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23 April – 21 May

Part of Nuclear: A Season about the Family

The Iphigenia Quartet

Box office: 020 7229 0706

DATES & TIMES 23rd April-21st May 7:30pm/3pm matinees

These are the preview and matinee performances for £10
  • Sat 23 April 7:30pm - Agamemnon & Clytemnestra
    Mon 25 April 7:30pm - Iphigenia & Chorus
    Tues 26 April 7:30pm - Agamemnon & Clytemnestra
    Wed 27 April 7:30pm - Iphigenia & Chorus
    Thur 28 April 7:30pm - Agamemnon & Clytemnestra
    Fri 29 April 7:30pm - Iphigenia & Chorus
    Sat 30 April 3pm - Agamemnon & Clytemnestra
    Sat 30 April 7:30pm - Iphigenia & Chorus
    Mon 02 May 7:30pm - Agamemnon & Clytemnestra
    Sat 07 May 3pm - Iphigenia & Chorus
    Wed 11 May 3pm - Agamemnon & Clytemnestra
    Sat 14 May 3pm - Agamemnon & Clytemnestra
    Wed 18 May 3pm - Iphigenia & Chorus
    Sat 21 May 3pm - Iphigenia & Chorus

  • Tues 03 May 7pm

YOUNG PEOPLE'S NIGHT £7.50 tickets for Under 26s
  • Tues 10 May 7:30pm - Iphigenia & Chorus
    Wed 18 May 7:30pm - Agamemnon & Clytemnestra

  • Wed 18 May 3:00pm - Iphigenia & Chorus
    Wed 18 May 7:30pm - Agamemnon & Clytemnestra

  • If you live or work in RBKC and are a first-time 
    Gate audience member, you're in for a treat
     with our exclusive offer of £10.00 tickets for 
    any performance during the run.
    Quote GATELOCAL when booking tickets 
    online, over the phone or on the counter. 
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    the Box Office.

Please Note:
  • For all performance dates, please click 
    the Dates & Times tab on the left hand 
    side of the page. There are a limited
    amount of concessions per performance. 

One tragedy. Two parts. Four explosive plays.
Agamemnon faces an impossible choice, he is a father commanded by the gods to sacrifice his daughter.  In doing so, he will lose his wife, Clytemnestra and bury his child, Iphigenia. Ever present over his shoulder, the Chorus awaits Iphigenia’s fate.
The Iphigenia Quartet gives you the opportunity to experience this domestic catastrophe from the perspective of each key player.  Witness Clytemnestra grapple with the ultimate betrayal, see Iphigenia boldly accept her fate, watch Agamemnon wrestle with an impossible choice, and experience the Chorus’ powerless observation of this tragedy, unable to look away.
Watch the classic Greek story of Iphigenia at Aulis retold by four of the UK’s most exciting and radical playwrights. The production will be performed as a pair of double bills alternating throughout the run – Agamemnon & Clytemnestra and Iphigenia & Chorus, giving you the chance to see every angle.
You may be willing to die for your beliefs, but who would you kill for them?
Written by Caroline Bird, Suhayla El-Bushra, Lulu Raczka and Chris Thorpe.

Audiences wanting to get the full experience of The Iphigenia Quartet can see both parts for £30 (£25 concessions) when booking both performances at the box office in one transaction. Please call our box office if you need any help: 0207 229 0706.   

Approx running time: 80 minutes per part. 

For information on the accessibility options we provide, please click here.

For a PDF version of The Iphigenia Quartet free cast and creatives sheet click here.



Join us for a Gate Debate on Monday 16th May, after that evening's performance of Iphigenia and Chorus


We have a quartet of workshops for you running alongside The Iphigenia Quartet. Check them out!

Monday - Saturday 7:30pm
Saturday Matinees 3pm

Saturday 23 April 7:30pm - Agamemnon & Clytemnestra

Monday 25 April 7:30pm - Iphigenia & Chorus
Tuesday 26 April 7:30pm - Agamemnon & Clytemnestra
Wednesday 27 April 7:30pm - Iphigenia & Chorus
Thursday 28 April 7:30pm - Agamemnon & Clytemnestra
Friday 29 April 7:30pm - Iphigenia & Chorus
Saturday 30 April 3:00pm - Agamemnon & Clytemnestra
Saturday 30 April 7:30pm - Iphigenia & Chorus

Monday 02 May 7:30pm - Agamemnon & Clytemnestra
Tuesday 03 May 7pm (Press Night) - Agamemnon & Clytemnestra and Iphigenia & Chorus
Wednesday 04 May 7:30pm - Iphigenia & Chorus
Thursday 05 May 7:30pm - Agamemnon & Clytemnestra
Friday 06 May 7:30pm - Iphigenia & Chorus
Saturday 07 May 3pm - Iphigenia & Chorus
Saturday 07 May 7:30pm - Agamemnon & Clytemnestra

Monday 09 May 7:30pm - Agamemnon & Clytemnestra
Tuesday 10 May 7:30pm (Young People's Night) - Iphigenia & Chorus
Wednesday 11 May 3pm - Agamemnon & Clytemnestra
Wednesday 11 May 7:30pm - Iphigenia & Chorus
Thursday 12 May 7:30pm - Agamemnon & Clytemnestra
Friday 13 May 7:30pm - Iphigenia & Chorus
Saturday 14 May 3pm - Agamemnon & Clytemnestra
Saturday 14 May 7:30pm - Iphigenia & Chorus

Monday 16 May 7:30pm - Iphigenia & Chorus
Tuesday 17 May 7:30pm - Agamemnon & Clytemnestra
Wednesday 18 May 3pm (Captioned Performance) - Iphigenia & Chorus
Wednesday 18 May 7:30pm (Captioned Performance) - Agamemnon & Clytemnestra
Thursday 19 May 7:30pm  - Iphigenia & Chorus
Friday 20 May 7:30pm - Agamemnon & Clytemnestra
Saturday 21 May 3pm - Iphigenia & Chorus
Saturday 21 May 7:30pm - Agamemnon & Clytemnestra

£20 full price. 
£15 concessions (senior, student, unwaged, access, union members). There are a limited amount of concessions per performance. 
£10 preview and matinee performances. 

We are offering a discount to all customers wanting to see all four plays. Book to see Agamemnon & Clytemnestra and Iphigenia & Chorus in the same transaction at the box office online, over the phone or in person for £30 tickets (£25 concession) to see all of The Iphigenia Quartet.


The Stage ★★★★ 
“four fierce beams, different shades of one story”

Financial Times
"lively, imaginative programming"

The Times
“stark, stylish productions”

Time Out London
“It’s a properly impressive endeavour”

Evening Standard 
“absorbing performances”

British Theatre Guide
“a dazzling, poetic tour-de-force” 

“all four pieces are incisive and inventive”

London Theatre 1
powerfully intelligent”

Martha Reilly ‏@Swirlingmartha  Apr 28
#Iphigeniaquartet @gatetheatre Agamemnon Clytemnestra Iphigenia and Chorus four unique and brilliant plays Absolute must see #mustseetheatre

Wm. Binuche ‏@BillBinuche  Apr 29London, England
Outstanding Agamemnon and Clytemnestra, first parts of #IphigeniaQuartet @gatetheatre last night. Excellent writing, acting, direction. Go!

Peter Hobday ‏@PeterHobday  Apr 28
My double nighter @gatetheatre for the #IphigeniaQuartet is complete. Really interesting responses to the story, brilliantly performed.

Pedro de Senna ‏@pedrodesenna  Apr 29
Highly recommend #IphigeniaQuartet @gatetheatre. Powerful stuff.

Vinay Patel ‏@VinayPatel  Apr 30
Iphigenia & Chorus @gatetheatre - tight double-bill, stripping Greek drama of that weird inherent nobility & exposing real nastiness within

Riz ‏@RhiannaMoritz  Apr 30
Saw #IphigeniaQuartet part2 @gatetheatre last night- dynamic response to the Greek tragedy; refreshingly diverse cast with boundless ability
Simone Romaniuk ‏@SimoneRomaniuk  Apr 30
Uniquely fascinating two nights #IphigeniaQuartet seductive and horrific in equal measure @gatetheatre
Nicola Kerr ‏@1Nicola  5h5 hours ago
Greek weekend. #IphigeniaQuartet over 2 nights @gatetheatre responses to the same story from different perspectives. Made it a great weekend


We have an enthusiastic and committed group of Supporters who, through their support of the Gate, are given exclusive opportunities to engage with our work further. You can Support the Gate from just £21 a month. Click here to find out more.

The Gate's work is made possible by public funding from Arts Council England. 

The Gate Theatre is supported by:
Jerwood Young Designers
Since 2001 Jerwood Young Designers has given outstanding individuals the opportunity to lead on the design of productions at the Gate Theatre in Notting Hill.
The support that the Jerwood Young Designers scheme provides in both nurturing talent and offering the opportunity of practical experience has been instrumental in launching the careers of some of the country’s most exciting theatrical designers. By the end of the 2015/16 programme, Jerwood will have supported 76 placements on the Young Designers programme over the course of 14 years.


We are deeply grateful for the faith in our work shown by our funders. 

Nigel Barrett +

Developer & Deviser

Shannon Tarbet +

Maid & Iphigenia

Susie Trayling +

Professor & Clytemnestra

Anthony Barclay +

Director & Agamemnon

Andrew French +

Agamemnon & Voice

Dwane Walcott +

Soldier & Achilles

Sharon Duncan-Brewster +

Clytemnestra & Voice

Hazel Holder +

Voice & Dialect

Yarit Dor +

Movement and Fight Director

Bex Kemp +

Design Assistant

Ed Madden +

Assistant Director

Jade Lewis +

Assistant Director

Sarah Readman +

Production Electrician

Heather Doole +

Production Manager

Joshua Pharo +

Lighting and Projection Designer

Richard Bell +

Associate Sound Designer

Elena Peña +

Sound Designer

Caroline Bird +

Playwright - Agamemnon

Suhayla El-Bushra +

Playwright - Iphigenia

Lulu Raczka +

Playwright - Clytemnestra

Jennifer Tang +

Director - Clytemnestra

Rebecca Hill +

Director - Iphigenia

Elayce Ismail +

Director - Chorus

Christopher Haydon +

Artistic Director and Chief Executive

Nigel Barrett is an award winning actor and theatre maker.  He is a member of the shunt collective and has been working with Louise Mari since 2006, when they started the shunt lounge together – the infamous arts venue under London Bridge Station. He is also an associate director with Sulayman Al-Bassam Theatre and Sabab, with whom he made The Arabic Shakespeare Trilogy for the RSC, Peter Brooks Bouffe du Nord and BAM New York.

His theatre work includes The Mysteries (Royal Exchange Manchester), 100: Unearthed (Wildworks), Party Skills for the End of the World (Manchester International Festival and Shoreditch Town Hall), Kingdom Come (RSC), Margate/Dreamland  (Shoreditch Town Hall), Blasted (Barrel Organ / Styx), Big Bad Wolf in Baddies the Musical (Unicorn Theatre), The Eye Test (National Theatre), Everyone (Chris Goode and Co), The Iphigenia Quartet (The Gate), Cyrano De Bergerac (Northern Stage Co), Praxis Makes Perfect (NTW / Berlin Festspiele), Mad Man (Theatre Royal Plymouth), There Has Possibly Been An Incident (Royal Exchange Manchester), Get Stuff Break Free ( National Theatre), The Passion (National Theatre Wales/Wildworks ), Pericles (Regents Park) and Richard III  - An Arab Tragedy (RSC).

Film and television includes, Doctor, Cycles, The Gospel of Us, The Boat, Hello You, Casualty, Meet The Piltdowns, Hairy Eyeball, Dawson’s Creek Special, The Mysteries, Deadline, The Lens, Sexual Healing, England My England.
Louise is a Scottish Actor and trained at the Italia Conti Academy on the 3 Year BA (Hons) Acting programme.

Recent credits include The Iphigenia Quartet (Gate Theatre), See Bob Run (Bread and Roses Theatre), All Things Nice (White Bear Theatre), Boris Godunov and The Ghost Train (The Jack Studio Theatre).
Theatre credits include The Edge of Our Bodies (Gate Theatre), Hotel (National Theatre), A View from the Bridge (Liverpool Everyman Playhouse), Circle Mirror Transformation (Royal Court/Rose Lipman Centre), To Kill A Mockingbird (Royal Exchange Manchester), Spur of the Moment (Royal Court Theatre), 66 Books - When You Left I Thought I'd Die But Now I'm Fine (Bush Theatre), The Flooded Grave (Bush Theatre/Latitude Festival), Mary Shelley (Shared Experience), Mogadishu (Manchester Royal Exchange/Lyric Hammersmith), Rapture, Blister, Burn and Skane (Hampstead Theatre). Her television credits include Virtuoso, River, Lewis, Inspector George Gently, Monroe and Silk. Her film credits Leavey, Look Away, Winter Song and A Promise.

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.

Theatre credits include Anna Karenina (Royal Exchange Manchester), Road (Lyric Theatre Hammersmith), Twelfth Night (Royal Exchange Manchester), Kiss Of The Spiderwoman (York Theatre Royal), Credible Witness (Royal Court), Vurt (Manchester Contact Theatre), La Strada (National Theatre Studio), The Taming Of The Shrew (English Touring Theatre), The Iron Man (Young Vic), Assassins (Donmar Warehouse) and  Julius Caesar, The Fantastics (Regent’s Park Open Air Theatre). His television credits include Vera, New Tricks, Judge John Deed, Mersey Beat, Lock, Stock, Smack the Pony, Birds Of A Feather, Sorry About Last Night, Common As Muck, Love Hurts and Screaming. His film credits include The Life of Jimmy Horton, No Humans Involved, Job's Dinner, A Price Worth Paying, Devil In Your Details, Road, Prix De Rome, Citizen vs Kane and Red Black.
Theatre credits include Bully Boy (Mercury Theatre Colchester), Boi Boi is Dead (West Yorkshire Playhouse), Roundabout Season (Paines Plough), Refugee Boy (West Yorkshire Playhouse), Julius Caesar (RSC), Measure for Measure (Almeida Theatre), Monster (Royal Exchange Manchester), I Like Mine With a Kiss (Bush Theatre), As You Like It (West End), Reference to Salvador Dali (Arcola Theatre/Young Vic), The Taming of the Shrew (Nottingham Playhouse), The Merchant of Venice, Troilus and Cressida (National Theatre), The Merchant of Venice (Shakespeare’s Globe), Things Fall Apart (West Yorkshire/Royal Court) and The Tempest (Nottingham Playhouse Theatre). His television credits include Capital, Perfect Parents, Primeval, Soundproof, Blast!, Trust, In Deep, A Touch of Frost, Burnside, Tough Love. His film credits include Artificial Horizon, Breaking the Bank, Song for Marion, Exorcist: The Beginning, Exorcist: Dominion, The Merchant of Venice, Doctor Sleep and Tailor of Panama
Theatre credits include Hamlet (Barbican); The Twits (Royal Court); Venice Preserv’d (Spectators Guild); Coriolanus (Donmar Warehouse); Titus Andronicus, A Mad World My Masters, Candide (RSC); Damned by Despair (National Theatre) and Romeo and Juliet (Stafford Castle). His television credits include Tut; and for film, Mindhorn.
Theatre credits include A Midsummer Night’s Dream (Liverpool Everyman), Hope, Babies (Royal Court), Yerma (Gate Theatre), The Swan, There is a War (National Theatre), Tiger Country, Keepers (Hampstead Theatre), Detaining Justice, Seize the Day, Category B, Let There Be Love, Fabulation, Playboy of the West Indies (Tricycle Theatre), The Horse Marines (Theatre Royal Plymouth) and The Bacchae (National Theatre Scotland/Lincoln Centre, New York). Her television credits include Unforgotten, Cucumber, Top Boy, The Mimic, The Bible, Going Forward, Cuffs, Shoot the Messenger, Waking the Dead, Baby Father, Bad Girls. Her film credits include A Blues for Nia and The Child.
Hazel completed her MA in Voice at Royal Central School of Speech & Drama.
As a performer her theatre includes: Here We Go, As You Like It (choir), Medea and Death and the King’s Horseman at The National; Here All Night and Zero for Clod Ensemble; The Bakkhai at The Almeida; The Tempest at the RSC; Journey to Freedom for Marginal Voices; Dart’s Love at Tete-aTete Opera Festival; Cave of Wonders and Tamba Tamba for Tiata Fahodzi; White Suit, Dalston Songs (also ROH) and Songs of Exile (also ROH) for Helen Chadwick Song Theatre; The Bacchae at the Royal Exchange, Manchester; Six Characters in Search of an Author for Headlong; The Bacchae for National Theatre of Scotland and the Lincoln Center, Broadway; Fingerprint (ROH2), Critical Mass and Lip for The Shout; Myths and Hymns at the Finborough; Captain Oates’ Left Sock for the Royal Court 50th Anniversary; Mercy Fine for Clean Break; The Lion and the Jewel and Trojan Women – Women of Owu for Collective Artistes; The Sleeping Beauty for the Young Vic, the Barbican and on Broadway; Mourning Song for Black Mime; Maskarade for Talawa; and Carmen Jones and Ain’t Misbehavin’ in the West End.
TV: includes EastEnders, Judge John Deed, Doctors, The Cambridge Spies and The Bill. Films: The Followed. Radio: Something Understood, Death and the King’s Horseman, The Ern & Vern Show, Roots, Solomon Child and Telephone in the Deep Freeze.
Hazel is lead vocalist with jazz band The Rag’n’Bone Club and also a member of a cappella group The Helen Chadwick Group.

As a Voice, Accent & Dialect Coach:
Barber Shop Chronicles, Angels in America, Les Blancs and Ma Rainey’s Black Bottom for the National; Guys & Dolls for Talawa Theatre Company & The Royal Exchange; Caroline, or Change for Chichester Festival Theatre; The Mountaintop and The Emperor for The Young Vic; Half Breed and Girls for Talawa Theatre Company & Soho Theatre; Grimly Handsome, Bodies, Pigs & Dogs and Father Comes Home from the Wars for the Royal Court; Cuttin’ It for Young Vic and The Royal Court; Soul for Royal & Derngate and Hackney Empire; The Rolling Stone for The Orange Tree Theatre and The Royal Exchange Theatre; F*ck The Polar Bears for The Bush; Misanthropes for Old Vic New Voices Festival; Eclipsed and The Rise & Shine of Comrade Fiasco for The Gate; The Initiate for Paines Plough; Hatch, Soap Box and Lie With Me for Talawa Young Peoples Theatre; HAMBA and The Epic Adventure of Nhamo for Tiata Fahodzi.  Guildhall School of Music & Drama, RADA, ALRA, Arts Ed, Royal Central School of Speech & Drama; NT Education Dept.
Dialect work for TV: In The Long Run; Poldark; No Offence; Broken; Dr Pepper.
Hazel was Resident Director for the premier London production of Dreamgirls 2016-2017
Hazel volunteers with Marginal Voices, a charity that helps trafficked women dramatise their experiences.
Yarit Dor is a movement and fight director. She is a former dancer and dramaturg of Hagit Yakira Dance Company and is an Associate Artist of The Director’s Cut Theatre Company and an Associate Teacher at RADA.

She has choreographed movement and violence on a variety of shows from musicals and new writing to classics and devised theatre. 

Her credits include: The Iphigenia Quartet, Diary of a Madman (The Gate Theatre), Dark Tourism (Park Theatre), Disgraced (English Theatre Frankfurt), Zastrozzi (Norwich Dragon Hall), The Emperor Jones (The Lost Theatre), Titus Andronicus (Greenwich Theatre), Macbeth: Fire Burn (Colchester Shakespeare Festival), Henry V (Peckham Asylum), Kiss of the Earch (Corn Exchange Newbury), The Sorrows of Satan (Tristan Bates), Noonday Demons (King's Head Theatre), Macbeth (RIFT Theatre), A Skull in Connemara (White Bear Theatre), Somewhere Between a Self and an Other (Dance 4 Nottingham), Leah (The Place).

Bex is a freelance set and costume designer and costume supervisor. She trained at the Central School of Speech and Drama.

Designs include; Andy Capp The Musical (Finborough), Circling the Square (Salisbury Arts Centre), Othello (Greenwich Theatre + UK Tour), Becoming Mohammed (The Space), About Miss Julie (King's Head), As You Like It (UK Tour), Our Space (Lost Theatre), Pentecost, Variations on The Death of Trotsky, Scenes From The Big Picture, Common Chorus, Seventh Continent (Central School of Speech and Drama, Derby LIVE), Kleinkunst 3 (Roundhouse), Cinderella (Primrose Gardens).

Costume Designer: F*ck The Polar Bears (Bush Theatre).

Design Assistant to Miriam Buether; The Haunting of Hill House (Liverpool Playhouse), The Trial, The Government Inspector (Young Vic), Boris Godunov (Royal Opera House), Chariots of Fire (Hampstead Theatre), Decade (Headlong), Carmen (Salzburg Festival).

Other Design Assistance; The Bodyguard (Tim Hatley/Adelphi Theatre), The Boy Who Climbed Out Of His Face (Rachel Good/ Shunt), Sleeping Beauty (Keith Orton/Salisbury Playhouse), The Duchess of Malfi (Punchdrunk/ENO). 

Costume Supervision; All or Nothing the Mod Musical (The Vaults), The Water Palace (Tete a Tete), Citizen Puppet, Push (New Diorama), Natural Selection, The Low Road, The Man of Mode, The Commune, The Good Person of Setzuan (Central School of Speech and Drama).

More info at: www.bexkemp.com
Ed is a director, Creative Associate at the Gate Theatre, and co-founder of new writing company Walrus. He studied at the University of Warwick.

His production of Lemons Lemons Lemons Lemons Lemons, Walrus’ first show, premiered at Warwick Arts Centre in January 2015. It has subsequently visited Latitude Festival, the Edinburgh Fringe and Camden People’s Theatre, and will begin a UK tour later this year.

Ed has also worked with Tobacco Factory Theatres, and writes study guides for Digital Theatre Plus. 

Ed will be assisting on Agamemnon and Chorus for The Iphigenia Quartet
Jade is a theatre director who has worked at Southwark Playhouse, The Young Vic and The Bush Theatre as a director as well as an assistant director. She has assisted on a project run by Old Vic New Voices, is currently an Emerging Artist at Ovalhouse and also Creative Associate at The Gate Theatre where she assisted Jennifer Tang, Rebecca Hill on The Iphigenia Quartet.
In 2012 she was Boris Karloff Assistant Director on the Young Vic production Blackta directed by David Lan and since then has worked with directors and collaborators such as Rikki Henry, Patrice Etienne, Matthew Xia and Suba Das. In 2015/16 Jade directed On The Edge of Me, written by Yolanda Mercy and was on at The Rich Mix, Soho Theatre, Pains Plough Roundabout in Edinburgh and several other regional venues and festivals. 
As Lighting Designer: Macbeth (Southwark Playhouse),The Owls Are Not What They Seem (Theatre Delicatessen), Phenomena (Albany Theatre and Battersea Arts Centre), The Liberation of Colette Simple (Jackson’s Lane), The Earning of Innocence (Yard Theatre), Ghostland Cinema and Awful Things Can Happen At Any Time with Mingbeast (Camden People’s Theatre and BE Festival), STARRING JAMES FRANCO and Right Honourable Gentlemen with The Same But Different (Camden People’s Theatre, Theatre Delicatessen, Brakke Gronde in Amsterdam and National Theatre Kosovo), Tomorrow with JV2, part of the Jasmin Vardimon Company (UK tour), Pages From The Book Of... (Theatre Astorka in Slovakia, Moscow Art Theatre and Gardzienice in Poland).

As Co-Designer with Joshua Pharo: JOAN (Derby Theatre and UK tour), Shelter Me (Theatre Delicatessen) and Werter (Arcola).

As Associate Lighting Designer: The Red Chair (UK tour), An Anatomie in Four Quarters (Cardiff Welsh Millennium Centre) and Red Ladies (UK tour) with Hansjorg Schmidt and Clod Ensemble. Stilled (Wellcome Collection) with Fevered Sleep. I’d Rather Goya Robbed Me Of My Sleep Than Some Other Arsehole (Gate Theatre), Usagi Yojimbo (Southwark Playhouse), Pioneer (UK tour) with Joshua Pharo.
Katy graduated from the University of Hull in 2010 with a Degree in Theatre and Performance. From there she became the resident Production Manager for the New End Theatre until August 2011 before becoming a freelance Stage and Production Manager.
Previous credits for the Gate include: The Iphigenia Quartet, In the Night Time (Before the Sun Rises), The Christians, Image of an Unknown Young Woman, Eclipsed, Chimera, Body of an American (Also taken to Royal & Derngate) Grounded (Also Taken to Edinburgh Festival, and UK & International Tour) No Place To Go, Dances of Death, Purple HeartThe Trojan Women. 
Other theatre credits include: Scene and Heard: The Tasty Plays (Theatro Technis) Zelda, Barbershopera (Trafalgar Studios 2); These Trees are made of Blood, The IllusionThe Hairy ApeShivered (Southwark Playhouse);Twelfth Night (Minack Theatre); Herding Cats (Hampstead Downstairs); Blue Surge (Finborough Theatre); Bunny (Soho Theatre Upstairs); Mr Happiness and The Water Engine (Old Vic Tunnels).
Alongside her Stage Management she also has a Diploma in Body Language and works as a freelance technician and production manager with various other venues and theatre companies.
Charlotte trained at the Arts Institute at Bournemouth and is a Freelance Stage Manager who has worked all over the UK, and internationally. She has worked on productions that have received nominations for the Olivier Awards, and won Whatsonstage and Fringe First Awards. In the past year she has worked on productions with Paines Plough, Old Vic New Voices, DryWrite, Soho Theatre, Young Vic/Dance Umbrella, and Look Left Look Right. She is delighted to join The Gate for this production of The Iphigenia Quartet. 
Heather is a freelance production manager.

Pasts show include: Diary of a Madman (Gate Theatre); Carmen (Blackheath Halls); No Villain (Trafalgar Studios and Old Red Lion); Radiant Vermin (59E59, New York, Soho Theatre, London, and Tobacco Factory, Bristol); Iphigenia Quartet (The Gate Theatre); All or Nothing (The Vaults); Firebird (Hampstead Theatre Downstairs & Trafalgar Studios); Giving, The Argument, The Meeting, 36 Phone Calls, Sunspots, Deluge, Deposit, Elephants and State Red (Hampstead Theatre Downstairs); 4000 Days and Grounded (Park Theatre);  Four Minutes Twelve Seconds (Trafalgar Studios); The Session (Soho Theatre); Octagon (Arcola Theatre); And Then Came the Nightjars (Bristol Old Vic Studio and Theatre 503); ValhallaAnimals & Cinderella and the Beanstalk  (Theatre 503); Women Centre Stage Festival (NT Temporary space). She assisted on Bull (Young Vic).
Joshua works as a Lighting and Projection Designer across theatre, dance, opera, music, film & art installation. He was nominated for Knight of Illumination Award 2017 for his work on Removal Men. 

Previous credits at the Gate include: The Iphigenia Quartet, In the Night Time (Before the Sun Rises), Medea, I’d Rather Goya Robbed Me of My Sleep Than Some Other Arsehole, No Place Like Home

Recent credits include: La Tragédie De Carmen (Royal Opera House, Wilton’s Music Hall); Frau Welt (Hackney Showroom); Cosminc Scallies (Royal Exchange & Graeae); How I Hacked My Way Into Space (UnLimited Theatre, Tour); Bullish (Milk Presents); The Shape of Pain (China Plate Theatre; Fringe First Winner); Burning Doors (Belarus Free Theatre); Bodies (Royal Court); Nest (Brighton & Take Off Festivals); How My Light is Spent (Royal Exchange); The Bear & The Proposal (Young Vic); Scarlett (Hampstead and Theatr Clywd); Years of Sunlight (Theatre 503); The Twits (Curve Theatre, Leicester); Removal Men (The Yard Theatre, Knight of Illumination Nomination); Broken Biscuits (Paines Plough); The Future (Company Three); Contractions (Sheffield Crucible); Julie (Northern Stage); We’re Stuck! (China Plate); Giving (Hampstead);  The Rolling Stone (Orange Tree Theatre); The Glass Menagerie (Nuffield Theatre, as Video Designer); The Merchant of Venice, Wuthering Heights, Consensual (Ambassadors Theatre); The Crocodile (Manchester International Festival); One Arms (Southwark Playhouse); The Trial Parallel, A Streetcar Named Desire Parallel (Young Vic); Amadis De Gaulle (Bloomsbury Theatre); Beckett Season (Old Red Lion); The Deluge (UK Tour, Lila Dance); Usagi Yojimbo (Southwark Playhouse); Pioneer (UK Tour, Curious Directive); Thumbelina (UK Tour, Dancing Brick).

More info at: www.joshuapharo.com

Theatre as Associate Sound Designer:
The Sugar-Coated Bullets of the Bourgeoisie (Arcola/HighTide), A High Street Odyssey (Inspector Sands), Henry IV (Donmar Warehouse Outreach Project)

Theatre as Sound Designer:
Wet Bread (Sheer Drop)

Other media as Sound Designer:
Zombies, Run! Season 1&2 (Six to Start, Android/iPhone app)

Richard is also a freelance production sound engineer.
Credits for the Gate Theatre include: The Iphigenia Quartet, The Christians and Unbroken.
Other theatre credits include: The Lounge (Summer Hall, Edinburgh); Sleepless (Analogue Theatre / Staatsteater Mainz); We’re Stuck (Shoreditch Town Hall); Islands (Bush Theatre); Arabian Nights, The Kilburn Passion, The Wardrobe and Storylabs (Tricycle Theatre); Brainstorm (ICT, National Theatre); Soechon Odyssey (Hi Seoul Festival, Korea); Patrias (Edinburgh International Festival); You Have Been Upgraded (Unlimited Theatre); Better Than Life (Coney); Girl’s Guide To Saving The World (HighTide); Not Now Bernard (Unicorn Theatre); Pim & Theo (NIE / Odsherred Teater, Denmark, Unicorn Theatre);  Macbeth: Blood Will Have Blood (China Plate);  A High Street Odyssey (Inspector Sands, National Theatre Watch This Space Festival); Flashes (Young Vic); Mass Observation (Almeida Theatre); Ant Street and Brimstone & Treacle (Arcola Theatre); Gambling (Soho Theatre);The 13 Midnight Challenges of Angelus Diablo (Royal Shakespeare Company); Quimeras (Sadler’s Wells, Edinburgh International Festival); Plasticine (Southwark Playhouse); Under Milk Wood (Northampton Theatre Royal).

Sound and performance installation credits include: Yes, These Eyes Are The Windows and Have Your Circumstances Changed (ArtAngel).

Radio credits include: 12 Years, The Meet Cute and Duchamps Urinal (BBC Radio 4).

Television credits include: Live from Television Centre: Brainstorm (BBC4, iPlayer), UNSA Astro-science Challenge (Unlimited Theatre, online episodes).
Cécile is a set and costume designer based in London. She trained in Wimbledon College of Arts, graduating with a first class degree in 2013. She is a Linbury Prize finalist in 2013 and a Jerwood Young Designer 2016 for her work at the Gate on The Iphigenia Quartet.

Cécile’s work was exhibited at the Prague Quadrennial 2015, and at the V&A exhibition Make/Believe: UK Design for Performance 2011-2015, and at the World Stage Design exhibition in Taipei, in July 2017.

As Designer, her credits includes: This Beautiful Future (Yard Theatre), The Iphigenia Quartet (Gate Theatre), Punkplay (Southwark Playhouse), My People (Clwyd Theatr), Invisible Treasure (Oval House), The Mikvah Project (Yard Theatre).
Caroline’s new stage version of The Wizard of Oz will be Northern Stage’s Christmas production.  She is currently under commission to the Old Vic, writing the book and lyrics for a musical version of Dennis the Menace
Previous work includes: Sixty-Six Books, The Bush Theatre, 2011; The Trojan Women, Gate Theatre, 2012; Chamber Piece, Show 3 of the Lyric Hammersmith’s Secret Theatre season, 2013 & UK tour 2013/2014.
Caroline was one of ten finalists for the Susan Smith Blackburn Prize in 2014. She was shortlisted for Most Promising New Playwright at the Off-West-End Awards in 2013 and for the Shell Woman of the Future Awards in 2011.
Caroline is an award-winning poet with four poetry collections published by Carcanet Press. She was named one of the five official poets at London Olympics 2012.

Caroline has written Agamemnon for The Iphigenia Quartet

Suhayla is a Brighton based screenwriter and playwright. Previous plays include Pigeons at The Royal Court, Cuckoo at The Unicorn, The Kilburn Passion at The Tricycle and Fingertips for Clean Break at Latitude. Her adaptation of Nikolai Erdman’s The Suicide will be staged at the National Theatre in spring 2016. She is currently writer in residence at the NT Studio and is under commission from Out Of Joint. Suhayla was a core writer on TV soap Hollyoaks and has various film and TV projects in development.

Suhalya has written Iphigenia for The Iphigenia Quartet
Lulu Raczka is an award-winning young playwright. She is a Company Director of Barrel Organ Theatre, who she worked with on her play NOTHING, which has toured the UK. Barrel Organ’s next piece Some People Talk About Violence was performed at the Edinburgh Festival 2015, and went on to be performed at the West Yorkshire Playhouse, Warwick Arts Centre and Camden People's Theatre through-out winter. Lulu has also had her work performed at the Sheffield Crucible, and the Soho Theatre. She is currently working on a piece for the Shakespeare in Shoreditch Festival.

Lulu has written Clytemnestra for The Iphigenia Quartet
Chris Thorpe is Associate Artist at the Royal Exchange, Manchester – work for them includes There Has Possibly Been An Incident and The Mysteries. Other theatre work includes Victory Condition and The Milk of Human Kindness for the Royal Court and Beowulf for the Unicorn. He also has ongoing collaborations with Rachel Chavkin produced by China Plate (Confirmation/Status), Lucy Ellinson (TORYCORE), Portugal's mala voadora (Overdrama/House-Garden/Dead End/Your Best Guess) and Hannah Jane Walker (The Oh Fuck Moment/I Wish I Was Lonely) Chris was a founder member of Unlimited Theatre, is an Associate of Live Art/ Theatre company Third Angel and has worked frequently with Forest Fringe. Chris has also recently collaborated with Rachel Bagshaw, writing the award-winning The Shape of the Pain.
Chris's work tours internationally, and is also regularly produced for stage and radio throughout Europe and in the US, including the recent premiere of Victory Condition at Residenzteater Munich, and the Italian productions of There Has Possibly Been an Incident and Confirmation, which won the Premio Franco Enriquez 2018.

Chris was the Arvon mentor for playwrighting, 2016/17, and works with the National Student Drama Festival.
Jennifer is an award-winning UK and International stage director and theatre maker. She has recently returned from Sweden, where she directed the Scandinavian premieres of two Nick Payne plays to critical acclaim, consequently winning the Scenokonstguidens award for Arets Karthasis 2015.

As Director: Constellations & One Day When We Were Young (GEST, Gothenburg); Listening To Hackney (Chatsworth Palace); Fault & Malteaser Falcon (Brixton Library); For The Record (TRP /The Lab, Plymouth); The Hour We Knew Nothing of Each Other (The Drum, Plymouth); Blow Out; Feathers; The Forum (Etcetera Theatre, London); Chasing Beckett (The London Theatre); Neil Diamond Saved My Life (Riverside Studios, London); Feathers (Bike Shed Theatre, Exeter); Shelter; Paper Queen (National tour and Bush Theatre, London); Crave (The Young Vic, Clare Studio).

As Associate/Assistant Director: Weaklings (National Tour, Chris Goode & Co); The Edge Of Our Bodies (The Gate Theatre, London); MADMAN (Drum Theatre, TRP); Solid Air (Drum Theatre, TRP); Inside Wagner's Head (Royal Opera House and Theatre Royal Plymouth); The Magic Flute (Ryedale Festival & The Arcola); #AIWW: The arrest of Ai Weiwei (Hampstead Theatre, London); The Owl and The Pussycat (ROH2, Royal Opera House); There is a War; The Good Soul of Szechuan (Watford Palace Theatre); Phaedra's Love (Arcola Theatre); Rodelina (Iford Arts); Annie Get Your Gun (The Young Vic, Clare Studio).

Jennifer will be directing Clytemnestra for The Iphigenia Quartet.  
Rebecca is a director and writer. She is Co-Artistic Director of the acclaimed Unbound Productions, was previously Director in Residence at the Almeida Theatre, and was an Ovalhouse Artist of 2014 as recipient of the Arts Manifesto: A Future for the Arts award. Her verbatim play Travesti won a Fringe First Award from The Scotsman and an Editor's Choice Award from ThreeWeeks Magazine at Edinburgh Festival 2014.
As director, theatre includes: Our Kingdom (Vaults Festival, rehearsed reading); Lysistrata: The Sex Strike (Almeida Theatre, rehearsed reading); Travesti (Pleasance Theatre); The Night (RADA Studios, rehearsed reading); Waifu (Southwark Playhouse); Timebomb: 48 Hour Plays (White Bear Theatre); Two Sisters (Southwark Playhouse); One Time Thing (Park Theatre); Half-Way (Ovalhouse).
As Associate Director: East is East (Jamie Lloyd Productions/ATG, UK Tour); Little Revolution; Our Town; The Fever (all for the Almeida).
As Assistant Director, theatre includes: Cymbeline (Sam Wanamaker Theatre, Shakespeare’s Globe); Eclipsed (Gate Theatre); Tender Napalm (UK Tour/ Southwark Playhouse); World Enough and Time (Park Theatre); King Lear; Dido, Queen of Carthage (in rep, Greenwich Theatre); Oedipus (Blue Elephant Theatre).

Rebecca will be directing Iphigenia for The Iphigenia Quartet

Elayce Ismail was awarded the JP Morgan Award for Emerging Directors 2014/2015, under which she was Resident Director at the National Theatre Studio and directed Andrew Whaley’s The Rise and Shine of Comrade Fiasco at the Gate Theatre. She was co-founder/Artistic Director of Offstage Theatre from 2005 – 2009 and trained at LISPA.
Direction includes: The Iphigenia Quartet, The Rise and Shine of Comrade Fiasco (Gate Theatre); Schools Theatre Production, Simpatico (Young Vic); The Lost Ring (NT/Deutsches Theater Berlin); Treasure Island: Making a Scene, Alfred Fagon Award: GIRLS, Black Plays Series readings (NT); Struggle (Talawa Firsts, London & Bristol Somali Festivals); Bed & Breakfast (Brighton Fringe Festival & tour).
Associate/assistant direction: The Virtues of Things (Royal Opera House); The Sound of Yellow, A Season in the Congo (Young Vic); Coming Home (Arcola Theatre).
Puppetry: Dr Korczak’s Example (Unicorn Theatre); Fast Burn (Kneehigh/NYT).
Performance: The Magic Flute (Complicite/ENO); Ring-a-Ding-Ding (Oily Cart); In A Pickle, (Oily Cart/RSC).

Elayce will be directing Chorus for The Iphigenia Quartet

Christopher is the Artistic Director at the Gate Theatre and formerly an Associate Director at the Bush Theatre.  
Credits at the Gate include:  Diary of a Madman (also Traverse Theatre), The Iphigenia Quartet, The Christians (also Traverse Theatre, winner: Fringe First), Grounded (also Traverse Theatre, Studio Theatre Washington DC, national and international tour; winner: Fringe First, Best Production - Off West End Awards) Image of an Unknown Young Woman (winner: Best Production, Off West End Awards), The Edge of Our Bodies, Trojan Women, Purple Heart, The Prophet, Wittenburg.

Other theatre credits include: Twelve Angry Men (Birmingham Rep/West End), Sixty-Six Books, In the Beginning (Bush Theatre/Westminster Abbey); A Safe Harbour for Elizabeth Bishop (Southbank Centre); Grace, Pressure Drop (On Theatre); Deep Cut (Sherman Cymru/National Tour); Monsters, Notes from Underground (Arcola); A Number (Salisbury Playhouse). Short Films include: The Taming of the Shrew/Two Gentleman of Verona (Globe Theatre) Devil in the Detail (Royal Court/Guardian).

As a journalist he has written for: The Scotsman, The Financial Times, The Independent, The Guardian, The New Statesman and Prospect Magazine. He is the co-editor of three books: Conversations on Religion, Conversations on Truth (Continuum) and Identity and Identification (Black Dog).

23 April – 21 May

Part of Nuclear: A Season about the Family

The Iphigenia Quartet

Box office: 020 7229 0706

DATES & TIMES 23rd April-21st May 7:30pm/3pm matinees

These are the preview and matinee performances for £10
  • Sat 23 April 7:30pm - Agamemnon & Clytemnestra
    Mon 25 April 7:30pm - Iphigenia & Chorus
    Tues 26 April 7:30pm - Agamemnon & Clytemnestra
    Wed 27 April 7:30pm - Iphigenia & Chorus
    Thur 28 April 7:30pm - Agamemnon & Clytemnestra
    Fri 29 April 7:30pm - Iphigenia & Chorus
    Sat 30 April 3pm - Agamemnon & Clytemnestra
    Sat 30 April 7:30pm - Iphigenia & Chorus
    Mon 02 May 7:30pm - Agamemnon & Clytemnestra
    Sat 07 May 3pm - Iphigenia & Chorus
    Wed 11 May 3pm - Agamemnon & Clytemnestra
    Sat 14 May 3pm - Agamemnon & Clytemnestra
    Wed 18 May 3pm - Iphigenia & Chorus
    Sat 21 May 3pm - Iphigenia & Chorus

  • Tues 03 May 7pm

YOUNG PEOPLE'S NIGHT £7.50 tickets for Under 26s
  • Tues 10 May 7:30pm - Iphigenia & Chorus
    Wed 18 May 7:30pm - Agamemnon & Clytemnestra

  • Wed 18 May 3:00pm - Iphigenia & Chorus
    Wed 18 May 7:30pm - Agamemnon & Clytemnestra

  • If you live or work in RBKC and are a first-time 
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     with our exclusive offer of £10.00 tickets for 
    any performance during the run.
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