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Edward Dick

Introduction

 

Ed is a young theatre and opera director. He trained as an assistant director with Cheek by Jowl. In the theatre, his productions include "A Midsummer Night's Dream" for the Sydney Theatre Company, a tour of "Romeo and Juliet" for the Globe, "Tis Pity She's A Whore" at the Southwark Playhouse, and most recently "The Fastest Clock in the Universe" for Hampstead Theatre. He teaches acting at the Guildhall School of Music and Drama and is a member of the Lincoln Center Theater Director's Lab.

Ed's most recent productions include "The Rape of Lucretia" for Aldeburgh (also seen at King's Place) and "The Turn of the Screw" for the King's Head Theatre (reviews below) and a new opera by Tarik O'Regan "Heart of Darkness" at the Linbury. He will direct "Maometto II" at Garsington in 2013.

 

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Press

Maometto secondo

Garsington Opera
"Edward Dick’s cogent staging " Richard Morrison, The Times, 11 June 2013
"The director Edward Dick impresses with his balance of musicality and stagecraft."
Andrew Clark, Financial Times, 11 June 2013

Heart of Darkness, November 2011

Linbury Theatre, Royal Opera House,
Edward Dick’s staging and Robert Innes Hopkins’s designs proved more resourcefully ingenious than many a production viewed on the main stage at Covent Garden"

Mark Berry / Seen and Heard / 3 November 2011
"Edward Dick’s neat production"

Geoff Brown / The Times / 2 November 2011
"Edward Dick's staging, set on Robert Innes Hopkins's deck-like structure, which by the end of the show has been inundated by the water lapping around it, holds the narrative line firmly."

George Hall / The Guardian / 2 November 2011
"The opera's split-frame narrative is skilfully realised in Edward Dick's production for Opera East"

Barry Millington / Evening Standard / 2 November 2011
"Edward Dick and Robert Innes Hopkins have come up with a wonderful design."

Mark Ronan's Theatre Review

The Turn of the Screw, July/Aug 2011 Opera Up Close

Kings Head Theatre
Edward Dick's lean, spare production of Britten's The Turn of the Screw sees OperaUpClose shed its shambolic charm for something sharper. The tiny stage of the King's Head, in Islington, is cocooned in white gauze by designer Signe Beckmann, a bare space for the treatment of Katie Bird's disturbed governess, still haunted by the ghosts of Bly House. David Menezes is both her psychiatrist and Quint, a small-town sadist whose Act II scene with Catrine Kirkman's vampish Miss Jessel hints at a Brady-Hindley knot of sexual compulsion. Laura Casey's spaced-out Mrs Grose is chillingly childlike, while the children – Eleanor Burke and Samuel Woof – ape a warped adulthood in their brittle sophistication, boundless fury and dreadful sadness. Pianist David Eaton plays as though to a far larger house, eloquent in those parts of Britten's score that were written for piano. Take a seat at the back and shiver.

Anna Picard / The Independent / 17 July 2011
'**** Critic's Choice - Britten's haunting masterpiece's small-scale orchestration and obsession with the unseen fits OperaupClose like a glove... Laura Casey convinces as Mrs Grose the housekeeper, long lost to mental imbalance and infantility.'  Time Out
'Much in this modern-dress production works well... [Katie] Bird impresses both with her dramatic commitment and her highly strung soprano... Catrine Kirkman's glamorous, sophisticated Miss Jessel['s]... scene with her fellow-ghost – David Menezes's dangerously seductive Quint – is superbly realised... The two children... are remarkable'  The Guardian
'A sleek and impressively sung rendition of a challenging opera... Katie Bird is vocally stunning as the Governess... Musical director David Eaton is not so much an accompanist as he is a one-man orchestra, playing with exceptional flair and passion.'  Exeunt
'Edward Dick's tightly focused production... Musically there was much to admire, not least Musical Director David Eaton’s heroic efforts at the piano, playing a fiendish reduction with sympathetic passion and superb technique... To see opera this close, at this standard, is a rare treat... An operatic evening out at pocket-money prices.'  The Public Reviews
'Signe Beckmann's elegantly plain white space is transformed by Richard Bleasdale's video projections into fields, marshes and lakes, without ever losing the eerieness of a haunted house and, under Edward Dick's claustrophobic direction, the confinement of a prison cell... Intense and moving, at times almost ovewhelming... quite unlike anything else you will find in London or beyond.'  Broadwayworld.com
'It is an amazing experience to witness the power of operatic voices in such an intimate space... Stunning performances, intriguing journeys and fantastic directorial decisions...Spectacularly haunting... It takes a while to scrape it from your mind...This has to be attributed to the brave and exciting work of director Edward Dick.'  The Good Review