Christopher Shutt trained at the Bristol Old Vic Theatre School.
Work for the National includes War Horse (also Broadway), Emperor and Galilean, The White Guard, Or You Could Kiss Me, Burnt by the Sun, Every Good Boy Deserves Favour, Gethsemane, The Hour We Knew Nothing of Each Other, Philistines, Happy Days (also world tour), Coram Boy (also on Broadway), A Dream Play, Measure for Measure, Mourning Becomes Electra, The PowerBook, Humble Boy, Play Without Words, Hamlet, Albert Speer, Not About Nightingales, Chips with Everything, The Homecoming and Machinal.
Work for Complicite includes A Disappearing Number, The Elephant Vanishes, A Minute Too Late, Mnemonic, Noise of Time, Street of Crocodiles, Three Lives of Lucie Cabrol, and Caucasian Chalk Circle.
Other work includes Playboy of the Western World, All About My Mother and Moon for the Misbegotten (also Broadway) at the Old Vic and on Broadway; School for Scandal and Julius Caesar at the Barbican; Prince of Homburg, Piaf, Hecuba and The Man Who Had All The Luck at the Donmar; Ruined and Judgment Day at the Almeida; Kin, Aunt Dan and Lemon, Serious Money and Road at the Royal Court; The Caretaker at Sheffield Crucible; Nocturnal at The Gate; Far Away at Bristol Old Vic; All My Sons on Broadway; The Bacchae and Little Otik for National Theatre of Scotland; King Lear, Much Ado About Nothing, King John and Romeo and Juliet for the RSC; Beyond the Horizon and Spring Storm at the Royal & Derngate, Northampton and the National; and The Resistible Rise of Arturo Ui in New York with Al Pacino and Steve Buscemi, music by Tom Waits. Radio includes A Shropshire Lad, Tennyson’s Maud, A Disappearing Number and After the Quake.
Twice awarded the New York Drama Desk Award for Outstanding Sound Design for Mnemonic and Not About Nightingales. Olivier Award nominations for Coram Boy, War Horse, Piaf and Every Good Boy Deserves Favour.
Tony Award nomination for War Horse.
Published December 2011