Imogen Knight

Imogen Knight Portrait


Current and future work includes: ROSMERSHOLM (West End); EUROPE (Donmar) NICO (MIF) and BLOOD WEDDING (Young Vic)

Theatre: AVALANCHE (Barbican); HALF GOD OF RAINFALL (Kiln, Birmingham Rep); JESUS HOPPED THE A TRAIN (Young Vic); THE SON (Kiln); RICHARD II (Almeida); MACBETH (National Theatre);THE BIRTHDAY PARTY (West End); THE LAST TESTAMENT OF LILLIAN BILOCCA(Co-Director & Choreographer, Hull City of Culture 2017); BELLEVILLE,KNIVES IN HENSand THE LADY FROM THE SEA(Donmar Warehouse); OUR LADIES OF PERPERTUAL SUCCOUR (National Theatre of Scotland, National Theatre, UK tourand West End);NUCLEAR WAR (as Director),BODIES,FAKE NEWS, LINDA, GOD BLESS THE CHILD, THE LOW ROAD, A TIME TO REAP (Royal Court);MACBETHAMADEUS, DEAD DON’T FLOSS, THE THREEPENNY OPERA, LES BLANCS, I WANT MY HAT BACK, EDWARD II, DIDO, QUEEN OF CARTHAGE (National Theatre); THE SEAGULLSEVENTEEN(Lyric Hammersmith); WHO’S AFRAID OF VIRGINIA WOOLF (West End); ALL THE ANGELS, THE BROKEN HEART, TIS PITY SHE’S A WHORE (Shakespeare’s Globe);THE EMPEROR, MEASURE FOR MEASURE, DIRTY BUTTERFLY (Young Vic); FIVE FINGER EXERCISE (The Print Room);  THE SKRIKER (Manchester International Festival & Royal Exchange); AGAINST,CARMEN DISRUPTION, LITTLE REVOLUTION, TURN OF THE SCREW, KING LEAR, FILUMENA, MEASURE FOR MEASURE, WHEN THE RAIN STOPS FALLING (Almeida); HAMLET, BLINDSIDED, CANNIBALS (Royal Exchange Theatre); IN TIME O’STRIFE, AN APPOINTMENT WITH THE WICKER MANTHE MISSING (National Theatre of Scotland); THE CRUCIBLE (Old Vic); PESTS (Clean Break, Royal Exchange, Royal Court & UK Tour); ARDEN OF FAVERSHAM (Royal Shakespeare Company); OF MICE AND MEN, AS YOU LIKE IT (West Yorkshire Playhouse); RED VELVET (Tricycle Theatre, Garrick Theatre & New York); THE HISTORY BOYS, MACBETH (Sheffield Crucible); UNDER THE CARPET (De Stilte, Holland); OMG! (Sadler’s Wells, Company of Angels and The Place, Winner of the Choreography for Children Award 2012); PENELOPE (Dramaturgs Network & Company of Angels); BUT I CD ONLY WHISPER, WHEN FIVE YEARS PASS (Arcola); ONE DAY WHEN WE WERE YOUNG and THE SOUND OF HEAVY RAIN (Paines Plough); LOVE, LOVE, LOVE (Paines Plough & Royal Court); THE TEMPEST (Watermill); PERSUASION  (Salisbury Playhouse); CORRIE (Lowry & UK Tour); SNOW QUEEN (Chichester Festival Theatre); THE BOILER ROOM (Clean Break); A DOLLS HOUSE (Exeter Northcott Theatre); WUTHERING HEIGHTS (Birmingham Rep); SUCCESS (National Theatre with Islington Youth Theatre).


Film: SWAN SONG (Random Acts, Channel 4); ON CHESIL BEACH (Golan Films (OCB) Limited), MY NAME IS RUTHIE SEGAL, HEAR ME ROAR for the Jewish Film Festival 2009 and is choreographer for filmmaker and animator Jasmin Jordy and commercials for Age UK and Childline. 


Imogen is a visiting lecturer at Central School of Speech and Drama and acted as a mentor, on behalf of Old Vic New Voices, for the young company Snuff Box Theatre on their acclaimed production BITCH BOXER.

Mexican Wave in Exam Hall

02 May 2019

THE HALF GOD OF RAINFALL: A moving, contemporary EPIC on a small scale ★★★★

THE HALF GOD OF RAINFALL: A moving, contemporary EPIC on a small scale ★★★★

MLR Director Nancy Medina's production of Inua Ellam's most recent play, THE HALF GOD OF RAINFALL is a hit with audiences and critics across the country, in a co-production with Fuel, The Kiln Theatre and the Birmingham Rep. Also featuring Movement Direction from Imogen Knight. 

The Stage ★★★★ 

‘Nancy Medina’s production is both delicate and severe; coarse like raw earth, yet soothing like a balm.’ 

The Guardian ★★★★

‘In Nancy Medina’s taut, stunning staging of Ellams’ words the epic is revealed to be much smaller. While still a story of feuding gods and journeys to the edge of the universe, its theatrical scale now feels plausibly, sometimes terrifyingly human. Its inherent violence no longer incidental metaphor, but structural and real.’

Broadway World  ★★★★

‘Combining gorgeous storytelling with beautiful imagery, the piece is expertly directed by Nancy Medina, and told with precision by Rakie Ayola and Kwami Odoom. The 80-minutes are an exciting watch from start to finish.’ 

‘They laugh, dance and physically manipulate their bodies - aided by movement director Imogen Knight - to take on the role of different deities.’  

Time Out ★★★★

‘This is a moving, contemporary epic on a small scale, with universes and gods brought vividly to life in director Nancy Medina’s fervent production.’ 

Evening Standard ★★★★ 

‘At the same time it speaks shrewdly about power, dreams and fear, as well as the huge potential and vulnerability of the human body. ‘ 

What’s On Stage ★★★★ 

‘Bow down before them all.’ 

The Times  ★★★★ 

'Nancy Medina’s production deftly embraces the vastness of its vision and the intimacy of its aesthetic.'

19 January 2018

THE BIRTHDAY PARTY opens in the West End

THE BIRTHDAY PARTY opens in the West End

THE BIRTHDAY PARTY, by Harold Pinter, opened in the West End on Thursday January 18th, in a production directed by Ian Rickson. It had Sound Design by Simon Baker and Movement Direction by Imogen Knight.


The Telegraph ★★★★★

“superlative production”

“There have been some fantastic West End Pinter revivals over the past few years, but… we’ve never had it so good.”


The Times ★★★★

“couldn’t have wished for a better revival than this”

“an extravaganza of talent”


WhatsOnStage ★★★★

“constantly surprises”

“observations of human nature as gripping and relevant as ever.”


The Guardian ★★★★

“a production that does rich justice to this strange, elusive play”

“packed with illuminating detail”


Broadway World ★★★★

“beautifully measured, allowing the absurdities, contradictions and creeping dread to arise naturally”

“a terrifically entertaining and oddly moving piece of theatre”


14 November 2017



THE LAST TESTAMENT OF LILLIAN BILOCCA is Co-directed (along with Sarah Frankcom) and Choreographed by Imogen Knight, is Designed by Amanda Stoodley and Liz Ascroft is the Associate Designer.

The Times ★★★★

“Exquisitely choreographed by Imogen Knight…hypnotically dreamlike”

“startlingly potent. Pungent with the tang of saltwater and tears, it’s big-hearted and simply beautiful.”

The Guardian ★★★★

“What’s most interesting is the way the work reclaims the Guildhall”

“exhilarating and moving, a show made for and with the people of Hull”

The Stage ★★★★

“Sarah Frankcom and Imogen Knight's production makes ingenious use of the whole building”

“A dimly lit, wood-panelled corridor seems to become the dank hull of a ship”

“It’s impossible not to be drawn in”

WhatsOnStage ★★★★

“without doubt a major achievement”

“The production by Sarah Frankcom and Imogen Knight takes every advantage of a wonderful site”



31 August 2017

THE LAST TESTAMENT OF LILLIAN BILOCCA is announced for Hull City of Culture!

THE LAST TESTAMENT OF LILLIAN BILOCCA is announced for Hull City of Culture!

Hull Truck Theatre and Hull UK City of Culture 2017 have announced their upcoming production of THE LAST TESTAMENT OF LILLIAN BILOCCA, a new play written by Maxine Peak, which will be staged as part of their final season of events in November this year. Imogen Knight is co-directing the piece with Sarah Frankcom as well as choreographing, and Amanda Stoodley is designing the set and costumes.

In this site-specific production audiences will follow Hull hero Lillian Bilocca, better known as Bil Lil, and her crew of head-scarfed women through Hull’s historic Guildhall, joining them in 1968 as they dare to speak out and take action to improve the safety conditions for their men at sea.

The show will run from Friday 3rd – Saturday 18th November 2017.

More info:

The season announcement is also in BBC news today:

16 May 2017

Imogen Knight choreographed OUR LADIES OF PERPETUAL SUCCOUR

Imogen Knight choreographed OUR LADIES OF PERPETUAL SUCCOUR

Written by Lee Hall and Directed by Vicky Featherstone, OUR LADIES OF PERPETUAL SUCCOUR hit the West End tonight after runs in Edinburgh, at the National Theatre and a UK Tour.


WhatsOnStage ★★★★★

“Imogen Knight's choreography…gleams with care" 

“It's a glorious, rude thing, full of life and hope. Everyone should see it.”

“It is simultaneously the rudest, the most exuberant and the most touching show in the West End.


The Arts Desk ★★★★

“Choreographer Imogen Knight wrings cracking comedy out of the juxtaposition between the demure classical pieces and the slouching, swearing, at one point gleefully stripping singers… inventive and uproarious staging”

“Sacred and profane, trivial and profound blissfully combine in this irresistible, Olivier Award-winning tale of choirgirls gone wild.”


The Stage ★★★★

“With its thrilling, young all-female ensemble cast and band, and predominantly female creative team, the show is also a celebration of friendship between women, and, as such, challenge to usual West End fare.”


The Evening Standard ★★★★

“Chell, Fionnula, Kay, Kylah, Manda and Orla, welcome to the West End. You are exactly what it needs. If anyone is going to draw a fresh audience into the sometimes staid heartland of London theatre it is these fizzingly vivacious, gloriously foul-mouthed and yet angelically tuneful teenagers”

“a production of all-round perfect pitch”


Time Out ★★★★

“a sweary, funny, brilliant breath of fresh air.”

“swagger of a production rocks upwards and outwards.”


02 May 2017

NUCLEAR WAR opens at the Royal Court

NUCLEAR WAR opens at the Royal Court

Imogen Knight makes her Royal Court Directorial debut with NUCLEAR WAR by Simon Stephens, with Sound Design by Peter Rice.

The Guardian ★★★★

“Knight…takes confident possession of the performance space, shaping the bodies at her disposal into strong, suggestive tableaux.”



“The dance between word and movement that makes up all theatre is foregrounded, and set free.”



“The sound design cranks up the jitters with a moody mix-tape of ominous beats, thrashy techno, edited and looped vocal fragments”



"Nuclear War feels like a show that revels in its nature as an experiment, happy to not be the finished article, in a constant state of fission…a thrill”


Financial Times

"Imogen Knight responds with a potently physical and atmospheric staging…the result is enthralling, searching and unsettling, conveying the oddness of normality to anyone suddenly hyper-aware of the strangeness of existence”




06 March 2017

Imogen Knight is Movement Director on THE WINTER’S TALE at ENO

Imogen Knight is Movement Director on THE WINTER’S TALE at ENO

Ryan Wigglesworth’s opera, directed by Rory Kinnear, plays at the Coliseum until 14th March.

The Independent ★★★★

Broadway World ★★★★

“this classy show is everything that ENO is and should be about"

The Arts Desk ★★★★

“this will certainly merit at least one revival by virtue of its fine team”

27 January 2017

Peter Shaffer’s AMADEUS will return to the National in 2018

Peter Shaffer’s AMADEUS will return to the National in 2018

The National have announced the return of Michael Longhurst's sell-out production of Peter Shaffer's AMADEUS, with Lucian Msamati and Adam Gillen reprising their roles from January 2018. 

31 October 2016

Peter Shaffer’s AMADEUS open at The National Theatre

Peter Shaffer’s AMADEUS open at The National Theatre

Peter Shaffer’s iconic play had its premiere at the National Theatre in 1979, winning multiple Olivier and Tony awards.

This new production, directed by Michael Longhurst, is given live orchestral accompaniment by Southbank Sinfonia, and stars Lucian Msamati and Adam Gillen.

Imogen Knight is Choreographer and Paul Arditti is Sound Designer. The show will run until the 1st February 2017.

The Telegraph ★★★★★

“a note-perfect production by rising director Michael Longhurst that gives it a fresh, vital and musically inventive new reading, one which fully confirms its classic status.”

“we hear the excerpts of Mozart’s masterpieces in gorgeous splendour” 

“One big sadness of the night – that Shaffer, who died in June, wasn’t able to see his masterpiece in its latest incarnation. I feel sure he’d have approved.”

The Independent ★★★★★

“a thrillingly fresh and imaginative revival” 

“The Southbank Sinfonia are integrated into the world of the play to stunning effect” 

“Longhurst has let the air of today into Amadeus in bravura fashion.”

The Stage ★★★★★ 

“captures the glory of Shaffer’s writing, its wit and agility, its intellectual richness, its impishness. It’s a feast of a play and the cast eats its fill.” 

“This revival, while far from reverential, feels genuinely celebratory. It is at once both vulgar and divine. It makes you appreciate Shaffer’s genius while also reflecting on the nature of genius, the sacred aspect of creativity and the possibility of achieving immortality through art.”

“The Southbank Sinfonia (which also performed at the National in Every Good Boy Deserves Favour) is brilliantly integrated into the world of the play.”

Timeout ★★★★★


“There is much else that is great here, from Imogen Knight’s nifty choreography – particularly in finding weird new places for the orchestra to stand”

“Shaffer, who died this year, was an advocate of something called ‘total theatre’, a mix of acting, mime, music and more – basically chucking everything but the kitchen sink at a play to create an epic, overwhelming, symphonic effect. We get all that here, but more besides” 

Broadway World ★★★★

“a triumphant return”

“There are modern visual nods, from Krispy Kreme doughnuts and buzzing phones to Mozart sporting Doc Martens with his garish frock coats (great touches by Chloe Lamford), as well as a hedonistic club vibe in Imogen Knight's choreography.”

“pulsating, immediate tragedy” 

“A note-perfect revival.”

The Guardian ★★★★ 

“Peter Shaffer whose death in June is marked by this revival of his most popular play, once wrote that he hoped Amadeus would “enjoy a vigorous life in many differing productions”. His wish is certainly granted by Michael Longhurst’s production which turns it into an epic piece of music-theatre.”

“it reminds us of Shaffer’s talent for creating memorable theatrical spectacles.”

“a stunning piece of theatre”

The Times ★★★★ 

“I left the theatre humming the latter, so beautiful and tragic that you cannot help be moved. Bravo.”

“These 21 musicians are the backbone of this production, scattering and re-forming throughout, like some sort of murmuration of musically gifted starlings.”

What’s On Stage ★★★★

“What a homecoming this is. Four months after his death, Peter Shaffer's operatic epic returns to the stage on which it started - and in some style too.” 

“it yanks a masterful play into the present – a new generation let loose on a timeless classic.”

“It's a real crowd-pleaser, Shaffer's play: a masterpiece that makes up its own rules.” 

“Imogen Knight turns the orchestra into a dark, twitchy chorus.”

“At times, it is literally breathtaking. Its visual beauty holds you in suspense, then the music cuts through and the world seems to stop”

Evening Standard ★★★★

“A soaring song of genius and jealousy” 

“Sir Peter Shaffer’s rich and racy play remains an absorbing portrait of the fanatical rivalry between Mozart and Salieri”

British Theatre Guide

“almost perfect in every regard.” 

“There seems little doubt that Amadeus will be one of the big hits of the autumn and anybody in love with classical music, eccentric characters or a fantastic yarn about jealousy and genius should not miss out.”

The Arts Desk ★★★★


“pulses and shimmers and trills and occasionally roars with the pleasure of great music. At some moments it is almost overwhelming; at other it is quietly moving.” 

“The whole cast and ensemble inject a terrific energy into the big set pieces (parties, operas, concert scenes) that make this a highly memorable evening”

The Reviews Hub ★★★★

“we can hear the music for ourselves and the collision of opposing forces is thrilling." 

“profoundly entertaining.”  

Libby Purves 

“It was time Rufus Norris’ tenure at the national saw one of those landmark, memorable opening nights: two thirds of the audience on their feet calling back a huge ensemble…Now we have that great moment.”

“under director Michael Longhurst, designer Chloe Lamford and (not least)  Imogen Knight’s movement direction,  the play gets everything it needs for perfection and awe.”


“It’s wonderful. That the author died this year before he could see this production is painful to think.”

Financial Times ★★★★

“the drama becomes as towering as the music.”

London  ★★★★

“A giddy, stylish and opulent revival of total music theatre at its most exciting.”

The Upcoming ★★★★

“what truly makes Amadeus stand apart is the integration of the sublime Southbank Sinfonia on stage”

Radio Times

“Amadeus is an epic tale but director Michael Longhurst never lets the action flag and wrings every drop of emotion from Shaffer's dark script. I for one will never listen to Mozart in quite the same way again.”

Gay Times 

“Without doubt, this is a brave and interesting production that certainly packs a punch.”  


“The production is something of a memorial to playwright Peter Shaffer, who died in June, aged 90. But what a raunchy, spectacular, and amusing a memorial it is.” 

“studded with great lines” 

“a triumph”

The Hollywood Reporter

“spectacular revival” 

“stylistically bold Amadeus is an imaginative and mostly satisfying grand-scale reboot” 

“applies extra gloss and glitter to Shaffer's tragicomic psychodrama without compromising its sardonic, self-aware wit.”

“sumptuous revival finds some fruitful new connections between form and content.”

Culture Whisper 

“a bold, boisterous, and masterful production.”

“high drama and symphonic storytelling done at its best.”

“History, legend, scandal, and music make up the components of Shaffer’s prodigious script.”

“It is a searing meditation on genius, rivalry, and what it means to be immortal.”

“Amadeus is not merely a reproduction or a homecoming, but a soaring and spirited revival that is unmissable.”

13 September 2016

Imogen Knight and Paul Arditti open THE EMPEROR at the Young Vic

Imogen Knight and Paul Arditti open THE EMPEROR at the Young Vic

A world premiere based on the astonishing book about Ethiopia's Haile Selassie by Ryszard Kapuściński, Kathryn Hunter creates a mesmerising cast of characters in Colin Teevan’s new adaptation. With choreography by Imogen Knight and Sound Design by Paul Arditti, THE EMPEROR plays until 24th September.

The Arts Desk ★★★★★

“Paul Arditti’s sound, consummate as ever, plays as much a part in this as Zeleke’s outbursts.”

“the triumph is shared by everybody involved, lighting and soundscape designers included.” 

“The physical theatre we’ve come to expect…is spare but telling”

“Don’t miss it.”

Time Out ★★★★ 

“incredibly moving”

The Guardian ★★★★

The Stage ★★★★ 

“an intensely human piece of theatre”

“a surprising amount of warmth and humour in Walter Meierjohann’s production”

“an intricate miniature, a rich and intelligent portrait of power, but also of love.”  

What’s on Stage ★★★★

“this is a tour de force of theatrical story-telling”

“a richly absorbing hour.”

A Younger Theatre

“a masterwork of physical performance”

“An unsettling, thoughtful theatrical treat.”

06 September 2016

Peter Shaffer’s AMADEUS starts rehearsals at The National Theatre

Peter Shaffer’s AMADEUS starts rehearsals at The National Theatre

Shaffer’s iconic play AMADEUS, directed by Michael Longhurst, will now run until 26 January with further dates to be announced. The cast includes Sarah Amankwah, Hammed Animashaun, Geoffrey Beevers, Fleur de Bray, Karla Crome, Tom Edden, Adam Gillen, Matthew Hargreaves, Andrew Macbean, Alexandra Mathie, Lucian Msamati, Eamonn Mulhall, Robyn Allegra Parton, Hugh Sachs, Eleanor Sutton, Wendy Dawn Thompson, and Peter Willcock.

Amadeus is part of the Travelex £15 season with hundreds of seats at £15 for every performance. Amadeus is presented in association with Southbank Sinfonia.

Imogen Knight is Choreographer and Paul Arditti is Sound Designer on the show.

16 August 2016

Imogen Knight is Choreographer on OUR LADIES OF PERPETUAL SUCCOUR at The National Theatre

Imogen Knight is Choreographer on OUR LADIES OF PERPETUAL SUCCOUR at The National Theatre

This award-winning production arrives at the National following a sell-out run at the 2015 Edinburgh Festival Fringe and a national tour. It’s adapted by Billy Elliot author Lee Hall and directed by Vicky Featherstone, and plays until 1st Oct 2016.

The Independent ★★★★

“wonderfully fluent and vivid production”

“rude, raucous and irresistible”

“outrageously funny”

“won’t find a more exhilarating ensemble anywhere” 

“not to be missed”

Evening Standard ★★★★

“Big-hearted and enjoyably coarse, but with moments of real poignancy”

“gutsy choreography by Imogen Knight” 

The Telegraph ★★★★

“joyous, moving show” 

“swift-paced direction gives the production real lift”

“dance like maenads, with impeccable comic timing and pathos that wrings your heart.”

“one of the great theatrical experiences of the year” 

The Times ★★★★ 


“an absolute blast, full of filth and fury, wit and wonder.”

“thrillingly capture the wild, wired intensity of adolescence, as well as the moving fervour of female friendship.” 

“Above all, it’s vibrantly, noisily, exuberantly alive. A joy.”

Financial Times ★★★★ 

“what a riot it is”

“raucous, very, very rude and an absolute blast.”

“ebullient production picks up on that teenage energy.”

“immensely touching”

Hollywood Reporter

“a gloriously lewd coming-of-age musical”

“turning riotous teenage hedonism into exhilarating entertainment”

01 April 2016

Imogen Knight is Movement Director on LES BLANCS at The National Theatre

Imogen Knight is Movement Director on LES BLANCS at The National Theatre

Lorraine Hansberry’s final drama is taken on by multi-award-winning director Yaël Farber. A powerful exploration on the complexities of colonialism and racial identity, LES BLANCS plays at The National until the 2nd June.

The Telegraph ★★★★★

“a disturbingly beautiful tale”

“Farber’s exquisite production tackles its moral complexities with finely calibrated assurance” 

The Stage ★★★★★ 

“this haunting production makes the very strong case that Les Blancs may well be her masterpiece.”

“allows the play to hit resounding notes of anger and pain, but excels in minute details too”

“stunning piece of theatre”

The Upcoming ★★★★★

“told as clearly and as passionately as she intended.” 

The Guardian ★★★★ 

“an epic production”

“a near-perfect production.” 

The Times ★★★★

“a fantastic piece of theatre” 

“made us sit up and pay attention, even when our eyes are smarting.”

Timeout ★★★★

“jaw-dropping…a overwhelming surge of sights, sounds, smells – total theatre.”

“going beyond words to evoke the sense of a timeless, indelible Africa that European artifice can’t hope to erase.”

The Evening Standard ★★★★ 

“has a finely judged musicality” 

“a searing portrait of the collision between white imperialism and black African nationalism.”

“is invigorated by chants, percussion and nimble movement.”

A Younger Theatre

“Go and see this production. Go and witness the very essence of drama in practice.”

“It is no surprise that these are the stories bringing the house down and raising audiences to their feet in standing ovations on press nights as special as this one.” 

What’s On Stage ★★★★

“continuously surprising” 

“powerfully conflicted”

The Londonist ★★★★

“a most powerful and thought provoking evening.”

The Financial Times ★★★★

“a remarkable, intense performance”

The Arts Desk ★★★★


“an extraordinary piece”

“momentous in its own right.”

03 February 2016

Tom Piper, Imogen Knight and Paul Arditti open RED VELVET in the West End

Tom Piper, Imogen Knight and Paul Arditti open RED VELVET in the West End

This multi-award winning play, which originally premiered at the Tricycle Theatre before transferring to New York, joins the Kenneth Branagh Garrick Season. Olivier-Award winner Adrian Lester reprises his role as Ira Aldridge, and Indhu Rubasingham Directs. With Design by Tom Piper, Sound Design by Paul Arditti and Movement Direction by Imogen Knight, RED VELVET plays a limited run until the 27th of February.

The Telegraph ★★★★

“informative, entertaining, thought-provoking and beautifully played.”

“Believe the hype.” 

The Guardian ★★★★ 

“gives us fire, fury and grandeur”

The Times ★★★★ 

“laugh-out-loud funny.”

“The set, by Tom Piper, with its dark woods and sparse furnishings, is austere but elegant.”

“he got a standing ovation and deserved it.”

What’s On Stage ★★★★

“tinged beautifully with a palpable sense of stage magic”

“eye-wateringly good performance”

The Londonist ★★★★

“takes your breath away”


The Reviews Hub 

“a strikingly beautiful set from Tom Piper”

The Financial Times ★★★★

Radio Times 

“a worthy play doesn’t necessarily mean a great one. This is both: heartbreaking and hilarious by turns.”

The Upcoming ★★★★★

The Evening Standard ★★★★ 

“a rich psychological study that’s also a shrewd portrait of the theatre as an institution”

26 January 2016

FIVE FINGER EXERCISE opens at the Print Room

FIVE FINGER EXERCISE opens at the Print Room

Jamie Glover directs this stunning London revival of Peter Shaffer’s powerful family drama, with Sound Design by Peter Rice and Movement Direction by Imogen Knight. Playing at the Print Room until the 13th of February.

Financial Times ★★★★

“Jamie Glover’s cracking revival” 

“Glover’s staging is driven by rich, compelling performances” 

“Glover’s production conveys the deep loneliness of all these characters”

“Shaffer tears apart drawing room domesticity with the sort of devastating emotional truths explored by American dramatists such as Miller, Williams, Albee and O’Neill.”

The Stage ★★★★

“There’s a lot going on beneath the surface of Peter Shaffer’s 1958 play.”

“a psychologically layered piece of writing” 

“eloquently captures a post-war world on the turn and says much about the complexity of immigrant identity, the tangle of families, and the shifting, intricate relationships that so often exist between children and their parents.” 

What’s On Stage ★★★★

“Shaffer's Five Finger Exercise, first performed in 1958, has all the emotional turmoil of The Deep Blue Sea with a liberal dose of Osborne-style anger. It's very much a play of its time.”

“This was Shaffer's first success, and it's easy to see why. There's an even-handedness in the way he treats each character with sympathy, but he doesn't draw back from exposing the raw pain festering under their supposedly comfortable middle-class existence.”

“Jamie Glover's production is almost note perfect, and the cast are uniformly excellent.”

“This is a richly deserved revival”

British ★★★★ 

“Director Jamie Glover brings us this excellent revival of Peter Shaffer’s earliest stage success” 

“Walter gives voice to Shaffer’s simple message: ‘You must forgive your parents being average and wrong when you worshipped them once.’ For as long as there are families, this poignant script will resonate with them.” 

“a near perfect restoration” 

The Evening Standard ★★★★

“it’s terrific to see a long-overdue revival of this finely judged 1958 drama, which marked Peter “Amadeus” Shaffer’s first big hit.”


New York Times

“the most revelatory production of this still-young theatrical year.”

“Jamie Glover, generates a considerable dramatic charge from this slice of theatrical esoterica”

“Mr. Glover then lifts the lid on passions that simply won’t be contained.”

Time Out 

“my god are Shaffer’s characters tricky little things - rich, complex, working with and against each other in endlessly shifting ways.”

“a worthy revival of a clearly stunning play”

British Theatre Guide

“a highly watchable play with fine performances that reminds us of a world that no longer exists.”

02 December 2015

Imogen Knight is Movement Director on LINDA at the Royal Court

Imogen Knight is Movement Director on LINDA at the Royal Court

Penelope Skinner’s new play is directed by Michael Longhurst with Noma Dunezweni in the lead role. Runs at the Jerwood Theatre Downstairs until the 9th of Jan.

The Telegraph ★★★★★ 

“funny, touching, deeply uncomfortable-making and refreshingly complex”

The Stage ★★★★

“it has a storm in its mouth, anger in its heart and a role of magnitude at its centre”  

The Evening Standard ★★★★

“a flawed yet important play, which speaks passionately about the many ways society makes mature women invisible.”

17 November 2015

Imogen Knight is Movement Director on I WANT MY HAT BACK at the National Theatre

Imogen Knight is Movement Director on I WANT MY HAT BACK at the National Theatre

Joel Horward’s new stage adaptation of Jon Klassen’s 2011 children’s includes Music by Arthur Darvill and plays at the Temporary Theatre at the National until the 2nd of January.

The Guardian ★★★★

“a mischievous, boisterous delight of a show.” 

The Stage ★★★★

“It’s tuneful. It’s colourful. It’s imaginative. It’s moral. And it engages every child in the room.”

“You really can’t ask much more from a children’s show” 

“The National Theatre’s high production values are evident.”  

The Evening Standard ★★★★

“delightfully ebullient 55 minutes of theatre”

“well served by a bouncing ensemble of actor-musicians” 

“When asked what was her favourite part of the show, my co-critic for this assignment Edith, aged four, replied simply, “All of it”. You can’t say fairer than that.”

Time Out ★★★★

12 October 2015

Imogen Knight and Paul Arditti open MEASURE FOR MEASURE at the Young Vic

Imogen Knight and Paul Arditti open MEASURE FOR MEASURE at the Young Vic

Joe Hill-Gibbins offers a bold and radical version of Shakespeare’s problem play. With Movement by Imogen Knight, Sound by Paul Arditti, and starring Romola Garaia as Isabella, MEASURE FOR MEASURE plays at the Young Vic until the 14th November. 

The Guardian ★★★★

The Independent ★★★★

Time Out ★★★★

A Younger Theatre 

The Londonist ★★★★