Natalie Abrahami
- Director
Natalie Abrahami is a theatre, opera and film director specialising in collaborative new works.
Natalie started out at the Royal Court Theatre as a Graduate Trainee before training with the Young Vic and National Theatre Studio, where she met Carrie Cracknell. Two years later they applied to run the Gate Theatre, Notting Hill as a duo, which is where her collaborative practice began.
As joint Artistic Directors Natalie and Carrie commissioned Tom Basden, Nancy Harris, Sam Holcroft, Lucy Kirkwood, Nick Payne, and Alexandra Wood to write radical re-interpretations of European classics. During their tenure they were awarded the Paul Hamlyn Breakthrough Fund for Creative Entrepreneurs.
Natalie went on to become an Associate Director at the Young Vic where she directed Juliet Stevenson in Happy Days and Wings, George Mackay in Ah, Wilderness! and Natalie Dormer in After Miss Julie.
Natalie collaborated with playwright Ella Hickson to create Swive [Elizabeth] for the Sam Wanamaker Playhouse at Shakespeare's Globe, and to direct ANNA the immersive binaural sound piece created by sound designers Ben and Max Ringham at the National Theatre.
During the Pandemic Natalie rehearsed Lorien Hayne's Good Grief on zoom and shot it over two days in the depths of Lockdown. It premiered for streaming in February 2021.
Climate conscious practice sits at the heart of Natalie's work and this has been the abiding principle for The Trials at the Donmar Warehouse and Antonín Dvorák's Rusalka at the Royal Opera House.
Natalie is also developing the film of The Meeting by Charlotte Jones with House and Film4.
Natalie is a regular guest lecturer for Birkbeck University's Master of Fine Arts Directing and was a judge for the Susan Smith Blackburn Prize in 2021.
Natalie started out at the Royal Court Theatre as a Graduate Trainee before training with the Young Vic and National Theatre Studio, where she met Carrie Cracknell. Two years later they applied to run the Gate Theatre, Notting Hill as a duo, which is where her collaborative practice began.
As joint Artistic Directors Natalie and Carrie commissioned Tom Basden, Nancy Harris, Sam Holcroft, Lucy Kirkwood, Nick Payne, and Alexandra Wood to write radical re-interpretations of European classics. During their tenure they were awarded the Paul Hamlyn Breakthrough Fund for Creative Entrepreneurs.
Natalie went on to become an Associate Director at the Young Vic where she directed Juliet Stevenson in Happy Days and Wings, George Mackay in Ah, Wilderness! and Natalie Dormer in After Miss Julie.
Natalie collaborated with playwright Ella Hickson to create Swive [Elizabeth] for the Sam Wanamaker Playhouse at Shakespeare's Globe, and to direct ANNA the immersive binaural sound piece created by sound designers Ben and Max Ringham at the National Theatre.
During the Pandemic Natalie rehearsed Lorien Hayne's Good Grief on zoom and shot it over two days in the depths of Lockdown. It premiered for streaming in February 2021.
Climate conscious practice sits at the heart of Natalie's work and this has been the abiding principle for The Trials at the Donmar Warehouse and Antonín Dvorák's Rusalka at the Royal Opera House.
Natalie is also developing the film of The Meeting by Charlotte Jones with House and Film4.
Natalie is a regular guest lecturer for Birkbeck University's Master of Fine Arts Directing and was a judge for the Susan Smith Blackburn Prize in 2021.
