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Indhu Rubasingham
Indhu Rubasingham
Indhu Rubasingham
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Indhu Rubasingham, MBE (/ˈɪnduː ˌruːbəˈsɪŋəm/;[1] born 1970), is a British theatre director and the current[2] artistic director of the National Theatre.

Key Information

Early life

[edit]

Born in Sheffield, England, to Tamil parents from Sri Lanka[3] in 1970, Rubasingham was educated at Nottingham Girls' High School[4][citation needed], after which she studied drama at Hull University,[5] from where she later received an honorary doctorate in 2017.[6]

Career

[edit]

Freelance directing

[edit]

Soon after graduating from Hull University, Rubasingham received an Arts Council bursary to work as a trainee director at the Theatre Royal Stratford East, where she assisted director Mike Leigh. She then worked as a freelance theatre director for more than fifteen years and during this time held posts as an associate director at the Gate Theatre, the Young Vic, and the Birmingham Repertory Theatre.[7]

She has worked across the UK and internationally. Her focus has been predominantly directing new writing and developing exciting voices. Themes that often arise in her work explore and examine ideas around British identity and the threads of human connection that crosses race, culture and identity; telling stories from different perspectives and specificity that reveals the universality of the human spirit.[8]

Rubasingham had a long involvement with the international department at the Royal Court Theatre when headed by Elyse Dodgson[9] which allowed her to forge relationships with playwrights from Cuba, Mexico, Brazil, Uganda and India. Indhu has also had a longstanding relationship with Sundance Theatre Lab (2011–2019),[10] under the artistic directorship of Philip Himberg. She has directed radio plays for BBC Radio 4, BBC Radio 3 and the BBC World Service.

She is a trustee for the Royal Opera House,[11] Metroland (Brent),[12] the George Devine Award and the Susan Smith Blackburn Prize. Previous trustee positions include Mountview Academy of Theatre Arts, British Council Advisory Board and the Regional Theatre Young Directors Scheme, for which Rubasingham is currently a patron. She is on the judging panel for the Channel 4 Playwriting Scheme[13] and the Phil Fox Award for Playwriting. Since 2021, she has been on the judging panel of The Women's Prize for Playwriting, becoming Chair in 2023.[14]

In 2017, Rubasingham was appointed MBE in the 2017 New Year Honours List.[citation needed]

As artistic director

[edit]

Indhu Rubasingham is the current[15] artistic director of the National Theatre. She took up her role in the spring of 2025. It was announced in December 2023 she would take over as Artistic Director of the National Theatre from Rufus Norris.[16]

In her previous role at the Kiln, Indhu Rubasingham succeeded Nicolas Kent as artistic director of the Tricycle Theatre in 2012. In April 2018, after a capital renovation, the theatre's name was changed to the Kiln Theatre.[17] Rubasingham's mission for Kiln Theatre was to make theatre for all by making space for unheard/ignored voices to be part of the mainstream and be a local theatre with an international vision.[18] The theatre sits in the Borough of Brent.

Rubasingham oversaw a £9 million major renovation of the building, which reopened in 2018.[19] The revamped building includes an adaptable stage in the larger 292-seat theatre, better sightlines, new lighting facilities, a new café, improved disabled access and gender-neutral toilets.

Under her artistic leadership, the creative engagement programme aimed to champion the imagination, aspiration and potential of the Brent community young and old.[20]

During her time as artistic director, her production of Red Velvet by Lolita Chakrabarti was transferred to the West End's Garrick Theatre[21] and St Ann's Warehouse Theater in New York. Her production of Moira Buffini's Handbagged was transferred to the West End's Vaudeville Theatre prior to a UK tour before playing at 59e59 in New York and Washington, D.C.'s Round House Theatre.[citation needed] Her production of Zadie Smith's The Wife of Willesden has transferred to American Repertory Theatre, Harvard University and Brooklyn Academy of Music.

Rubasingham programmed Florian Zeller's "Family Trilogy", including The Son, which was transferred to the West End's Duke of York's Theatre in 2019; and The Father, which was transferred to the West End's Wyndham's Theatre in 2015 before being moved to the West End's Duke of York's Theatre in 2016. The Father was adapted for the 2020 film starring Anthony Hopkins and Olivia Colman, directed by Zeller.

In August 2014, while Rubasingham was artistic director, she was at the centre of an antisemitism controversy over the funding of the UK Jewish Film Festival, intended to have been held at the theatre. Rubasingham said it was "inappropriate" to host a festival part-funded by the Israeli embassy[22] given "the current conflict in Israel and Gaza". She later claimed she had been subject to "vitriol from some elements of the Jewish community" and "people saying they are going to withdraw money".[23] The theatre eventually reversed the decision and issued a public apology, allowing the festival to go ahead.[24]

Awards

[edit]
  • Best Director, The Father and the Assassin, Eastern Eye Arts, Culture & Theatre Awards (2023)[25]
  • Kiln Theatre "Best London Theatre" The Stage Awards (2021)[26]
  • Best Director, White Teeth, ACTA – Eastern Eye's Arts Culture & Theatre Awards (2019)
  • Tonic Awards (2017)
  • Olivier Award for Outstanding Achievement in an Affiliate Theatre, Handbagged (2014)
  • The Arts & Culture Award, Asian Women of Achievement Awards (2012)
  • Liberty Human Rights Award (2010)
  • The Carlton Multi-Cultural Achievement Award for Performing Arts (2001)
  • Achievement in Art and Culture at Asian Achievers Awards (2025)[27]

Productions

[edit]
Year Play Production Notes
2023 The Wife of Willesden by Zadie Smith Brooklyn Academy of Music NY premiere
2023 The Wife of Willesden by Zadie Smith American Repertory Theater, Harvard University US premiere
2022 Kerry Jackson by April de Angelis National Theatre UK premiere
2022 The Wife of Willesden by Zadie Smith Kiln Theatre First major revival
2022 Handbagged by Moira Buffini Kiln Theatre First major revival
2022 The Father and the Assassin by Anupama Chandrasekhar National Theatre World premiere
2021 The Wife of Willesden by Zadie Smith Kiln Theatre World premiere
2021 The Invisible Hand by Ayad Akhtar Kiln Theatre First major revival
2021 Girl on an Altar (Rehearsed Reading) by Marina Carr Kiln Theatre Live Stream. Co-directed with Susie McKenna
2020 The Invisible Hand (Rehearsed Reading) by Ayad Akhtar Kiln Theatre Live Stream
2020 Pass Over by Antoinette Nwandu Kiln Theatre UK premiere
2019 When the Crows Visit by Anupama Chandrasekhar Kiln Theatre World Premiere
2019 Handbagged by Moira Buffini 59E59 Theaters New York Premiere, produced by Round House Theatre
2019 Wife by Samuel Adamson Kiln Theatre World Premiere
2018 White Teeth by Zadie Smith, adapted by Stephen Sharkey Kiln Theatre World Premiere
2018 Holy Sh!t by Alexis Zegerman Kiln Theatre World Premiere
2018 The Great Wave by Francis Turnly National Theatre World Premiere. A co-production with Kiln Theatre
2017 Ugly Lies the Bone by Lindsey Ferrentino National Theatre
2016 The Invisible Hand by Ayad Akhtar Tricycle Theatre UK Premiere
2015 A Wolf in Snakeskin Shoes by Marcus Gardley Tricycle Theatre
2015 The Motherfucker with the Hat by Stephen Adly Guirgis National Theatre Winner of Best Play and nominated for Best Director at Evening Standard Theatre Awards.
2015 Multitudes by John Hollingworth Tricycle Theatre
2014 The House That Will Not Stand by Marcus Gardley Tricycle Theatre
2013 Handbagged by Moira Buffini Tricycle Theatre West End transfer, Vaudeville Theatre, in 2014
2012 Red Velvet by Lolita Chakrabarti Tricycle Theatre Winner Outstanding Achievement in an Affiliate Theatre Laurence Olivier Awards. New York transfer, St. Ann's Warehouse, in 2014. UK tour in 2015. West End transfer, Garrick Theatre, in 2016
2012 Belong by Bola Agbaje Royal Court Theatre
2011 Stones in His Pockets by Marie Jones Tricycle Theatre
2010 Ruined by Lynn Nottage Almeida Theatre
2010 Women, Power and Politics by various authors including Moira Buffini and Rebecca Lenkiewicz Tricycle Theatre
2010 Disconnect by Anupama Chandrasekhar Royal Court Theatre
2009 Detaining Justice by Bola Agbaje Tricycle Theatre
2009 The Great Game (with Nicolas Kent ) Tricycle Theatre Also US Tour, finishing at The Pentagon, Washington.
2008 Wuthering Heights, adapted by April De Angelis from the novel by Emily Brontë Birmingham Rep
2007 Free Outgoing by Anupama Chandrasekhar Traverse Theatre
2007 Pure Gold by Michael Bhim Soho Theatre
2007 Heartbreak House by G.B. Shaw Watford Palace Theatre
2007 Free Outgoing by Anupama Chandrasekhar Royal Court Theatre
2006 Sugar Mummies by Tanika Gupta Royal Court Theatre
2006 Fabulation by Lynn Nottage Tricycle Theatre
2005 The Morris by Helen Blakeman Liverpool Everyman
2004 Anna in the Tropics by Nilo Cruz Hampstead Theatre
2004 Another America a new opera by Errolyn Wallen Sadler's Wells
2003 Yellowman by Dael Orlandersmith Liverpool Everyman and Hampstead Theatre
2003 Rhinoceros by Ionesco UCDavis, California
2002 The Misanthrope by Molière, in an adaptation by Martin Crimp Minerva Theatre, Chichester
2002 Bombay Dreams Apollo Victoria Associate Director
2002 Romeo and Juliet Chichester Festival Theatre
2001 Secret Rapture by David Hare Minerva Theatre, Chichester
2001 Clubland by Roy Williams Royal Court Theatre
2001 Ramayana National Theatre
2000 The Waiting Room by Tanika Gupta National Theatre
2000 Ramayana Birmingham Rep
1999 Time of Fire by Charles Mulekwa Birmingham Rep
1999 Lift Off by Roy Williams Royal Court Theatre
1998 The Crutch by Ruwanthie Dechickera Royal Court Theatre (Upstairs)
1998 Starstruck by Roy Williams Tricycle Theatre Received the John Whiting Award and an EMMAs Award.
1998 Kaahini by Maya Chowdhry Birmingham Rep
1997 A River Sutra by Gita Mehta adapted by Tanika Gupta Three Mills Island Studios Received Diverse Acts Award from LAB.
1997 Shakuntala by Kalidasa adapted by Peter Oswald Gate Theatre
1996 Storming Young Writers Festival Royal Court Theatre (Upstairs)
1996 Gulp Fiction by Trish Cooke Theatre Royal Stratford East
1996 No Boys' Cricket Club by Roy Williams Theatre Royal Stratford East
1996 Sugar Dollies by Klaus Chatten Gate Theatre
1996 A Doll's House by Henrik Ibsen Young Vic Studio
1994/1995 D'yer Eat With Your Fingers?! Theatre Royal Stratford East
1994 Party Girls by Debbie Plentie Theatre Royal Stratford East

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Indhu Rubasingham

View on Grokipedia
from Grokipedia

, MBE (born February 1970), is a British of Sri Lankan Tamil descent who assumed the role of Director and Joint Chief Executive of the National Theatre in spring 2025. Born in to Sri Lankan Tamil parents, she earned a BA Honours in Drama from the before holding associate director positions at the Gate Theatre, , and . From 2012 to 2023, Rubasingham served as of the (previously the Theatre), where her inaugural production, Red Velvet by , garnered the Evening Standard Award and for Best New Play. Other key works under her leadership included Handbagged, which won an Olivier Award for Outstanding Achievement in an Affiliate Theatre, and The Wife of , the venue's highest-grossing production to date. She oversaw a £9 million refurbishment of the theatre, reopening it in 2018 under the new name—a change opposed by some local residents who preferred retaining the Tricycle moniker. Rubasingham's tenure at the drew scrutiny in 2014 when the theatre declined to host the UK Jewish Film Festival, citing concerns over sponsorship from the Israeli embassy amid the Gaza conflict; the decision prompted accusations of from critics, though the theatre maintained it sought to avoid perceived political endorsements rather than reject Jewish cultural content. She received an MBE in 2017 for services to theatre.

Early life and education

Family background and upbringing

Indhu Rubasingham was born in , , in 1970 to Sri Lankan Tamil parents who had immigrated to the . Her father, A.S. Rubasingham, worked as an eye specialist after relocating from and held high expectations for her to pursue a medical career, reflecting traditional family aspirations within their immigrant household. She was raised in a Tamil household in the town of , where her family's Sri Lankan heritage shaped her early cultural environment amid the challenges of integration as second-generation immigrants. Rubasingham has credited her parents' immigrant experiences with fostering her understanding of displacement and identity, influences that later informed her theatrical work, though they initially emphasized academic rigor in sciences over artistic pursuits. Demonstrating strong aptitude in and during her upbringing, she completed A-levels exclusively in scientific subjects, aligning with familial pressures before diverging toward .

Academic pursuits and influences

Rubasingham initially excelled in science and during her at Nottingham Girls' High School, taking s exclusively in scientific subjects and considering a career in , influenced by her family's emphasis on traditional professional paths. Lacking the required English literature qualification for programs, she took a to complete that —among her total of six—before pursuing higher education in . She enrolled in a BA (Hons) in at the , graduating in 1992, where the curriculum ignited her passion for theatre directing. A pivotal influence occurred during her studies when she directed her first production, Low Level Panic by Clare McIntyre, an experience that crystallized her commitment to directing as her vocation. She later described the Hull program as one she deeply enjoyed, crediting it with sustaining her trajectory in theatre despite initial familial reservations about diverging from . Following graduation, Rubasingham relocated to for a postgraduate course at a but departed after one term upon securing an to assist professional directors, marking an early transition from academia to practice. This shift underscored her influences as pragmatic and experiential, prioritizing hands-on theatre over extended formal study.

Freelance directing career

Initial professional breakthroughs

Following her graduation from the University of Hull in 1992, Rubasingham obtained an Arts Council bursary to train as an assistant director at the , a venue renowned for its bold programming under artistic director Philip Hedley. There, she assisted on productions, gaining practical insight into his improvisational methods and collaborative approach during a residency period that exposed her to professional rehearsal dynamics and actor development. This six-month traineeship represented her primary breakthrough into the industry, bridging academic training with real-world application in a theatre that had nurtured talents like and . The experience propelled her into freelance directing, where she built a reputation through associate roles at institutions such as the Gate Theatre in and the Studio, allowing her to helm experimental works and adapt narratives for diverse audiences. One early milestone came around 2003 with her direction of The Ramayana at , an ambitious adaptation of the Hindu epic that showcased her ability to integrate cultural with contemporary staging, drawing positive attention for its visual spectacle and thematic depth. By the mid-2000s, she had directed Sugar Mummies (2006) at the Royal Court Theatre Upstairs, a provocative exploration of racial and sexual dynamics in , which earned reviews for its unflinching portrayal of power imbalances and marked her entry into London's subsidized fringe circuit. These initial efforts culminated in multiple commissions at the Tricycle Theatre (now ), where she freelanced on at least six productions prior to her 2012 appointment as , including contributions to verbatim-style works that honed her skill in ensemble-driven, politically engaged theatre. Her co-direction of The Great Game: (2009) with Nicolas —a cycle of 12 short plays examining the region's conflicts—gained international notice for its journalistic rigor and timely relevance, touring to the U.S. and influencing discourse on geopolitical theatre. This phase established Rubasingham's style: precise, culturally attuned direction emphasizing underrepresented voices without compromising narrative clarity.

Key early productions and style development

Rubasingham's initial foray into directing occurred during her time at the , where she helmed a production of Clare McIntyre's Low Level Panic, a play examining themes of female experience and . This student effort, which earned the university's drama award, marked a turning point, solidifying her preference for directing over and igniting her professional aspirations in theatre. Following graduation in the early 1990s, Rubasingham secured an Arts Council bursary for a trainee director position at the Theatre Royal, where she assisted established figures such as on productions. This apprenticeship honed her technical skills in staging and collaboration, exposing her to professional workflows and the demands of ensemble work. Transitioning to freelance directing, she tackled a diverse array of plays, including Dael Orlandersmith's at , which explored racial and class divides within African-American communities through a format, and a stage adaptation of at the National Theatre, blending epic narrative with contemporary staging techniques. These early freelance efforts, alongside revivals like and contributions to the 2010 Women, Power and Politics season at Tricycle Theatre—where she directed segments interrogating female historical agency—revealed Rubasingham's emerging style: a precise, actor-centered approach favoring intimate character studies and culturally resonant narratives over spectacle. Her choices emphasized verbatim techniques and adaptations from non-Western sources, fostering a directorial voice attuned to power imbalances and identity without didacticism, as evidenced by the critical reception of her ability to balance emotional depth with structural innovation in limited-resource settings.

Leadership at Kiln Theatre

Appointment and early tenure

Indhu Rubasingham was appointed of the Tricycle Theatre on November 16, 2011, succeeding Nicolas Kent, who had led the venue for 28 years. She assumed the role in May 2012, becoming the first woman of colour to direct a major theatre. Upon arrival, Rubasingham inherited a staff described as demoralized and a physically aging building in need of renovation. Rubasingham's inaugural 2012–2013 season, announced in June 2012, emphasized new writing and diverse voices to attract a younger and broader , featuring four productions starting in October. Her first production as artistic director was the world premiere of Red Velvet by , directed by Rubasingham and starring as the 19th-century Black actor ; the play received critical acclaim and multiple awards, including an Olivier Award nomination for Best New Play. Subsequent early works included Belong by Bola Agbaje in 2012 and Handbagged by in 2013, continuing a focus on contemporary British stories. The season also incorporated adaptations like Mary Zimmerman's work and pieces curated by Philip Himberg, signaling Rubasingham's intent to expand the theatre's programming beyond Kent's established tribunal seasons. During her initial years through 2015, Rubasingham prioritized institutional stability and audience engagement amid financial pressures, partnering with local authorities for future sustainability while directing select in-house productions to build momentum. Attendance remained strong at over 100,000 visitors annually, reflecting continuity from prior leadership but with shifts toward more inclusive narratives. By 2013, her tenure had stabilized operations, setting for later , though challenges like building maintenance persisted until major renovations culminated in the 2018 rebranding to .

Theatre redevelopment and rebranding

In 2016, under Indhu Rubasingham's leadership as , the Tricycle Theatre initiated a £7 million capital redevelopment project to modernize the aging facility in Kilburn, . The two-year refurbishment expanded the main auditorium's capacity, introduced a new bar and foyer areas, and improved accessibility and technical capabilities to support diverse programming. The project addressed long-standing maintenance issues in the building, originally converted to a in 1980 from a former community hall. The redevelopment coincided with a effort, culminating in the theatre's relaunch as on 11 April 2018. Rubasingham justified the name change as a means to emphasize the theatre's location in Kilburn—evoking "Kiln" from "Kilburn"—and to center community in its identity, moving away from the original "" moniker tied to the founders' touring company. Proponents argued the rebrand signaled ambitions for broader appeal and innovation, aligning with the physical upgrades to attract new audiences while retaining artistic focus on underrepresented stories. The rebranding sparked significant backlash, with over 1,500 people signing a opposing the , viewing it as an erasure of the Tricycle's established legacy in political and verbatim . Former Nicolas criticized the decision as a "tragic" commercial misstep that undermined the venue's historical identity. Despite the controversy, Rubasingham maintained the changes were essential for sustainability, enabling the to reopen with enhanced facilities and a refreshed program, including adaptations like Zadie Smith's .

Major productions and artistic direction

Rubasingham's tenure as artistic director saw the premiere and revival of several notable productions that addressed historical, political, and social themes through diverse lenses. Her inaugural show, the 2012 world premiere of Red Velvet by Lolita Chakrabarti—starring Adrian Lester as the 19th-century Black actor Ira Aldridge—earned critical praise for its exploration of race and theatre history, with the play securing the Evening Standard Theatre Award and Critics' Circle Theatre Award for Best New Play. Subsequent highlights included the 2017 premiere and 2021 revival of The Invisible Hand by Ayad Akhtar, directed by Rubasingham, which examined financial intrigue and power dynamics in Pakistan and garnered an Olivier Award nomination for Outstanding Achievement in an Affiliate Theatre. The 2021 world premiere of The Wife of Willesden, Zadie Smith's verse adaptation of Chaucer's The Wife of Bath set in contemporary Kilburn, featured a multicultural ensemble and ran for 100 minutes without interval, later transferring to venues including the American Repertory Theater and BAM in New York. Rubasingham's artistic direction prioritized programming that mirrored Kilburn's multicultural demographics, fostering new writing from underrepresented creators and international collaborations to tackle global issues like identity, migration, and power. This approach, evident in works like Nwandu's Pass Over (2019) and Anoushka Warden's When the Crows Visit (2019), aimed to enhance accessibility and relevance for local audiences while achieving broader transfers and awards recognition.

Institutional achievements and challenges

Rubasingham assumed leadership of the Tricycle Theatre (later rebranded ) in 2012 amid a £350,000 reduction in core funding from , which had occurred following her predecessor's departure. Despite this financial strain, she initiated and oversaw a £9 million capital campaign to redevelop the aging venue, securing private and public donations to fund upgrades including improved technical facilities, accessibility enhancements, and a more flexible . The project, executed between 2016 and 2018, required a two-year closure of the main space, forcing operations in temporary locations and testing operational resilience, yet it ultimately future-proofed the building for contemporary programming needs. The redevelopment's completion in September 2018 marked a key institutional milestone, enabling expanded capacity and technical capabilities that supported higher-profile productions and transfers to larger venues, thereby boosting revenue streams through West End runs and international tours. Post-reopening, the theatre demonstrated financial recovery, with sustained Arts Council support and increased fundraising—evidenced by a rise in donations to over £1 million in subsequent years—contributing to operational stability. Amid the , which halted live performances from March 2020 onward, Rubasingham's tenure included adaptive measures such as digital content and audience re-engagement strategies, culminating in Kiln receiving Awards' London Theatre of the Year in 2021 for its effective recovery efforts. Challenges persisted in balancing ambitious redevelopment costs against inherited budget constraints and external shocks like the , which exacerbated sector-wide pressures and dips. The scale of the capital project demanded rigorous financial oversight, with reliance on and grants amid fluctuating public subsidy, while the closure period risked eroding local loyalty and short-term income. Nonetheless, these efforts positioned as a revitalized hub for innovative work, evidenced by its national profile growth and ability to sustain diverse programming without reported deficits during her 11-year stewardship.

Controversies during Kiln tenure

Refusal of Israeli funding for Jewish Film Festival

In August 2014, amid the Israel-Gaza conflict, Indhu Rubasingham, then artistic director of the Tricycle Theatre (later rebranded as ), announced that the venue would not host the Jewish Film Festival (UKJFF) while it accepted partial funding from the Israeli embassy. The decision affected an event the theatre had hosted for eight consecutive years, with the embassy's contribution amounting to approximately £1,400 out of the festival's total budget. Rubasingham justified the refusal by stating that accepting the funding would be "inappropriate" given the ongoing violence in Gaza, which had resulted in over 1,800 Palestinian deaths according to contemporaneous reports, framing it as a matter of not endorsing state actions during active hostilities. The theatre offered to provide equivalent funding itself or host the event without the embassy's involvement, but UKJFF organizers rejected these alternatives, insisting the sponsorship was non-political and essential to the festival's operations. As a result, the 2014 UKJFF relocated its screenings to alternative venues, including other cinemas in , to proceed without interruption. The episode drew parallels to broader debates over cultural , with supporters including pro-Palestinian groups praising the stance as principled resistance to complicity in conflict, while festival representatives emphasized that the funding supported Jewish cultural programming unrelated to government policy.

Responses and broader implications

The Tricycle Theatre's decision drew sharp criticism from Jewish community leaders and organizations, who accused it of and conflating the Israeli government with Jewish cultural expression. The Board of Deputies of described the move as "opportunistic," questioning the theatre's motives amid the ongoing Israel-Gaza conflict and announcing plans to review its public funding. Similarly, the editorialized that the refusal shamed the theatre by extending a of to the local Jewish community, effectively punishing an event focused on Jewish films rather than Israeli . In response, Rubasingham and theatre chairman Jonathan Levy issued statements affirming their commitment to and clarifying that the objection targeted state funding during wartime, not the festival itself; the theatre later offered to host the event unconditionally, leading the festival to withdraw anyway. Pro-Palestine groups, including the BDS Movement, praised the decision as a principled stand against complicity in Israel's actions, with a public letter thanking Rubasingham for rejecting Israeli sponsorship and framing it as resistance to cultural whitewashing. However, supporters like playwright Tanika Gupta later reported that Rubasingham faced racist abuse and calls for her dismissal, highlighting personal backlash amid the polarized debate. The incident sparked broader discussions on institutions' acceptance of foreign , particularly from states involved in conflicts, with critics warning it represented the "thin end of the wedge" toward politicizing cultural venues and potentially excluding events based on geopolitical stances. It fueled accusations of rising in cultural spaces, prompting scrutiny of public and precedents for BDS-influenced boycotts, as evidenced by the festival's relocation and the theatre's partial backtracking. The controversy resurfaced in 2023 upon Rubasingham's appointment as National Theatre director, reigniting debates over whether such political decisions disqualify leaders from major institutions and underscoring tensions between artistic independence and perceived ideological bias in subsidized theatre.

Renaming of the theatre

In April 2018, as part of a £7 million refurbishment and relaunch scheduled for September that year, Indhu Rubasingham announced the renaming of the Tricycle Theatre to . Rubasingham justified the change as an opportunity to redefine the venue's identity in a new building, emphasizing that "Kiln" evoked transformation, heat, energy, and forging—symbolizing a for diverse cultural stories while tying into the Kilburn area's name. She argued the rebrand would attract new audiences by clarifying the theatre's adult-oriented programming and countering misconceptions, such as associations with children's theatre or unrelated activities, following consultations rather than a capricious decision. The decision provoked significant backlash from the local community and theatre affiliates, who viewed the Tricycle name—established in 1980 and synonymous with 38 years of political and verbatim theatre—as an irreplaceable landmark brand with national and international recognition. Protests drew over 60 participants, and two petitions amassed more than 1,000 signatures calling for reversal, citing inadequate consultation and the erasure of heritage. Former artistic directors Nicolas Kent and Ken Chubb, along with 12 past board members including Patricia Macnaughton and Stephen Phillips, issued an decrying the move as a "tragic" and commercially misguided discard of legacy. Further complications arose from Birmingham's Kiln Ensemble, an existing theatre company unaware of the rebrand until its public announcement on April 12, 2018; its board pursued legal advice over potential name confusion and planned to notify of their concerns. Rubasingham defended the permanence of the change, noting early post-relaunch data showed 30% of ticket sales from first-time visitors, and maintained that evolution was essential for the venue's sustainability while honoring its artistic continuity. The controversy lingered, referenced in coverage of her 2023 departure after 11 years, though the theatre operated successfully under the new name with expanded programming.

Transition to National Theatre

Selection as director

On 13 December 2023, the National Theatre announced the appointment of Indhu Rubasingham as its next Director and Joint Chief Executive, marking the first time a woman has held the role since the institution's founding in 1963. She succeeded , whose second term concluded in spring 2025 after a decade in the position. The recruitment process commenced earlier in 2023 following Norris's decision to depart, involving a panel that evaluated candidates based on their alignment with the theatre's mission to produce outstanding work accessible to diverse audiences. Rubasingham, artistic director of the since 2012, impressed the panel with her articulated vision for the National's future, emphasizing innovation, inclusivity, and bold programming drawn from her track record of directing over 100 productions, including collaborations with the National such as in 2015. Rubasingham assumed the role of director designate in spring 2024, working alongside Kate Varah to prepare for the transition, before taking full leadership in spring 2025. The appointment was praised by commentators for leveraging her experience in redeveloping venues and fostering new talent, though it occurred amid broader discussions on leadership diversity in cultural institutions.

Inaugural programming and vision

Indhu Rubasingham's vision for the National Theatre emphasizes the institution as "a beacon of creativity, humanity and possibilities," with a focus on heritage and renewal through the reinvention of classic stories alongside emerging contemporary voices. This approach aims to broaden access to high-quality theatre, foster international collaborations, and integrate diverse that reflects global and national identities, including partnerships with venues like The Shed and BAM in New York. Her programming underscores a commitment to nurturing future talent via education initiatives, such as school tours and the Skills Centre supported by , while prioritizing social themes like identity and without compromising artistic rigor. On April 29, 2025, Rubasingham unveiled her inaugural season, comprising 16 new productions extending through 2027, including nine world premieres and a return to . The lineup blends reimagined classics—such as and —with original works like The Authenticator and Samira, alongside innovative commissions featuring composers, musicians including , and immersive experiences from Punchdrunk. Musical elements are prominent, with world-premiere scores and a new stage adaptation of an award-winning film, designed to appeal to broad audiences while maintaining the theatre's tradition of bold disruption. Rubasingham personally directed the season's opening production, a contemporary rap of ' Bacchae by Nima Taleghani, which premiered in the Olivier Theatre on September 13, 2025, starring , , and . She also helmed a puppetry-enhanced of by Anupama Chandrasekhar for Christmas 2026 in the Olivier, signaling her intent to merge cultural narratives with accessible, family-oriented spectacle. Other notable entries include revivals like with Hiran Abeysekera and A Whistle in the Dark featuring , alongside Dorfman Theatre premieres exploring modern dilemmas, all aligned with her goal of positioning the National Theatre as a global hub for theatrical innovation.

Awards and honors

Directing and leadership accolades

Rubasingham's direction of Red Velvet (2012) earned the Award for Outstanding Achievement in an Affiliate Theatre in 2014. Her staging of Handbagged (2013) similarly received the Olivier Award for Outstanding Achievement in an Affiliate Theatre that year. In recognition of her leadership at the Tricycle Theatre (now ), Rubasingham received the GG2 Media & Creative Arts Leadership award in 2016. She was appointed Member of the (MBE) in the for services to . The same year, the conferred upon her an honorary doctorate. Under her artistic directorship, the was awarded Best London Theatre at Awards in 2021.

Institutional recognitions

In 2017, Rubasingham was appointed Member of the (MBE) in the for services to . She received an honorary doctorate from the , recognizing her contributions to . In 2018, she joined the British Council's Arts and Creative Economy Advisory Group, comprising leading figures in arts and culture to advise on international policy and initiatives.

Critical reception and debates

Praise for diversity and innovation


Under Indhu Rubasingham's artistic directorship at since 2012, the venue has received praise for staging innovative productions that mirror the multicultural demographics of its north-west locale, including Brent, one of the UK's most diverse boroughs. Her tenure oversaw a £9 million architectural refurbishment completed in 2018, enabling expanded programming that prioritized new voices and community engagement. Rubasingham has been commended for repositioning the former Tricycle Theatre—renamed in 2018—to amplify underrepresented narratives, fostering a commitment to diverse audiences through initiatives like creative education programs and collaborations with local artists. Her approach emphasizes bringing "unheard voices into the mainstream," as noted in evaluations of her leadership, which contributed to winning The Stage magazine's 2021 Award for Theatre of the Year. Specific productions underscore this focus, such as her 2012 directorial debut Red Velvet by , which dramatizes the 1833 debut of as the first Black actor to play on a stage and garnered the Evening Standard Theatre Award for Best New Play. Rubasingham is further recognized for championing innovative new writing and diverse perspectives, with a directorial style attuned to cultural complexities and contemporary social reflections, as highlighted by the Royal Court Theatre. These efforts align with broader acclaim for her role in advancing inclusivity in British theatre, evidenced by her 2017 MBE for services to drama.

Criticisms of political stances and artistic choices

Rubasingham faced significant backlash for the Theatre's 2014 decision to refuse hosting the Jewish Film Festival unless it rejected partial funding from the Israeli embassy, a move prompted by the ongoing Gaza conflict. The , under her artistic directorship, stated it could not accept sponsorship from any government involved in military action, leading the festival—hosted there for eight prior years—to relocate after organizers declined to forgo the approximately £1,400 grant. Critics, including figures in Jewish media and pro- outlets, accused the policy of embodying anti-Semitic double standards, selectively targeting while accepting funds from other governments with issues, and aligning with (BDS) tactics. Rubasingham defended the stance as a commitment to neutrality rather than partisanship, expressing regret over the festival's departure but maintaining the 's independence from state funding tied to conflict. This incident resurfaced during her 2023 appointment as National Theatre director, with advocacy groups like questioning whether it signaled a risk of similar exclusions for Jewish or -related programming at the flagship institution. The 2018 rebranding of Theatre to drew protests from local residents, former artistic directors, and theatre historians who argued it severed ties to the venue's 40-year legacy of politically engaged work under names like , erasing community identity for superficial commercial appeal amid a £7 million . Nicolas Kent, a predecessor, labeled the change a "tragic" and "commercial misstep" that undermined the theatre's radical history, while Guardian critic Michael Billington deemed the rebrand misguided, prioritizing modernity over heritage. Rubasingham countered that the name —evoking the site's industrial past and creative firing process—better reflected an inclusive, forward-looking vision without negating prior achievements, though opponents viewed it as an unnecessary rupture driven by branding consultants. Certain productions and public statements have elicited rebukes for prioritizing ideological messaging over narrative depth or . In a 2023 adaptation of Chaucer's The Wife of Willesden, reviewers faulted the script's "politically stale" feminist —emphasizing tropes and critiques of —as undermining the production's otherwise strong staging and performances under Rubasingham's direction. Her 2019 critique of theatre criticism as overly dominated by white men, described as an unchallenged "power base," prompted pushback from those seeing it as dismissive of merit-based expertise in favor of demographic quotas, reflecting broader tensions over diversity mandates in arts evaluation. These elements, while defended by supporters as advancing equity, have fueled perceptions of her leadership as infusing artistic decisions with progressive activism that risks alienating audiences seeking apolitical storytelling.

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