Max likes dark comedies about people trying to navigate in an increasingly
absurd world and the blurred line between theatre and performance.
He was a winner of the Paris Royal Screenplay Awards,
Screen to Screen Award, a recipient of the Peggy Ramsay Foundation, a finalist
for the Nick Darke Award, Theatre Uncut's Political Playwriting Award and
Papatango's Prize for new Writing.
He has worked with Theatre 503, Paines Plough, The King’s Head
Theatre, The Arcola, Paines Plough and many others across London,
as well as collaborating with the Wooster Group in New York,
the English Theatre Berlin and the British Museum.
He has recently finished a UNESCO residency with Potrva Theater
in Prague which he'll be presenting in January, 2019 in London.
Max also runs screen and playwriting workshops across London and
has worked with the Yard Theatre, Flux,
the Actor's Centre, the Gate Theatre,
the Southwark Playhouse and many others across London.
Please get in contact for
collaborations at email@example.com
Nick Darke Award, Royal Court Theatre, 2018 Reviews
"Set against some very urgent and contemporary issues, [Wannsee] manages to perfectly capture the flux of the expatriate existence."
Francis Grin, Literary Manager of the Finborough Theatre
“Powerful, involving, relevant and very funny. A fascinating play – and a play for now (Hong Kong City)”
Professor Tony Howard, Warwick University
“A brilliant piece of writing by Max Wilkinson – Wannsee deserves to be seen by as wide an audience as possible."
Paul Ver Bruggen, BBC1 Assistant Editor
"Full of contemporary issues Hong Kong City comes together nicely to give a beautiful conclusion...Max Wilkinson is one to watch as a writer."
"This is one of those shows that doesn’t end with the final lights out but instead sparks of some very lively debates amongst the audience" (Hong Kong City)
London Theatre Review
(100 Ways the Fire Starts)(Brave New Word showcase at the Arcola Theatre)
Interview for 1Granary Magazine
“100 Ways The Fire Starts’ was a joy to read; it’s a very exciting play with intriguing premises and theatrical nuances”
Anthony Orme, Associate Producer at the Hope Theatre
“Last year, I was lucky enough to read 100 Ways the Fire Starts... I wanted to get in touch in a personal capacity to see if you'd be interested in having chat about the play and your work?”
Dan Hutton, Associate Artist at the Yard Theatre
“I really enjoyed the piece and thought you had a really strong cast. I really liked the concept and enjoyed the comedy elements”
Adam Hemmings, Head of Programming at the Space Theatre.
“I really enjoyed reading 100 Ways the Fire Starts. It’s great to get a sense of your voice and ideas as a writer. What is the next step for the production?”
Charlotte Fraser, Assistant Director at High Tide
“A great play! I feel like 100 ways the fire starts shed a new light on the surreal state of society. Irreverent and timely, it moved seamlessly between the depressing and the hilarious”
Charlie Young (Audience Member)
“Really enjoyed this dark comedy! The story was very original and well written. I'd love to see it again in full production”
Susanna Fascioio (Audience Member)
“Unafraid to go for the jugular, this surreal and uproarious social satire was as entertaining as it was incisive”
Peter Jacobs (Audience Member)
“I had a great time. The play couldn’t reflect London’s character more. It deals with contemporary concerns like gentrification and conspiracy with a charming, bittersweet touch”
Jean Baptiste Lagadec (Audience Member)
“100 Ways the Fire Starts” is a dark and cutting satire that is in turns amusing and frightening. It provokes a serious and unsettling discourse about the future but always with a wry smile.
Georgina Pringle (Audience Member)