Robert Richmond – Director – Artistic Leader

THEATRE DIRECTOR - ARTISTIC LEADER - EDUCATOR

Why here, why now, why theatre?

I believe theatre must be graphic and eloquent, visceral and articulate, provocative and celebratory, accessible and inclusive. My mission is to find pathways to allow the past to inform the future, to tell stories that reflect this moment of social upheaval, to allow patrons to experience new understandings of the world and human dynamics. Pursuing this message – to recognize theatre as a sacred site of the zeitgeist, and the critical need to promote and champion the art form in an uncertain future – has become part of my contribution to a global conversation with educators, students, and theatre makers.

What do I bring to the table?

I bring high emotional intelligence and an ability to build relationships of trust.

I demand equity, diversity, and inclusion, in the work place.

I offer disciplined, effective leadership.

I am skillful in the management of large budgets, people and resources.

I find great satisfaction in serving as an ambassador.

I have a love of laughing in partnership with others.

I bring a vision for the future and demonstrate the skills to make that vision a reality.

A little more about me . . .

I am originally from Hastings, England, and studied at the Royal Scottish Academy of Music and Drama. My work is known for its ability to reinvigorate theatre with imagination, innovation, and relevance. I aim to create theatre that will sustain and transform the twenty-first century, revitalize audiences, and reward them for their patronage.

Over the course of my 33-year career in the theatre, my research and interests have continually evolved. My own story is that of an immigrant, I came to this country as a theatre professional who was raised and trained in the UK and Europe. Deeply immersed in classical texts and training methodologies, I came in hopes of revitalizing the classics. I believe that theatre is able to inspire societal and cultural change, and it has become imperative for change to happen in our nation, now theatre must become a civilizing agent.

Gallery

Davenant's Macbeth - Folger Theatre

Nell Gwynn, Folger Theatre, Directed by Robert Richmond

Twelfth Night at the Folger Theatre | Directed by Robert Richmond | www.robertrichmond.com

Malvolio (Richard Sheridan Willis) struggles to break his first smile, as Sir Andrew Aguecheek (James Konicek) spies on him from behind.

Scenic Designs: Tony Cisek

Costume Designs: Mariah Anzaldo Hale

Lighting Designs: Andrew Griffin, Jim Hunter (Richard III)

What the reviews are saying

“Henry VIII: a crown jewel . . . Through Richmond stints of pageantry - the sprawling tapestry is embodied by a mere 11 actors - this Henry VIII is not without its compelling spectacle.”

Peter Marks

“Richmond is setting the play in London’s notorious psychiatric hospital Bedlam with inmates acting the show for visitors. In part, that choice is to accommodate the extravagant physical style of Restoration acting . . . “

Peter Marks

“Richmond . . . carves a compelling path through the thicket of Timon, a play rarely thought of as among Shakespeare’s best and sometimes described as unfinished or at least in need of one more draft.”

Peter Marks

“Robert can take a very complex story- a thorny problem play or a mammoth history- and energize the stage, visually as well as verbally…He can create the great, big gesture with a theatrical sweep that’s almost cinematic.”

Janet Griffin via Geoffery Himes

"Robert Richmond . . . emphasizes speed and very broad interpretations of character. As a result, the endless twists of this plot keep the audience laughing for two hours and viewers can see through every one of the sometimes murky puzzlements that so delighted Elizabethans."

D.J.R.BRUCKNER

"Nell Gwynn is a romantic comedy of the highest order: bawdy, biting and, in the end, dead serious. In other words, it's Shakespearian. A perfect fit for this tiny and electric Capitol Hill playhouse."

Peter Tabukis

"The production, adapted by Mr. Richmond, is a ribald and farcical interpretation that rankled some New York critics."

Chris hedges

"Tautly constructed and impressively spoken, Richmond's production conveys with the savvy deployment of a mere 13 actors (one of them a fiddler player) the evolution of a leader from petulant boy-soldier to lionhearted royalty statement."

Peter Marks