We are delighted to announce casting for RUN SISTER RUN, a co-production between Paines Plough, Sheffield Theatres and Soho Theatre, by award-winning playwright Chloë Moss.
RUN SISTER RUN will be directed by our Joint Artistic Director Charlotte Bennett and the cast includes: Lucy Ellinson; Helena Lymbery; Lucas Button; Silas Carson.
RUN SISTER RUN opens at Sheffield Theatres on 27 February and will transfer to Soho Theatre from 25 March until 2 May.
Lucy Ellinson’s theatre credits include: MACBETH (Royal Exchange Theatre); TOP GIRLS (National Theatre); JUBILEE (Lyric Hammersmith/Royal Exchange Theatre); KINGDOM COME, A MIDSUMMER NIGHT’S DREAM: PLAY FOR THE NATION (RSC); THE RESISTABLE RISE OF ARTURO UI (Donmar Warehouse); GROUNDED, THE CHRISTIANS, TROJAN WOMEN, TENET (The Gate); WORLD FACTORY (Metis Arts/Young Vic/New Wolsey); MAD MAN (Chris Goode/Theatre Royal Plymouth); Television includes: BRITANNIA; NEW TRICKS.
Helena Lymbery’s theatre credits includes: MR GUM AND THE DANCING BEAR; TREASURE ISLAND; THIS HOUSE; THE CAT IN THE HAT; …SOME TRACE OF HER; WOMEN OF TROY; ATTEMPTS ON HER LIFE; IPHIGENIA AT AULIS; HIS DARK MATERIALS; WICKED YAAR; HENRY V(National Theatre); DEAR ELIZABETH (Gate Theatre); QUEEN MARGARET (Royal Exchange Theatre); PITY; ROUGH CUTS: GOD BLESS THE CHILD; THE LAWS OF WAR (Royal Court); THE WOLVES ARE COMING FOR YOU (Pentabus); HARRY POTTER AND THE CURSED CHILD (West End); WE WANT YOU TO WATCH (RashDash/National Theatre); THE SECRET AGENT (Young Vic/Theatre O); AFTER DIDO (Young Vic/ENO); SLEEPING BEAUTY(Young Vic); COASTING (Bristol Old Vic).Television includes: DOCTOR FOSTER, FATHER BROWN, OLIVER TWIST, ALASTAIR MCGOWAN’S BIGIMPRESSION, THE INSPECTOR LYNLEY MYSTERIES, THE BILL, NIETTA’S FARM, ORANGES AND LEMONS.Film includes: LONDON ROAD.
Lucas Button’s stage credits include WAR HORSE(UK Tour & National Theatre), THE BUTTERFLY LION (Chichester Festival Theatre), KES(Leeds Playhouse), ALAN, WE THINK YOU SHOULD GET A DOG (New Diorama Theatre), THE WINTERS TALE (English National Opera), PINOCCHIO and A TENDER THING(The Dukes Theatre), THE LOST PALACE (Fuel Theatre and Uninvited Guests) His short film credits include BILLY AND JAKE (Andrew Jonathan Smith).
Silas Carson’s recent theatre credits include: THE
CAPTIVE QUEEN (Shakespeare’s Globe); OCCUPATIONAL HAZARD; DRAWING THE LINE
(Hampstead Theatre); HALF LIFE (Theatre Royal Bath); A MIDSUMMER NIGHT’S DREAM
(Royal & Derngate Northampton); THE PROPHET (Gate Theatre); THE COMEDY OF
ERRORS (National Theatre); RUINED; MACBETH (Almeida Theatre); ARABIAN NIGHTS
(RSC) MUCH ADO ABOUT NOTHING (Regent’s Park Open Air Theatre). Recent film
credits include: THE CORRUPTED; POSTCARDS FROM LONDON; MISS YOU ALREADY. Recent
television includes: THE ACCIDENT; SICK OF IT; SILENT WITNESS; TRUST;
EASTENDERS; UNFORGOTTEN; INDIAN SUMMERS; THE CASUAL VACANCY; THE ‘C’ WORD;
Chloë Moss is an accomplished playwright and screenwriter. Her celebrated play THIS WIDE NIGHT (Clean Break, Soho Theatre, 2008) won the prestigious Susan Smith Blackburn prize and was subsequently produced off-Broadway, starring Edie Falco. She has written numerous other plays including THE GATEKEEPER (Royal Exchange Theatre, 2012), FATAL LIGHT (for Clean Break at Soho Theatre, 2010 and 2011), CATCH (Royal Court Theatre, 2006), and HOW LOVE IS SPELT (Bush Theatre, 2004, and New York’s Summer Play Festival, 2005). She has also written extensively for television, including SIX WIVES (BBC One) and DICKENSIAN (Red Planet Pictures), and written episodes for NEW TRICKS (BBC One), THE SMOKE (Kudos), and PRISONER’S WIVES and THE SECRET DIARY OF A CALL GIRL (Tiger Aspect). She has also written CARE, a single drama for Warp Films and Sky Arts, and an original series SWITCH, co-written with Tim Price, for Touchpaper / ITV2.
Charlotte Bennett will direct RUN SISTER RUN, which is the first play of the PP 2020 season. She is Joint Artistic Director of Paines Plough. Previously she was Associate Director at Soho Theatre where she led the new writing department, developing artists and commissions and programming the upstairs studio. For Soho she has directed WHITEWASH by Gabriel Bisset-Smith, HAPPY HOUR by Jack Rooke, curated a six-month off-site arts festival in Waltham Forest and led playwriting competition the Verity Bargate Award. Prior to this she was Artistic Director of Forward Theatre Project; an artists’ collective she founded. For Forward Theatre Project she made and directed new plays which toured nationally inspired by working in partnership with different communities around the UK and at venues including National Theatre, York Theatre Royal, Northern Stage, Derby Theatre, Live Theatre and The Lowry. As a freelance director she has worked extensively for Open Clasp Theatre Company, creating new plays inspired by marginalised women in the North-East. She also held the role of Creative Producer for theatre company RashDash where she toured experimental new theatre around the UK.
and Haseeb. They recount their relationship and personal experiences with the
help of Rachael (and sometimes to her).
How did you get into theatre?
My parents forced me into elocution classes as a kid (their
experience as immigrants made them think that speaking well could give you
confidence and a better chance in life). I’m not sure if it’s still a thing but
it was quite popular in the British Sri-Lankan community during the late
But actually, those classes taught me how to read and introduced me to drama, which became my favourite subject at school. I wasn’t a popular kid but when it came to Drama, people would tackle me to the floor to shotgun pairing up with me. Fights would break out, the teacher wouldn’t know what to do. It was havoc, but I was low-key gassed (with bruised ribs).
I didn’t know much about theatre until I was 15. My art teacher gave me a free ticket to see a play which an ex-student of hers was in. It was Danny Mays and the play was upstairs at the Royal Court; they had transformed the space into a dingy hotel room. My mind was blown, I was like ‘rah wow this is a thing? Look at how real it all is. People actually do this for a job? I’m in!’
Saying that, I resisted the theatre for a bit, I thought it was risky. I came back round though cos it made me feel good.
What attracted you to the role of HASEEB?
When I read race specific parts, a lot of the time I come away thinking, ‘yeah that didn’t make me feel good about being brown’. But Haseeb is the most emotionally complex character I’ve had the chance to play. He gets to fall in love and the love is reciprocated (also refreshing), and he experiences all the nuance that comes with being in love. It’s also so honest about how we experience race. I remember reading it thinking ‘er this Zia is a brave brother, can you really say this? Have they actually given you the green light on this one?’
What has working alongside Rachael
It’s the first time I’ve been involved in integrated BSL and it’s been flippin wicked. Rachael’s mesmerising to watch. She was there from the start of rehearsals. It was challenging at first because we could see the potential. We weren’t interested in her sole purpose being interpreting, it felt detached from us. We wanted to all tell this story together and once we truly surrendered to that, we found flo.
We were also lead by Anna Himali Howard (our director) who is a brilliant collaborator; she understands actors and we created a working language very quickly. It was a very open room where we could communicate any difficulties about the BSL process with ease. I hope all actors get an opportunity to work with BSL because so much of drama is about the difficulty of communicating one’s truth. Having Rachael there makes it so much richer (and easier; she does half my job for me). I’ve probably forgotten how to act without it.
Do you have a favourite moment in the play?
Nah, too hard to pick.
What was touring I WANNA BE YOURS
like for you?
A blur. But a great blur.
Performing in a different city everyday for 6 weeks isn’t as tough as I thought
it would be (but a lot of that is down to Alice; big up our company manager).
The venues were welcoming and excited to have us.
We rehearsed and opened in London and I was nervous about going to cities around the country which were predominately white and saying some of the things my character says. To be made aware of your race, to be called ‘white’- it can be quite confronting if you haven’t experienced that before.
A lot of the play speaks directly to the audience and I don’t buy it when people say ‘you never know what the audiences are thinking’. When you look at someone directly in the eye, you can tell whether they’re vibe-ing you or not, and it can completely shift your energy in how you tell that story. And that can feel problematic. Sometimes there would be an underlying feeling of ‘ok, maybe I have to explain myself here’ but that instinctively felt wrong. Like, why am I apologising through these lines? Why am I feeling like I have to re-interpret this text? Ok, there’s one person here who gets it so I’m gravitating towards you but now I’m feeling like I’m not sharing the story. I don’t want to be a spokesperson and the play doesn’t want me to do that either so why am I suddenly feeling that now I’m in an environment which feels a bit detached?
Anna really helped me with that and it always came back to the character’s truth. Getting to make direct connections with audience members is a massive gift. That’s why this show has never once felt the same, which keeps me sane and constantly inspired.
I also learnt a lot from conversations we would have with people after the show. Something which came up a lot (and continues to) is how refreshing it is to see the play tackling race and discrimination without anger and with subtlety, tenderness (those kind of words). I sort of get it and I’d think ‘ok, let’s not challenge that because that is your experience’ but ultimately, I think it reveals more about the person and how they want race to be portrayed. Like it is only palatable when communicated in a certain way? What does that say about the way we choose to listen to and interpret ideas surrounding race?
I will admit I absolutely loved being out of London for a bit though. It was calm. I think I might need to move by the sea or into the woods.
Did you have a favourite venue on
Remember that blur I told you
about…We did perform in a record-shop-by-day-theatre-by-night in Ventor, Isle
of Wight. That place was sick. The audience were sitting on sofas and
arm-chairs; it kind of blended into our set seamlessly. It felt very
How does it feel to be bringing the
play to the Bush?
For me, it feels like a homecoming. A lot of this play speaks
about London and living in this city so if you know, you know (however, I’ve
discovered that north-south wars exist in all cities. People are fierce over
their territories. We are animals). The Bush studio is very intimate and we’re
in thrust; I can see everyone in most directions, there’s no hiding, but that’s
completely right for this story. The play feels very clear in this space.
Sam’s or Morley’s?
Sam’s. Morley’s lack spice. Come at
I WANNA BE YOURS is playing at the Bush Theatre until 18 January 2020.
We are looking for an Executive Producer to work with the Artistic Directors, team and Board to lead Paines Plough into a new phase.
You will support in driving forward the strategic direction of the organisation, overseeing all of Paines Plough’s shows and finances, and ensuring a dynamic and effective team. We’re looking for someone who will encapsulate the company’s ethos – being open to opportunity, collaborative and inclusive – and who can drive delivery of our ambitions. You will be willing to travel across the country to represent Paines Plough and ensure we support our intention to be ‘local’, getting to know the communities we’re collaborating with.
Administration and Finance Manager (to be reviewed following probation).
Duties and Responsibilities
Executive Producer will work closely with the Artistic Directors to set the
strategic direction and be responsible for leading the team to ensure its
with the Artistic Directors develop and implement the strategic direction of
Paines Plough, creating a business plan to reflect and support this.
on the continued development of the business model to ensure the strategic
direction and aims are achievable.
and maintain stakeholder relationships across the wider sector, ensuring Paines
Plough continues to be a key player in the national landscape.
and nurture the best national playwriting talent and support the strategy which
underpins how these playwrights are discovered, developed and produced.
the Artistic Directors in the creation and delivery of an exceptional programme
of new theatre, leading on producing mid and large-scale projects and manage
the Producer, overseeing the whole programme.
with the Artistic Directors to initiate and secure effective co-producing
partnerships, national and international tours and transfers that will expand
the reach and potential for commercial exploitation of Paines Plough’s work.
with the Producer, ensure the theatre programme is financially viable and
the management of Paines Plough’s brand, ensuring the vision, voice and values
of the organisation are effectively communicated.
with the Artistic Directors to ensure Paines Plough’s work has as wide a reach
as possible, maintaining and building on Paines Plough’s national audience base
campaigns for productions, festivals and local activity to ensure audience and
financial targets are met.
creation and delivery of the social media strategy, with the aim of increasing Paines
Plough’s online presence and reach.
the relationship with external PR, ensuring clear plans are set that secure the
greatest exposure for Paines Plough and its work.
and manage new partnerships that will support in delivering a bold and exciting
programme that is experienced by and connects with more people.
Lead on the creation and delivery of a
fundraising strategy in order to meet financial targets, cultivating and
managing funder/patron relationships, and ensuring reporting deadlines are met.
Identify new income opportunities, write funding
applications, and support the delivery of fundraising events.
With the Artistic Directors, create the annual
budget and oversee the preparation of the management accounts, ensuring targets
are appropriate and met.
Oversee the effective financial management of
Paines Plough ensuring financial procedures are upheld, that statutory
requirements and the completion of comprehensive financial reporting for
dissemination within the team and Board are all upheld.
Seek out new business opportunities and identify ways to improve efficiency that will support Paines Plough’s financial resilience and sustainability.
Work with the Board to ensure effective organisational governance.
We are looking for an Administrator to join our team here at Paines Plough. The Administrator is vital to holding all of Paines Plough together and supporting our busy programme. Do you like organising things, numbers and spreadsheets all whilst being part of a creative environment? Excellent. Please take a read of the full pack below, we can’t wait to hear from you.
Overview The Administrator is key to supporting the running of Paines Plough. You will work across all company activities, providing vital administrative and financial support. You will work especially closely with the Administration & Finance Manager to ensure the day-to-day running of Paines Plough’s financial, administrative and HR processes. We hope the successful candidate will have a passion for new plays and touring. Training and support will be provided for the right candidate if necessary.
Please submit your application form via email with subject line: ‘Administrator Application’ to firstname.lastname@example.org. Please do not attach additional information to your application form or send us a CV.
Deadline: Monday 09 December (10am)
Interviews: Friday 13 December (please indicate availability issues in your email)
Guidance If you have questions about the application process, specific requirements or want to talk to us about the role, please contact Svetlana Karadimova: email@example.com / 020 7240 4533.
If you would find it easier to complete this application in another format please get in touch.
Don’t worry if you don’t meet all of the criteria in the job pack – tell us what skills you do have that would make you good for the job.
Paines Plough strives to be an equal opportunities employer and we are committed to working towards a more diverse and inclusive theatre industry. We welcome and encourage applications from people from all backgrounds and walks of life. We particularly encourage applications from disabled and Black, Asian and Minority Ethnic (BAME) candidates, as staff from these groups are currently under-represented within our team.
We asked playwright Zia Ahmed a few questions about I WANNA BE YOURS – currently touring nationwide and coming to the Bush Theatre 04 December – 18 January.
1. How did the commission of I Wanna Be Yours come about?
hello – so in 2016 i saw an
open call out for paines plough’s come to where i’m from which tamasha was
working with them on for the london leg
you had to write a monologue
about where you’re from + read it yourself no actors
this felt like doing a spoken
word piece so thought why not apply?
i got picked for the north-west
london event at the kiln [ then tricycle ]
read on a cool line up with
writers gabriel bisset smith che walker karla williams
+ my sister too mediah ahmed
paines plough kept in touch
with me after + applied for the channel 4 playwright scheme
which we got + i spent 2017
with them + this was the play i started writing as part of it
tamasha came in looking for a play for a week long rural arts tour in 2018 around various schools + village halls in north yorkshire which they co-produced with paines plough + off the back of that tour we ended up with the current tour + bush run
2. Tell us what I Wanna Be
Yours is about
i wanna be yours is about haseeb + ella going through their relationship from first meeting to the present. they tell the story to and with rachael who follows their story with them + all the people + spaces they have to navigate together + apart
3. Now tell us what it’s really about! Is it a love story or a political play or both? If both how do you achieve that balance?
it’s about haseeb + ella
navigating through the world as a couple + by themselves
it’s about what home means to
both of them
it’s about the things they
experience on their own they bring into their relationship
+ the things they experience as
a couple impact them as individuals
everything is everything
love does not exist in a vacuum
love is affected by the real
your race your class your
gender your region your faith your work
these inform how you love how
you loved how you’ve been loved how you want love how you want to love
+ love includes it all
a love story can’t be
for me balance comes having
everything as one
overlapping connected + not
this part is love
this part is political
this part is + so on
5. How did you decide to become
a poet and playwright? And which came first?
poetry is probably the path
that got me to this play
but theatre led me to that path
in the first place
The play explores the relationship
between Ella and Haseeb, and the obstacles that come their way as they navigate
societal reaction to their perceived differences. It is a powerful and hugely
2. Why did you decide to work in theatre?
Theatre and performing arts is
where I started, having grown up taking part in dance and musical theatre. It
was therefore a natural progression to marry my work within the Deaf community
with my skills as a performer. I feel incredibly lucky to be working within
such a niche area of the industry.
3. What attracted you to this role?
From my first reading of the
script, I was overwhelmed by the poetic beauty and richness of the language.
The story itself is incredibly powerful and one that needs to be told. I am
thrilled to be one of the people involved in making this piece accessible to
the Deaf community. I was very aware of the challenge it posed, however was
really excited by the visual possibilities within the imagery and how they
could be shown through BSL.
4. Talk us through the creative decision to name your character Rachael – do you feel like you are playing yourself on stage?
In my role as the interpreter
within this story; I am myself. It seemed fitting for me to keep my own name as
I am just another person receiving this story from Ella and Haseeb along with
the audience. I think this decision has allowed my character to be integral to
the piece without interrupting their journey.
5. What was the rehearsal process like?
Incredibly challenging, but also a
lot of fun! As a company we have been learning together how the integration may
work so in the early stages this involved a lot of play and exploration. Too
often, BSL interpretation and access is a last minute thought, added on to an
excising piece. It was great to be part of the story from the very beginning
and explore how my character and the addition of BSL integration becomes part
of the narrative. I worked with two Deaf BSL consultants for both the rehearsal
and tech periods which was vital for playing with the language and achieving
the correct translation. The play is heavily metaphorical and very dialogue
heavy so it was extremely important to have Deaf artists involved at every
6. Do you have a favourite moment in the play?
I don’t want to give too much
away! But for me my favourite moments occur when I can hand over the visual
storytelling to Ella and Haseeb and my role takes a back seat as their
connection is beautiful to watch. There’s also physical movement and some
snippets of dance which are a lot of fun!
7. Is there anything particularly special about the way BSL is integrated into I WANNA BE YOURS?
For me, Anna’s vision, patience
and determination for this piece to be a 3-hander has made a huge difference to
the connection between the three of us on stage, and I really hope this
translates for the Deaf community. Both Em and Ragevan (Ella and Haseeb) have
been absolutely incredible to work with and it definitely makes a difference to
the final piece. The BSL access is integral to the narrative and is rooted in
the telling of the story. I’m really exited to see how it is received and hope
we can get as many Deaf audience members as possible to witness this
8. Can you tell us about the work you do outside of theatre?
I am incredibly lucky in that most
of my work is connected in some way to theatre and access. As an actor and
interpreter I work within a few different areas including workshop
facilitation, education and different areas of performance.
9. What do you think Theatres should be doing in order to reach more D/deaf audiences / BSL users?
The climate is definitely changing and it is wonderful to see more and more Deaf actors and professionals working within on and offstage roles. The more the industry continues to open up to this the better; ensuring access and equality is considered from the start and no longer an afterthought.
I WANNA BE YOURS is touring nationwide until December. Are we touring near you?
Meet the four playwrights who will be performing their own short plays on the 09 November at The Watermill Theatre, Newbury
Since 2010 writers from across the UK have returned to their home towns to pen plays about the places that shaped them. At theatres from Bristol to Belfast, Cardiff to Coventry and Nottingham to Newcastle, these plays have been performed by the playwrights themselves, coming home to tell their tale.
Now COME TO WHERE I’M FROM visits Newbury to invite four of the town’s finest playwrights to join this celebrated nationwide project by performing their own short plays about their home.
BETH FLINTOFF (Writer)
Beth is a freelance playwright and
theatre director whose writing has been longlisted for The Papatango
Prize, The Bruntwood Prize, and nominated for Most Promising New Playwright
2017 at the Off West End Awards. Her play THE GLOVE THIEF, commissioned by
Tonic, is published by Nick Hern Books and regularly performed by young
companies around the world.
She is an
Associate Artist at Reading Between Lines Theatre Company in Reading, for whom
she has written OSCAR WILDE ON TRIAL; HENRY I OF ENGLAND; MATILDA THE EMPRESS; and
HENRY II. Other writing includes THE
BALLAD OF MARIA MARTENfor Eastern
Angles (touring again in 2020); THE REBELLIOUS WOMEN OF WIMBLEDON for Attic
Theatre Company; ONE HUNDRED YEARS OF WAR AND PEACE on Greenham Common (2017).
Beth has collaborated twice as writer/director with physical theatre ensemble Rhum and Clay, on JEKYLL AND HYDE (The Watermill)and HARDBOILED (The Watermill/New Diorama Theatre – Off West End Award Nominee for Best Director 2016). As the former Outreach Director at The Watermill, she worked on many productions as writer, director or both, including THE RIVALS;HAMLET;MACBETH; ROMEO AND JULIET; OTHELLO; and DOCTOR FAUSTUS. For the Watermill Senior Youth Theatre: DAVID COPPERFIELD; LIFE LESSONS; WRITERS’ BLOCK; THE GIRL WHO NEVER FORGOT; and THE THREE MUSKETEERS.
Beth is currently working on THE WORLD WE MADE (Change Festival at Warwick Arts Centre), GENOMESand THE LAST ABBOT OF READINGfor Reading Between the Lines, and a new commission for Write the Girl Project, working with St Albans High School for Girls. She is also the Co-Director of THE INCIDENT ROOM, which will run at New Diorama Theatre before transferring to Off Broadway in New York, April 2020.
DANIELLE PEARSON (Writer)
Pearson is the playwright in residence at the Watermill Theatre. Her work there
has included the site-specific actor-musician piece NEWBURY YARNS, several
original plays for the Senior Youth Theatre and outreach groups, and a new
adaptation of JANE EYRE touring to schools this autumn.
recent projects include THIS RESTLESS STATE, produced by Fuel at Ovalhouse, and
the R&D of children’s musical THE WITCHES AND THE SINGING MICE at the
Unicorn Theatre. She has had short plays featured in venues including Southwark
Playhouse, the Old Red Lion and Camden People’s Theatre.
winner of the EU Collective Plays! Competition, Danielle also works
internationally in Italy and Turkey, with a recent collaborative piece, AND SO
MY FACE BECAME MY SCAR, performed at last summer’s Quartieri Del’ Arte festival
In 2017 she graduated from the Royal Court Writing Group.
SOPHIE STONE (Writer)
includes: AS YOU LIKE IT (Shakespeare’s Globe); EMILIA (Shakespeare’s
Globe/West End); MIDSUMMER NIGHT’S DREAM (Watermill Theatre); JUBILEE (Lyric,
Hammersmith/Manchester Royal Exchange); THE GOVERNMENT INSPECTOR (Birmingham
Rep/ UK tour); HERONS (Lyric Hammersmith); MOTHER COURAGE AND
HER CHILDREN (National Theatre); MINE (Shared Experience); FROZEN (Birmingham
Rep); TWO (Southwark Playhouse); THE BLOODY GREAT BORDER BALLAD
PROJECT (Northern Stage); IN WATER I’M WEIGHTLESS (National
Theatre of Wales); PANDORA (Arcola); WOMAN OF FLOWERS (Forest
Forge/UK tour); MULTIPLEX, FEN, YOU MAKE ME HAPPY (WHEN SKIES ARE GREY) (Watermill
includes: TWO DOORS DOWN; SHAKESPEARE & HATHAWAY; SHETLAND; THE CROWN; DOCTOR WHO; MAPP AND LUCIA; MOONSTONE; MARCHLANDS; MIDSOMER MURDERS; SMALL WORLD; HOLBY CITY; CASUALTY; FM.
was awarded the Best Actress Award, Clin d’Oeil Festival); MY CHRISTMAS ANGEL; CONFESSIONS; COMING HOME.
Sophie Stone is Co-Founder of Deaf & Hearing Ensemble Theatre Company.
TALITHA WING (Writer)
Talitha Wing graduated from the Royal Welsh College of Music and Drama in 2018. Talitha is a professional actor, writer and poet. Paines Plough; COME TO WHERE I’M FROM, is Talitha’s first commissioned play. Acting credits since graduation include: ALEX RIDER directed by Andreas Prochaska (Eleventh Hour Films / Sony TV); THE FEED directed by Jill Robertson (Amazon Studios) and the feature film; MILITARY WIVES directed by Peter Cattaneo (42).
ABOUT THE WATERMILL
The Watermill Theatre has developed a reputation as one of Britain’s leading regional theatres. From its beautiful home in a small Berkshire village, work has been created that is admired around the world. Last year 67,740 people attended shows or one-off events at The Watermill, where new productions are staged annually, ranging from Shakespeare and musicals to classics, new plays and youth theatre productions. The Watermill tours regularly across the UK as well as rural touring productions, which play in village halls and small arts centres in the South. Recent and upcoming tours and London transfers have included A Midsummer Night’s Dream and Macbeth (National Tour), One Million Tiny Plays About Britain (Jermyn Street Theatre), Amélie (National Tour), Twelfth Night (Wilton’s Music Hall), Burke and Hare (Jermyn Street Theatre), Trial By Laughter (National Tour), Teddy (National Tour and The Vaults), Crazy For You (National Tour), The Wipers Times (West End and Tour), Loot (Park Theatre), Twelfth Night and Romeo and Juliet (International Tours), Murder For Two (The Other Palace) and Frankenstein (Wilton’s Music Hall).
The Watermill Theatre aims to be a focal point for the local community and is proud to play a leading part in helping the careers of the theatre-makers of tomorrow. The Watermill’s unique environment encourages a real sense of ensemble, and its intimate 200-seat auditorium also means that there is a particularly strong connection between the actors and audience. This combination makes The Watermill a very special place to visit.
On Thursday 17 October we will be hosting a series of workshops in ROUNDABOUT @ Stratford East.
10am – 12pm
Casting Workshop with Annelie Powell CDG
Annelie Powell will lead a workshop on the audition process, including practical work and Q and A session. Take part in practical work with Annelie, or observe and apply skills to your own predatory work.
Annelie Powell CDG is a London based Freelance Casting Director working in all forms of media and is also Head of Casting for Nuffield Southampton Theatres. Annelie has worked with various companies over the years in Adverts and TV in including ROSEROCK FILMS, WARNER BROS, APPLE TV, SC FILMS INTERNATIONAL, BBC, DOITY amongst others. This year she has completed the UK casting on DEEP BLUE SEA 3, Principal and ensemble casting on animated film DRAGONKEEPER, starring BILL NIGHY, BILL BAILEY AND BRENDAN COYLE, the animated documentary ANOTHER DAY OF LIFE, and Children’s Casting on an Apple TV series. Recent Theatre work includes VASSA directed by Tinuke Craig for the ALMEIDA, CINDERELLA for NST, THE POPE for Northampton Theatres, PAVILLION for THEATRE CLYWD, THE AUDIENCE for NST, HAMLET, for THE RSC, LEAR for THE RSC, DON QUIXOTE for GARRICK/RSC. A full cv spanning over 50 productions including productions cast over 5 years at THE ROYAL SHAKESPEARE COMPANY is available from Kim Donovan at The Artists Partnership.
12.15pm – 1pm
Hosted by PP Producer/Technical Stage Manager, explaining the history of Roundabout and showing the Sound & Light Show – each of these tours will last approx 15 minutes
1.15pm – 2.45pm
Captioning Workshop with Paines Plough
Members of Team PP will talk you through how we caption shows in ROUNDABOUT.
3.30pm – 5.30pm
Acting in the Round with Stef O’Driscoll
Join Stef O’Driscoll in a workshop on working in-the-round. A snapshot look at playing the most exposing, exhilarating and energising of all configurations – the round. Come on down to Paines Plough’s pop-up amphitheatre ROUNDABOUT for a quick guide to 360° theatre.
Stef is the Artistic Director of nabokov and previously the Associate Director at Paines Plough and at the Lyric Hammersmith.
As director, theatre includes: Island Town, Sticks & Stones, How to Spot an Alien, With a Little Bit of Luck, Hopelessly Devoted, Blister, On The Other Hand We’re Happy, Daughterhood, Dexter and Winter’s Detective Agency (Paines Plough); Last Night (nabokov/Roundhouse); Storytelling Army (nabokov/Brighton Festival); Slug (nabokov/Latitude); Box Clever (Bunker); Yard Gal (Ovalhouse); The Unmaster, A Tale from the Bedsit (& Bestival), Finding Home (Roundhouse); A Guide to Second Date Sex, When Women Wee (Underbelly/Soho); A Midsummer Night’s Dream [co-director] (Lyric, Hammersmith).
Admission to any workshop comes free when you buy a ticket to any of the Paines Plough plays:
We are delighted to annouce Charlotte Bennett and Katie Posner‘s inaugural programme for Paines Plough…
The Live Out Loud Season celebrates some of the most exciting, distinctive, observant and entertaining voices in British theatre.
This season focuses on platforming ground-breaking playwrights and empowering them to take up space with the stories they want to tell. It’s about embracing and celebrating a plethora of voices from around the country, giving playwrights the space to develop their big ideas and tell bold stories that encourage people to live out loud.
Charlotte and Katie said: “We are honoured to be working with such a wealth of talent and experience in our first season. We are also delighted to be working with partners across the country including Sheffield Theatres, Oldham Coliseum, York Theatre Royal, Soho Theatre, Ellie Keel Productions and LAMDA and also celebrating an existing partnership with Royal Welsh College of Music and Drama. These are stories that celebrate what it is to live life out loud, own who you are and speak your truth. And they are ready to be heard.”
RUN SISTER RUN by CHLOË MOSS
In February 2020 Paines Plough will co-produce a new play by Chloë Moss with Soho Theatre and Sheffield Theatres. RUN SISTER RUN will run at Sheffield Theatres studio 27 February – 21 March, and then at Soho Theatre from 25 March – 2 May.
RUN SISTER RUN explores the lives of two sisters and the different directions life takes them in as they desperately hold onto their unbreakable bond.
From award-winning playwright
Chloë Moss, this story of family, love and dependence asks who gets it right?
Chloë is an accomplished playwright and screenwriter. Her celebrated play THIS WIDE NIGHT 2008/2009 (Clean Break, Soho) won the prestigious Susan Smith Blackburn prize and was subsequently produced off Broadway. Chloe has written numerous other shows including THE GATEKEEPER 2012 (Royal Exchange Theatre), FATAL LIGHT 2010/2011 (Soho Theatre), CHRISTMAS IS MILES AWAY 2005/2006 (Bush theatre and off Broadway), and HOW LOVE IS SPELT 2002 (Bush Theatre & New York’s Summer Play Festival).
She is currently under commission to the Royal Court and Headlong Theatre.
Chloë has also written extensively for television. She is currently working on an original teen drama for CBBC. She is also under commission to BBC Radio 4.
MOON LICKS by CHARLOTTE JOSEPHINE
Once again PP will partner with Royal Welsh College of Music and Drama to showcase the world premiere of Charlotte Josephine’s new play. MOON LICKS will open at in Cardiff on 17 March, followed by a run in London at the start of April.
‘She looked at me and said, I want you to remember you came from the sky. Said you’re made of stardust. Said you deserve to be here.
Then the rains came, and all fucking hell broke loose.’
Stuck to shiny slick screens, pretending to be people, our
animal instincts spill out sideways with catastrophic consequences. Animal
humans or human animals, did we forget mother nature’s in charge? A generation
let down by those who should have known better, have one chance to put things
Charlotte Josephine is an award-winning playwright and actor. In 2012 BITCH BOXER won the Soho Theatre Young Writers Award, the Old Vic New Voices Edinburgh Season 2012, the Clonmel Junction Best Theatre Award 2013, the Holden Street Theatre’s Award 2013 and the Adelaide Fringe Award 2014. In 2017 Charlotte won the inaugural BBC Screenplay First Award, and was named on the BBC New Talent Hotlist. BLUSH is currently being adapted into a television drama and BITCH BOXER into a feature film. Charlotte is one of this year’s Old Vic 12 writers and is currently under commission at Boundless Theatre, Audible and Theatre Centre. Their new play POPS premiered at this summer’s Edinburgh Fringe Festival.
ROUNDABOUT SEASON 2020:
For the first time ROUNDABOUT will host a musical, with Chinonyerem Odimba’s new work exploring love and relationships with musuc by Ben and Max Ringham, will play in rep with Chris Bush’s new play investigating food and our dysfunctional relationships with our bodies and Phoebe Eclair-Powell’s new family show about a girl who loses her voice and has a madcap adventure to find it again – AND, in another first, a brand new trailblazer short commission from Charlotte Keatley!
ROUNDABOUT will once again return to Summerhall, Edinburgh and bring mini-festivals to each stop on its nationwide tour.
HUNGRY by CHRIS BUSH
me your fridge and I’ll show you what you’re worth.”
We are what we eat, and Bex eats shit. It’s not like she has any choice though – when times are tough the last thing you think about is your five-a-day. Today is different though. Today the table groans, and the best china is out. Today things will change.
HUNGRY is a new play about food, class and grief in a world where there’s little left to savour.
CHRIS BUSH is an award-winning playwright, lyricist and theatre-maker. Her past work includes PERICLES (National Theatre), THE ASSASSINATION OF KATIE HOPKINS (Theatr Clwyd), STANDING AT THE SKY’S EDGE, STEEL (both Sheffield Theatres) and THE CHANGING ROOM (NT Connections). Upcoming work includes FAUSTUS: THAT DAMNED WOMAN (Headlong/Lyric Hammersmith/Birmingham Rep), THE LAST NOEL (Attic Theatre) and a new musical adaptation of THE CAUCASIAN CHALK CIRCLE (National Theatre).
BLACK LOVE by CHINONYEREM ODIMBA
With Music byBen and Max Ringham
LOVE is brand new musical about love. Chinonyerem’s latest work explores romantic
relationships between black people, and in particular of how this is portrayed,
or more often than not, isn’t portrayed in theatre and on stage.
Chinonyerem is a Nigeria-born, Bristol based playwright, director and poet. Her work for theatre includes JOANNE and AMOMNGST THE REEDS for Clean Break, London /The Yard, a modern retelling of TWIST for Theatre Centre, MEDEA at Bristol Old Vic, and WE TOO, ARE GIANTS for Kiln Theatre. More recently, a new play PRINCESS AND THE HUSTLER toured across the UK for Eclipse Theatre/Bristol Old Vic/HullTruck. She was the Writer-in-Residence at Live Theatre/Northumbria University and is now an Associate Artist at Live. Her work has been shortlisted for several awards including the Adrienne Benham Award, Alfred Fagon Award, and the Bruntwood Playwriting Award. She is the joint winner for the 2018 Sonia Friedman Award for a new play HOW TO WALK ON THE MOON written for C4/Talawa Theatre. Currently Chinonyerem has the world premiere of a community play THE SEVEN AGES OF PATIENCEopening at Kiln Theatre, a new playUNKNOW RIVERS at Hampstead Theatre this October, and an adaptation of THE PRINCE AND THE PAUPER for Watermill Theatre Christmas season. She also writes for radio and TV, with a new 30-minute drama for Channel 4 scheduled to be broadcast in 2020.
REALLY BIG AND REALLY LOUD by PHOEBE ECLAIR-POWELL
Phoebe’s new play for families is about living loudly.
Ten year old Charli is always being told to sit down and be quiet, so much so that one morning she wakes up and – nothing – her voice is gone. Her Mum is worried, her older brother thinks it’s hilarious, everyone keeps offering her a lozenge. But Charli knows this is big – she needs to find it before it’s too late.
Phoebe is a writer from South East London. In 2015 her debut play WINK received rave reviews and four Off West End Nominations including ‘Most Promising New Playwright’. Her play FURY was runner up for the Verity Bargate Award 2015, and subsequently won the Soho Young Writer’s Award and received an Offie nomination for ‘Best New Play’. For 2016-17 Phoebe was the resident playwright at Soho Theatre through the Channel 4 Playwright scheme. In 2018 Phoebe’s play THESE BRIDGES was part of the National Theatre Connections Festival. Prior to this Phoebe completed the Channel 4 Screenwriting course. She was also on the Soho Writers’ Lab for 2014/15. Phoebe was a previous member of the RCYW and the Royal Court invited group under Alice Birch. Phoebe has completed the BBC writersroom drama programme with Sid Gentle Films, and took part in Nick Frost and Simon Pegg’s YA incubator at their company Stolen Picture. Phoebe has written for award winning Channel 4 Continuing Drama Hollyoaks. She is also under commission from Fremantle Australia, and Newcastle Live theatre, and adapting a graphic novel with Twelve Town.
THE INCONVENIENCE STORE by CHARLOTTE KEATLEY
How many versions of yourself are you wearing today? Just those three? Do they really fit you? Bee doesn’t fit hers. So she’s opened a shop, where the changing room actually does change you. The Inconvenience Store offers what is needed by those who aren’t Mr Normal- whoever he is.
Charlotte’s MY MOTHER SAID I NEVER SHOULD is the most widely produced play ever written by a woman, now translated into 31 languages, named as one of the National Theatre Significant Plays of the 20th Century, and a GCSE text. Other plays include: OUR FATHER AND ALL THE DAUGHTERS OF WAR for the RSC. Charlotte has written for film, television, radio and won an EMMY for filming in children’s prisons for a C4 documentary. Charlotte also teaches creative writing anywhere in the world on request.
SESSIONS by IFEYINWA FREDERICK
In 2019 Paines Plough co-commissioned a new play by Ifeyinwa Frederick, one of the 2019 Soho Six, in a year-long attachment programme for artists run by Soho Theatre. As part of their 2020 season Paines Plough together with Soho Theatre present the result! The production will open at Soho Theatre in Autumn 2020 as part of a 30-date small-scale tour. This will be the final production in a three-year partnership with Paul Hamlyn Foundation and Esmée Fairbairn Foundation.
Exploring the complexity of depression and therapy, SESSIONS asks what happens when your last resort doesn’t work. The play follows the life of Tunde – a 30-year-old loveable rogue – as we try to understand how such a seemingly happy young man has ended up here and how does he get out?
Ifeyinwa is a fervent believer in the power of storytelling and human connection, which fuels her work as a writer and entrepreneur. She began writing in 2016, joining Soho Theatre Writers’ Lab. Supported by the programme, she wrote her debut play THE HOES which received a full production at Hampstead Theatre in 2018. The play was shortlisted for the 2017 Tony Craze Award and Character 7 Award and longlisted for the 2017 Verity Bargate Award. Writing alongside her full-time job as co-founder of Chuku’s – the world’s first Nigerian tapas restaurant – she’s a Young British Foodie award winner and has been featured in Forbes’ list of 100 Female Founders in Europe.
LAMDA LIVE LAB: JADE ANOUKA
Live Lab is a new partnership with LAMDA exploring new ways of working in ROUNDABOUT by experimenting with early-career playwrights, actors and technicians alongside some of the most exciting, pioneering female playwrights from the last 30 years.
For 2020 the first co-commission built in Live Lab will be a brand new play by Jade Anouka.
Jade Anouka most recently appeared on our screens in ITV’s CLEANING UP alongside Sheridan Smith, Idris Elba’s Netflix comedy TURN UP CHARLIE and feel good feature film FISHERMAN’S FRIEND’S.
In theatre Jade most recently played the title roles in Hampstead’s Olivier nominated THE PHLEBOTOMIST and QUEEN MARGARET at The Royal Exchange. A seasoned Shakespeare performer, she starred in the Donmar Warehouse all-female Shakespeare Trilogy hit directed by Phyllida Lloyd where she played ‘Mark Antony’ in JULIUS CAESAR, ‘Hotspur’ in HENRY IV and ‘Ariel’ in THE TEMPEST. Other cherry-picked theatre credits include, Old Vic two-hander COVER MY TRACKS opposite musician Charlie Fink, Ophelia and Juliet in the Globe Theatre’s production of HAMLET and ROMEO AND JULIET respectfully and MOON ON A RAINBOW SHAWL at the National.
As a poet Jade has performed regularly around London including The Southbank Centre, Richmix and The Roundhouse. Her first collection of poems was published by Poetry Space and titled EGGS ON TOAST.
Her first play, HEART combined her love of writing and acting when she performed it at the Vault festival in the spring. Last year Jade did a TED talk: ‘Being Black, Being a Woman, Being ‘Other’.
ELLIE KEEL PRODUCTIONS and PAINES PLOUGH PRESENT: THE WOMEN’S PRIZE FOR PLAYWRITING
We have teamed up with the brilliant EKP to launch The Women’s Prize for Playwriting, which will support exceptional UK and Ireland-based playwrights. The winning playwright will receive £12,000 in respect of an exclusive option for EKP and Paines Plough to co-produce the winning play. The founding sponsor of The Women’s Prize for Playwriting is PER.
The Women’s Prize for Playwriting is designed to celebrate and raise the profile of these playwrights by providing them with a national platform. Any person of 16 years or older who is resident in the UK or Ireland and who identifies as female can enter. The prize is for a full-length play (defined as over 60 minutes in length), written in English. Musicals and pantomimes are not eligible. Submissions will open on Monday 11 November and close on Monday 2nd March.
The judging panel for The Women’s Prize for Playwriting 2020 is chaired by senior literary agent Mel Kenyon, and further comprises: playwright Tanika Gupta, Sarah Frankcom, playwright Ella Hickson; theatre producer and former Executive Director of the Donmar Warehouse, Kate Pakenham. actress and writer Monica Dolan, actress Maxine Peake and Artistic Director of Kiln Theatre, Indhu Rubasingham.
Full details of the Prize, including full eligibility criteria and details of second and third prizes, will be available on Monday 11 November, from which date submissions will also be open. Please visit www.womensprizeforplaywriting.co.uk for further details.
Thank you to our brilliant season launch creative team:
We are delighted to announce the full cast and creative team for the nation-wide tour of Zia Ahmed’s I WANNA BE YOURS 2019.
Writer: ZIA AHMED
Zia Ahmed is from north-west London. He is part of
the London Laureates, having been shortlisted for London’s Young Poet Laureate
2015/16. He is a former Roundhouse Poetry Slam winner and writer
in residence at Paines Plough as part of Channel 4’s Playwright Scheme. He is one of the Bush Theatre’s Emerging
Writers’ Group 2018/19.
writing and performance credits include C11 (Bush Theatre) and FRAGMENTS
(Roundhouse). His poetry has featured on BBC Radio 4, DAZED and notable
gigs include performing at Kate Tempest’s collection launches at the Old Vic,
Hackney Arts Centre, Boiler Room x V&A, Latitude Festival and the ICA.
Twitter/Instagram – @ziaahmedx
Direction: ANNA HIMALI HOWARD
Anna Himali Howard is a director and theatremaker. She was Paines Plough’s Trainee Director in 2016 and is an alumnus of the Birmingham REP Foundry. She was recently the Staff Director on SMALL ISLAND at the National Theatre. Her work as a Director includes: A SMALL PLACE by Jamaica Kincaid (Gate Theatre); I WANNA BE YOURS by Zia Ahmed (Paines Plough/Tamasha/Rural Arts), ALBATROSS by Isley Lynn for NEW (Paines Plough/ RWCMD/Gate Theatre). As a theatremaker, work includes:
ANGER (Yard Theatre Live Drafts), MAHABHARAT/A by Anna Himali Howard and Zarina
Muhammad (Camden People’s Theatre), THE BEANFIELD by Breach Theatre (New
Diorama/national tour 2016).
was Associate Director on FLEABAG by Phoebe Waller-Bridge (Drywrite/Soho
Theatre international tour) and Assistant Director on OTHELLO, directed by
Ellen McDougall (Shakespeare’s Globe) and IN THE NIGHT TIME (BEFORE THE SUN
RISES) by Nina Segal, directed by Ben Kidd (Gate Theatre
EMILY STOTT as ELLA
Emily trained at The Oxford School of Drama and is a founding member of the award-winning theatre company Wildcard (ELECTROLYTE, 17, AFTER PARTY)
Theatre credits include: IF NOT NOW, WHEN? (Dorfman, National Theatre); THE COMEDY ABOUT A BANK ROBBERY (Mischief Theatre/Criterion Theatre); GIFTED (Pleasance); THE PICTURE OF DORIAN GRAY (Watermill Theatre); GLITTER PUNCH (VAULT Festival); THE KITCHEN SINK (Oldham Coliseum); INSIDE PUSSY RIOT (Les Enfants Terribles/Saatchi Gallery); PANCAKE DAY (The Bunker); EARLY DOORS (Not Too Tame/UK tour); THE SELFISH GIANT (Arcola).TV credits include: VERA (ITV).
RAGEVAN VASAN as HASEEB
credits include: SAVE ME, FORTITUDE (Sky Atlantic); THE STATE (Channel 4);
CUFFS, DOCTORS (BBC).
credits include: DUMBO (Disney); DAPHNE (The Bureau Film Company); WALK LIKE A
PANTHER (FOX Searchlight); THE LAST WITNESS (Film Polska Productions).
credits include: THE VILLAGE (Theatre Royal Stratford East); HURLING RUBBLE AT THE
SUN/MOON (Park Theatre); LOVE FOR LOVE, QUEEN ANNE (Royal Shakespeare Company).
RACHAEL MERRY as RACHAEL
is an actor and BSL/English interpreter who is delighted to be working with
Paines Plough this autumn for I WANNA BE YOURS.
member and associate artist of the DH Ensemble, she is a previous resident
artist with GLYPT (Donut Worry R&D) and most recently can be seen as Ellie
in DeafFest UK award winning short film AVA(Grint & Ash
credits include: Librarian in ALMOST(BSLBT/Flashing Lights Media);
Evil Queen in MIRROR MIRROR (Red Earth Theatre UK Tours); Shiny in SMALL WORLD (BSLBT/Mutt
& Jeff Pictures); Mrs Yellow in MR RED AND MRS YELLOW (Handprint Theatre).
Rachael holds a first class degree in Theatre Arts, Education & Deaf
Studies from The University of Reading and recently completed her role coordinating
the youth programme for Deafinitely Theatre Company.
THE CREATIVE TEAM
COMPANY STAGE MANAGER: ALICE LONGSON
Studying at Salford University, Alice gained a degree in Media Performance but was always drawn to the theatre. Post university she headed into the Manchester Fringe scene working in various stage management roles on shows including THE TRIAL (People Zoo Productions); MOTH (Ransack Productions) and HAIR THE MUSICAL (Aria Entertainment). With a passion for driving vans Alice went on to touring, working with Theatre Hullabaloo sharing THE BEAR AND BUTTERFLY with the UK in 2016/17. During her time working the Manchester fringe Alice grew close connections with Hope Mill Theatre and following her tour went on to become the Technical Manager of the venue. She also supported their in-house musicals and Production Manager. She found a new passion for set building and power tools. Onto ventures new, Alice is super excited to be hitting the road with I WANNA BE YOURS and is very proud to be part of the Paines Plough team on this project.
DESIGN: MYDD PHARO
Mydd is an award-winning
set and costume designer, director and visual dramaturg working in theatre,
live art and installation. He trained in Theatre Design at Wimbledon School of
Art and Fine Art (Installation) at Falmouth College of Art.Selected work
includes:WOLF’S CHILD (WildWorks/NNF);
THE BODY (Barbican); THE PASSION (WildWorks/NTW); PARTY SKILLS FOR THE END OF
THE WORLD (NNF); DREAM CITY – The Tunis Biennale of Art in Public Spaces, NABLUS:
CITY OF STORIES, ONCE UPON A CASTLE – Kasteel Van Gaasbeek, THE ENCHANTED PALACE (WildWorks);
ARK-IVE (National Theatre).He is founding
member, production designer and visual dramaturg for NPO company WildWorks an
international site-specific theatre company specialising in large-scale outdoor
promenade performances in unusual locations. He has also designed works for Kneehigh
Theatre, Punchdrunk, 14-18NOW, Royal College of Music, NYT, BAC, The Eden
Project and The British Council.
LIGHTING: MARTHA GODFREY
Martha Godfrey is a lighting designer based in London.Recent work includes: WHITEand GREY by Koko Brown (Ovalhouse Theatre/UK tour); PINKLEMONADEand SINCE U BEEN GONE(Queer House
Productions); FUCK YOU PAY ME(The
Bunker); BURY THE DEAD (Finborough
Theatre); HEAR ME HOWL (Old Red
Lion Theatre); PECS: THE 80S SHOW
COMPOSITION & SOUND: ANNA CLOCK
Anna Clock is a composer, sound designer and
cellist working across theatre, film, radio and installation. Recent
projects include: PLAYING UP and EPIC
STAGES (National Youth Theatre); ARMADILLO (The Yard Theatre); FIGHTER(Stratford Circus Arts Centre); LOOKING FORWARD (Battersea Arts
Centre); SOFT ANIMALS (Soho); THE BUTTERFLY LION (Barn
Theatre); FATTY FAT FAT (Roundhouse/Edinburgh Festival) WORK BITCH, MISS FORTUNATE, ADMIN (VAULT
Festival); TWELFTH NIGHT (Southwark
Playhouse); POMONA; PUNK ROCK (New
Diorama); BURY THE DEAD (Finborough
Theatre); FABRIC (Soho/community
spaces tour); KATIE JOHNSTONE, IN
THE NIGHT TIME, [BLANK] (Orange Tree Theatre); OVEREXPOSED (V&A
Museum); UNCENSORED (Theatre
Royal Haymarket); SONGLINES (Edinburgh
Festival/HighTide Festival/regional tour); FINDING FASSBENDER (VAULT Festival/Edinburgh
2018 Anna was artist in residence at SPINE Festival Borough of Harrow and
Sirius Arts Centre. Anna studied Music Composition and English
Literature at Trinity College Dublin, Cello performance at the Royal Irish
Academy of Music and holds an MA in Advanced Theatre Practice from Central
School of Speech and Drama. They also have extensive experience as a workshop
facilitator and educator, and have run workshops in schools, youth centres and
community centres. They have also worked as guest lecturer and guest sound
designer for third level institutions including University of Manchester, Mountview
Academy, Arts Ed and Fourth Monkey.
ASSISTANT DIRECTOR: JANISÉ SADIK
Janisè Sadik is an emerging theatremaker
and director. She is Paines Plough’s Trainee Director for 2019, was a part of
the Young Vic Directors program, and completed the Boris Karloff Trainee
Assistant Director Program in 2017. She has been a co-workshop leader at Park
Theatre leading the Creative Learning Programme since 2015 directing the end of
term showcase. She has facilitated in
various creative buildings such as Hoxton Hall, Lyric Hammersmith, Ovalhouse
and Wimbledon College of Arts. In 2018, she set up a Youth Theatre company at
We Are Spotlight working with young actors that don’t have access to training.
She has worked internationally in rural parts of South India to run creative
theatre projects with young children to empower and build their confidence. She enjoys work that is experimental, devised
and brings new writing to life. Theatre credits as director include: MILK
& OREOS, winner of the Pandora Award 2015, co-written by Janisè Sadik &
Seraphina Beh (Melanin Box Festival); BREAKING THE INTERNET (Ovalhouse Summer
School 2017); BLURRED LINES (Etcetera Theatre); US by Priscilla Lafayette Kwabi
(Camden People’s Theatre); HYDRAULIC by Tristan Fynn-Aiduenu (Wimbledon College
Assistant director credits include:
ROUNDABOUT Season 2019: DAUGHTERHOOD by Charley Miles, ON THE OTHER HAND, WE’RE
HAPPY by Daf James and DEXTER AND WINTER’S DETECTIVE AGENCY by Nathan Bryon
(Paines Plough/Theatr Clwyd).
Film credits as director include: SHE by
MOVEMENT: JENNIFER JACKSON
Jennifer trained at East 15 and is a movement director and actor. Movement Direction credits include: AMSTERDAM (ATC/Orange Tree/ Theatre Royal Plymouth); POPS (Jake Orr Productions); THE STRANGE UNDOING OF PRUDENCIA HART (New Vic Theatre); BE MY BABY, AROUND THE WORLD IN 80 DAYS (Leeds Playhouse); THE TRICK (Loose Tongue/Bush/High Tide); PHILOXENIA (Bush); MOUNTAINTOP UK TOUR (Desara Productions Ltd); DEATH OF A SALESMAN, QUEENS OF THE COAL AGE, OUR TOWN (Royal Exchange); PARLIAMENT SQUARE (Bush/Royal Exchange); MAYFLY, OUT OF WATER (Orange Tree Theatre); BRIGHTON ROCK (Pilot Theatre/The Lowry); ROUNDABOUT Season 2017: BLACK MOUNTAIN, HOW TO BE A KID, OUT OF LOVE (Paines Plough/Theatr Clwyd/Orange Tree Theatre); ROUNDABOUT Season 2018: ISLAND TOWN, STICKS AND STONES, HOW TO SPOT AN ALIEN (Paines Plough/Theatr Clwyd); THE MOUNTAINTOP (Young Vic); DEATH OF A SALESMAN (Royal & Derngate); THE UGLY ONE (The Park); WHY THE WHALES CAME (Southbank Centre); STONE FACE (Finborough); DEBRIS (Southwark Playhouse/Openworks Theatre); MACBETH (Passion in Practice/Sam Wanamaker Playhouse); SILENT PLANET (Finborough); PERICLES (Berwaldhallen); THE FUTURE (The Yard/Company Three); OTHER-PLEASE SPECIFY, ATOMS (Company Three); TAKEOVER 2017 (Kiln Theatre).Assistant Movement Director credits include: ROUNDABOUT Season 2014: LUNGS, THE INITIATE, MY TEACHER’S A TROLL (Paines Plough/Sheffield Theatres).