Biography for
Peter Hall (I) More at IMDb Pro »

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Sir Peter Hall directed his first play while he was still a student. He soon achieved prominence as a stage Director and costume designer. He started his occasional film work in 1968 with 'Work Is a 4-Letter Word (1967)'. He was the Artistic Director of The Royal Shakespeare Company, Stratford-upon-Avon from 1960 - 1968. Took over direction of the National Theatre from Lord Olivier in 1973, shortly after leaving the RSC.

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Appointed a CBE in 1963 and knighted in 1977.

Attended St Catharine's College, Cambridge, of which he became an Honorary Fellow in 1964.

He was awarded the 1999 Laurence Olivier Theatre Award: Special Award for Outstanding Contribution to British Arts.

He was awarded the 1987 London Evening Standard Theatre Award for Best Director for Anthony and Cleopatra.

He was awarded the 1981 London Evening Standard Theatre Award for Best Director for The Oresteia.

He was awarded the 1990 London Critics Circle Theatre Award (Drama Theatre Award) for Best Director of The Wild Duck.

Father of actress Rebecca Hall with Maria Ewing.

Has twice won Broadway's Tony Award: in 1967 as Best Director (Dramatic) for Harold Pinter's "The Homecoming," and in 1981 as Best Director (Play) for Peter Shaffer's "Amadeus." He has also been Tony-nominated eight other times: as Best Director, in 1958 for "The Rope Dancers;" as Best Director (Dramatic), in 1972 for Harold Pinter's "Old Times," as Best Director (Play), in 1979 with collaborator-playwright Alan Ayckbourn for "Bedroom Farce," in 1980 for Harold Pinter's "Betrayal," in 1992 for John Guare's "Four Baboons Adoring the Sun," and in 1996 for a revival of 'Oscar Wilde's "An Ideal Husband;" and in 1990 as Best Director (Play) and one of the co-producers of Best Revival nominee, Shakespeare's "The Merchant of Venice."

Also sprach...

Actors now think that if they raise their voice, they are being 'unrealistic'. I tell them: 'What you do is unreal. You're wearing someone else's clothes and speaking someone else's words'. (Speaking in 2008)

I've worked with practically all the great directors, alphabetically, from Bergman (Ingmar Bergman) to Zeffirelli (Franco Zeffirelli). It's wonderful to be involved in the mystery of other directors' work, because they're all different. But most will know within the first three or four days whether it's going to work. The interesting thing is when it's wrong they have to go on and they can't tell anybody it's wrong.

I love the politics of committees. I love the fact that with any committee if they set out on a certain path there is always a moment in the discussion if you pick the right moment and you have the right case where you can completely reverse their decision. I mean it's a very undemocratic procedure.

The theatre is always dying, always has been, because it's always changing. Change looks like imminent death sometimes. But it won't ever go away because it's live and there's nothing that you can compare it to because of that.

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