Angels in the Architecture

Find out more about the cast and crew that have worked with Angels in the Architecture. If you are interested in working with Angels in the Architecture or similar companies, join The Mandy Network and get alerted of upcoming job opportunities.

Angels in the architecture was formed in 2001 as a result of a long-term collaboration between its artistic directors, Rebecca McCutcheon and Sarah Thom. The company was formed because of a strong artistic partnership, which encompasses a devotion to the written word, to physical theatre and, most importantly, to the potential of site-specific theatre. We are devoted to integrating a physical approach to theatre with textual rigor. We hope that this method has the potential to create fresh, dynamic interpretations of classical plays that will allow the classics, and in particular, lesser known plays, to keep finding a younger audience.

Our belief in site-specific theatre comes directly from our own love of total theatre: it is a qualitatively more engaging experience for audience members to be imaginatively transported into other worlds. Our aim is to allow audiences to emerge from our plays vibrant and full of an experience that is visceral and sensual as well as intellectual and emotional.

Rebecca McCutcheon and Sarah Thom have worked on several different collaborations including Noel Coward’s play of the film “Brief Encounter”, - “Still Life” at The Aldwych Tube in 2003, "The Round Dance" at The Round House Undercroft in Camden in 2004 and “Dido, Queen of Carthage”, firstly as a reading at The Rose Theatre, Bankside in 2001 (one of the first recorded professional stagings in 400 years), followed by a full-scale production at The House & Chapel of St. Barnabas-In-Soho in 2006, transferring to The State Apartments of Kensington Palace in February 2008.

Other work together prior to forming angels in the architecture includes an adaptation of Katherine Mansfield's "The Daughters of the Late Colonel" and Sam Shepard's "Savage/Love, which received critical acclaim both in London and on the Edinburgh Fringe.