As a leading actor of his generation Timothy has performed for the RSC, the Old Vic, Shakespeare’s Globe, Cheek by Jowl, with appearances in the West End and on Broadway in numerous, critically acclaimed productions with many eminent directors including Neil Bartlett, Steven Berkoff, Stephen Daldry, Declan Donnellan, Nicholas Hytner, Richard Jones, Mike Newell, Karel Reisz, Trevor Nunn & Matthew Warchus.

Colleagues include some of the best known actors working today including Gemma Arterton, Steven Berkoff, Jim Broadbent, Alan Cumming, Michaela Cole, Clare Higgins, Ian McKellen, Ian McDiarmid, Robert Pattinson, Mark Rylance, Juliet Stevenson, Michelle Terry & Uma Thurman.

The Glass Piano
Coronet Theatre

‘The play is intelligent and intriguing … fascinating and glittering’
The Times

‘A fantastic Timothy Walker’

‘Timothy Walker’s formidable Ludwig’
Spy in the Stalls

‘Timothy Walker … a delight’

The Wars of the Roses
Rose Theatre Kingston

‘Gripping, courageous, essential.’
The Telegraph

‘It is a joy to follow the sweeping narrative … Among the pleasures of the project is to see the development of characters such as Timothy Walker’s Warwick across the plays’
Daily Express

‘Most worthwhile in this play therefore are the political and personal rivalries that develop between York (Alexander Hanson), Warwick (Timothy Walker) and Queen Margaret (Joely Richardson) … The strength of acting in these roles ensures that this is riveting viewing.’

‘The acting is sensational.’
Broadway World

Great Expectations
Bristol Old Vic

‘Timothy Walker gives a savagely moving portrait of desperation, obsession and heroic love.’
The Times

Pride and Prejudice
Regent's Park

‘Timothy Walker’s hilariously light-footed and carefully articulated Mr Bennet’

‘Timothy Walker is genuinely funny as the constantly ironic Mr Bennet, while also exposing the character’s inadequacies as a father’
The Daily Telegraph

Love’s Labour’s Lost
Shakespeare’s Globe

‘Timothy Walker’s Armado is not the fantastical braggart of most productions but a character (the only character) who is genuinely, painfully in love … Unlike the lords and ladies, this Armado knows about the real world. When he steps out of his role in the pageant of the Nine Worthies, it is a moment of genuine elegy. And from the beginning of the play his realisation that “I shall be forsworn” (in loving Jacquenetta rather than living studiously) causes him genuine ethical anxiety; he cannot justify breaking his vow solipsistically as the lords later do. This is not quite “the tragedy of Don Adriano de Armado”, but it comes close.’
Times Literary Supplement

Twelfth Night, Shakespeare’s Globe
Shakespeare’s Globe

‘That leaves Timothy Walker whose Malvolio is the star of the production. He and Rylance’s Olivia demonstrate that she runs a great aristocratic house where rank and status are all important.
Walker’s Malvolio presides over these people like a grand inquisitor. The walk, the voice, the expression of mask-like affability and self importance, suggest a half-domesticated Roman God. Walker’s Malvolio performs a brilliant ballet of fantasising self-love. Just as he teeters at the very edge of self control, Walker is working at the outer rim of comedy where laughter becomes mixed with pity. It is a truly Elizabethan performance. The text is used as public address and private behaviour. Walker can address the audience, but without working it like a music-hall performer; and he shows just how much psychological detail can be released in this extraordinary space. Perhaps Shakespeare is our contemporary after all’
The Sunday Times

Richard II
Ludlow Festival

‘Mr. Walker’s King won the night’
Daily Mail

‘There may have been a more eloquent, richly dramatic production of Shakespeare’s study of a corrupt royal demagogue in the last thirty years, but if so I must have missed it.
Birmingham Post

‘That Walker can carry his audience through this journey to a king’s humanity is a tribute to his total inhabitation of the role.’
The Stage

‘The marvellous Timothy Walker gave a towering performance’
Shropshire Star

Cheek by Jowl

‘Raw pain comes like hammer blows. This is great acting.’
The Guardian

‘Awe inspiring and unforgettable … His Prince is like few others. Only when his fathers ghost reveals the truth behind his murder, is Hamlets Pandora’s box of passions unleashed. His is a tragedy not so much of indecision but of overwhelming and self-destructive revenge.
Mr. Walkers brand of madness carries a terrifying reckless anarchy. Natasha Parry’s closet scene with the avenging Mr. Walker crackles with danger and drama. This production by Declan Donnellan puts it in the first league for its boldness of concept and skill.‘
The Daily Mail

‘But if you had to single out one special feature of his performance as the Prince of Denmark in Declan Donnellan’s fine production, it would be the hitherto uncharacteristic quality of soul.
It’s the compelling innerness of his account that impresses more than the external quirks and raw emotionalism. This is a characterisation you feel has been built from the inside out. For what Walker never lets you forget is that the hero’s self-obstructed progress to revenge is also a spiritual journey.’
The Independent

‘Cheek by Jowl have done it again, producing a Hamlet distinguished in all respects but most notably in its clarity of meaning and purpose.
But even all this intelligence would go for nothing without Timothy Walker’s Hamlet who perfectly combines scholar, artist and abandoned child. His anguish at the loss of his father is as fresh as if we had never witnessed it before, his soliloquies seem wrested from his conscience. I have seen very many Hamlets, but none who has given me so many new insights into the meanings of his soliloquies as this one. Shakespeare would have loved it.’
City Limits

The Tempest
Cheek by Jowl

‘There was a definite sense of of a remarkable talent finding it’s way in Timothy Walker. He presented Prospero as an enraged demonic director flaying a performance out of his actors and intermittently retreating to repair his increasingly grotesque make-up in front of a dressing room mirror.’
Time Out

‘British theatre company Cheek by Jowl has taken the city by storm. The energy is fantastic as Walker switches from Richard 111, as done by Olivier, to masque like conjurer. This Tempest played to a great ovation.’
Financial Times

‘A revolutionary rethinking of the text.’

‘Timothy Walker has stepped towards fame through successive productions by Cheek by Jowl’
Plays & Players

Royal & Derngate, Theatre, Northampton

‘Jemma Redgrave and Timothy Walker are superb’

‘Redgrave and Walker light up the stage’
Herald & Post

Julius Caesar
Birmingham Rep

‘… bang on target. Timothy walker’s clean cut Brutus has the quiet arrogance of the liberal who is wrong about every political and military decision he makes.’
The Guardian

The Tale of Two Cities
Greenwich Theatre

‘Timothy Walker is a star. This reprobate’s redemption makes a truly moving ending to a truly enjoyable evening.’
Evening Standard

‘It’s a great role, and Timothy Walker seizes it with a towering performance.’ The Guardian

‘Timothy Walker is Carton to perfection: a performance magically conveying, in the depths of dissolution, the mighty heart beating beneath the ragged exterior, all unbeknownst to its owner.’
Time Out

‘The great pleasure of the evening is Timothy Walker’s performance. He glitters with a self-hate that will later become a fevered, passionate selflessness. He looks as if he had dripped his fringe in sweat and rolled his frockcoat in dust. But he makes a sexy blackmailer, pouring brandies down his throat like repeated threats.’
The Observer

The Seagull
West Yorkshire Playhouse

‘One of the great Chekov productions of my life’
The Sunday Times

‘Sir Ian plays the small but significant role of Dr. Dorn and he fills it with charm, distinction and real modesty … But the secrets of the show’s success lie elsewhere … Above all in Timothy Walker’s quietly compelling Trigorin.
It is a telling measure of McKellen’s success in blending into the ensemble without unbalancing it that the production is able to place the story of this younger homme fatale, and the powerful sexual energy he arouses in the women around him, so firmly and effectively at the heart of the drama.’
The Scotsman

‘Star performances in such roles usually dislocate the play by drawing too much attention to the actor, but McKellen’s artistic intelligence ensures that Jude Kelly’s production remained a company performance. Clare Higgins was a magnificently, ghastly, preening Arkadina, and Timothy Walker’s Trigorin matched her subtly with his overweening self- absorption. Three young actors – Claudie Blakey (Nina), Will Keen (Constantin) and Clare Swinburne (Masha) – gave performances of unforgettable intensity. It is the great glory of British theatre that a regional house can do work of such commanding excellence.’
The Sunday Times

‘Timothy Walker’s Trigorin is a glorious creation.’
The Stage

The Tempest
West Yorkshire Playhouse

‘Timothy Walker, who has had an excellent season, is a Caliban full of animal innocence and animal greed. Walker knows that Shakespeare gave Caliban some of his most moving speeches, and plays him like someone driven to evil because he has lost his paradise.’
The Sunday Times

‘Caliban, a powerful performance by Timothy Walker’
Times Literary Supplement

‘Timothy Walker’s excellent, pitiable Caliban’
Mail on Sunday

‘Timothy Walkers powerful performance’
The Scotsman

The Duchess of Malfi & The White Devil
West Yorkshire Playhouse & Lyric Hammersmith

‘Walker is an all consuming presence, seeming to steal every sliver of light when he is on stage. It is an incredible performance.’
Yorkshire Post

‘And Timothy Walker’s Ferdinand – the Duchess’s evil twin brother – flaps around the stage with feral fury, at one point unforgettably writhing on the ground in pursuit of his own shadow.’
The Telegraph

The White Devil, Lyric Hammersmith

‘The language flies best with Timothy Walker’s Francisco.’
Financial Times

‘Best of all is Timothy Walker as Francisco, the velvet voiced brother of Brachiano’s murdered wife.’
The independent

‘The devious Francisco de Medici, powerfully acted by Timothy Walker, mellifluous and sardonic.’
The Times

‘Timothy Walker is magnificently repellent.’
The Sunday Times

Almeida Theatre

‘The grotesques carry the day …
Above all Timothy Walker’s City Gent of a Corvino. Mr. Walker gives an impeccable demonstration of high, stylised farce, cawing and shrieking, loping and mincing, snarling and prancing, the epitome of the Renaissance ideal of energy contained, extravagance disciplined by form. This is a truly Jonsonian performance.’
Financial Times

‘Nicholas Hytner’s strikingly intelligent production of Volpone … Savagely funny, thanks especially to Timothy Walker who plays the paranoid Corvino as a frenzied, grimacing cross between Basil Fawlty and Arturo Ui.’
The Independent

Damned for Despair
Gate Theatre

‘One of the finest productions of the year’
Evening Standard

‘Timothy Walker plays Paulo, the monk who is to be damned. He marvellously conveys religious ecstasy, dewy-faced he looks exalted as he stands outside his minimal home on the mountain. He has a lovely speaking voice which compliments the translucent lines (translation by Laurence Boswell).’
The Observer

‘Another scorcher’
The Guardian

La Bête
Lyric Hammersmith

‘Timothy Walkers Prince — black wigged, grotesque in purple and heliotrope, with four servants carrying his 15ft train — reeks of power and absurdity.’
Evening Standard

“Timothy Walker gives a display of awesome panache which exemplifies Richard Jones’s production.’
The Daily Mail

A Family Affair
Donmar Warehouse, Cheek by Jowl

‘I doubt that there is any greater feast of comedy available in London today. Timothy Walker as the solicitor who inspires the undoing of the merchant typifies the acting approach: black of teeth, greasy of hair, stubbled and alcoholic, he walks in a crouching stoop, his face a nervous leer of ingratiation. He is guile personified, a Uriah Heep of the Urals, with a tiny glass secreted in his pocket which he flashes out with all a lizard’s speed to secure another vodka. This production … is sheer joy.’
The Guardian

‘Timothy Walker follows his startling, neurasthenic Malcolm in this company’s Macbeth with an explosively foul and sweating alcoholic lawyer, lank hair smeared down his face like seaweed, hand shaking for the morning’s first drop, horsey legs prancing shakily round the dressage ring en route to the knackers yard.‘
Financial Times

Donmar Warehouse, Cheek by Jowl

‘I have never known Malcolm to matter so much in the play.’
The Telegraph

‘A stuttering psychotic virgin with steel-rimmed spectacles whose ferocious nuttiness enlivens the dread England scene no end.’
Financial Times

‘At first encounter he seems a slightly delinquent royal offspring with a stammer — As the play develops, the face beneath the shaved convict head grows in darting intelligence and expressive, tortured conflict. It is the most inward, not to say scene stealing performance of the evening. By the time of his encounter with Macduff in Act Four he has half convinced himself, as well as Macduff, that he is the cruel, lustful, avaricious villain he pretends to be when supposedly testing Macduff’s honour. And there is more than a touch of cynicism and childlike triumph when he does accede to the throne.’
The Spectator

THE HALF / Simon Annand
Photographs of Actors Preparing for the Stage
BACKSTAGE / photographer John Tramper