I am an stage director, technical designer and composer based in London. Whilst I work predominantly in opera and theatre, I also enjoy collaborating on other projects including film, educational theatre, and dance.

I am particularly interested in using technology to enhance the audience's sensory experience. My work also explores the use of manual/physical techniques to create settings.

I am currently the artistic director of the OSO Arts Centre in South-West London, artistic director and founder of educational theatre company Barricade Arts, and am an associate artist with the Oxford Alternative Orchestra, Ripieno Players and Cumbria Opera Group.

I have trained with the Royal Opera House, British Youth Opera (assisting Keith Warner), and specialised in opera and musical electronics at Oxford University.

To get in touch, please email contact@jonnydanciger.com.

Composition ReelJonny Danciger


Don Giovanni (Director/Lighting)
Pomona (Lighting Designer)
Candide (Director)
A Clockwork Orange (Director)
Marat/Sade (Designer)
A Clockwork Orange (Director)
Kensuke's Kingdom (Director)
Animal Farm (Director)
Rapunzel (Writer/Director)
The Beginning of an Idea (Director/Librettist)
Lord of the Flies (Director)
Scoring a Century (Assistant Director)
Mercury Fur (Director)
Bacchae (Composer/Designer)
Candide (Director)
Illuminated (Composer & Sound Design)
Marat/Sade (Designer)
The Nether (Sound Designer)
Edward II (Sound Designer)
Wings (Writer/Director)

Testimonies, Reviews and Quotes


'Don Giovanni', St John's Auditorium, 2020

Role: Director/Lighting Designer

"Something dark, tragic, and queasily hilarious that owes as much to Tarantino and Iannucci as it does to Mozart."

Jeremy Dennis, Daily Info

"A rare privilege ... The bloody and visceral nature of his damnation, where corpses come on stage to tear at his body, is highly impactful, building on the gritty horror-inspired rendition of the scene with the Commendatore’s ghost. Instead of a statue, this production makes a corpse of the departed Commendatore, positioned atop a pile of dead bodies played by the chorus, replete with eerie lighting and a wonderfully ominous sound design ... Intimate, funny ... a must-see"

Oxford Opening Night

"An accessible and thoroughly enjoyable performance ... A talented and intelligent take on what is sometimes a stale staple of the repertoire"

Elijah Ferrante, The Cherwell


'Candide', Oxford Playhouse, 2017

Role: Director

"Jonny Danciger's direction of the show, along with his choreographer Amy Thompson and his other associates was exemplary. The songs were presented with unfussy verve – nautical numbers using just a length of rope and a ship's wheel, the colour of The Kings' Barcarolle late in Act II – and the comedy was never overdone. The foyer as we streamed out into the cold November night was buzzing like an upturned but pollen-rich beehive. Student drama in Oxford, even perhaps in Britain, does not - at least on this grand scale - come much more polished than this"

Andrew Bell, Daily Info


'A Clockwork Orange', OSO Arts Centre & O'Reilly Theatre, 2016

Role: Director/Lighting Designer

**** - A brave and worthwhile production of a classic story, given new life by this youthful and energetic team. 

So iconic and unforgettable is the conditioning scene in the film that trying to replicate it on stage would be a disaster. Thankfully this reimagining for the stage grants it a new, and very unsettling, life. Rather than using visual effects, instead an oral assault on the mind portrays the horrors that the retrained Alex has to endure to turn him against his violent ways.

An intense few weeks of rehearsals, including apparently seven hours choreographing the gang fight scene, shows the dedication that has gone into this. The horrors that made the film remarkable remain here. 

Rob Warren, Everything Theatre

Jonny Danciger’s direction offers an impressive recreation of the film’s opening scene. From thereon in, matters escalate into violence. Early scenes demonstrate a striking balletic finesse soundtracked by the emotive symphonies of Beethoven.

This is a nightmarish trip that will get the brain ticking and the senses tingling. - ****

Greg Wetherall, LondonTheatre1

A Clockwork Orange is a challenging piece to adapt to stage, but it is tackled in an innovative way in this bold and captivating piece. The physicality is impressive and convincing, the rival gangs’ fight especially mesmerising to watch.

Part of the brilliance of this play is the suggestion of violence, the psychological probing used to make the audience imagine for themselves what is happening. This is evoked especially creatively during Alex’s rehabilitation treatment. As he watches scenes of ‘ultra-violence’ on a screen and is made to feel nauseated, the audience is subjected to incessant and painful strobe lighting. Brodsky, the doctor, provides a commentary to violent scenes that Alex would be watching, making us conquer up own our individual disturbing video. It is an excellent design, enabling the audience to become thoroughly engaged in the story. As the plot becomes twisted and upsetting, we are more fully drawn into to the heart of the play.

Clearly a lot of thought and care has gone into this production, and it is a refreshing and thought-provoking piece. 

Megan Husain, The Oxford Student

On the whole, this production can only be deemed mesmerising. Perhaps due to the skilful employment of theatrical effects and lights. Perhaps it was the inspired casting of a lady as one of Alex’s violent and vicious ‘droogs’ (none of which are female in the original text), which gave the play a nice twist and a touch of violent femininity, much needed in our time of sexual equality. Or perhaps it was the general competence and preparation of the cast, especially in the acrobatic stunts, necessary for the narration of a tale of violence and vice. One just finds it difficult to decide what made this play so amusing and enjoyable.

Matt Roberts, The Cherwell


'Illuminated', Keble O'Reilly, 2017

Role: Composer/Sound Designer

"The drama could not be achieved without the interplay of sound and light. The show soars when taken as a whole, each part of its design merging with every other, each constituent element bolstering and elevating the next. The slow thud of a heartbeat signals the beginning of the production, the music flares when a male and female dancer collide with one another, when circles of darkness break up the light, distortion ripples across the soundscape. The use of surround sound enables the production to envelop the audience, seeming to swallow them up in the proceedings. The whole show is seamless, each piece of it flowing into the next until it becomes impossible to separate one specific element from another.

Playful when it wishes to be, disconcerting when it chooses, Illuminated is adept at leading its audience through its world of intertwined light and sound. More than anything, it demonstrates a cohesiveness of vision across the entirety of its construction. The dances could not exist without the light, the light without the sound, the show without any of them. This cogency—and the sense of completeness that follows from it—makes Illuminated a triumph."

 Chris Goring , The Cherwell


Theatre in Education International Tour, Barricade Arts

Role: Director/Producer

"Barricade Arts developed their own production of Animal Farm for our students and spent an extremely successful week in residence at the School. Their work has been very popular with students; innovative, energetic and thought provoking. Their enthusiasm and commitment shines through in everything they do. Staff found them very easy to work with and flexible in meeting our requirements - whether they related to school safeguarding standards or the needs of our GCSE drama students! We have already arranged to have them return next year."

Arabella Gonzalez, bursar at the British Council School in Madrid


The Tempest, Wadham Gardens, 2016

Role: Composer/Sound Designer/Live Voice Actor

In their marketing materials, Light-Winged Productions have focused on one line from the play – “the isle is full of noises” – and the soundscape is, fittingly, one of the most successful elements of the production. The nature of a garden play does not lend itself to impressive tech, but Sound Designer Jonny Danciger had outdone himself here, distorting his own voice to create an ethereal Ariel (Prospero’s spirit servant) and tying together the production as a whole with musical themes which carry from the audience’s arrival to the very end of the play."

Laura Whetherley, Oxford Opening Night