Luke's directing credits include THE COUNTRY WIFE (Southwark Playhouse - nominated for 4 Off West End Awards), BOSIE (Hope Mill Theatre), THE DROWSY CHAPERONE (Institute of Art, Barcelona), LUCKY STIFF (Lilian Baylis, Sadlers Wells), BAT BOY: THE MUSICAL (Southwark Playhouse - nominated for two Off West End Awards), CAROUSEL (Arcola Theatre - nominated for four 2014 Off West End Awards and nine 2014 Broadwayworld.com Awards), THE REVENGE OF SHERLOCK HOLMES! (Hoxton Hall - nominated for Best Musical Production 2013 Off West End Awards), JEKYLL AND HYDE (Union Theatre - The Stage Top highlights of 2012), Timberlake Wertenbaker’s ASH GIRL (Northbrook Theatre), A SERVANT TO TWO MASTERS (OnO Theatre – UK tour). Luke has adapted and directed a promenade production of ALICE IN WONDERLAND for children as well as adapting William Wycherley's THE COUNTRY WIFE for Morphic Graffiti.
Luke has been involved with the development of new musical writing, including ONE WAY TICKET (St James Studio), Double Click (Hope Theatre - finalist in MUSICAL BOX new writing festival) and THE SUICIDE SHOP (musical adaptation of Jean Teule novel). He is also been involved with workshops for the new musical FEELING IN THE MOOD (Stanhope Productions).
Luke formed Morphic Graffiti in 2012 with Stewart Charlesworth, working as a Director/Designer team and co-producing productions. Together, they received the Stage One Bursary for New Producers. They have also created Morphic Education that runs alongside Morphic Graffiti, offering theatre based workshops and educational events.
Luke has also worked extensively as a professional performer, working in the West End, nationally and around the world. He trained as an Actor Musician at Rose Bruford College. He also tutors and directs at leading Drama colleges around the UK.
Luke Fredericks and Stewart Charlesworth created Morphic Graffiti in 2012 as an exciting new theatre production company that creates work recognised for its creativity, integrity and quality. The pair direct/design their productions respectively and jointly produce.
Click the link below to find out more about Morphic Graffiti and join the mailing list for regular updates.
The Telegraph ★★★★★
Everything about Fredericks’s production pulsates with intelligence and focus. The result is an emotional wringer of a revival. Spirited, funny and achingly sad, it finds every nuance of tenderness and danger in Rodgers and Hammerstein’s classic, and expresses them as though for the very first time.
New York Times
As directed by Luke Fredericks, with choreography by Lee Proud, “Carousel” becomes a rhapsody…I’ve seldom seen a more convincingly kinetic version.
Evening Standard ★★★★★
Never has Carousel (1945) seemed so fresh and poignant and vital, but on a scale that is profoundly human. What a pleasure it is to list the things that Luke Fredericks’s production for Morphic Graffiti has got right.
The Stage ★★★★★
This revelatory fringe production reveals haunting new textures in Rodgers and Hammerstein’s richly patterned…mainly thanks to the thrilling intimacy of Luke Fredericks’ beautiful production at the Arcola. A stunning evening.
Time Out ★★★★
It’s all been given a stunning production by Luke Fredericks and Morphic Graffiti… cements the Southwark Playhouse’s status as one of the city’s go-to venues for razor-sharp musical theatre.
The Observer ★★★★
Clarity, speed and vigour...every moment is directed with conviction by Luke Fredericks. The action is transplanted from 1675 to the 1920s – with bright young things prancing their way through dilemmas. Fredericks’ background tells in the fluid display of the evening.
The Stage ★★★★
Now, Morphic Graffiti’s Luke Fredericks (directing) and Stewart Charlesworth (designing) give it another of their audacious small-scale makeovers, bringing close-focus punch and ferociously pitched point to its wild portrait of the demonising of an outsider in small-town America.
Bat Boy: The Musical is terrifically well staged by Morphic Graffiti's director-designer team of Luke Fredericks and Stewart Charlesworth… a raucously enjoyable evening of dark comic fun.
Luke Fredericks’ production for Morphic Graffiti suits the inventive gift for spectacle of this warehouse theatre… a canny choice for Southwark’s youthful audience.
Luke Fredericks’ new production relocates the play in the Roaring Twenties, transforming it into a champagne-swilling, hedonistic farce…an awful lot of fun...fizzes with the colour and kitsch of the flapper era.
Director Luke Fredericks has equally skilfully adapted Carousel’s huge demands to the tiny Arcola stage… the evening is a joy.
The Public Reviews★★★★★
A stunner. It is sad to think that there may be some unfortunate people who will not get a chance to see this show before it closes.
The joy of Luke Fredericks’s production is in the detail, from the audience banter to the puppetry, magic tricks, purpose-built proscenium arch and cardboard cut-out scenery. Played across every level of the atmospheric, authentically Victorian Hoxton Hall, it beautifully evokes entertainment from a different era.
One Stop Arts ★★★★★
Luke Fredericks’s peppy, beguiling production pays homage to its venue’s history by incorporating elements of music-hall into the show, and this stylistic choice works brilliantly…
blazed with new life... That problem is instantly solved by director Luke Fredericks by setting Morphic Graffiti's production in the here and now too, giving it a real intensity and amplifying both its clarity and feeling.
Director Luke Fredericks gives us a serious show about a serious subject - the evil that lies dormant within us all. He backs the cast to convey emotion without shouting, without melodramatic gestures and without drawing clear lines between the goodies and the baddies; and they don't let him down. This is musical theatre for grown-ups.
A tear-jerking masterstroke...it's unmissable
One Stop Arts ★★★★
These are perfectly directed by Luke Fredericks - clearly one to watch - with just the right amount of order arising out of chaos
Luke Fredericks' handsomely mounted production...fine and funny (often uproariously so)...lots of belly laughs...a tumultuously good opening.
Director Luke Fredericks has created a production that has oodles of glamour and sparkles in every scene... outrageously good, capturing both the rakish excesses of Wycherley's 17th century and the devil-may-care attitudes of F Scott Fitzgerald's Gatsby crowd from the Roaring Twenties.