Christopher Shutt trained at the Bristol Old Vic Theatre School.
For Headlong: The Effect.
Work for the National includes Timon of Athens, The Last of the Haussmans, The Comedy of Errors, 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, Coram Boy (also 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: The Tempest, The Comedy of Errors, Twelfth Night, King Lear, Much Ado About Nothing, King John and Romeo and Juliet (RSC); Playboy of the Western World, All About My Mother and Moon for the Misbegotten (Old Vic); School for Scandal and Julius Caesar (Barbican); Philadelphia Here I Come, Piaf, Hecuba and The Man Who Had All The Luck (Donmar); Ruined and Judgment Day (Almeida); Love & Information, Kin, Aunt Dan and Lemon, Serious Money and Road (Royal Court); The Caretaker (Sheffield Crucible); Nocturnal (The Gate); Far Away (Bristol Old Vic); All My Sons (Broadway); The Bacchae and Little Otik (National Theatre of Scotland); Bacchae/Blood Wedding and Beyond the Horizon/Spring Storm (Royal & Derngate, Northampton); 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.
Tony Award for War Horse. New York Drama Desk Awards for War Horse, Mnemonic and Not About Nightingales. Olivier Award nominations for Coram Boy, War Horse, Piaf and Every Good Boy Deserves Favour.