Theatre Director 

Katy is the Director of Joel Horwood's adaptation of Neil Gaiman's Ocean at the End of the Lane  at the Dorfman, National Theatre which opened to rave reviews in December 2019. She is also a recipient of Best Director at The Stage Debut Awards for her production of The Almighty Sometimes which she directed at the start of 2018 at the Royal Exchange Theatre, Manchester. 

Recent credits as Associate Director include Lungs (Old Vic Theatre), Pinocchio (National Theatre), Groundhog Day (UK & USA), The Master Builder (The Old Vic), Linda (Royal Court) and Husbands and Sons (National Theatre & The Royal Exchange Theatre Manchester). She is also the Associate Director on The Curious Incident of the Dog in the Night-time, directing it for its recent re-opening at the Piccadilly Theatre, the Gielgud Theatre and for the UK tour. Katy was also the Associate for the Broadway production, which opened in 2014.

Katy trained on the National Theatre’s director course and was the winner of the Noël Coward Young Director’s Bursary and completed her training at the Salisbury Playhouse after which she was appointed a staff director at the National Theatre.

The beauty of Katy Rudd’s production is the way that it manipulates theatre space into a simulacrum of a child’s imagination: doors menacingly multiply, windows open on to enchanted forests, and a pool of spotlight becomes a small but impregnable safe space, on the condition (which can never be taken for granted) that the child is brave and smart enough to resist demons he doesn’t yet recognise.

Claire Armitstead
on The Ocean At The End Of The Lane- West End

While the book excels at conveying the enchantment of the supernatural realm, Katy Rudd’s direction pushes it even further.

Anya Ryan
on The Ocean At The End Of The Lane- West End

Isn’t that the marvel of fiction itself – the show, enchanting for young and old alike, poignantly argues: that it gives you the armour to go forth and battle with the worst that life can throw at you...the National at its very best 

Dominic Cavendish
The Telegraph on The Ocean at the End of the Lane

Trying to squeeze such an extravagant story into a space as intimate as the Dorfman might seem a daunting task, but Joel Horwood’s adaptation and Katy Rudd’s restlessly imaginative production rise to the challenge.

Clive Davis
The Times on The Ocean at the End of the Lane

Katy Rudd’s thrilling NT production, which is pacy, stylish and also expertly harnesses the inherent ambiguity of theatre to get to the heart of Gaiman’s tale

Andrzej Lukowski
Time Out on The Ocean at the End of the Lane

Rudd does a terrific job bringing it to life... It's one of the most satisfying Christmas shows the National has created for a long time 

Sarah Crompton
What's On Stage on The Ocean at the End of the Lane

It’s an edgy, stunningly thought through tribute to the wild and wonderful life of the mind, and its ability to help us engage with the horrors that life flings at us

Rachel Halliburton
The Arts Desk on The Ocean at the End of the Lane

A monster-powered, adrenaline-filled spectacular... dynamically directed by Katy Rudd

Arifa Akbar
The Guardian on The Ocean at the End of the Lane

Is Neil Gaiman’s “The Ocean at the End of the Lane” a story of childhood for adults or an adult view of the world for children? As director Katy Rudd’s astonishingly theatrical production of Joel Horwood’s adaptation resoundingly proves, the answer is: Both.

on The Ocean at the End of the Lane

Rudd’s staging is brilliantly pitched on the border between fantasy and reality

Sarah Hemming
Financial Times on The Ocean at the End of the Lane

It’s not just the spellbinding mise en scene from director Katy Rudd – with all related creative contributions unleashing one hallucinogenic thrill after another.

The Telegraph
on The Ocean at the End of the Lane

In Katy Rudd’s lacerating production it’s sharply observed, drily funny and compassionate, as well as alert to the cruelty we often inflict on those we love most.

Sam Marlow
The Times on The Almighty Sometimes

Performed in the round and staged with stark, smartly lit finesse by Katy Rudd so that the action bleeds quite naturally between domestic and institutional interiors and from everyday naturalism into expressionistic frenzies, this piece is powered by anger. 

Dominic Cavendish
The Telegraph on The Almighty Sometimes

Katy Rudd’s production keeps things motoring, and one striking, terrifying scene makes us feel what it is like to be imprisoned in the maze of bright lights and electrical short circuits inside Anna’s head.

Lyn Gardner
The Guardian on The Almighty Sometimes

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Camp Siegfried has sombre themes and a menacing backdrop, but, over 90 minutes, supplies a compelling story filled with light and shade. This is high-quality work by a team of extraordinarily bright creatives.

Bella Bevan
Broadway World on Camp Siegfried

Katy Rudd’s production makes extraordinary, telling sense of the physical space in the Old Vic.

Paul Taylor
Independent on Camp Siegfried

Katy Rudd’s imaginative direction has time and place changes in sudden whooshes.

Arifa Akbar
The Guardian on Camp Siegfried