Deborah Warner (born 12 May 1959) is a British director of theatre and opera, known for her interpretations of the works of Shakespeare, Bertolt Brecht, Benjamin Britten and Henrik Ibsen. Early life Warner was born in Oxfordshire, England, to antiquarians Roger Harold Metford Warner and Ruth Ernestine Hurcombe. After attending Sidcot School and St Clare's, Oxford, she studied Stage Management at Central School of Speech and Drama. In 1980 she founded the KICK theatre company when she was 21. Career Warner has since the 1980s worked in close creative partnership with the actor Fiona Shaw, developing a wide range of projects that have been seen throughout Europe and the United States. The Sunday Times critic John Peter wrote of their vision of Richard II that "Warner and Shaw are not being either fashionable or reactionary ... They are making theatre that is an adventure, a journey of the mind, a discovery of other ages, other countries, other people, other minds." Warner has also enjoyed long-term collaborations with the designers , Hildegard Bechtler, , Tom Pye, and the choreographer Kim Brandstrup. Although the majority of her work has focused on major classics of spoken drama and opera, she has also experimented with the performance of poetry (The Waste Land, Readings) and the staging of oratorios (St John Passion, Messiah), as well as installations (The St Pancras and Angel projects, Peace Camp). She has made relatively few excursions into new work (Jeanette Winterson's The Powerbook (2002), Tansy Davies' 2015 opera Between Worlds and The Testament of Mary being exceptions) or comedy (The School for Scandal), and although she has made much creative use of video on stage, she has directed little for film and television. Her first creations for Kick, a company that she started and managed, were deeply influenced by the example of Peter Brook and his belief that the performer must always be at the centre of the event. "I'm not sure I would have been in any way conscious of the potency of theatre if I hadn't seen his work", she said in an interview with Vogue in July 1994. Other figures important in her formative years include Peter Stein, who commissioned her production of Coriolanus at the Salzburg Festival, and Nicholas Payne and Anthony Whitworth-Jones who commissioned her first essays in opera, at Opera North and Glyndebourne respectively. Although she has refused to subscribe to a programmatic feminism