Gemma Fairlie

Gemma Fairlie Portrait


Current and forthcoming credits include: A CHRISTMAS CAROL (Theatre by the Lake).

Theatre credits include:HENRY V (Shakespeare’s Rose Theatre); MARTHA, JOSIE AND THE CHINESE ELVIS (Stephen Joseph Theatre); BLITHE SPIRIT; THE WIZARD OF OZ; THE RISE AND FALL OF LITTLE VOICE; BEFORE THE PARTY (Pitlochry Festival Theatre); ROMEO & JULIET and KING LEAR (Orange Tree Theatre); BERYL, THE GIFT and LARKSONG (New Vic Theatre); PLAYGROUND VICTORIES (outdoor physical theatre/circus); ROAD (Circomedia); FULL STOP (Lyric Hammersmith, GDIF & Watford Palace); WHAT HAPPENS IN THE WINTER (co-directed with Upswing Aerial Arts); BEE DETECTIVE (Cultural Olympiad); THE LITTLEST QUIRKY (Stratford Circus & Theatre Royal, Bath); THE MERRY WIVES OF WINDSOR and A MIDSUMMER NIGHT’S DREAM (Oxford Shakespeare Company); HANGOVER SQUARE and EDEN’S EMPIRE (Finborough Theatre); FIGHT FACE (Lyric Hammersmith); SILENCE (The Other Place, Stratford & Arcola Theatre). 

As Associate Director: UNREACHABLE by Anthony Neilson (Royal Court); HOARD FESTIVAL: 2014-2015 (New Vic).

Gemma won a Young Directors bursary at The Gate and attended the National Theatre Studio’s Directors Course. She was a regional director with NT Connections 2009 and is part of the Old Vic New Voices network. She is also Artistic Director of the award-winning Tin Bath Theatre Company, dedicated to creating artistic led accessible theatre for deaf and hearing audiences, through a mix of captioning and visual art.

She regularly works as a practitioner for RSC Education, Shakespeare’s Birthplace and Youth Music Theatre, and directs at Bristol Old Vic, LIPA, Arts Ed and ALRA. 

16 September 2019

HENRY V strikes the right notes

HENRY V strikes the right notes

Directed by MLR’s Gemma Fairlie, HENRY V opened at the award-winning, pop-up Shakespeare’s Rose Theatre in York.

British Theatre Guide

“Henry V [is] a play that manages to be both pro- and anti-war, celebrating its victories whilst also lamenting its costs… Gemma Fairlie’s well-directed production manages to strike the right note of ambivalence.”

“This is a traditional yet compelling production of a well-known play that makes good use of the theatrical space.”

York Press

“Hair boyishly cropped, voice full of sinew, shoulders back, stride purposeful, Bain’s Henry has the rallying demeanour, the sense of authority, while bearing the weight of responsibility when leading an outnumbered nation against the cock-crowing French”