A New Era at the National Theatre: Indhu Rubasingham Fêted in New York
“London’s National Theatre is like Mount Everest to me,” Jeremy Strong told Vogue on Thursday evening. “It’s really the summit—such an important place. It’s where my life changed when I was an aspiring actor.” The Tony and Emmy Award–winning actor was co-hosting an intimate cocktail reception, alongside two-time Pulitzer Prize–winning playwright Lynn Nottage, Colman Domingo, and Anna Wintour to celebrate the appointment of Indhu Rubasingham as the new artistic director of the National Theatre—its seventh in history, and notably, its first woman and first person of color to hold the post since its founding in 1963 under Laurence Olivier.
Wintour, a longtime supporter of the institution, opened the doors of her Manhattan townhouse to fête Rubasingham’s historic appointment and the National Theatre’s far-reaching impact. A mix of benefactors, collaborators, and friends—including former New York City mayor Michael Bloomberg, Diana Taylor, Huma Abedin, Paul Dano, Amelia Gray, Jay Ellis, Christine Schwarzman, Daryl Roth, Branden Jacobs-Jenkins, Michael Arden and Bee Carrozzini—gathered on the parlor floor to toast Rubasingham and hear about her vision for the Theatre’s future. “Now the Indhu era begins,” Wintour declared in her welcome remarks, prompting cheers and applause.
Speaking to Vogue mid-evening, Rubasingham acknowledged the historic nature of her new role. “As the first woman, I hope it opens doors and encourages others to think they can do the job,” she said. “But more than that, I want to be seen as a brilliant director—regardless of gender or race.”
When asked about her goals as the most powerful woman in British theatre, Rubasingham didn’t hesitate: “I hope to make theatre more accessible, inclusive, generous, and kind. I love the digital work the National does—it democratizes theater for those who can’t physically attend or afford it. I want to expand that reach and make a difference for all people.”
Rubasingham’s debut season reflects that ambition. The lineup features 16 productions—nine of them world premieres—including a bold, modern adaptation of Euripides’s The Bacchae, her directorial debut at the Theatre, with a script by first-time playwright Nima Taleghani. It will be the first debut play ever staged on the Olivier Theatre’s main stage. “With an ancient play about a pack of women who tear a man limb from limb, I can’t wait to see Indhu’s approach to The Bacchae!” Wintour enthused.
Her programming also promises marquee names and ambitious revivals. Bridgerton’s Nicola Coughlan will star in Synge’s The Playboy of the Western World, and in 2027, Paul Mescal will make his National Theatre debut in repertory productions of Tom Murphy’s A Whistle in the Dark and Arthur Miller’s Death of a Salesman. Meanwhile, deputy artistic director Robert Hastie will direct a new Hamlet. “It looks to be one for the ages,” said Wintour. “So buckle up—it’s going to be a thrilling ride.”
In her remarks, Rubasingham noted that her vision is rooted in the National’s storied past. She reaffirmed the Theatre’s enduring connection to American audiences—over 40 productions have transferred to Broadway, collecting more than 50 Tony Awards along the way, beginning with Rosencrantz and Guildenstern Are Dead in 1967. Her mission: to keep the National Theatre relevant for the next generation, fostering new voices and deepening cross-cultural ties.
Kate Varah, the National Theatre’s co–chief executive, called Rubasingham’s appointment “the next chapter,” emphasizing the role of theater in today’s fractured world. “Artists help us process, understand, and make sense of the moment,” she said. “The arts are the foundation for empathy, integration, and democracy.”
Nottage, the Theatre’s artistic associate, was more urgent. “Storytelling is under siege. In America, our voices are being silenced, funding is disappearing, and theaters are closing. Our very existence is being challenged,” she said. “In moments of crisis, artists are second responders—we reflect, we interrogate, we heal. It’s hard, but now more than ever, we need brave leaders like Indhu.”
Later in the evening, Domingo and Strong delighted guests with a dramatic reading from Dramatic Exchanges: The Lives and Letters of the National Theatre, a collection of 800 letters chronicling the institution’s behind-the-scenes drama. Domingo, in a booming British accent, portrayed Olivier; Strong read as Peter Hall, Olivier’s successor. “I’m not doing an accent!” Strong laughed as the room erupted.
For Strong, the National is more than professional—it’s personal. As a 15-year-old, he camped out overnight to score tickets to King Lear, directed by Richard Eyre. “It completely changed my life,” said Strong, who attended the event with his wife, Emma Wall. “It lifted me out of the everyday. It reminded me of what life can be—sharing our common humanity.”
As the evening wound down, Domingo reflected on the stage’s power: “Theater has given me a voice. It’s given me courage. It’s where I pour all my complicated feelings,” he said. “I can create worlds that reflect people’s lives and help them reflect, too. Theater is powerful—and I’m proud to be part of it.”
Photo: Hunter Abrams1/13Indhu Rubasingham
Photo: Hunter Abrams2/13Lynn Nottage
