UNBELIEVABLE: 2 - The Untold Story

A Play for the Living in a Time of Extinction review - climate change show is provocative but preachy

It’s a Sin’s Lydia West brings vulnerability and likeability to her stage debut

Evening Standard · Apr 28, 2023

Boldly not going: zero-travel ‘touring’ play paves the way for eco theatre

Using local creatives and actors, director Katie Mitchell’s A Play for the Living in a Time of Extinction is a narrative response to the climate crisis and an experiment in sustainability

The Guardian - UK · Feb 21, 2023

The Cherry Orchard review – Katie Mitchell presents the view from the trees

The director’s latest eco-theatre production gives us fragments of Chekhov’s dialogue and a searing reading of our relationship with nature

The Guardian - UK · Nov 28, 2022

The Blue Woman review – tensely atmospheric opera of violence on women

Four singers, four cellists and an actor walking Sarah Everard’s final route combine in Katie Mitchell’s not-quite-hopeful production

The Guardian - UK · Jul 7, 2022

The week in classical: Theodora; OAE: Bach, the Universe and Everything – review

It comes with a health warning, but Katie Mitchell’s perceptive, largely cogent staging of this rarely seen work allows Handel’s genius to shine through

The Guardian - UK · Feb 5, 2022

Theodora review – bombs, a brothel and a brilliant cast

Katie Mitchell’s modern-day staging of Handel’s oratorio is probing but problematic. The cast, however, is one of the finest ever assembled for the work

The Guardian - UK · Feb 1, 2022

Theodora at Covent Garden: Katie Mitchell’s production is radical but could be tighter, unlike the frocks

A feminist retelling of Handel’s story mostly makes sense, and highlights the clash of belief systems

Evening Standard · Feb 1, 2022

Katie Mitchell interview: ‘With the theatrical canon, you have to look the misogyny in the eye’

Her production of Handel’s Theodora will be the first at the Royal Opera House since its 1750 premiere - but not before Katie Mitchell has gone to battle with the libretto’s misogyny

Evening Standard · Jan 26, 2022