Young Vic Theatre announces Nadia Fall’s inaugural season

A new season of programming has been revealed by the Young Vic Theatre.

The first from the new artistic director and CEO Nadia Fall, the season includes six directors making their Young Vic directorial debuts in seven productions running from September 2025 to July 2026 – in both the main house and the Maria Studio.

Opening the season in the main house, Fall will direct Joe Orton’s queer cult classic Entertaining Mr Sloane. Tamzin Outhwaite and Daniel Cerqueira will star in the dark comedy from 15 September to 8 November.

Rajiv Joseph’s Pulitzer and Tony-nominated Bengal Tiger at the Baghdad Zoo will then receive its European premiere. Omar Elerian directs the funny yet moving examination of the futility of war, which will feature Olivier Award-nominee Arinzé Kene, David Threlfall (playing the tiger) Ammar Haj Ahmad and Hala Omran. It’ll play from 2 December 2025 to 31 January 2026.

Jordan Fein, the Olivier Award-nominated director behind Fiddler on the Roof, will revive Arthur Miller’s rarely performed play, Broken Glass, from 21 February to 18 April 2026. A story about the consequences of disconnecting with the realities of our world, the piece is set in 1938 Brooklyn and was written in response to the rise of facism in Europe

Into summer, Alexander Zeldin’s CARE, examining the realities of ageing, will be performed. Written and directed by Zeldin, and co-produced with A Zeldin Company, CARE will play from 11 May to 11 July 2026.

Meanwhile, in the Maria, Ohio, an intimate new musical from Abigail and Shaun Bengson, will celebrate a true story about losing faith and finding hope. Directed by Caitlin Sullivan, it will use creative captions, indie-folk music, and storytelling. Presented by Francesca Moody Productions, piece by piece productions, and the Young Vic, Ohio will come to London following an initial debut at the Edinburgh Festival Fringe in 2025. It’ll play at the Young Vic from 30 September to 24 October.

Over December and into January, in the smaller space, Sacha Wares and John Pring’s mixed reality installation, Museum of Austerity, will bring the human stories of Austerity Britain to the Young Vic, laying bare the consequences when state safety nets fail. Several supporting events will accompany the award-winning piece. Produced by ETT, Trial and Error Studio and the National Theatre in association with the Young Vic, it’ll be on from 5 December 2025 to 16 January 2026.

Sophie Swithinbank will present the world premiere of Sting, directed by Nancy Medina. Casting a light on systemic injustice in the institutions that are sworn to protect us, it’ll run from 18 June to 18 July 2026.

Additionally, the JMK Award, offering an early career director the opportunity to direct a full-scale professional play in the Young Vic’s Maria Studio will return with applications opening in autumn.

Fall commented: “Vivid stories are the key to this season. We have seven wildly different works across our Main House and the Maria Studio Theatre, which journey from the shady underbelly of the London suburbs to the chaos of Baghdad after the toppling of Saddam Hussein. We will time travel to Brooklyn in 1938 where fascism is on the rise in Europe, on to a residential care home for a tender and surprisingly joyful look at life in our winter years, before returning to the streets of our metropolis for an eerily modern tale involving misogyny within the Met Police.”

About the studio programming specifically, she added: “Alongside the shows in our Main House, we are delighted to be cracking open our studio theatres this season for new forms and voices. Some of the most arresting theatre I have ever experienced was in the Maria and Clare spaces; productions which have stayed with me over the years. Studio theatres can conjure an immersive and potent connection with an audience, achieving a close up and unparalleled intimacy.”

Fall concluded: “I can’t wait to share this work with our audience. It’s a season that invites us to hold a mirror up to ourselves and see the unflinching truth about who we really are. Behind closed doors, beyond curated online profiles, and painted smiles: it’s an interrogation of who we are, at our core.”