The British theatre world is mourning the loss of Frank Dunlop, the visionary director and founder of London's Young Vic theatre, who has died at the age of 98. Dunlop, a figure of immense energy and innovation, permanently reshaped the UK's cultural landscape through his creation of a dedicated space for young audiences and his transformative leadership of the Edinburgh International Festival.
The Birth of a Theatrical Revolution: The Young Vic
Frank Dunlop's most enduring legacy is undoubtedly the Young Vic theatre in London. In 1970, he achieved the extraordinary feat of creating this now-iconic venue in just nine months. The theatre was constructed from a former butcher's shop, using breeze blocks, and was inspired by post-war dreams of a vibrant theatre centre operating alongside the Old Vic. While it began with a familial connection to Laurence Olivier's National Theatre company, the Young Vic swiftly carved out its own powerful identity.
Its mission was radical for its time: to offer lively productions to young audiences at affordable prices. The programming boldly mixed classics from Shakespeare and Molière with groundbreaking modern works by Samuel Beckett, Eugène Ionesco, and Jean Genet. This approach democratised theatre-going for a new generation.
As actor Nicky Henson, a key member of Dunlop's early company, noted, the Young Vic quickly became Dunlop's "surrogate family." This was evident decades later at an anniversary gathering, where original company members like Ronald Pickup, Anna Carteret, and Cleo Sylvestre shared fond, humorous memories. Pickup recalled a visit from Olivier after a performance of Oedipus, where the legendary actor offered characteristically blunt feedback on his diction, a story that made Dunlop chuckle with paternal affection.
Transforming the Edinburgh Festival and Directing Genius
Dunlop's transformative touch extended north to Scotland, where he served as director of the Edinburgh International Festival from 1984 to 1991. He radically altered its character, elevating theatre from a poor relation to a central pillar of the programme. He curated groundbreaking international seasons, introducing UK audiences to titans like Sweden's Ingmar Bergman and Poland's Andrzej Wajda.
Perhaps his greatest coup, achieved with producer Thelma Holt, was bringing Japanese master director Yukio Ninagawa to British shores. Ninagawa's sublime, cherry-blossom-strewn production of Macbeth is still hailed as one of the most beautiful stagings ever seen, followed by equally striking works like Medea and The Tempest. Dunlop was famously less diplomatic with local politicians than with artists, once causing council fury by suggesting the festival might alternate with Glasgow.
A Prolific Director and Restless Innovator
While celebrated as an institution-builder, Dunlop was also a director of remarkable skill. He coaxed legendary performances from great actors, providing the essential framework for their work. In 1971, he directed Paul Scofield in a celebrated National Theatre production of Carl Zuckmayer's The Captain of Köpenick. Three years later, he guided John Wood to a virtuosic performance in an RSC staging of Sherlock Holmes.
His prolific career spanned an astonishing range. He was the original director of Joseph and the Amazing Technicolor Dreamcoat, created the populist "Pop Theatre" initiative, and turned Jim Dale into a Broadway star with the comedy Scapino in 1971. His restless energy, akin to a modern Tyrone Guthrie, meant he never stayed in one role too long, which perhaps led to him being undervalued in his lifetime.
Frank Dunlop's passing marks the end of an era for British theatre. From the concrete walls of the Young Vic to the storied stages of Edinburgh and beyond, his legacy is one of fearless accessibility, international ambition, and an unwavering belief in theatre's power to inspire the young. For giving London one of its most vital theatrical homes, he secures a permanent and honoured place in history.
