Posted: 27 March 2025
Artist Spotlight: Director, MIRANDA CROMWELL
Miranda Cromwell is a Director, making work through new writing, devised work, musicals and classic texts.
Miranda’s credits as co-director include Olivier Award-winning Death of a Salesman (Young Vic Theatre/West End transfer), the production also received a Black British theatre award for best production. As sole director Miranda then took this production to Broadway in 2022.
Recent work includes: The Little Mermaid at Bristol Old Vic.
Selected directing credits include: Mlima’s Tale (Kiln Theatre), The Beekeeper of Aleppo (Nottingham Playhouse), Swing Sister Swing (UK Tour), Rockets and Blue Lights (National Theatre, Manchester Royal Exchange/ BBC radio 3), and breathe… (Almeida Theatre), Half Breed (BBC iplayer, Talawa Theatre/Soho Theatre/Edinburgh Fringe Festival/India tour), Magic Elves, Hey Diddle Diddle, Sense (Bristol Old Vic), Pigeon English (Edinburgh Fringe Festival/Bristol Old Vic), The Rest of Your Life (Bush Theatre).
Miranda has directed new writing for the National Theatre, Manchester Royal Exchange, Kiln Theatre, Bristol Old Vic, Bush Theatre, Talawa Theatre and Soho Theatre. She attended the National Theatre studio director’s course in 2015, and was a director on the Old Vic 12 in 2019. Most recently she was the associate director for Chichester Festival Theatre 2024-2025.
Her awards include an Olivier for best direction for co-directing on Death of a Salesman 2020, and a Black British Theatre award and nomination for an Evening Standard award for the same production. She also received a Black British Theatre award for Direction on and Breathe… 2021. In 2022 she received an Oncomm Best audio drama award for Rockets and Blue Lights.
What was that one moment when you knew you wanted to work in arts/theatre?
I was studying dance and I saw a show called BLUSH by Ultima Vez at the Hall for Cornwall. It was a dance theatre show by a Belgian company and it was wild; there were women scaling the height of the theatre on poles – emerging naked from suitcases, and a rock band. I was transfixed – it felt like nothing I had ever experienced. There was something dangerous, freeing and empowering about the production. I sat there wide-eyed and I knew that I wanted to make performance that could make an audience feel something extraordinary.
Describe to us how it felt when you won that Olivier Award for best direction on co-directing DEATH OF A SALESMAN?
It was totally surreal! We were mid-pandemic, I was honestly sat contemplating a life without theatre and wondering what other possible career I could have. Then I received the phone call saying that myself and Marianne had won and it was an out-of-body-experience. I still find it hard to believe I am one of only five women ever to receive an Olivier for Direction, and the only woman who is not white. It is a huge honour and it is also very sobering to know how white and male-dominated the industry has been and still is.
What is the most challenging thing about being a creative freelancer for you and do you have any top tips on how you deal with this?
As a freelance director you need to hustle to get work, and I try to do the work that aligns with my politics. Then, that work has to line up so I don’t have huge periods not working. Trying to financially support yourself through all the unpaid work is hard. The toughest part of the job for me is to balance it all and earn enough money to survive. Most freelance directors on the fees they are paid earn below minimum wage for directing and this is by far the biggest hurdle. I have done other work to subsidise my income including, teaching, script-reading and being an associate director. I recommend trying to find other work that feeds into directing if you can.
A play you wish you had directed?
KING LEAR by Yael Farber – it was a fabulous production.
Who were your creative inspirations growing up?
Musicians like Tracy Chapman, Alanis Morissette, Lauryn Hill, Prince, Destiny’s Child. Writers like Maya Angelou and Audre Lorde. Artists including my mother Tessa Barrett, Grayson Perry and the choreographer, Pina Bausch.
What was the last play you saw?
OTHERLAND at the Almeida Theatre. It was so nuanced and beautiful that it deeply moved me. I was so overwhelmed by it that I stayed in the theater after it ended and cried.
How do you let off steam?
I love cold water swimming and dancing!
What advice would you give to someone wanting to get into theatre?
Be prepared for the long haul. In my experience, a career in theatre takes time to build. There will be all kinds of ups and downs – no one show or experience defines you – it’s all part of the journey. I would encourage you to nurture your creative connections and invest in the relationships that are authentic and that inspire you to be a better artist. Don’t worry about the people or places that you don’t connect with or those who don’t understand you. Find your tribe.
What’s coming up next for Miranda Cromwell?
Really excited about this one! I am directing COVEN, a new musical by Rebecca Brewer and Daisy Chute, at the Kiln Theatre from 31st October – 13th December. It is based on the Pendle witch trials of 1612 and the music is incredible!