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19 June – 19 July

Idomeneus

Idomeneus

Book Tickets

Box office: 020 7229 0706

Key Dates

£10 Gatecrasher performances
  • Thu 19 June - 7.30pm
    Fri 20 June - 7.30pm
    Sat 21 June - 7.30pm
    Tue 24 June - 7.30pm
    Sat 28 June - 3.00pm
    Sat 5 July - 3.00pm
    Wed 9 July - 3.00pm
    Sat 12 July - 3.00pm
    Sat 19 July - 3.00pm
    

Press night
  • Mon 23 June - 7.00pm

Captioned performance
  • Thu 17 July - 7.30pm

Gate Debates
  • Thu 26 June - post-show
    Thu 3 July - post-show
    Thu 17 July - post-show

Troy has fallen – 
and the Cretan General Idomeneus 
is on his way home. 


But the Gods are angry (aren’t they always?) and so now Idomeneus must make a great sacrifice - but these sacrifices never pan out in the way we’d like them to.  Now our General is really in trouble. 

This extraordinary new play, inspired by The Iliad and written by one of Germany’s leading writers Roland Schimmelpfennig, receives its UK premiere in a bold new production by Gate Associate Artist Ellen McDougall.
 
The running time of Idomeneus is 1 hour and 10 minutes, without an interval.


Please click here to download an Idomeneus Cast List.

Book Tickets

Mon – Sat 7.30pm      
Sat 3.00pm  
Matinees 3.00pm on 9 & 16 July

​The running time of Idomeneus is 1 hour and 10 minutes, without an interval.
★★★★
“Another winner for the seemingly bulletproof Gate, further proof that McDougall is one of the most exciting directors around.”
Time Out

★★★★
"Highly recommended."
The Independent

​★★★★★​
The Upcoming

​★★★★
"Captivatingly staged."
The Times

​★★★★
"Whip-smart questioning of Greek tragedy."
The Guardian

 

"Dear God, this is good. And it’s one of those shows where because so much is good, it’s hard to know where to start."
Postcards from the Gods

"Inventive deconstruction of a Greek myth."
The New York Times

★★★★
“Bursting with the glee of invention.”
WhatsOnStage

 

"An inventive modern riff on the Chorus of Greek tragedy."
Exeunt Magazine

"Theatre that really is unafraid to be different."
There Ought To Be Clowns

"Consistently inventive and theatrically fascinating."
TheatreguideLondon

"Undoubtedly clever, engagingly directed and well acted."
Get West London

"Genuinely novel."
British Theatre Guide
 
“A self-consciously post-modern spectacle that touches on the slippery nature of storytelling.”
Litro

And from twitter #Idomeneus:

“Idomeneus @gatetheatre is whiplash smart and playful. Ellen McDougall fast becoming a seriously exciting director.”
Lyn Gardner
 
"A gem of a piece of theatre. GO SEE."
 
"A joyous playful celebration of storytelling."
 
"Playful, precise, detailed, messy, beautiful."
 
"Knock-out: joyously playful, visually daring, and utterly, movingly lucid."
Idomeneus is supported by Arts Council England and the Jerwood Charitable Foundation.

Anastasia Osei-Kuffour +

Assistant Director

Joe Wild +

Movement Director

Maria Koutsouna +

Design Assistant

Lizzie Powell +

Lighting Designer

Jon Nicholls +

Composer and Sound Designer

Susie Trayling +

Professor & Clytemnestra

Rosie Farrell +

Artist-in-Residence

Bill Knight +

Production photographer

Roland Schimmelpfennig is one of the most produced European playwrights. His plays have been translated into over 20 languages and he made his US debut in 2007 with a production of his play Arabian Nights, produced by NYC’s Play Company.  He first worked as a freelance journalist and author in Istanbul before studying as a theatre director in Munich’s Otto Falkenberg School in 1990. He then became an assistant director and later a member of the artistic team at Munich’s Kammerspiele. Roland Schimmelpfennig was then engaged as dramaturg and author at the Berlin Schaubühne for the 1999/2000 season and was resident playwright at the Deutsches Schauspielhaus in Hamburg. In 2010, Schimmelpfennig was awarded the Mühlheimer Dramatists Award for his play The Golden Dragon. The play premiered at the Burgtheater Vienna last season and has since received more than 20 productions worldwide. He just finished a commission for the Tokyo National Theater and the Burgtheater in Vienna. Schimmelpfennig is the recipient of the highest Playwriting Award in Germany, the Else-Lasker-Schüler-Prize, to honor his entire Oeuvre. 

David Tushingham works as a dramaturg for the Salzburg Festival. 
 
He has previously programmed and commissioned new works for Wiener Festwochen, Theater der Welt, RuhrTriennale and Linz09 European Capital of Culture, as well as leading German theatres in Hamburg, Stuttgart and Düsseldorf.
 
He has translated Roland Schimmelpfennig’s earlier plays 
The Golden Dragon (ATC/Traverse/Arcola and international tour), The Woman Before (Royal Court) and Arabian Night (ATC/Soho Theatre).  
 
Other translations include; State of Emergency (Gate), Mr. KolpertStranger’s HouseWaiting Room Germany (Royal Court), Jeff Koons (ATC/ICA), Death of an Intern (Royal Academy), InnocenceOlga’s Room (Arcola), Land Without Words (Edinburgh) and The Bitter Tears of Petra von Kant (Southwark Playhouse).  

Ellen is a Director in the Secret Theatre Company at the Lyric. Directing credits include Show 4 (Lyric); Henry the Fifth and Antigone/Philoctetes (Unicorn Theatre);Telling Tales;(Almeida Theatre);;Ivan and the Dogs;(ATC/Soho Theatre/Rustaveli Theatre - nominated for an Olivier Award 2011);A;Kind of Alaska(JMK Award Runner Up).Ellen was formerly Associate Artist at ATC. She trained as an assistant to Bijan Sheibani, Katie Mitchell, and Marianne Elliott and was Director in Residence at the NT Studio. She received an Arts Council International Development Award 2012, and the Runner Up Prize for the JMK Award 2008. www.ellenmcdougall.tumblr.com

Anastasia is currently Creative Associate at the Gate Theatre. She has trained as a director through the Young Vic Directors Programme, as assistant director on several young people’s projects (Young Vic), and as the Boris Karloff Trainee Assistant Director on A Doll’s House (Young Vic, Dir. Carrie Cracknell, 2013). Anastasia’s directing credits include Under the Radar by Keith Large (BRTC), An Evening with Sienna Dax by Kymberly Ashman (Blackshaw TC) and Hosea’s Girl written by herself. Anastasia started directing through writing and creating youth theatre productions. She is currently artistic director of Wrested Veil, a new theatre company comprised of an ensemble of actors and directors creating new writing, adaptations and devised pieces of theatre.
Joe is an dance artist and performance maker specialising in movement, dance and pedagogy. He trained as a choreographer and dancer at Laban (BA Dance Theatre), and as a Movement Director at the Central School of Speech and Drama (MA Movement Studies). He was a dance Lecturer on BA Drama at Northampton University for a number of years, and Lectured on Movement Anatomy at the Acadamy of Live and Recorded Art.  He has presented lecture performances at the Place- London, 2012 Psi conference- Leeds, Theatr Wred- Oldenburg, Milan University and Calcutta University, and had writing in the first publication of The Swedish Dance History. He has taught with Cambridge University, Central St Martins, Royal Central School of Speech and Drama, Earthfall dance company, and internationally with Europian Live Art Network.
Joe’s movement direction work has included collaboration with Firenza Guidi making work in Italy, Wales, France and India. Other movement direction credits include Give It a Name (Chapter, Cardiff), Hijinx (UK Tour), Blanche Macentire (Southwark Playhouse), Justin Audibert (The Gate). He has taught Movement Analysis on MA Character Animation at Central St. Martins and collaborated with award winning director Vicky Mather on a short film for Lulu Guinness. 
Clare spent 6 years working at the National Theatre, first in their fundraising department and later in their script department.  As the NT's Assistant Literary Manager, she frequently lectured and tutored play development both abroad and at the NT Studio, travelling from Turkey to South Africa, Kentucky to Hungary.   She also spent 2 years working in TV and film drama development, primarily for Channel 4 and Film4 via independent production company, Rare Day.  She is the Gate’s Executive Director, and occasionally works as a freelance dramaturg.  
Ana Ines is a graduate from MA Scenography at The Royal Central School of Speech & Drama 2012. Her work crosses a range of genres: opera, ballet, theatre, experimental, site-specific and film. She had previously trained at the Facultad de Bellas Artes de Sevilla, specialising in painting and in the Accademia di Belle Arti di Palermo where she first came into contact with Scenography. In parallel she has an extensive grounding in music which made her become interested in sound as a fundamental part of the scenography. She finds that theatre is the perfect fusion between her biggest passions: art, music and sound. Her work includes an award-winning play Sappho... in 9 fragments (Best Design award – Ottawa Fringe Festival), Hamlet's Fool (Cockpit Theatre) and the film ANANKE (as art director). Recently she has been announced as Overall Winner 2013 of the prestigious Linbury Prize.  Ana is one of the Gate’s Jerwood Young Designers for 2014.
Maria Koutsouna is a UK based theatre and set designer from an architectural background. She studied at Royal Central School of Speech and Drama -MA in Scenography (2012). Prior to this she completed her studies in Architecture at National Technical University of Athens -BA, MEng in Architecture (2010). Maria loves to experiment with different materials and textures, exploring new ways of creating space. During her course at RCSSD she had the opportunity to design for dance at The Place in collaboration with London Contemporary Dance School. Since graduating, she has been assisting several designers for theatre, dance, site-specific performances, films and TV shows. Currently she is working as a set designer and an architectural assistant for GOA Studio.
Lizzie trained at London Academy of Music and Dramatic Arts. Her lighting designs for theatre include Woyzeck, A Streetcar Named Desire, Show 3, Glitterland, Show 5 (Secret Theatre, Lyric Hammersmith); Weekly Rep (Royal Court);The LibertineFar AwaySeagullsKrapp’s Last TapeFootfalls (Citizens Theatre); Glasgow Girls, In Time O’ Strife, My Shrinking Life, Enquirer, An Appointment with the Wicker Man, Knives in Hens, Girl X, Mary Queen of Scots Got Her Head Chopped Off, Our Teacher’s a Troll, Venus As A Boy (National Theatre of Scotland), WhiteGold (Ironoxide);Debuts (NTS with Traverse Theatre); Any Given Day, While You Lie, The Dark Things (Traverse Theatre); First Light (Imaginate Festival); Pangaa (Ankur Productions); Treasure Island (Wee Stories); Huxley’s Lab, Spring Awakening (Grid Iron/Lung Ha’s); Caged, Pobby and Dingan, The Book of Beasts (Catherine Wheels); Under Milk Wood (Theatre Royal, Northampton); The Wasp Factory (Cumbernauld Theatre); The Wall (Tron); Great Expectations (Byre Theatre/ Prime Productions); Making History (Ouroboros) and Travels With My Aunt (New Wolsey). 
Jon Nicholls studied composition at the London College of Music and electroacoustic music at Dartington. Music / sound scores for theatre include Spring Storm, Beyond The Horizon and The Holy Rosenbergs (National Theatre);  Bakersfield Mist (Duchess), Bracken Moor, Mermaid  (Shared Experience), Who's  Afraid of Virginia Woolf? (Sheffield Crucible); Yerma (Gate); The Norman Conquests (Liverpool Playhouse);  Red Light Winter, The Welsh Boy, deadkidsongs, The Double and the Spanish Golden Age season (Theatre Royal Bath, Ustinov); The Wind In The Willows, Dancing at Lughnasa, A Midsummer Night's Dream, Eden End, Humble Boy, The Prime of Miss Jean Brodie, In Praise of Love and the Young America season (Northampton), Blue Remembered Hills, Art, The Changeling, Silas Marner (Theatr Clwyd); Rutherford and Son (Northern Stage); Katherine DeSouza, The Mothership, Linda (Birmingham Rep); Amadeus, Masterclass, Be My Baby (Derby Playhouse); Private Lives, Much Ado About Nothing, If I Were You, Rosencrantz and Guildenstern Are Dead, Arcadia, The Heretic, The Seagull (Library Theatre, Manchester); The Picture (Salisbury Playhouse). Screen work includes scores for numerous documentaries for the BBC, ITV, Channel 4 and Sky, and over 30 short films. Extensive music and sound design for BBC radio drama includes: The Broken Word, Pink Mist, Erebus, Laurels and Donkeys, In Memoriam, At The Mountains of Madness, The Shadow Over Innsmouth, Between Friends, Babel’s Tower, Faust, Cat on a Hot Tin Roof, Caesar Price Our Lord, It’s Better with Animals, The Histories of Herodotus, The Time Machine, Zen & The Art of Motorcycle Maintenance, Five Fever Tales and What I Heard About Iraq (Prix Italia Jury Special Mention). He's composed two operas: Falling Across and most recently Flicker which was premiered at Sadlers Wells in 2013. 
For theatre, his work includes Pigeons (Royal Court), Hope Light and Nowhere (Underbelly), The Man With the Disturbingly Smelly Foot, How to Think the Unthinkable (Unicorn Theatre – both directed by Ellen McDougall), and Encourage the Others (Young Friends of the Almeida Theatre). His television work includes The Interceptor, The Musketeers, New Tricks, Misfits; and for film, Legacy, The World’s End, The Hooligan Factory, and The Christmas Candle.
Jon Foster returns to the Gate where he previously appeared in Trojan Women, Tenet, Dream Story and Mud. His other theatre work includes A Beginning, A Middle and An End (Greyscale tour), Cheese (Fanshen, Barbican), Invisible (European tour), How To Tell the Monsters From the Misfits (Birmingham Rep) and for the RSC, Little Eagles, A New Way to Please You, Speaking Like Magpies, Sejanus His Fall and Thomas More. For television, his credits include Rev, The Smoke, The Town, Southcliffe, Mrs Biggs, Come Rain or Come Shine, Law and Order UK, The IT Crowd and Clone; and for film, Expectation Management, Nice Guy, Love’s Kitchen and Abroad.
Theatre Credits include Lloyd, One Man Two Guvnors (National Theatre), Pedro/Farshad, The Wheel (National Theatre of Scotland), Frank, Angelhouse (Eclipse UK Tour), Abhorson, Measure for Measure (Almeida Theatre) Paul, Pure Gold (Soho Theatre), Sailor, A Taste of Honey (Liverpool Playhouse Theatre), Obadele, Abyssinia (Southwark Playhouse), Angel, Adrenalin Heart (Bush Theatre) and Carl, Local Boy (Hampstead Theatre). For television, his work includes Coming Up, Dark Matters, Doctor Who, Skins, Trial And Retribution, Gimme, Gimme, Gimme, and Eastenders (as series regular Steve Elliot). 

Theatre credits include The Odyssey: Missing Presumed Dead (Liverpool Everyman/ETT tour),  The Hook (Royal and Derngate/Liverpool Everyman), Vast White Stillness (Brighton Festival), The Crucible, Twelfth Night (West Yorkshire Playhouse), Thomas Tallis (Shakespeare’s Globe), Idomeneus, Vanya (Gate Theatre), King John, Richard III, A Soldier in Every Son (RSC), Mary Goes First, The Mob (Orange Tree Theatre), Love's Labour's Lost (Rose Theatre Kingston), A Doll's House, The Portrait of a Lady, Habeus Corpus, Measure for Measure (The Peter Hall Company), Women of Troy, Dream Play, Iphigenia at Aulis, The Forest (National Theatre), Don't Look Now (Sheffield Lyceum & Lyric Hammersmith), Skylight (Stephen Joseph Theatre), The Importance of Being Earnest, Closer (Royal and Derngate), Camera Obscura (Almeida Theatre), Hamlet (Northcott Theatre, Exeter), Edward II (Sheffield Crucible), Anna Karenina (Bolton Octagon). Her television credits include A Christmas Haunting, We'll Take Manhattan, Vera, Emma and Inspector Lynley Mysteries. Her film credits include Fragile, Fog Bound and All The Queen's Men.

For theatre, her work includes The El Train (Hoxton Hall), Cannibals (Manchester Royal Exchange), Sixty-Six Books (Bush Theatre), Much Ado About Nothing (Shakespeare’s Globe), How To Be an Other Woman (Gate Theatre), Eurydice, In the Red and Brown Water (Young Vic), and well as seasons for the RSC. For television, her credits include Law and Order, Stolen, White Van Man, Criminal Justice, Barclay and Proof; and for film, Venus and Sixty 6.
Rosie Farrell is an artist working with sound, moving image, and performance. Her work focuses on the rituals, repetitions and rhythms of everyday contexts, looking at how the mechanics of storytelling, musicality and performance can be used to search for a thing, an image or phenomenon.
 
She attended Chelsea College of Art and Design in 2012. She was awarded the neo:art prize 2013, and in the same year was a recipient of a six month research residency at Lionel Dobie Project. She was also the recipient of a Chelsea Arts Club Trust Special Projects Award in 2012. Recent presentations of her work include: PRESENTS at Rogue Projects Space (2013), Carter Presents (2013), We Can Elude Control at Bold Tendencies (2012), Moving Image Screening at South London Gallery (2012), Ideal Home at Chelsea Space (2011), and Gone with the Wind at Raven Row (2011).
Bill Knight is a photographer specialising in portraits, theatre and opera. www.knightsight.co.uk

19 June – 19 July

Idomeneus

Idomeneus

Book Tickets

Box office: 020 7229 0706

Key Dates

£10 Gatecrasher performances
  • Thu 19 June - 7.30pm
    Fri 20 June - 7.30pm
    Sat 21 June - 7.30pm
    Tue 24 June - 7.30pm
    Sat 28 June - 3.00pm
    Sat 5 July - 3.00pm
    Wed 9 July - 3.00pm
    Sat 12 July - 3.00pm
    Sat 19 July - 3.00pm
    

Press night
  • Mon 23 June - 7.00pm

Captioned performance
  • Thu 17 July - 7.30pm

Gate Debates
  • Thu 26 June - post-show
    Thu 3 July - post-show
    Thu 17 July - post-show