Kendall Feaver

Kendall is an Olivier-nominated Australian playwright, screenwriter and lyricist and screenwriter, now based in London.

Her debut play THE ALMIGHTY SOMETIMES won the Judges Award at the 2015 Bruntwood Prize amidst a succession of honours, including Best New Play at the UK Theatre Awards. The play has since been performed extensively around the world. Kendall's subsequent theatre work includes ALMA MATER which opened at the Almeida Spring 2024 (directed by Polly Findlay) and her critically acclaimed five-star hit adaptation of Noel Streatfeild’s BALLET SHOES at the National Theatre this Christmas; which earned her an Olivier nomination for 'Best New Entertainment/Comedy Play'.

On the screenwriting side, she has written a feature for Pathé about Eleanor Roosevelt for Rupert Goold to direct, and was in the writers room on BECOMING ELIZABETH 2 for The Forge/Starz. 

Kendall is currently under commission to Sonia Friedman Productions, the Roald Dahl Story Co. and Manhattan Theatre Club.

Praise:

‘A palpable hit – an un-balletic stampede to the box office surely awaits it’ The Telegraph [5 stars] on Ballet Shoes

‘This superlative adaptation never puts a foot wrong. No notes – Bravo ’ Evening Standard (5 stars] on Ballet Shoes

‘Springs from page to stage with panache’ WhatsOnStage [5 stars] on Ballet Shoes

‘If you see one show this Christmas season, make it the effusive, lovable Ballet Shoes at the National Theatre’ The Independent [5 stars] on Ballet Shoes

‘Feaver’s drama is one of the best yet to grapple with today’s culture wars, celebrating the collapse of old certainties while questioning without piety what comes next’ The Telegraph on Alma Mater

‘Feaver’s play, like Robert Icke’s The Doctor before it, turns the Almeida stage into a cauldron of debate’ Financial Times on Alma Mater

‘A bold ambitious play, hungry to debate and argue and complicate’ Guardian on Wherever She Wanders

'It is to Feaver’s credit that she takes what is ostensibly the problem play...and makes it searingly contemporary, imbuing it with intellectual heft and emotional complexity. The playwright has a powerful capacity for empathy, so that each character’s moral and psychological viewpoint is sketched with a kind of dignified conviction' The Guardian on The Almighty Sometimes