Directing
Jonathan Kent CBE (born 1949) is an English theatre director and opera director. He is known as a director/producer alongside Ian McDiarmid at the Almeida Theatre from 1990 to 2002. He was appointed Commander of the Order of the British Empire (CBE) by Queen Elizabeth II in February 2016 for his services to the performing arts. Kent was born in England to architect parents. They moved to Cape Town, South Africa, when Kent was one year old. He went to school at Diocesan College, Rondebosch, where he appeared as King Lear in the school play in 1964. He originally thought of taking up the profession of painter, but returned to England to study acting at the Central School of Speech and Drama in the 1970s. After completing his drama education, he joined the repertory company Glasgow Citizens Theatre in Scotland By 1990 Kent had formed an association with the Scottish actor Ian McDiarmid, and between 1990 and 2002 as joint artistic directors, they turned the Almeida into a major producing theatre. The success of this venture—presenting a wide range of international plays—led to 14 plays produced under Kent's tenure being transferred to the West End and also to Broadway. His productions for the Almeida included When We Dead Awaken; All for Love; Medea (also West End/Broadway); Chatsky; The Showman; The School for Wives; Gangster No 1; Tartuffe; The Life of Galileo; The Rules of the Game; Ivanov (also in Moscow); The Government Inspector; Naked (also West End); The Tempest; Hamlet (also Broadway); Richard II; Coriolanus (also New York/Tokyo); Phèdre; Britannicus (also West End/New York); Plenty(West End); Lulu (also Washington); Platonov and King Lear.

A scholarly king and his three companions swear off the society of women for three years, only to have a diplomatic visit from a French princess and her three ladies-in-waiting thwart their intentions.

Murder victims are being found with the hearts cut out. A police detective is assigned to find and stop the killer. Originally an episode of British horror anthology TV series, Hammer House of Horror, that later received a feature release in the United States.

Baal is an amoral poetic genius who, after a life of debauchery, betrayal and violence, is about to cut his ties to the world and meet his doom. A high society party is where the end begins.

The star singers in this revival of the 2006 production were Angela Gheorghiu, Jonas Kaufmann and Bryn Terfel; the Royal Opera Chorus and the Orchestra of the Royal Opera House were under the baton of Antonio Pappano, the Music Director of the Royal Opera House. The pageantry of church ritual, the darkness of a brooding study with its hidden torture chamber and the false optimism of the light of a Roman dawn - all throw into relief the love of the beautiful diva Tosca, the idealism of her lover Cavaradossi and the deadly, destructive obsession of the malevolent Chief of Police, Scarpia. Drama, passion and fabulous music.

On a summer's day in a makeshift theatre by a lake, Konstantin's cutting-edge new play is performed, changing the lives of everyone involved forever. Chekhov's masterly meditation on how the old takes revenge on the young is both comic and tragic, and marks the birth of the modern stage. Adapted by David Hare whose stage plays include Skylight, Pravada, and screenplays include The Hours and The Reader, directed by Jonathan Kent (Gypsy, Private Lives).

Jonathan Kent's spectacular production of Purcell's huge semi-opera is joyous, imaginative and witty. Glyndebourne, with its intimate auditorium, provides the perfect setting for the drama which is partly spoken and partly sun. Based on an adaptation of Shakespeare's A Midsummer Night's Dream,

The French tale of a beautiful young woman destroyed by her conflicting needs for love and luxury.

In June 2014, London’s Royal Opera House presented Jonathan Kent’s new production of Manon Lescaut. With a stellar cast, including Kristīne Opolais and Jonas Kaufmann in the roles of the young lovers Manon Lescaut and Chevalier des Grieux, Jonathan Kent brings this 19th century classic to a 2014 setting, both non-naturalistic and theatrical. Supporting the action on stage is the Orchestra and Chorus of the Royal Opera House, Covent Garden, with their venerable Music Director Antonio Pappano.

Over the course of a day, a married couple, Mary and James Tyrone, and their two sons, Jamie and Edmund, grapple with Mary's morphine addiction and confront each other over the past in a series of emotionally tense and volatile exchanges.

Gypsy's mother Rose dreams of a life in show business for her daughters, but Louise becomes a huge burlesque star. Stage musical loosely based on the memoirs of Gypsy Rose Lee.

Mozart's second collaboration with the mercurial librettist Lorenzo da Ponte is among the very blackest of black comedies. Glyndebourne welcomes back the winning team of director Jonathan Kent and designer Paul Brown, while the music is conducted by Vladimir Jurowski. In the title role, the bass-baritone Gerald Finley, joined by Luca Pisaroni, Kate Royal and the young Russian soprano Anna Samuil.

The painter Mario Cavaradossi helps a fugitive escape – and so attracts the attention of Scarpia, the sadistic Chief of Police. Scarpia captures Cavaradossi and has him tortured within earshot of his lover, the singer Tosca. Scarpia sentences Cavaradossi to death – but promises Tosca that her lover can be saved if she gives herself to Scarpia. Tosca consents but as soon as the order has been given kills Scarpia. Scarpia’s menace continues even in death: betrayed by a double-cross, Cavaradossi dies and Tosca leaps to her death.

Gypsy's mother Rose dreams of a life in show business for her daughters, but Louise becomes a huge burlesque star. Stage musical loosely based on the memoirs of Gypsy Rose Lee.