Kwame Kwei-Armah announces his final season and he will step down as artistic director of the Young Vic Theatre.
The European premiere of the Tony Award-winning rock musical Passing Strange brings an electrifying musical odyssey to the Young Vic stage. Directed by Liesl Tommy, with book and lyrics by singer-songwriter Stew, and music by Stew Stewart and Heidi Rodewald, created in collaboration with Annie Dorsen, from 14 May – 6 July.
Kwame Kwei-Armah will direct his final production as Young Vic Artistic Director with the world premiere of A Face in the Crowd, a cautionary tale about the dangers of celebrity, power, and politics based on the classic ‘50s Hollywood film, with music and lyrics by Elvis Costello and book by Sarah Ruhl, from 10 September – 9 November.
The Little Foxes by Lillian Hellman, about greed, ambition and a family on the edge, receives a savage new staging by Olivier Award-winning director Lyndsey Turner, produced in association with Second Half Productions, from 4 December 2024 – 8 February 2025.
Following its radical two-year educational programme INNOVATE, Taking Part hosts the INNOVATE: Legacy & Learning Symposium, a week-long series of free events for teachers, freelance artists, creative engagement departments, and applied theatre practitioners to explore what artists and arts organisations can bring to the curriculum and school life, from 11 – 16 March.
Neighbourhood Theatre Company presents May Fest, a takeover of the Young Vic Theatre with a joyous week of free workshops, events and experiences for the local Lambeth and Southwark community, from 9 – 16 May.
The Sundown Kiki Reloaded documentary by Asa Haynes and Jamel Duane Alatise is released today, celebrating Taking Part’s partnership with New York’s Hetrick-Martin Institute, and featuring the making of Sundown Kiki Reloaded, interviews with the cast and creatives and behind the scenes footage from Taking Part’s Ballroom journey.
Annie Kershaw is the recipient of the 2024 Genesis Future Directors Award, a vital and renowned professional training opportunity funded by the Genesis Foundation that enables early-career artists to direct a production at the Young Vic.
The Creators Program teams up with Black Lives in Music and Musicians’ Union for Introduction to Making for Music Directors, a new development programme and partnership for 2024 dedicated to supporting Black and Global Majority music directors, to demystify the industry, build artist connections and increase representation.
The Young Vic welcomes the Royal Welsh College of Music & Drama for NEW’24, its annual festival of new writing, featuring four new commissions from Rhiannon Boyle, Simon Longman, Isley Lynn and Paula B Stanic, plus NEW VOICES staging new writing from final year students. In the Young Vic Maria Theatre from 5 – 14 June, following an initial run in Cardiff.
Kwame Kwei-Armah joined the Young Vic as Artistic Director in February 2018, becoming the first African Caribbean director to lead a major British theatre. During his tenure he has produced 40 productions across the theatre’s spaces, including 30 in the Main House where more than half of all writers and directors were women. Black and Global Majority artists have directed over half and written 48% of all Main House shows. Off stage, the Young Vic has gone from 11% to 44% Black and Global Majority staff across the organisation and 40% in senior management.
Under Kwame’s leadership three critically acclaimed productions have transferred to the West End, along with two Broadway transfers, plus a feature film adaptation is shortly due for release. He launched Best Seat in Your House, an innovative new streaming platform, in 2021, which took Young Vic shows to audiences across 86 countries. The Creators Program, formerly the Directors Program, launched in 2022, celebrating multi and anti-disciplinary artists and re-imagining future practice. Taking Part reached new corners across London and internationally, from New York to Australia, with unique community shows and partnerships, along with its radical innovation in schools, championing the value that artists and creative teaching bring to classrooms.
Young Vic productions have been recognised with numerous awards and nominations every year during Kwame’s tenure and most recently in 2023 alone received an Olivier Award, a Critics Circle Award, two Tony Award nominations and more.
Kwame Kwei-Armah, Artistic Director of the Young Vic said: “It’s been the honour of a lifetime to lead the Young Vic and I have been served magnificently by the team at the Arts Council, the Board and all of my colleagues. I step down knowing that our team and artists are representative of London and that we have continued the theatre’s incredible contribution to this industry and our community.
“The three pillars that have guided my tenure have been innovation, access and community, and I’m proud of all that we have achieved. But it is a bittersweet moment. The painful reality is I am leaving a subsidised sector where 13 years of standstill funding is taking its toll. For decades the theatre industry has fuelled the UK’s world-renowned creative industries, providing vital pathways for artists to flourish, going from subsidised theatre, into the West End, and into TV and film. But without investment we could lose this pipeline of talent within a generation. I’m hopeful that this can and must change but it needs sincere government intervention.
“I want to thank our audiences and supporters who have continued their Young Vic journey with us and many who have joined us for the first time. I invite you to join me as I’m rocking out at the Young Vic with shows that mean the world to me and sum up what a building like this can do. Passing Strange is a brilliant post-modern Black rock musical directed by Liesl Tommy with book and lyrics by Stew, and music by Stew Stewart and Heidi Rodewald; A Face in the Crowd is a political metaphor for our times with music by Elvis Costello and book by Sarah Ruhl; and Lillian Hellman’s The Little Foxes with Lyndsey Turner, sees one of the finest directors in Britain, making a classic play speak to the here and now.”
