Barber Shop Chronicles

A.R.T.: Barber Shop Chronicles. Sheibani’s recent theater credits include Dance Nation, Almeida; Circle Mirror Transformation, HOME Manchester; The Brothers Size, Young Vic/Actors Touring Company. He has also directed extensively at the National Theatre of Great Britain where his credits include The Kitchen, Our Class, Emil and the Detectives, and A Taste of Honey. Recent opera credits include Nothing, Glyndebourne; and Tell Me The Truth About Love, Streetwise Opera. He was an associate director of the National Theatre from 2010-2015, and Artistic Director of Actors Touring Company from 2007 to 2010.

A.R.T.: Barber Shop Chronicles; Oliver Twist; Dido, Queen of Carthage. Rae Smith’s recent designs in the UK include Nightfall, The Bridge; Translations, Macbeth, National Theatre; The Lion, the Witch and the Wardrobe, West Yorkshire Playhouse; Girl from the North Country, Old Vic, Noël Coward Theatre, Public Theater; This House, National Theatre, Garrick Theatre, UK tour; The Goat, or Who is Sylvia?, Theatre Royal Haymarket; Stella, Hoxton Hall, Holland Festival. Other designs include wonder.land, The Light Princess, War Horse (Tony and Olivier Awards) at the National Theatre, Cav and Pag at the Met Opera, and The Tempest for Birmingham Royal Ballet. Upcoming work includes Inua Ellams’ The Little Prince.

A.R.T.: Barber Shop Chronicles. Theater: The Importance of Being Earnest, Vaudeville; Machinal, They Drink it in the Congo, Boy, Carmen Disruption, Game, Almeida; Happy Days, Parliament Square, Our Town, Twelfth Night, A Streetcar Named Desire, Wit, The Skriker, There Has Possibly Been An Incident, Royal Exchange; Dan and Phil: Interactive Introverts, The Amazing Tour Is Not on Fire, World Tours; Instructions for Correct Assembly, 2071, Royal Court; Caroline, or Change, Chichester Festival Theatre; Circle Mirror Transformation, HOME Manchester; Wonderland, Nottingham Playhouse; Beginning, Ambassadors Theatre; Cleansed, National Theatre; Committee, Donmar Warehouse; 4.48 Psychosis, Reisende auf einem Bein, Happy Days, Schauspielhaus, Hamburg; Junkyard, Pygmalion, Headlong.

A.R.T.: Barber Shop Chronicles. Theater: Dance Nation, The House of Bernarda Alba, Almeida; Macbeth, The Merchant of Venice, Royal Shakespeare Company; Romeo and Juliet, A Taste of Honey, Damned by Despair, Antigone, The Kitchen, Greenland, Our Class, National Theatre; The Brothers Size, Dutchman, Eurydice (with Actors Touring Company), Elektra, Young Vic; The Mighty Waltzer, 1984, Macbeth, Royal Exchange; The Iphigenia Quartet, How to Be an Other Woman, Gate; The Tempest, National Youth Theatre; First Love is the Revolution, Soho Theatre; Romeo and Juliet, A Taste of Honey, Alice, Sheffield Crucible; Of Mice and Men, Birmingham Rep. Opera: Nothing, Glyndebourne Opera / Den Jyske Opera.

A.R.T.: Barber Shop Chronicles, Wild Swans. Recent US Theater: Harry Potter and the Cursed Child; The Encounter (with Pete Malkin); Shun-kin, The Noise of Time, Complicité; Black Watch, Let The Right One In, National Theatre of Scotland. Gareth’s work includes over twenty productions at the National Theatre, over twenty at the Royal Court and countless more, including the Opening Ceremony of the 2012 Olympic Games. Awards include two Tony Awards, two Drama Desk Awards, and an IRNE award, as well as three Olivier Awards, an Evening Standard Award, and two Helpmann Awards.

A.R.T.: Barber Shop Chronicles. Henry is a composer, vocalist, and musical director. Theater: An Octoroon, The Amen Corner, Emperor and Galilean, FELA!, Death and the King’s Horseman, National Theatre; They Drink It in the Congo, Mr. Burns, Almeida; SYLVIA, Old Vic; The Brothers Size, Feast, Young Vic. Live backing vocals include George Michael, Chaka Khan, and Pet Shop Boys. Studio vocals include Diana Ross, Robbie Williams, and Billy Bragg. Compositions include “Rocket Symphony” for 500 voices and fireworks, and “Stand” for sixteen voices at the BBC Proms 2006. He has sung a cappella extensively with Flying Pickets and The Shout.

A.R.T.: Barber Shop Chronicles. Odunlami is a theater-maker and researcher. She most recently presented the sound installation and performance piece London Wall: 1980 something, V&A. Theater (Director): Made Visible, The Yard; Dies Irae, Hoxton Hall; Hidden, 33% Festival at Ovalhouse; Preserves, Hen and Chickens; Black Cab Music, Lyric Hammersmith. Theater (Assistant Director): The Revenger’s Tragedy, Hoxton Hall; Crocodile, Riverside Studios; Bad Blood Blues, Come Dancing, Theatre Royal Stratford East. She was previously Resident Assistant Director at the Gate, where she worked on Joseph K, Fatherland, and Electra.

A.R.T.: Barber Shop Chronicles. Theater (Assistant Director): The Brothers Size (directed by Bijan Sheibani, written by the Academy Award-winning writer of Moonlight, Tarell Alvin McCraney), Young Vic. Theater (Director): Waterfalls, Theatre Royal Stratford East; Stop and Search, Theatre 503. Film: John-Baptiste has made short films and launched a website (House of Black) to showcase and celebrate young Black British filmmakers. Education/Training: Broadcast Media, Brunel University.

A.R.T.: Barber Shop Chronicles. Theater (Designer): Salad Days, The Union Theatre, Bath Theatre Royal; Screwed, Theatre 503; The One Day of the Year, Finborough. Theater (Associate Designer): St. George and the Dragon, National Theatre; The Hairy Ape, Old Vic, Park Avenue Armory. Theater (Assistant Designer): The Goat, or Who is Sylvia?, Theatre Royal, Haymarket. Opera (Associate Designer): Dido and Aeneas / La voix humaine, Opera North. She has worked for designers including Stewart Laing, Giles Cadle, Leslie Travers, Jamie Vartan, Soutra Gilmour, Antony McDonald, and Tom Cairns. She recently participated in the final for the Dutch Opera Design Award.

A.R.T.: Barber Shop Chronicles. Theater (Production Manager): National Theatre; Manchester Royal Exchange; Theatr Clwyd Cymru; Soho Theatre; Opera Holland Park; York Theatre Royal; Before I Sleep, Dreamthinkspeak. She has worked in theatre for almost twenty years with experience ranging from large scale shows to site-specific projects. Following Barber Shop Chronicles’ US and Canada tour, she will be heading to the Sydney Theatre Company.

A.R.T.: Barber Shop Chronicles. Theater: Things I Know To Be True, Frantic Assembly, UK Tour; Fatherland, Manchester International Festival, Frantic Assembly, Royal Exchange Manchester; Twelfth Night, Cat on a Hot Tin Roof, Scuttlers, Three Birds, Rats Tales, Good, Punk Rock, Private Lives, Royal Exchange Manchester; A Midsummer Night’s Dream, Propeller, International Tour; The Late Middle Classes, Donmar Warehouse; Julius Caesar, Royal Shakespeare Company Swan Theatre; In the Night Garden, UK Tour; Been So Long, A Prayer for My Daughter, The Good Soul of Szechuan, Young Vic; Rough Crossings, Angels in America, Paradise Lost, Headlong. Training: Stage Management, Royal Central School of Speech & Drama.

A.R.T.: Barber Shop Chronicles. Theater: The Fringe; Soho Poly Theatre; Road, A Life of the Mind, Ice Cream and Hot Chocolate, Royal Court; The Shaugraun, Arcadia, Dealer’s Choice, Amy’s View, Skylight, National Theatre; Richard III, King Lear; Hamlet, The History Boys, Power, Frankenstein, Collaborators, Battle Royal, Humble Boy, Gagarin Way, The Talking Cure, Gethsemane, The Effect, Beyond Caring, Hedda Gabler, Exit the King, National Theatre World Tours. Training: Stage Management and Technical Theatre, LAMDA.

A.R.T.: Barber Shop Chronicles. Theater: 33% Festival, Ovalhouse Creative Youth Department; 24 Hour Plays, Old Vic New Voices; Nine Rooms, Old Vic Tunnels; Monologue Slam, Rich Mix; Future Fest, Eclipse, The Grandfathers, National Theatre Connections; Half Breed, India Tour, Soho Theatre; A Guide to Second Date Sex, Strong Arm, Edinburgh Festival: Underbelly Venue; Jungle Book, Birmingham Rep/Roundhouse; Ada Ada Ada, Proximus Lounge, Brussels; Brainstorm, Temporary Space; Putting Words in Your Mouth, Roundhouse; Takeover Season, Storylab, Tricycle Theatre; NYT Playing Up Season, Arcola; Boys, Vaults Festival; Nine Night, National Theatre Dorfman Theatre. Training: Stage Management, Rose Bruford Drama School.

A.R.T.: Stage Manager: We Live in Cairo; Barber Shop Chronicles; The Black Clown; HEAR WORD! Naija Woman Talk True; Burn All Night; Notes from the Field: Doing Time in Education; 1984; O.P.C.; The Shape She Makes; The Donkey Show. Assistant Stage Manager: Othello; ExtraOrdinary; Jagged Little Pill; Bedlam’s Sense & Sensibility; The Night of the Iguana; Fingersmith; RoosevElvis; Kansas City Choir Boy; Natasha, Pierre & The Great Comet of 1812; The Heart of Robin Hood; All the Way; The Glass Menagerie; The Lily’s Revenge; Once. Production Associate: Prometheus Bound; The Blue Flower; Cabaret. Education/​Training: Boston University College of Fine Arts (Summa cum laude).

A.R.T.: The White Card, The Donkey Show, Dragon Mama (workshop). Regional: Mr. Joy, ArtsEmerson; The Colored Museum, Huntington Theatre Company; The 39 Steps, David Steinberg: That Could Turn Into Something Big…or Not, La Jolla Playhouse; Kingdom, Old Globe; A Christmas Carol, Goodman Theatre. International: Death of a Salesman, Theater Mitu (UAE); Multiple Productions, KunstKulturQuartier (Germany). Touring: Gazillion Bubble Show, Martian Ent.; The 39 Steps, Windwood. Workshops: Whisper House, ArtsEmerson; Gary, A Sequel to Titus Andronicus, Bootheel, whisper fish, Mankind, HowlRound; K‑I‑S‑S‑I‑N‑G, The Magician’s Daughter, Huntington Theatre Company. Events: A Celebration of Harvard Artists, A.R.T./ Harvard University ARTS FIRST; Arts in Action, La Jolla Playhouse; The Walking Dead Escape, AMC TV/Skybound Comics. Career: Tareena is the Operations Manager & Executive Administrator for the Office of the Arts at Emerson College. Education: MFA, Stage Management, UC San Diego.

Fuel produces an adventurous, playful, and significant program of work—live, digital, and across art forms—for a large and representative audience across the UK and beyond. We collaborate with outstanding artists with fresh perspectives and approaches who seek to explore our place in the world, expose our fears, understand our hopes for the future, and create experiences which change us and in turn empower us to make change in the world around us.

Fuel Director Kate McGrath and Inua Ellams met in 2008, after Kate saw the beginnings of what became Inua’s first play, The 14th Tale, at BAC. Fuel helped Inua develop this debut and produced it, premiering it at the Edinburgh Festival, winning a Fringe First, touring it in the UK and internationally, and presenting it at the National Theatre. Since that first meeting, Fuel has worked closely with Inua, producing Untitled, Knight Watch, The Long Song Goodbye, Black T-shirt Collection, The Spalding Suite, and Barber Shop Chronicles since its inception. Fuel previously toured Inua’s An Evening with an Immigrant where with poems, stories and extracts from his plays, he tells about his life through the lens of his experience of immigration.

Upcoming Fuel projects include: Touching the Void, adapted by David Greig and directed by Tom Morris, and The Half God of Rainfall by Inua Ellams at the Kiln Theatre in April 2019.

The National Theatre makes world-class theatre that is entertaining, challenging, and inspiring. And we make it for everyone. We stage up to 30 productions at our South Bank home each year, ranging from reimagined classics—such as Greek tragedy and Shakespeare—to modern masterpieces and new work by contemporary writers and theater-makers.

The work we make strives to be as open, as diverse, as collaborative, and as national as possible. Much of that new work is researched and developed at the New Work Department: we are committed to nurturing innovative work from new writers, directors, creative artists and performers. Equally, we are committed to education, with a wide-ranging Learning program for all ages in our Clore Learning Centre and in schools and communities across the UK. The National’s work is also seen on tour throughout the UK and internationally, and in collaborations and co-productions with regional theaters. Popular shows transfer to the West End and occasionally to Broadway.

Through National Theatre Live, we broadcast live performances to cinemas around the world. National Theatre: On Demand. In Schools makes acclaimed, curriculum-linked productions free to stream on demand in every primary and secondary school in the country. Online, the NT offers a rich variety of innovative digital content on every aspect of theater.

We do all we can to keep ticket prices affordable and to reach a wide audience, and use our public funding to maintain artistic risk-taking, accessibility, and diversity.

Welcome to the home of incredible stories. There has been a Playhouse in Leeds for almost fifty years, from 1968 to 1990 as Leeds Playhouse and then with the opening of a brand new theater on its current Quarry Hill site it became West Yorkshire Playhouse.

West Yorkshire Playhouse is a leading UK producing theater; a cultural hub, a place where people gather to tell and share stories and to engage in world class theater. We make work which is pioneering and relevant, seeking out the best companies and artists to create inspirational theater in the heart of Yorkshire. From large scale spectacle to intimate performance, we develop and make work for our stages, for found spaces, for touring, for schools and community centers. Our 2015/16 production of Chitty Chitty Bang Bang played to over 500,000 people across the country—our production of Beryl played to 100 in a village hall in Wickenby, Lincolnshire. We create work to entertain and inspire. As dedicated collaborators, we work regularly with other theaters from across the UK, independent producers, and some of the most distinctive, original voices in theater today. We develop work with established practitioners and find, nurture, and support new voices that ought to be heard. We cultivate new talent by providing creative space for new writers, emerging directors, companies, and individual theater makers to refine their practice.

Alongside our work for the stage, we are dedicated to providing creative engagement opportunities that excite and stimulate. We build, run, and sustain projects which reach out to everyone from refugee communities, to young people and students, to older communities and people with learning disabilities. At the Playhouse there is always a way to get involved.