Inspired by Fritz Lang’s silent masterpiece, Metropolis, Tunnel 228 showcased the work of 23 artists working in the unclassifiable territory between theatre and contemporary art in the long-forgotten tunnels beneath Waterloo Station.

Sponsored by Bloomberg.

No company has done more to expand the idea of what theatre can do than the engrossing, meticulous, shrewdly secretive and constantly changing Punchdrunk.

– Susannah Clapp, The Observer

Creative Team

  • Conceived by

    Felix Barrett & Colin Nightingale

  • Directors

    Felix Barrett & Maxine Doyle

  • Creative Producer

    Colin Nightingale

  • Designers

    Livi Vaughan & Beatrice Minns

  • Technical Director

    Euan Maybank

  • Sound Design & Composition

    Stephen Dobbie

More

Collaborating Artists

  • ATMA
  • Janet Cardiff & George Bures Miller
  • Philip Cath & Khloe Sjogren
  • Doug Foster
  • Paul Fryer
  • Susanna Hertrich
  • Lightning & Kinglyface
  • Mark Jenkins
  • Alastair Mackie
  • Kate McGwire
  • Anthony Micallef
  • Luke Montgomery
  • Polly Morgan
  • Olympia Scarry
  • Petroc Sesti
  • Slinkachu
  • Ben Tyers
  • Vhils
  • Hugo Wilson
  • Xenz & Busk
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  • Silhouette of a person standing in front of a light
    Tunnel 228 gallery Photo by Stephen Dobbie
  • Dark room with staircases and entrance to another room
    Tunnel 228 Gallery image1 Photo by Stephen Dobbie
  • Dark empty room with spotlight
    Tunnel 228 Gallery image2 Photo by Stephen Dobbie
  • Close of train tracks with image on the wall
    Gallery image3 Photo by Stephen Dobbie

Reviews

‘Exquisite, visceral theatre.’

– Fiona Mountford, Evening Standard

‘It’s a sure sign that a company is firing on all cylinders when it doesn’t just keep repeating the same formula but tries something different … as if the future is already here, without us having noticed its arrival.’

– Lyn Gardner, The Guardian

‘No company has done more to expand the idea of what theatre can do than the engrossing, meticulous, shrewdly secretive and constantly changing Punchdrunk.’

– Susannah Clapp, The Observer
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