include
The Glass Menagerie at the Odéon,
Paris; West Side Story on Broadway;
All About Eve in the West End;
Network at the National Theatre,
London, and on Broadway; Hedda
Gabler at the National Theatre;
Obsession at the Barbican, London,
and in Paris and Luxembourg;
Lazarus in the West End and at New
York Theatre Workshop; Medea
at the Burgtheater, Vienna; The
Damned at the Comédie-Française,
Paris; Flight 49, Battles and
metamorphoses of a woman, Age
of Rage (also at the Barbican)
Husbands and Wives, The Things that
Pass, Othello, Opening Night, Medea,
The Fountainhead, Antigone and
Kings of War for Internationaal
Theater Amsterdam; A View from
the Bridge at the Young Vic, London,
in West End and on Broadway; The
Misanthrope at the Schaubühne,
Berlin; The Diary of One Who
Disappeared for the Royal Opera;
Quartet, Bitches Brew and Cassandra
for Rosas; Die Walküre, Siegfried
and Götterdämmerung in Antwerp;
Salome and Der Schatzgräber
in Amsterdam; and Don Giovanni,
Così fan tutte and Boris Godunov
for the Opéra National de Paris.
Her film credits include Jaco van
Dormael’s Toto le héros and Patrice
Toye’s Rosie.
GEORGE DHAUW
MUSIC
George Dhauw (1994) is an Antwerp
based music producer and sound
designer. In 2017 he graduated at
the Academy of theatre and dance
in Amsterdam as a sound designer.
During his study and beyond he
worked in various theaters in the
Netherlands, Germany, France,
Belgium and London. In 2018
George Released his debut album
All we need is an interpretation,
which is available on all online music
platforms. George Dhauw previously
made the sound design for Freud at
ITA. He also made the sound design
for La Ménagerie de verre at the
Odéon —Théâtre de l’Europe (Paris),
also directed by van Hove with
Isabelle Huppert in the leading role.
6 7

WHO KILLED MY FATHER
SYNOPSIS
In his autobiographical novel Qui a tué mon père (Who
Killed my Father), Édouard Louis returns from Paris after
a long absence to the village in the north of France where
he grew up. He sees his father who he barely recognizes:
a wreck, sick and prematurely aged because of alcoholism
and social deprivation, the hard work in heavy industry, and
an industrial accident. For Louis, it occasions reflection
on his own youth and the life of his father, a violent and
insensitive macho.
As a young homosexual, Louis is ostracized by his own
family and surrounding circles. But what circumstances
made his father who he is? And who is responsible? Louis
points the finger at the elite for whom politics is primarily
a matter of ‘aesthetics’: they engage in ‘politics’ that
has little or no real influence on their lives. The lower
classes, however, suffer under the cutbacks in spending on
unemployment benefits enacted by numerous government
officials. The lament about his father’s life grows into a
fierce indictment where no one is spared. At the same time
it is a declaration of love to his father.
8 Photography by Jan Versweyveld 9

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Taking Part
Director of Taking Part
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Phillips
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Taking Part
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10
11

YOUNG VIC – COMING SOON
MANDELA
28 NOV – 4 FEB 2023
A revolutionary new musical and world premiere that
tells the story of Mandela the man and Mandela the
movement. Developed in proud partnership with Nandi
Mandela, Luvuyo Madasa and the Mandela family.
YV UNPACKED: I WONDER IF...
TOURING 10 – 21 OCT
THE YOUNG VIC 24 – 29 OCT
Fusing dance, music and dialogue to explore the human
relationship in its many forms, I Wonder If... is a dazzling
new play directed by Daniel Bailey and devised by the
company.
JOURNEYS THE PODCAST
25 JUL – 25 DEC
A six-part podcast series celebrating local heroes in
Lambeth and Southwark and uncovering stories from
the Young Vic community.
THE TWENTY THRIVE EXHIBITION:
CELEBRATING 25 YEARS OF CREATING, EXPLORING
AND TAKING PART IN OUR COMMUNITY
14 – 21 OCT
An immersive and interactive exhibition that celebrates
the last 25 years of the Young Vic’s outreach and
engagement work. A Young Vic Taking Part project.
YOUNGVIC.ORG 020 7922 2922 @YoungVicTheatre
12
13

ACCESS AND INCLUSION PERFORMANCES
TAKING PART AT THE YOUNG VIC
AUDIO DESCRIBED
PERFORMANCES
Who Killed
My Father
Wed 14 & Thu 15
Sep, 7.30pm
Mandela
Mon 19 Dec 2022,
Tue 10 & Tue 24
Jan 2023, 7.30pm
BSL
PERFORMANCES
Who Killed My
Father:
Wed 21 Sep, 7.30pm
Mandela
Tue 13 Dec 2022 &
Thu 12 Jan 2023,
7.30pm
CAPTIONED
PERFORMANCES
Who Killed
My Father
Thu 22 Sep, 7.30pm
Mandela
Thu 15 Dec 2022 &
Thu 5 Jan 2023,
7.30pm
RELAXED
PERFORMANCES
Mandela
Wed 4 Jan 2023,
7.30pm
SOCIALLY
DISTANCED
PERFORMANCES
Who Killed
My Father
Sat 17 Sep, 2:30pm
Mandela
Wed 21 Dec, 7:30pm
Images by Henri T, Aaron Imuere, Jay Jay Revlon
Taking Part is our creative engagement department that works with young people,
adults, schools, and our local community for 25 years. 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.
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
Our three strands, Learning, Participation,
and Neighbourhood Theatre, create work
that is the beating heart of the organisation.
This year is our 25th anniversary – we’re
celebrating 25 years of Taking Part work
for, with and by the local community of
Lambeth and Southwark, with a series of
events called Taking Part 25.
This included Of The Cut, a Taking Part
production from Young Vic and TEA films,
written by Yasmin Joseph and the Company,
directed by Philip J Morris. Thirty members
of the cast from all three strands of Taking
Part, aged between 16 and 86 worked
together on a show. Blending film, theatre,
audio and imagery, Of The Cut used magical
realism to imagine what the next 25 years
could look like on and around The Cut.
Upcoming events include The Twenty
Thrive Exhibition, an immersive, interactive
exhibition combining archive material,
photography, and storytelling to explore
the role the Young Vic has played in its
community over the past 25 years, and
YV Unpacked: I Wonder If, a dazzling
new play touring to community venues
in Lambeth and Southwark.
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 youngvic.org/taking-part or follow
@YVTakingPart on Twitter.
14
15

2022 SEASON SUPPORTERS
THE YOUNG VIC BOARD
Board of Trustees
Development Board
Public Support
Season Support
Hotel Partner
Varun Chandra
Nicky Dunn OBE
Glenn Earle (Chair)
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
Beatrice Bondy
Rachel Conlan (Co-Chair)
Gerard Crichlow
Glenn Earle
Sophie Hale
Will Meldrum
Ebele Okobi (Co-Chair)
Barbara Reeves
Sarah Thorpe Scott
We gratefully acknowledge the following Young Vic
Trustees who recently retired from board service:
The Black Heart Foundation provides leadership support for the Young Vic’s 2022-2023 season.
Additional generous support is provided by the Genesis Foundation and IHS Markit.
Sean Egan
David Fletcher
Rory Kinnear
Rita Skinner
We gratefully acknowledge Ian Burford and Alec Cannell for generously supporting the Young Vic’s mission.
16 17

YOUNG VIC SUPPORTERS
£10,000 – £19,999
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:
£100,000+
£20,000 – £49,999
Anonymous
Lionel Barber &
Victoria Greenwood
Sandra Cavlov
Ian & Caroline Cormack
Lin & Ken Craig
Manfred & Lydia Gorvy
Jack & Linda Keenan
Adam Kenwright
Kidron Hall Charitable Trust
Tracey, Eloise & Max Mayerson
Richenthal Foundation
Jon & NoraLee Sedmak
Dasha Shenkman
United St Saviour’s Charity
Dominic Wallington
The Harold Hyam
Wingate Foundation
Arts Council England
The Black Heart Foundation
Bloomberg*
Ian Burford & Alec Cannell
Culture Recovery Fund, DCMS
Glenn Earle
Esmée Fairbairn Foundation
Garfield Weston Foundation
Genesis Foundation
IHS Markit
Patrick & Sholpan McKenna
£50,000 – £99,999
The Charlotte Aitken Trust
Backstage Trust
Bank of America*
Jo Braun
Robert Easton & Elza Blankenburgs
Sea Containers London
Southwark Council
Anonymous (1)
Sarah & Tim Bunting
Cockayne – Grants for the Arts
The London Community Foundation
Calouste Gulbenkian Foundation
Lord Mervyn Davies
H&M Foundation
Sophie Hale & Roland Rudd
Paul Hamlyn Foundation
Patrick Handley
Jerwood Arts
Lambeth Council
Sarah & Dominic Murphy
Karl-Johan Persson
Clive & Sally Sherling
Rita & Paul Skinner
*Young Vic Corporate Member
Listing current as of 1 August 2022.
£1,000 – £9,999
Anonymous (8)
The 29th of May 1961
Charitable Trust
AKA*
Andor Charitable Trust
Jennifer Bailey
Jack Bamberger
Chris & Frances Bates
Lady Primrose Bell
Sarah Billinghurst Solomon
Adrian & Lisa Binks
Tony & Gisela Bloom
Beatrice Bondy
The Charlotte Bonham-Carter
Charitable Trust
Simon & Sally Borrows
The Boshier-Hinton Foundation
The Martin Bowley Charitable Trust
Katie Bradford
CJ & LM Braithwaite
Dr Neil & Sarah Brener
Sylvie & Leon Bressler
Clive & Helena Butler
Monkey Chambers
Chapman Charitable Trust
Cleopatra Trust
The John S Cohen Foundation
Rachel Conlan
James & Victoria Corcoran
Noël Coward Foundation
Miel de Botton
Roger & Alison De Haan
Scott M Delman
Annabel Duncan-Smith
Robyn Durie
Marielle Ednalino & Ken Lamb
Jennifer & Jeff Eldredge
ELEVATE Careers,
Lambeth Council
Sir Vernon & Lady Ellis
Don Ellwood & Sandra Johnigan
David Fein & Liz Oestreich
Finsbury Glover Hering*
Emily Fletcher
Adam & Victoria Freudenheim
Gillian Frumkin
The Golden Bottle Trust
The Golsoncott Foundation
Alan & Ros Haigh
Sarah Hall
Katherine Hallgarten
Frances Hellman & Warren Breslau
Suzy Hester
Madeleine Hodgkin
Jacob Holt
Nik Holttum & Helen Brannigan
Mike & Caroline Howes
The Hoxton Southwark
Peter Hughes
Tom & Caron Ilube
Melanie Johnson
Vanessa Johnson-Burgess
John & Gerry Kinder
Carol Lake
Ben Langworthy
Victoria Leggett
Clive Lewis
The Lowy Mitchell Foundation
Frances Lynn
John Lyon’s Charity
Jill & Justin Manson
Memery Crystal*
Barbara Minto
Embassy of the Kingdom
of the Netherlands
Carole Neuhaus
Newcomen Collett Foundation
Ebele Okobi
Rob & Lesley O’Rahilly
Bernadette O’Sullivan
Simon & Midge Palley
Sarig Peker
The Austin & Hope Pilkington Trust
Pi Capital*
Richard Radcliffe Charitable Trust
Heather & Julia Randall
The Red Hill Trust
Barbara Reeves
The Rix-Thompson-Rothenberg
Foundation
Corinne Rooney
Sue Roy
The Royal Victoria Hall Foundation
Sir Paul & Lady Ruddock
Carol Sellars
Dr Bhagat Sharma
Jenny Sheridan
Justin Shinebourne
& Laurence Chaussinand
Florian Simm
Deborah E Mali Smith
Demola Soremekun
Embassy of Spain
The John Thaw Foundation
TowerBrook Foundation*
Nick Tsatsas
U+I Group Plc
Bill Updegraff & Aliza Bartfield
Valentino England Ltd. *
Katleen van Roost
Walcot Foundation
Rob & Gillian Wallace
Edgar & Judith Wallner
Alice Whitaker
Bill & Anda Winters
Chavah Yentl
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
1 August 2022.
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19

INTERNATIONAAL
THEATER
AMSTERDAM
Internationaal Theater Amsterdam (ITA) was
formed in 2018 with the merger of Amsterdam
Stadsschouwburg and Toneelgroep Amsterdam
to create the largest theatre company in the
Netherlands. Toneelgroep Amsterdam was founded
in 1987, itself a merger between two companies:
the Publiekstheater and Toneelgroep Centrum.
Under its Artistic Director, Gerardjan Rijnders,
the company placed avant-garde theatre on the
Netherlands’ principal stage, the Stadsschouwburg
in Amsterdam. Led by Ivo van Hove since 2001,
the company fields a core ensemble of 22 actors.
ITA produces 600 theatre and dance performances
every year, presented nationally and internationally,
alongside social programmes for a wide range
of audiences.
For more information about Internationaal Theater
Amsterdam please check ITA.nl
20
Photography by Jan Versweyveld
Artistic Director Kwame Kwei-Armah: “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.”
WHAT IS BEST SEAT IN YOUR
HOUSE?
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.
WHAT DEVICES CAN I WATCH
THIS ON?
Stream on a phone, tablet, laptop, or even
cast to your television. However, for the
best experience, we recommend using
a laptop.
WHAT ARE YOUR ACCESS
PROVISIONS?
Captions, audio description and British
Sign Language will be available for
every performance.
WANT TO KNOW MORE?
Visit youngvic.org/bestseatinyourhouse
Best Seat in Your House is made in
collaboration with YV Artistic Associate
Duncan McLean.
Best Seat in Your House: Mandela will
be broadcast on Thu 19, Fri 20, Sat 21
and Mon 23 Jan 2023, 7.30pm, Sat 21 Jan
2023, 2pm.
The development of Best Seat in Your House
was made possible with public support from the
UK Government’s Culture Recovery Fund.
Additional generous support was provided by the
Genesis Foundation’s Genesis Kickstart Fund.
21

the power to
imagine, illuminate and inspire
After an extended intermission, we are thrilled
to join you at the Young Vic once again.
As a major partner of cultural organizations,
Bank of America believes in the power of the arts.
What would you like the power to do?
Learn more at bankofamerica.com/Arts
© 2021 Bank of America Corporation.
MAP3727647
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