Based on Nobel Prize-winning author José Saramago’s phantasmagorical novel, adapted by Simon Stephens (The Curious Incident of the Dog in the Night-Time), Blindness begins with the nightmarish premise of a pandemic that causes blindness. In an immersive sound and light installation, the production features the recorded audio performance of the Olivier Award-winning actress Juliet Stevenson (Truly, Madly, Deeply), for a wholly unique experience. Hailed by The Guardian as “an exquisitely told story of resilience, violence, and hope,” this remarkable work of art posits the paranoia of governmental indifference to the plight of the suffering, yet offers a message of hope in times of darkness. This actor-less installation, limited to 40 guests at a time, will be a welcoming first step back into Sidney Harman Hall.
Whether you’re joining us for the first time or returning for the hundredth time, your experience at Blindness will be unique. Watch this video to learn more about the new safety measures in place for your visit.
“CRITIC’S PICK…A stimulating sojourn back to in-person theater.” –The New York Times
“STUNNING…A once-in-a-lifetime theatrical experience.” –BroadwayWorld
“BRILLIANT…A transformative sound-and-light installation that speaks to our age.” –DC Metro Theater Arts
“An INDELIBLE EXPERIENCE…Go. To. This. Production.” –MD Theatre Guide
“MESMERIZING…You must see and feel this for yourself.” –The Georgetown Dish
“WONDEROUS…A gripping adventure of sight and sound.” –Metro Weekly
“TERRIFYINGLY ENTHRALLING.” –Washington Blade
“SKILLFUL…The sound engineering is impeccable and the performance is arresting.” –Two Hours’ Traffic
“COMPELLING…All should hasten to catch this immersive, actor-less, surround-sound experience.” –K Street Magazine
“A CLEVER and COMPELLING way to reopen the theatre.” –BroadwayWorld
“INVENTIVE…A magnificent piece of narration, gripping and believable.” –WhatsOnStage
“TIMELY…An exquisitely told story of resilience, violence, and hope.” –The Guardian
“INGENIOUS…Artistically and technologically pioneering.” –The Telegraph
“UNFORGETTABLE…That it also speaks so eloquently to our Covid-afflicted present and our common humanity is an exhilarating testament to the power and necessity of art—not least at times of crisis.” –Metro
“WONDERFUL…Captures the sublime moments of hope in the midst of the horror.” –British Theatre
Your safety is our priority. STC was granted a waiver by the D.C. Government’s Homeland Security and Emergency Management Agency specifically for this event.
On May 10, Mayor Bowser announced that Washington, D.C., will lift most of its COVID-19 capacity restrictions starting on Friday, May 21, with large entertainment venues—such as STC—allowed to reopen with no capacity restrictions on Friday, June 11. And on May 17, the Mayor lifted the mask mandate.
As Blindness is designed to offer an immersive, intimate experience, seating capacity remains at 40. At this time, we ask that attendees remain masked while indoors. We will continue to keep our Health and Safety guidelines up-to-date.
Highlights of the safety precautions we will be taking at each seating include:
View STC’s comprehensive Health and Safety guidelines here
Seats for Blindness are sold in pairs. To inquire about individual seats, please call the box office at 202.547.1122.
If you have any accessibility needs, please call the box office at 202.547.1122.
All titles, artists and dates subject to change.
Juliet Stevenson is one of Britain’s leading actors. Her most recent theatre credits include The Doctor, for which she won the Critics’ Circle Award for Best Actress and is currently nominated for the Olivier Award for Best Actress, Mary Stuart, Hamlet (Almeida/West End); Wings, and Happy Days (Young Vic). Juliet won the 1991 Olivier Award for Best Actress for her performance in Death and the Maiden, and has been nominated a further five times. Juliet has received five BAFTA nominations for her work on screen. Her films include Truly, Madly, Deeply (Evening Standard Film Award for Best Actress), Bend it like Beckham, When did you last see your Father?, and Being Julia. Juliet’s latest television work includes Riviera and Out of her Mind, a comedy series with Sara Pascoe which will air in September 2020. Her other credits include One of Us and The Enfield Haunting, and she appeared as a series regular in Atlantis and The Village. She was awarded the CBE in 1999.
Simon Stephens is an Olivier and Tony Award-winning playwright. His theatre credits include Fortune (Metropolitan, Tokyo), Maria, Rage (Thalia, Hamburg), The Threepenny Opera (NT), Fatherland (MIF 2017/Lyric Hammersmith/LIFT Festival 2018), Heisenberg (West End), Obsession (Barbican/Toneelgroep, Amsterdam), The Seagull, Herons, Morning, Three Kingdoms, A Thousand Stars that Explode in the Sky, Punk Rock (Lyric Hammersmith); Carmen Disruption (Deutsches Schauspielhaus/Almeida); Nuclear War, Birdland, Country Music, Bluebird (Royal Court); The Curious Incident Of The Dog In The Night-Time (Olivier and Tony Awards for Best New Play) (NT/West End/Broadway), A Doll’s House (Young Vic/West End); Sea Wall (Bush), Harper Regan, Port (Royal Exchange, Manchester/NT), and On the Shore of the Wide World (Royal Exchange, Manchester). He has also written for film, television, and radio. Simon is a professor at the Manchester Writing School at Manchester Metropolitan University and Artistic Associate at the Lyric Hammersmith.
Walter Meierjohann was Artistic Director of HOME from 2013 to 2018 and International Associate Director at the Young Vic in London. At the Young Vic, his productions included the European premiere of In the Red and Brown Water by Tarell McCraney and Kafka’s Monkey, which toured to Sydney, Melbourne, Athens, Paris, Tokyo, Istanbul, Taipei, and New York. The production, which starred Kathryn Hunter, also showed in HOME’s 2015 opening season, with Hunter reprising her lead role. Walter has worked extensively in Germany and the UK at theatres including: the Barbican; Liverpool Playhouse; Nottingham Playhouse; The Curve, Leicester; Residenztheater, Munich; Staatsschauspiel, Dresden; Schauspiel, Graz; and Arena, Berlin, for Peter Stein’s Faust Ensemble and Impulse Theatre Festival. Prior to joining the Young Vic, Walter was Artistic Director of Neubau at the State Theatre of Dresden. In opera, he has assisted the late Klaus-Michael Grueber in his productions of Aida (Nederlands Opera, Amsterdam) and Don Giovanni (Ruhrfestspiele).
Jessica Hung Han Yun is a multi-award-winning lighting designer specializing in installations, theatre, dance, and festivals. INTERNATIONAL: Complicité/ Edinburgh/Royal & Derngate: The Last of the Pelican Daughters | Young Vic: Fairview | Kiln: Snowflake | Gate: Mephisto [A Rhapsody], Dear Elizabeth, The Human Voice | Theatre Royal Stratford East/West End: Equus ( Knight of Illumination Award 2019, Off West End Award for Best Lighting Design) | Royal Court: Seven Methods of Killing Kylie Jenner, Pah-La | Theatre Royal Plymouth/Arcola: Forgotten | Roundhouse with Hot Brown Honey: Hive City Legacy | Soho: Cuckoo | Bunker: Nine Foot Nine | Vaults Festival 2018: Becoming Shades.
In 2019 Ben and Max, together with writer Ella Hickson, created ANNA—a headphone based show at the National Theatre. They are co-creators of the immersive theatre company Wiretapper and associate artists with the Shunt Collective. Four-time Olivier Award-nominees, they were awarded the H-100 2019 Award for Innovation in Theatre and Performance. Recent credits for the Donmar include Teenage Dick, Berberian Sound Studio, and Belleville. INTERNATIONAL: West End: Cyrano de Bergerac, Pinter at the Pinter | Kiln: The Seven Ages of Patience, Pass Over | National Theatre: Ugly Lies the Bone, Tartuffe | Shoreditch Town Hall: Party Skills | Chichester: The Meeting | Almeida: Machina Sheffield Theatres: Love and Information. BROADWAY: West End/Broadway: Betrayal. UK Tour: Pygmalion. COMPOSITION/SOUND DESIGN: Frida Kahlo: Making Herself Up at The V&A, Mirror Maze and Room 2022 with Es Devlin, Rembrandt: The Late Works at The National Gallery, The Inspection Chamber for Alexa, BBC Research and Development.
Lizzie Clachan is a renowned theatre and opera designer and was one of the co-founders of the Shunt collective in 1998. Her previous work at the Donmar includes Far Away and The Prime of Miss Jean Brodie. INTERNATIONAL: Bridge: A Number | Kiln/West End: The Son | MIFl/Melbourne Festival: The Nico Project | National Theatre: Rutherford & Son, Absolute Hell, As You Like It, A Woman Killed with Kindness, Treasure Island, Edward II | Royal Court/Abbey Theatre, Dublin/Public Theatre, NY: Cyprus Avenue | Young Vic/Armory, NY: Yerma | Young Vic: Life of Galileo, Macbeth, A Season in the Congo | Lyric Hammersmith: Tipping the Velvet | Royal Exchange, Manchester: The Skriker | Almeida: Carmen Disruption | Perner Insul, Salzburg: The Forbidden Zone | Regent’s Park Open Air: All My Sons | Toneelgroup Amsterdam/Avignon Festival: Ibsen Huis. OPERA: ENO: Mask of Orpheus, Orphée, Orpheus in the Underworld, Orpheus and Euridice | Staatsoper Hannover: Nixon in China | Amsterdam National Opera: Jenufa | Theater Basel/ENO: La Traviata | Teatr Wielki, Poland/Festival d'Aix en Provence: Pelléas et Mélisande | Staatsoper Berlin: Le Vin Herbé | Staatsoper Hamburg: Bliss.