Miriam is a London based artist, theatre designer, printmaker, educator and photographer.
She is Artist in Residence in the Development Studies Department, SOAS, University of London.
I told my mum I was going on an RE trip by Julia Samuels for 20StoriesHigh/ Contact
The Broke'n'Beat Collective written and directed by Sue Buckmaster and Keith Saha for Theatrerites and 20 Stories High (Spring 2016, ***** Liverpool Echo), On the Edge Festival 2016, Audience Award, Rurh Festival 2017
Recent work includes:
Hatchdevised by the company, directed by Anthony Ekundayo Lennon, TYPT, Talawa at the Thackney Showroom
Hearing things by Philip Osment, Playing On, The Albany/ Vaults Festival
My Name Is...by Sudha Bhucher, dir. by Philip Osment,Tamasha (2014-5) Blackby Keith Saha, 20StoriesHigh, Liverpool Playhouse and tour
Tales of the MP3for 20storieshigh, dir. Julia Samuels, Liverpool Everyman, Edinburgh Summerhall, Unicorn and tour
War Correspondentsfor Helen Chadwick Song Theatre, directed by Steven Hoggett and Helen Chadwick, Greenwich and Docklands International Festival, Birmingham Rep+tour.
Other theatre designs include shows for the National Theatre, the National Theatre Studio, the Royal Exchange, the Polka, the Tricycle, Bolton Octagon, The Yard, Greenwich Festival and the Royal Court.
Recent exhibitions include:
DAMNATION OF MEMORY: PHOTOGRAPHS OF THE NATIONAL LIBRARY OF SARAJEVO Wolfson Gallery, SOAS Library, London WC1H 0XG
As an educator and workshop leader, Miriam has worked in many settings in many countries,
for National Theatre Learning department and for the British Council in Oman, as well as projects in Iran, Syria, Georgia, and in the UK for Creative Partnerships, Sonic Postcards Network, Victoria and Albert Museum, the Royal Court and for the Unicorn. She has recently been working with Art Refuge UK/ Medicins du Monde/ MSF in the informal settlements in Calais.
"This is arguably the most innovative piece of theatre to hit Liverpool since The Curious Incident of the Dog in the Nighttime stopped off at the Empire last year." ***** Liverpool Echo
"The Broke ‘N’ Beat Collective will touch the hearts of all that will go and see it with its beautiful storytelling told with passion and energy." ***** Sound and Vision
"This is theatre at its best, it was raw, it was thought-provoking and it had a message that needs to be heard." North West End
The Broke n Beat Collective, 20Stories High/ Theatrerites
**** The Guardian Micheal Billington
"...a mind-blowing achievement...these plays give us the chance to make an informed judgment. And I can only salute the entire cast...and the design of Pamela Howard and Miriam Nabarro. Something remarkable is happening at the Tricycle, where Afghan history and culture are being made manifest in a uniquely challenging, theatrically exciting way."
**** Whatsonstage.comMichael Coveney “one of the major highlights of the year ... don’t miss this dramatic, often poetic, intervention in what is clearly a necessary war.”
****Evening Standard “The cumulative impact...is immense … most movingly of all...[the] beautiful painted mural backdrop is whitewashed by Taliban henchmen then collapses to give way to an uninterrupted vista of poppy fields.”
**** Daily Telegraph,**** The TimesDominic Maxwell “...its scope is unparallelled. It’s a fine achievement.”
The Great Game: Afghanistan Tricycle Theatre
Nominated for Outstanding Achievement in an Affiliate Theatre, Olivier Awards 2010Nominated for Threatrical Event of the Year, Whatsonstage Awards 2010
***** The Guardian , Alfred Hitching
"...combines the most penetrating images of the Iraq war into a compelling miniature - and it is often miniatures that come closest to perfection."
*****The Telegraph Elizabeth Kirkwood
"...“The greatest sin of our age is knowing the things we do and doing nothing because it's an inconvenience.” Mesmerizing performances from all three actors more than meet Thompson's triumph in imbuing each voice with a unique conviction... The art of the monologue close to perfection.'
**** The Independent Lynne Walker
"...Greg Hersov's sensitive production is all the more effective for the sparseness of the set, the painterly lighting and the tying together of these three compelling tales with the lightest of final touches. "
A truly formidable piece of work.Amnesty International UK
The minimal set leaves the cast with a blank canvas... and benefits from this sense of space.... As I leave the Traverse, a cacophony of awestruck whispers follow me out. This is a solemn, but intensely memorable production and a genuinely important piece of theatre. *****Fest August
Formidable theatre Scotsman
Palace of the End Royal Exchange Studio, Manchester, Galway Festival and Traverse Theatre, Edinburgh, 2009 Amnesty International Freedom of Expression Award
Paranoia is stitched into the fabric of the play: Miriam Nabarro’s evocative set design features a split living room with ‘curtains’ which are eerily comprised of tabloid headlines…thus they are constantly being watched and judged by the world. Exeunt Magazine 5*
'...absolutely gripping ... a drama of terrific integrity’The Scotsman 4*
'...easily one of the best new plays in Scotland this year.’TV Bomb 5*
My Name Is... Tamasha 2014
'Max Stafford-Clark's direction is delicate and subtle amid simple staging. It awakens you to the pity, dignity and terror of Africa.' ****Libby Purves, The Times
'A particular mention should be made of the excellent, understated work by designer Miriam Nabarro who has herself spent time in the DRC. The details she introduces, from the beer bottles to the design of the simple living spaces, all ring perfectly true.'
****Kevin E.G. Perry, Exeunt Magazine
Bang Bang BangOut of Joint, Royal Court+ touring
The Winters TaleHeadlong/ Schtanhaus/ Nuffield
'This is a really terrific touring production: uncluttered, good at storytelling, neatly designed with a nod to the 1930s, and full of nifty touches.' ****The Guardian, Lyn Gardner
Dr Korczak's Example Royal Exchange Studio, Manchester
MEN Best Studio Production 2008
Korczak's legacy remains enshrined in international law as the basis for the UN Convention on the Rights of the Child, whose stipulations include the right to play, the right to an education and the right to protest. He did not specify the right to challenging, inventive and intelligent theatre, but this admirable production adds it to the list.
****Alfred Hickling, The Gaurdian
Miriam Nabarro's design deserves special praise..' 4*Andrew Edwards, The British Theatre Guide
SE1 9PX: Hidden Corners, National Theatre
Miriam Nabarro's remarkable pictures go behind the scenes to reveal the dramatic inner workings of the National Theatre... her photographs were taken...using obsolete [film]stock, were then crossprocessed, a technique that fills the glossy squares with lustrous colour that seems appropriately theatrical. As with the NT, there is method behind this magic, and they celebrate all of its unsung organisationThe Independent on Sunday,
The theatre designer and photographer Miriam Nabarro has been skulking around the hidden corners and secret places of the National Theatre...Using a Hasselblad camera older than the theatre itself, she gives these mysterious images a gorgeously retro feel, with high contrast and saturated colour, like a 1970s movieThe Times, The Editors Choice, Visual Arts