Theatre

Hunter
Kathryn Hunter is a courageous, small actor of Greek origin with a deep voice. Her breeches roles have, probably uniquely, included Richard III and King Lear, but she first came to notice as the millionairess in Complicite’s (see below) ‘The Visit’.
Also David Hare, Nicholas Hytner

Improbable
Gadfly geniuses Phelim McDermott, Lee Simpson and Julian Crouch (aka Improbable) devise gloriously precarious theatre on stages, in public parks and about real people’s lives. Notable productions include ‘Lifegame’ (in which dramas are cobbled together from the responses of different on-stage interviewees each night).
Also In-Yer-Face Theatre Feature continues

Jennings
A favourite at the National, Alex Jennings is a discriminating actor with a big voice, unruly curls and a massive range. Currently appearing in ‘The Alchemist’ as well as adopting Prince Charles’ vocal tics in Stephen Frears’ film ‘The Queen’.
Also David Jubb

Kneehigh
For years they were an exciting but relatively unknown regional gem. Now, Cornish storytellers Kneehigh are among the most sought-after companies in the land. Their ballsy but beautiful brand of folk-theatre has produced a string of hits, including ‘Tristan & Yseult’ and ‘The Red Shoes’.
Also Sarah Kane, Kwame Kwei-Armah

Lepage
Director, actor, writer and filmmaker, Robert Lepage is the darling of the international theatre circuit – a status he satirised in his most recent d d hit, ‘The Andersen Project’. He specialises in intimate yet ambitious one-man dramas.
Also Neil LaBute, LIFT (London International Festival of Theatre), Live Art

Mitchell
Katie Mitchell first appeared in the ’80s with illuminating productions at the Gate and the Old Red Lion under the banner of her company Classics on a Shoestring. She’s now an associate director at both the National and the Royal Court. Her productions often feature: acute angles, distressed walls, dim lighting, and rain falling outside.
Also Maly Theatre, Richard Maxwell, Martin McDonagh, Menier Chocolate Factory

Neilson
A woman defecates on stage (‘The Censor’). A man masturbates over images of the Holocaust (‘Stitching’). Welcome to the warped world of Scots playwright Anthony Neilson, the grandaddy of ‘in-yer-face theatre’. While Neilson is much more than a shock-peddler (as recent work, including this summer’s absurdist hit ‘Realism’, has proven), his plays are guaranteed to mine the darkest, deep shafts of the human psyche.
Also Rufus Norris, Nimax

Out of Joint
When Max Stafford-Clark left the Royal Court, he set up new play company Out of Joint. Its name harked back to Joint Stock, the company he ran with Bill Gaskill in the ’70s, and suggested a disenchantment with contemporary theatre. In spite of this, Out of Joint couldn’t have been more fashionable when it launched Mark Ravenhill’s (see below) ‘Shopping and Fucking’ at the Royal Court in 1996. Out of Joint has premiered plays by Stella Feehily, Sebastian Barry and David Hare.