Rupert Goold leaves Almeida Theater after more than a decade at the helm of the Old Vic, ending the search for a new leader at one of the UK’s greatest theater institutions.
Rumors of a move to the top of the British theater world began circulating this week, following the announcement in May that the Old Vic’s current artistic director, Matthew Warchus, would step down in 2026.
Goold said: “After 11 wonderful, demanding and richly rewarding years at the Almeida, I decided to move across the river in search of a new challenge. It has been the privilege of my life to have led the Almeida for the past decade. But I believe it is important that our theaters are renewed through new leadership and that this, in turn, can and should bring new artists and new ideas to this unique space.
Goold will be joined by Rebecca Frecknall, who was appointed associate director after holding the same role at the Almeida. Goold will work alongside executive director Laura Stevenson as co-chief executive officers.
Goold, who joined the Almeida after running touring company Headlong, is one of the UK’s most celebrated artistic directors. He directed the Olivier Award-winning Dear England at the National Theater in 2023 before transferring to the West End. He brought James Graham’s play Inkthat of Mike Bartlett Albion and an adaptation of Oscar-winning film Cold War on the Almeida stage and won the Olivier, Critics’ Circle and Evening Standard awards.
Nick Clarry, chairman of the Old Vic, said: “Our 206-year-old theater has flourished artistically over the past 10 years, transforming our work on and off stage and welcoming more people than ever before. Looking to the future with Rupert and Laura as co-CEOs, the board believes we have an exceptional team to lead the Old Vic into its next chapter.
Goold, associate director of the Royal Shakespeare Company since 2010, spoke to the Guardian in 2018 on the hectic nature of recruiting for the biggest roles in British theatre.
“Your phone is ringing,” he said. “Basically, everyone’s phone is ringing; often, they shop around to see who might be interested. There are lots of cafes. It’s the only aspect of the job where directors are forced to feel like actors: you audition.
“People talk about it in terms of career politics and stepping stones and all that, but in my experience it’s more intuitive. You think, ‘Ooh, I’d love to work here.’
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Goold also talked about the different ways outgoing artistic directors approach their replacements. “Michael (Attenborough), my predecessor at the Almeida, was very welcoming, but he also had enough experience to know that I was going to try to change things. When I took up my position at Headlong (then Oxford Stage Company), Dominic Dromgoole left a bottle of expired blackcurrant on my desk and a note saying: “I don’t believe in transfers of power.” In a way, I respect that.
