WE WANT TO ENTERTAIN WITH ORIGINALITY
Welcome to Hampstead Theatre. We were born in a humble hut over fifty years ago. Our simple mission was to create original theatre without creative restriction. We quickly attracted a generation of talent that helped to redefine British Theatre. That not only entertained but propelled the art form forwards. From Harold Pinter testing out his early plays here to the likes of Mike Leigh, Michael Frayn, Brian Friel and Terry Johnson – to name just a few. Original thinkers, every one.
We’re still driven by the same ambition. To challenge, influence and shape the future of British theatre. To create the future mainstream – entertaining experiences that are original and ambitious. We see ourselves as part of rich tradition that stretches back to the age of Shakespeare. A tradition that mixes craftsmanship with entrepreneurship. Commercial success with critical acclaim. And a creative eye that seeks out variety – from musicals like Sunny Afternoon to mould-breaking plays like The Arrest of Ai Weiwei and Chariots of Fire. We were the first to turn a theatre into an Olympic park. We turned our actors upside down in Mike Bartlett's Wild.
We left our hut a long time ago and now occupy one of London’s state-of-the-art theatres. Purpose built for the 21st century to allow our writers, actors, directors and producers maximum creative flexibility. It’s from this base that we will take our work to the wider world. To the West End. To the Internet. And beyond. Our ambitions are big. We aim to move theatre forwards with new ideas, talent and energy to excite our audiences with the lateral, the fresh and the unexpected. It’s part of our belief that innovation, reinvention and surprise are the lifeblood of true entertainment.
Here’s to the future – it belongs to those who cherish originality.
Dry Powder by Sarah Burgess nominated for Best New Comedy at The Olivier Awards 2018
Fiona Doyle's The Strange Death of John Doe is a finalist for The Susan Smith Blackburn Prize 2018
Branden Jacobs-Jenkins wins the Critics Circle Award for Most Promising Playwright 2018 for Gloria
Hampstead Theatre won Gold at The Corporate Engagement Awards for its play Firebird and its collaboration with The Children's Society
James Fritz wins the Critics Circle Award for Best New Playwright 2016
Sunny Afternoon wins Best New Musical at The Olivier Awards 2015
Sunny Afternoon wins Best Actor at The Olivier Awards 2015
Sunny Afternoon wins Best Supporting Actor at The Olivier Awards 2015
Sunny Afternoon wins Outstanding Achievement in Music Award at The Olivier Awards 2015
Four Minutes Twelve Seconds by James Fritz nominated for best Affiliate Theatre at the Olivier Awards 2015
Hampstead Theatre wins London’s Best Theatre at The Stage Awards 2014
Beth Steel wins Most Promising Playwright Award at The Evening Standard Awards 2014
WHAT THEY've recently said about us
★★★★ ‘Dry Powder, by Sarah Burgess, is one of a string of sophisticated American imports seen recently at Hampstead Theatre’ Ann Treneman, The Times 2018
★★★★ ‘Dry Powder is a slickly staged midtown-Manhattan tingler… refreshing and provocative' Quentin Letts, Daily Mail 2018
★★★★ ‘Hampstead Theatre continues to pump out new plays in its small Downstairs space despite a cut of £122,000 to its Arts Council grant. Yous Two, by the debutant Georgia Christou, is the 50th premiere its has staged there since 2010. It turns out to be a sparky, highly promising play’ Michael Billington, The Guardian 2018
★★★★ ‘Edward Hall is to be congratulated for rescuing this thoughtful odd-couple comedy from its unjust initial publicity. An astute revival, strongly recommended' Paul Taylor for The Independent on Cell Mates, 2017
★★★★ ‘Who needs the movies when you’ve got theatre?’ Ann Treneman for The Times on Prism, 2017
★★★★ ‘Robert Lindsay is in glorious, compelling form as the charmer who believed ‘life is temporary, film is forever’. His quicksilver performance lights up the stage’ Georgina Brown for Mail On Sunday on Prism, 2017
★★★★ ‘Fast-rising director Michael Longhurst presides over the European premiere of a piece that dwells on the relationship between memory, authority and storytelling’ Henry Hitchings for Evening Standard on Gloria, 2017
★★★★ ‘Sharp, sizzling… An acid, intelligent satire’ Sarah Hemming for Financial Times on Gloria, 2017