Jeremy Herbert is a multimedia artist and stage designer.
He was originally a biologist but also has a degree in Politics. After spells as musician and journalist he went via art school to Margaret Harris’ now legendary theatre design course.
Last year he presented his installation Safe House at the Young Vic – a collaboration withwriter Gabriella Sonnerbend – as well as designing Richard Jones’ production of Rodelinda at the ENO.
Some recent projects are; Hamlet, The Glass Menagerie, and Blackta at the Young Vic; Betrayal at the Comedy; La Traviata for Wiener Festwochen; Paradise – a site-specific performance/installation for the Ruhr Triennale; Harper Regan by Simon Stephens (Hamburg Schauspielhaus, Salzberg Festival); and Parlour Song by Jez Butterworth (Almeida).
He used a NESTA Award to design and develop giant (silent) wind machines that became central to his design for Britten’s Death In Venice at the Hamburg Staatsoper and Theater an der Wien.
Jeremy designed many new plays for the Royal Court Theatre. These included first productions of Sarah Kane’s Cleansed and 4.48 Psychosis (which won a Barclays Award for Best Design); as well as Tom Murphy’s Alice Trilogy; The Lights – staged in the gutted theatre just before it’s refurbishment; Caryl Churchill’s version of Thyestes; and The Ugly One by Marius Von Mayenburg.
Elsewhere, Jeremy has designed new operas for both Michael Nyman (Man & Boy DADA) and John Taverner (Mary of Egypt); he has worked for the RSC (The Tempest, Roberto Zucco); in the West End (This is Our Youth, Sexual Perversity in Chicago); with Madonna (Up For Grabs); and with Artangel ( Imber – Salisbury Plain).