Beverly Blankenship prefers new plays, the work of living authors.

When there are enough new plays to direct, then the classics are fun too.

She aims for a cathartic experience, be it in comedy or tragedy.

The content informs the style of her productions, the play being more important than the director.

Theatres she has directed for:
In Vienna: Theater in der Josefstadt, Volkstheater Wien, Theater Drachengasse
in Austria: Festspiele Reichenau, Salzburger Landestheater
in Germany: Staatstheater Saarbrücken
in Australia: Seymour Centre, Sydney, Church Theatre, Melbourne
in Great Britain: Old Red Lion Theatre, London

Blankenship has directed over 50 productions. A few examples follow.



Scenes of an Execution

Barker, Volkstheater Vienna.

“Terrific Production!...A Thank you to Blankenship!” (Standard, Vienna)
“...a work of art...Huge applause...” (Kronenzeitung, Vienna)


”Click ”Click


Dorst, Staatstheater Saabrücken; Salzburger Landestheater.

“The most beautiful production of this season...” (Saarbrücker Zeitung)
“...the director fulfills her task with bravura and brilliant images. The empty stage is the Waste Land... And although the stage is so empty, it is filled with with lightning and thunder, with clouds of fog, light and dusk, fire and smoke. The big, high stage of the State Theatre which makes so many directors filled with effortless virtuosity: gleaming, huge images...” (State Radio Saarland)
“ astonishing production…go see this litte miracle of acting, imagery, music and ensemble work...” (Kronenzeitung, Salzburg)



Professor Bernhardi

Schnitzler, Festspiele Reichenau.

“Fantastic psychothriller...” (Standard, Vienna)
“...brilliant male ensemble...much applause...” (Presse, Vienna)



The Feigned Courtesans

Behn, Theater Drachengasse, Vienna;
Old Red Lion Theatre, London.

“Electrifyingly speedy...Beverly Blankenship entwines the threads of action, spun from mistaken identities and lies, to a nearly unsoluble knot of emotions and evening we will not forget in a hurry.”(Kurier, Vienna)
“For all who love theatre to be poetical, yet full of slapstick, turbulent and yet sophisticated, lascivious and full of brilliant critisism...” (Kronenzeitung,Vienna)
“This in no way for the faint keeps them gripped...” (Stage, London)


”Click ”Click

As You Like It

Staatstheater Saarbrücken; Salzburger Landestheater.

“...she has returned, finally: Beverly Blankenship and her ensemble were acclaimed by the audience on opening night...a production full of wit, soul, energy and gags.” (Kronenzeitung, Salzburg)


”Click ”Click

St. Joan of Arc

Schiller, Staatstheater Saarbrücken.

“ her hands Schiller´s heavy text shell and intellectual armour turn into into a set of wings for a convincing ensemble and an enthused audience that runs riot...” (Saarbrücker Zeitung)



Relatively Speaking

Ayckbourn, Theater in der Josefstadt.

“Almost a revolution in the small house of the
Josefstadt...” (Presse, Vienna)






Nestroy, Landestheater Salzburg.

“Director Beverly Blankenship created a success for Salzburger Landestheater. The audience saw a very successful production.” (Salzburger Nachrichten)
“Unanimous acclaim for the director and the actors.“ (SVZ)
“…fresh, funny, full of ideas, an acclaimed success!” (Kronenzeitung)


”Click ”Click

My Year Without Sex

Theater Drachengasse, Wien
Adelaide Fringe Festival
Melbourne International Comedy Festival

“Gerger hits comedy gold…It´s orgasmic fun!” (Seat Wave)

“My Year Without Sex is Basil Fawlty’s eccentric sister meets Ali G. After the death of her husband, our heroine, Mrs Winifred Tickletext, does a world tour. President of the Pembleworth Ladies’ Society, she plays about 60 roles in this hectic one-woman play, from a dopey Australian hippy female to a carload of Arabs (all called Ali) and Mrs Tickletext’s dead husband in an amusing re-enactment of his idiosyncratic rumpy-pumpy.
She ends up in a windowless room with her hippy friend undergoing a body search by a gloved-up little Asian who talks like she’s killing a parrot. Very British, very formal, sex-starved Mrs T is a wonderfully-played character. She switches characters in two-way conversations so that you wonder why all plays aren’t just pared back to a single, cost-effective actor. For those who like their humour British, with racial stereotypes of all descriptions rubbing up against an uptight but very lively Englishwoman.”(The Independent Weekly)
“Original and creative work by a mother-daughter team….the outcome is a series of extremely vivid and outrageous adventures cleverly portrayed with only a few marvelous props…“ (Adelaide Theatre Guide)
“Actor Jessica Gerger is the star taking on all the roles. Gerger´s performance is at its most impressive when watching a fight between four characters! This amalgam of works by 10 different writers is tightly performed and the story keeps the audience togther until the dramatic home coming.” (Adelaide Advertiser)