Jens Peters

Profile

Jens Peters

Jens Peters has worked as director and dramaturg in Germany, France and the UK. Credits include 'Footfalls, Come and Go, Not I' (Théâtre National Populaire, Villeurbanne; AD to Yvonne McDevitt), 'The Edukators' (Stadttheater Bielefeld, AD to Jens Zimmermann), 'The Bitter Tears of Petra von Kant' (Southwark Playhouse, dramaturg to Yvonne McDevitt), 'The Waves' (RADA and Drill Hall), 'This Child' (Southwark Playhouse, AD to John Retallack), What Shaz Says (Southwark Playhouse), Mirad A Boy from Bosnia (ALRA). He is currently working as Assistant to the International Associate Paul Sirett at the Soho Theatre, and has been Assistant Teacher for Dramaturgy and Scene Studies at RADA. Jens holds a BA in English Literature from the University of Cambridge, and an MA in Text & Performance Studies from RADA and Kings College London. He is about to begin his PhD at the University of Exeter on 'The production and reception of New German Writing in the UK'.

Posts

Le Mariage

Despite faltering balance towards the end, Le Mariage remains a play to be seen, thought, and talked about!

The Pendulum

Alexander Fiske-Harrison’s new play at the Jermyn Street Theatre is well-made in every sense of the term.

Russian National Mail

Director Noah Birksted-Breen shows in his use of music, puppetry, and acting with mime-like precision, a focused vision and tight control of theatrical possibilities.

Piranha Heights

There’s only so many lofty comparisons to gratuitous violence that you can take before it descends into the superficial; missing the chance to create a truly gripping and menacing dialogue.

Under Milk Wood

None of these minor points can detract from the outstanding quality of this production of Under Milk Wood. On the whole, it just felt right.

Spring Awakening

If Spring Awakening were a painting, it would resemble the works of German Expressionists such as Emil Nolde or Ernst Ludwig Kirchner.

The Last Days of Judas Iscariot

The Last Days of Judas Iscariot could make a good TV sitcom, but it fails to rise to the interpersonal demands of the stage.

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