Nastazja Domaradzka is originally from Poland. She is the co -founder and a joint artistic director of a newly emerging theatre company No Offence Theatre. Nastazja enjoys all kinds of plays, from classical or contemporary drama to raw and bold, political productions. Whilst not in the theatre she spends her time thinking about making theatre.
By Nastazja Domaradzka Wednesday, February 12 2020, 06:48
Rafe Spall delivers a highly skilled performance in Roy Williams and Clint Dyer’s DEATH OF ENGLAND. The monologue reflects at large on why Great Britain finds itself in the current political situation and no doubt for many will present as a highly charged piece of political theatre.
By Nastazja Domaradzka Friday, December 6 2019, 09:00
Pantos are one of the best things about British theatre, bringing communities together and providing a perfect opportunity for a family outing for so many who might not necessarily be frequent theatre goers.
By Nastazja Domaradzka Monday, September 30 2019, 09:51
Caryl Churchill is one of Britain’s most celebrated playwrights. The power behind Churchill’s writing lies with her ability to constantly reinvent her worlds whilst exploring the most sinister and political aspects of our society. Quite frankly, Caryl Churchill is a national treasure and her new work, four plays GLASS.KILL.BLUEBEARD.IMP playing at The Royal Court, are a reminder of that.
By Nastazja Domaradzka Wednesday, July 24 2019, 09:48
Following two sell out runs at The National Theatre and a world tour Inua Ellam’s epic multi-continental story Barbershop Chronicles arrives at The Roundhouse and if there ever was such a thing as ‘the hottest ticket in town’ this is it.
By Nastazja Domaradzka Wednesday, May 15 2019, 10:43
Following the huge success of the gender reversed Sondheim's COMPANY, Marianne Elliott, together with Miranda Cromwell directs Arthur Miller's 1949 classic DEATH OF A SALESMAN. This co-production between the Young Vic and Elliot’s company Elliott & Harper Productions offers a fresh interpretation of a well-known text, as it sets out to put 1940's African American experience centre stage.
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