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Michael Billington, the Guardian’s critic, once accused her of “director’s theatre at its most indulgent”. Her speciality, the Telegraph’s critic once wrote, “is smashing up the classics”. Mitchell arouses criticism in Britain chiefly through the manner in which she takes complete artistic control of every aspect of the work, including the script – assuming the mantle of an auteur. But there is no froideur about her, nor indeed any braggadocio. She projects a sense of zeal and focus that can make one’s own ways feel casual and slipshod. When I visited her at the studio on a balmy day in the spring of 2015, she was wearing plain black lace-ups, black culottes and a black T-shirt, and the only colour about her was her blue eyes. Her friend and fellow director, Richard Jones, once described her to me as “Edwardian” – and there is something starched and straight-spined in her bearing, an impression that is amplified by the precision and care with which she speaks, and her severity of dress. When occasionally she comes to a pause in London, Mitchell works in a featureless room up a narrow, low-ceilinged staircase in a row of old warehouses near Elephant and Castle. (Somewhat outrageously for a British director, Mitchell has only ever directed one Shakespeare play and has no intention of ever doing so again.)
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Instead, Mitchell has been largely directing in Germany and France, crisscrossing the continent by train, always working on five or six projects at once: the Handel opera Alcina, a version of Stanisław Lem’s novel Solaris, a production of Donizetti’s opera Lucia di Lammermoor, another of Debussy’s Pelléas et Mélisande, a theatre version of two novels by the Romanian Nobel laureate Herta Müller, a new opera based on Neil Gaiman’s story Coraline, an adaptation of a French novel (she was agonising over whether to choose Duras, Yourcenar or de Beauvoir) and a feminist rewriting of Hamlet seen from the point of view of Ophelia’s bedroom.
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In 2015, she did not open a single production in the UK.
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One theatre professional told me that some agents only reluctantly put forward actors for Mitchell’s productions because of her fearsome reputation and yet there are actors who have worked with her for 30 years.īut if Mitchell is indeed Britain’s greatest living theatre director, audiences in this country have not had many chances in recent years to see her most ambitious work.
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Others, though, talk about her gentleness, empathy and swiftness to burst into a joyous and slightly dirty laugh. Her critics characterise her as high-minded and humourless, a kind of hatchet-faced governess intent on feeding her audiences with the improving and bleak. Others consider her to be the most important British director of theatre and opera at work today – indeed, among the greatest in the world. Some think of her as a vandal, ripping apart classic texts and distorting them to her own dubious purpose. K atie Mitchell provokes strong reactions.