© Hugo Glendinning

© Hugo Glendinning

Charlotte is a stage director specialising in straight theatre, musicals, site-specific pieces, and political theatre. She’s currently developing two new musicals: THE WICKER HUSBAND by Rhys Jennings (book) and Darren Clark (music and lyrics), which won the inaugural MTI Stiles & Drewe Award, and HERE by Kate Marlais and Alex Young (book, music and lyrics), which was developed at the Leicester Curve, as part of the S&S Award. Alongside this, she is currently developing SHAKEN, a new play by Louise Page and Chris Hawes for production in 2018.

Her production of Alan Bennett’s TALKING HEADS opens at the Gala Theatre Durham in March 2018.

Biography:

After graduating with first-class honours for Drama at the University of Manchester and training at Augusto Boal’s Centre of the Theatre of the Oppressed in Rio de Janeiro, Charlotte’s career started at the Donmar Warehouse, where she was the Resident Assistant Director between 2004-2005. At the Donmar she directed KISS OF THE SPIDERWOMAN and LOWER NINTH. Charlotte was also associate director on FROST/NIXON to Michael Grandage and PIAF to Jamie Lloyd for both the Donmar and West End transfers at the Gielgud and Vaudeville respectively.

Charlotte went on to establish herself with shows at theatres including the Tricycle, the Trafalgar Studios and the Sheffield Crucible. In 2012 she directed BEASTS & BEAUTIES, eight fairytales adapted by Poet Laureate Carol Ann Duffy and dramatized by Tim Supple and Melly Still in December 2012 at the Royal Welsh College of Music and Drama. That year also saw her touring THE INCREDIBLE DOCTOR GUTTMAN for Karen Simpson Productions. Highlights of the following year included TITANIC, a new play by Owen McCafferty at new Metropolitan Arts Centre in Belfast, and SUNSET BABY by Dominique Morisseau at the Gate Theatre – where she was an Associate Artist.

In 2015 her production of THE RETURN OF THE SOLDIER played at The Jermyn Street Theatre in September. A new musical adapted from Rebecca West’s novel, it received glowing notices, including 4 stars from The Times. She also directed a new production of VENICE PRESERV’D, a site specific piece in a new waterfront space in Deptford, London, adapted by Owen McCafferty from the Thomas Otway play. The show is produced by The Spectators’ Guild and featured, alongside the play itself, a Venetian carnival and a commedia del’arte. In the same year she directed two of Secret Cinema’s grand-scale sell-out live theatrical-cinematic experiences, BRAZIL and CASABLANCA.

In 2016 she worked as dramaturg on Christopher Wheeldon’s new ballet for the Royal Opera House, STRAPLESS (which returned to the ROH in May 2017), collaborated with the prestigious Gandini Juggling, and directed Amy Ng’s SHANGRI-LA at the Finborough.

Charlotte has been recognized for numerous awards, including a 2006 Olivier Award for Outstanding Achievement in an Affiliate Theatre as associate director to Nicolas Kent for BLOODY SUNDAY – SCENES FROM THE SAVILE INQUIRY. She received a nomination for a 2006 Whatsonstage Theatregoers’ Choice Award for GLADIATOR GAMES; the same play was nominated for a 2007 Olivier Award for outstanding Achievement in an Affiliate Theatre for its run at Stratford East. WAITING FOR LEFTY was a finalist for 2003 James Menzies Kitchin Award for Young Directors (BAC).

 Selected credits: 

LOWER NINTH by Beau Willimon, Donmar at Trafalgar Studios; DECADE by Lou Ramsden at Theatre 503; KISS OF THE SPIDERWOMAN by Manuel Puig, Donmar Warehouse; MY DAD’S A BIRDMAN by David Almond, Sheffield Crucible Theatre; DARFUR – HOW LONG IS NEVER (co-directed with Nicolas Kent), Tricycle Theatre; GLADIATOR GAMES by Tanika Gupta, Sheffield Theatre Studio. HONK HONK YOU DONKY DONK by Jack Thorne, as part of the Celebrity 24 Hour Plays 2011 at the Old Vic; ABOUT BILL, Landor Theatre; ZEPHANIAH by Helen Edmunson, 2 JOHN by Nathalie Handal, EZRA by Naomi Foyle all as part of the Bush Theatre’s 66 Books; BLAIR’S CHILDREN at the Cockpit Theatre; THE INCREDIBLE DOCTOR GUTTMAN UK Tour for Karen Simpson Productions; TITANIC by Owen McCafferty at new Metropolitan Arts Centre in Belfast; SUNSET BABY by Dominique Morisseau at the Gate Theatre; BRAZIL and CASABLANCA, both for Secret Cinema; VENICE PRESERV’D by Thomas Otway, adapted by Owen McCafferty; THE RETURN OF THE SOLDIER at The Jermyn Street Theatre, produced by Aria Entertainment; SHANGRI-LA at the Finborough.