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Two actors without shoes topple over a fallen chair, surrounded by different coloured empty chairs surrounding them.
Two actors without shoes topple over a fallen chair, surrounded by different coloured empty chairs surrounding them.

The Chairs

By Eugène Ionesco, Translated & Directed by Omar Elarian

Event details

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5 Feb — 5 Mar 2022

★★★★★
“Brilliant buffoonery”
The Telegraph

★★★★
“A gloriously fizzy cocktail of slapstick, physical theatre and silliness”
The Guardian

“I have a message. A struggle, a mission. Something deep in my guts, a message to share with humanity.”

The water is rising. The world outside is crumbling. Alone in a room, an old man and an old woman set out chairs ready for the arrival of a very special audience.

They’ve invited everyone. The dancers, the chancers, the editors, the creditors, the picketers, the hecklers, the Leavers, the Remainers, the Remoaners. Even the bankers. All the movers and shakers are gathering to hear the old man’s final message to humanity. But will the message ever be delivered?

Translated and directed by Omar Elerian (Misty), this “very silly and very funny” (Time Out) new version of Eugène Ionesco’s tragic farce reflects on a life lived together: on what has been, what might have been, and what it all really means.

The cast features, Olivier Award-winner Kathryn Hunter, “one of the greatest stage actors alive” (Vanity Fair), Marcello Magni, co-founder of pioneering theatre company Complicité, and Olivier Award-winning choreographer and performer Toby Sedgwick.

This event has passed.

CREATIVES

Writer Eugène Ionesco
Translator 
Omar Elerian
Director 
Omar Elerian
Co-Designer Cécile Trémolières
Co-Designer Naomi Kuyck-Cohen
Lighting Designer Jackie Shemesh
Co-Sound Designer Elena Peña
Co-Sound Designer Pete Malkin
Wigs, Hair and Makeup Co-Designer Suzanne Scotcher
Voice Coach Michaela Kennen
Assistant Director Nastazja Domaradzka
Magic Consultant Patrick Ashe

CAST

Kathryn Hunter
Marcello Magni
Toby Sedgwick

Artwork photography by David Stewart. Concept by Émilie Chen.