Alexi Kaye Campbell
Alexi’s first play THE PRIDE premiered at the Royal Court Theatre Upstairs in November 2008 for which he was awarded the Critic’s Circle Prize for Most Promising Playwright and the John Whiting award for Best New Play. The production was also awarded the Olivier award for Outstanding Achievement in an affiliate theatre. THE PRIDE then transferred to America and was produced at MCC Theatre in New York in January 2010 directed by Joe Mantello. In June 2011 a revival of THE PRIDE was produced at the Crucible Theatre in Sheffield, directed by Richard Wilson. In Autumn 2013 another revival of THE PRIDE, directed by Jamie Lloyd, enjoyed a successful run in the West End of London before embarking on a national tour.
His second play, APOLOGIA opened at the Bush Theatre in the summer of 2009, directed by Josie Rourke. APOLOGIA was short-listed for The John Whiting Award and nominated for Best Play at the Writers Guild Awards 2009.
Alexi’s third play THE FAITH MACHINE directed by Jamie Lloyd, premiered at the Royal Court Theatre in August 2011 to excellent reviews.
In June 2013 his fourth play, BRACKEN MOOR, was produced by Shared Experience at the Tricycle Theatre in London, and was directed by Polly Teale.
In 2016 Alexi’s play, SUNSET AT THE VILLA THALIA, was produced at the National Theatre in a production directed by Simon Godwin and starring Ben Miles and Elizabeth McGovern.
In August 2017 a revival of APOLOGIA was produced at the Trafalgar Studios in London, directed by Jamie Lloyd and starring Stockard Channing.
APOLOGIA was then produced at the Roundabout Theatre in New York, directed by Daniel Aukin.
Alexi’s plays have been produced in many countries, including Australia, Germany, Sweden, Greece, Japan, South Korea and Belgium.
Alexi wrote the feature film WOMAN IN GOLD directed by Simon Curtis and starring Helen Mirren and Ryan Reynolds, with BBC Films and Origin Pictures. It was the highest earning independent film of 2015.
Praise for THE PRIDE
“Alexi Kaye Campbell’s THE PRIDE marks the debut of a fledgling writer whose voice on this evidence is already astonishingly fully formed.” Herald Tribune
“Campbell’s mature ability to grip audiences with subtly truthful disclosure is matched by his skill at construction.” Variety Weekly
“This is a searching, moving, thoroughly grown-up play, and a remarkable debut from a writer from whom I am impatient to hear more.” Daily Telegraph
“A tremendously rich and uplifting new work”. Time Out, New York
“An illuminating, moving night of theatre.” Time Out, London
‘A thrilling high-wire act. Simply astonishing.” New York Post
“A work of subtlety and sophistication. It grabs you with its considerable intelligence and heart.” Entertainment Weekly
“marvellous, sad and blisteringly funny….a brave and rewarding drama that speaks to us all.” The Guardian
Recipient of a 2011 GLADD Award for Outstanding New York Theatre.
Praise for APOLOGIA
“Compellingly multi-faceted…..engrossing,,……richly entertaining.” Variety
“Sharp, funny, wise and humane, Alexi Kaye Campbell is a writer to cherish.” Daily Telegraph
“Well-written, humorous, and deeply felt.” The Stage
“Raw and very funny. Confirms his standing as a fresh and sensitive voice.” Evening Standard
“Thought-provoking…a sharp, satirical and poignant drama..Alexi Kaye Campbell triumphs.” Independent on Sunday
“Searching and powerful.” Sunday Express
“Alexi Kaye Campbell makes political drama feel intensely personal.” The Sunday Times
Praise for THE FAITH MACHINE
“Ambitious, impassioned and eloquent: a funny, thoughtful, decent- spirited play.” The Times
“An urgent play of expansive ambition and largeness of spirit…” The Guardian
“Let’s raise a glass to this leap of faith..a bold answer to a big question…” The Sunday Times
‘Hallelujah! Miracles do happen in this intriguing, thoughtful play.” Daily Mail
“A welcome, brave and searching piece of drama…filled with wit, lyricism and compassion” The Financial Times
“Drawn with grace and blessed with a palpable generosity of spirit… Kaye Campbell strikes me as the most interesting playwright to have emerged in recent years” The Daily Telegraph
“Intellectual and entertaining…admirable” The Independent on Sunday
Praise for BRACKEN MOOR
“First rate – an absorbing show. I smiled, I shed a tear, I jumped out of my seat.” The Times
“Haunted and haunting.” Sunday Express
“A cunning new play serving up ideas under the cloak of entertainment.” Variety
“Cannily uncanny and forcefully acted.” The Independent
“Beautifully crafted…thrilling theatre…intellectually as well as emotionally haunting.” The Stage
“Commendably bold.” Evening Standard
“Compelling…maintains a high and satisfying level of achievement.” Whatsonstage
“A haunting tale…beautifully judged.. a bold play that revels in its own theatricality.” The Arts Desk
“Outstanding performances…nothing is predictable up to the final seconds…unmissable.” The Public Reviews
“Campbell is a skilled story-teller and his skill is matched by the creative team’s technical prowess.” Exeunt Magazine
Praise for SUNSET AT THE VILLA THALIA
‘This play is a winner, a thought-provoking slow-burn story that works on many levels.” The Times
“A fine and fascinating play that keeps you constantly hooked…nakedly political.” The Guardian
“Campbell is a sensitive and articulate playwright who does not shy away from tackling big issues.” Financial Times
“Intriguing and entertaining. The star is the almost faultless script and Kaye Campbell proves his worth as a writer.” Londonist
“A fleet-footed comedy laced with anger that wisely carries its message.”
“Thoroughly engaging. A thoughtful, penetrating play.” Live Theatre UK
Praise for WOMAN IN GOLD
“A film that will stay with you forever…Kaye Campbell’s script is full of heartbreak and thrills.” Daily Mail
“Skilfully written, exemplary..an extraordinary motion picture.” New York Observer
“Compelling..a triumph of story-telling.” Deadline Hollywood
“A thoroughly enjoyable story, engagingly told with a nice line in gentle humour..” Screen Daily
“A heart-warming story, strong in its morality and sympathy.” Evening Standard
“Absorbing, unexpectedly moving…a smooth and well-constructed screenplay by Alexi Kaye Campbell.” Sunday Express