How old is trevor nunn

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Add it to your IMDb page. Find out more at IMDbPro ». How Much Have You Seen? How much of Trevor Nunn's work have you seen? See more awards ». Known For. Twelfth Night Director. Cats Additional Crew. School of Rock Soundtrack. Show all Hide all Show by Hide Show Director 15 credits. TV Movie. Hide Show Additional Crew 13 credits. TV Movie stage director: UK stage production. Hide Show Writer 7 credits. Five actors, two pianos - a chamber piece that could mirror Eliot's charming, slightly offbeat, mildly satiric view of late's London.

Webber, however, had a broader vision and pressed Mr. Nunn to think it through again. Nunn went back to the drawing-board. I worked day and night wherever I could - walking, in taxis, in the bathtub, the director said, laughing. Eventually, I typed up five pages of notes, my usual response to a difficult situation.

In essence, it called for a concept that was environmental. Despite Mr. Nunn's acknowledged gifts as a director, he is best known as an interpreter of the classics.

How, then, did he get involved with a project as contemporary as Cats? Nunn's choreographer and associate director on Cats. When he decided to do Kaufman and Hart's 'Once in a Lifetime,' he rang me up and said, 'I can't do this one without you!

And 'Cats' - it's choreography all the way, top to bottom. On a recent afternoon, the member Broadway cast has assembled to work through the big production number in Cats. As the piano pounds away, the actors skip, arch, curve, and glide. Obediently, pianist and dancers accelerate. Simultaneously, they belt out the Eliot lyrics to Skimbleshanks the Railway Cat : There's a whisper down the line at When the Night Mail's ready to depart Saying 'Skimble where is Skimble has he gone to hunt the thimble?

We must find him or the train can't start! I want ugliness, paganism, Miss Lynne reminds the group. You are not cutesy animals. She wheels on two strapping male dancers. If Skimble leaps onto your shoulders, can you keep to the beat? Both nod confidently. Nunn suddenly materializes, murmuring in Miss Lynne's ear. They go off into a corner to discuss the number. The dancers wait, as alert as the cats they are trying to incarnate. There's a lot to think about here, says Ken Page, who plays the benevolent feline known as Old Deuteronomy.

I'm supposed to be - what? With Trevor around, there's plenty to work on: he gives you food for thought. Betty Buckley, cast as the plaintive Grizabella, an elegant cat fallen on hard times, agrees: Every time you meet with Trevor, you'd better have done your homework. He always has. I trust him - completely. Nunn has a reputation for instilling confidence in his actors. He has quite a few to inspire. Finally, the first weeks of will see the broadcast of Nicholas Nickleby on American television.

With all this to occupy him, Mr. Nunn remains calm. A rather Elizabethan-looking man of 42, with dark hair, mustache and beard, he seems self-effacing, even diffident. But he grows passionate when the subject is close to his heart, and a dry sense of humor is never absent for long. Trevor thinks on his feet, and tunes into just the right wavelength, said the actor Ian McKellen, who won a Tony Award in Amadeus and has played Macbeth and Romeo for Mr.

Nunn with the RSC. Miss Buckley is equally laudatory: He reads people so well; that's the key. It's almost uncanny. Trevor's really a brilliant magician.

Magic was, in a way, Mr. Nunn's starting point. When I was growing up in Ipswich, I had a slightly older friend who was a conjurer, he recalled. He'd show me the tricks, then refuse to explain them beyond whispering: 'It's magic! At 16, he staged a five-hour Hamlet with background music by Wagner; at 19, he won a scholarship to Cambridge. There he studied with the critic F. Leavis, who taught that art should not merely entertain but help society to see itself more clearly. Nunn's peers in the student body included Mr.

McKellen, Mr. I directed John and Graham in 'Brand,' Mr. Nunn said, chuckling, and I can safely say that -as far as Ibsen went - they were a staggering and hilarious liability. Upon leaving Cambridge, Mr. Nunn went on to Coventry's Belgrade Theater, eventually moving up to resident director there. Nunn's first year and a half with the RSC was a gloomy time.

Everything he directed either withered or flopped. So it was small wonder that RSC veterans turned down roles offered them in Mr. Nunn's proposed production of the little-known Revenger's Tragedy - roles which then went to young unknowns such as Alan Howard. Staged as a Jacobean black comedy dissolving into a dance of death, the play was a great personal triumph for Mr.

Nunn and made his reputation within the RSC. Other successes followed, including a Taming of the Shrew during which Mr. Nunn met his future wife, the actress Janet Suzman. When Peter Hall left the company in , he named Mr. Nunn, then 27, as successor. I only worried a bit about the political and administrative pressures on Trevor, admitted Mr.

Hall, who has been head of the rival National Theater since But - he's become a superb politician. Stretching through the 's is a line of memorable RSC productions under Mr. There have been low points: soggy Shakespeares and modern plays massacred by public and critics alike. On one occasion, a leftist playwright bounded onto the Aldwych stage and urged the startled audience to rebel against the mess the RSC had made of his work.

There were shows nobody enjoyed, not even us, said Terry Hands, who has shared the position of artistic director with Mr. Nunn since Trevor's first years were a time of testing. Around , we hit our stride - and Trevor hit his. One particular advance has been Mr. In , a regional theater rejected a new play about postwar fascism in England, and Mr. Destiny was a critical success and eventually led to Mr. Edgar adapting Nickleby for the stage. Some critics charge that under Mr. Nunn the RSC's style has softened, that its Brechtian revolution - the austere acting and design instituted by Peter Hall and designer John Bury -has succumbed to popular programming and opulent styles.

Nunn bristled visibly at this. We do epic plays, social plays, he said firmly.