Voices of the Royal Court

Artistic Staff and Administrators of the Royal Court speak their minds

The personality that is the Royal Court theatre is well known throughout the world of theatre internationally - an identity that is made up of its work, its aims, its approach, and its committed idealism. From its earliest days - even a century ago under the regime of Harley Granville-Barker and then with the emergence of the English Stage Company in the 1950s under George Devine - the Royal Court Theatre has had an ethos that puts its identity as a living theatre before that of any particular people working there...

And yet, like every other organization, that personality is the sum of the contributions of many professionals, onstage and backstage.

Continuously, now, for nearly half a century, the Royal Court has been in the vanguard of developing the newest approaches to theatrical work, finding the newest playwrights and establishing, while constantly evolving, the modern tradition. Many voices that are now individually famous were noticed or even heard there for the first time by a wider public committed to contemporary theatre and its various important roles in the community.

This work continues, sometimes triumphantly, and very often influentially.

Recently, some of the individuals behind the scenes at the Royal Court have talked to the Genesis Foundation about their work with candour and enthusiasm. They work as a team with a strong, central purpose and vision that informs everything they do.

We are pleased to add their detailed voices to our web site for your interest. These are members of the team of people who are, at this particular moment, aspects of the personality of the theatre and its identity. We will, whenever possible or relevant, be adding both updates and new voices so that you can enjoy the ongoing contributions of these individuals to the entity that is the Royal Court theatre.

Elyse Dodgson

Elyse Dodgson, who runs the International Department at the Royal Court, has been a primary force in developing an unrivalled international role for the theatre around the world.

She and her colleagues work to cultivate and stimulate new writing from the international arena, and to give it the kind of exposure that generates international excitement and attention, as well as satisfying a loyal London audience.

Elyse has set up projects for the Royal Court and worked with writers on new plays in many parts of the world, in places such as Uganda, Palestine, India, Brazil and Russia. The fruits of that work filter back to the Royal Court in many ways and at many times, but especially in the biennial International Playwrights seasons.

Ramin Gray

Ramin Gray is the International Associate Director at the Royal Court theatre in London, working with the International Department in their programme of developing plays through workshops of all sorts abroad. He directed the first play in the theatre's International Playwrights Season of 2002 - Push Up by Roland Schimmelpfennig.

For Ramin, the most important theatre is the most contemporary - the theatre that speaks directly and most urgently to today's audiences. Ramin also directs opera; and is a committed internationalist at least in part because of his mixed background. Ramin spoke with the Genesis Foundation about his general approach in January 2002.

Ian Rickson

Ian Rickson - has a powerful vision of the need for a drama that is both topical and innovative -- has been the Artistic Director of the Royal Court theatre since 1998. Having come to the Royal Court as an Associate director in 1994, during the Stephen Daldry period, he found himself taking over during the company's nomad years in the West End of London part way through a £25 million plus refurbishment of its historic building - and then overseeing the return home. He is the Keeper of the Flame, he has the ultimate responsibility for the preservation and development of the Court's world-famous theatrical ethos.

Ian left university in 1985. After a term of teaching drama at a secondary school in Dalston, Rickson spent a tough but rewarding decade as a freelance director. He also worked at Sainsbury's, in an hospital laundry, as a temp in offices and shops, and as a labourer. He became associated with the Royal Court when he was asked to direct for its young people's theatre.

The Royal Court was a derelict and dangerous building on the verge of being condemned when he joined. Today, without losing any of its original atmosphere, it is the refashioned and refurbished home yet again of one of the most exciting ventures in English speaking theatre anywhere in the world. Its commitment to finding the young playwrights who will create the classics of the future is fully supported by a collaboration with the Genesis Foundation.