Here at Paines Plough we are always looking for ways to demystify the way we go about commissioning, producing and touring new plays in order to provide support for theatre makers at any stage of their careers through a programme called Insights.
As part of Insights we offer a flexible programme of work placements designed to support the study of students on university and drama school courses at MA or BA level with practical work experience of a busy touring theatre company. Please see below for information on how to apply for our Summer/Autumn 2018 programmes.
“There’s not really a better place to be… [It] allowed me to develop both my creative, logistical, and administrative skills. I read and read and read, and being surrounded by new work and the people and processes making it has helped me in astronomical ways.” Hugo Timbrell, Production Placement, Spring 2016
Timeline The Autumn period will run for 12 weeks from 10 September to 07 December.
You will be in PPHQ 3 days per week, although this can be flexible depending on the placement and your personal study requirements, 10am-6pm with a one-hour break for lunch.
Expenses We pay for travel expenses within London, as well as occasional theatre trips and touring opportunities.
As our Production Placement you will gain experience in: tour logistics, casting/rehearsal administration, audience development and day to day running of the office and productions we have on the road. This placement is suited to anyone looking to work in a producing role.
As well as the work experience and training specific to your placement (see below), there will be opportunities to participate in company-wide training. Previously Placements have received training in:
Office skills and time management
Tone and style
Budgets and accounting
Previous placements at Paines Plough have gone on to work for companies such as: Donmar Warehouse, National Theatre of Scotland, Lyric Hammersmith, Les Enfants Terribles and Young Vic.
“The passion for new writing and fostering new talent was there every single day … and it made the whole experience completely brilliant.” Alice Rush, Production Placement, Spring 2018
HOW TO APPLY
Please send a CV and one-page covering letter detailing your experience, why you are interested in Paines Plough and what you hope to gain from the placement, as well as which placement period you wish to be considered for, to email@example.com.
Application deadline 12noon on Wednesday 29 August Interviews Tuesday 04 September Placement dates 10 September – 07 December
If these dates are not quite suitable for your course, please do send in your application anyway as we will be open to discussing alternatives.
Stage managers make the world go round. Everyone knows that. They are the all-knowledgeable, indefatigable, unflappable superheroes that make everything alright.
We love stage managers. We work with some of the very best in the business like Caitlin and Wesand Carrie and Ben. And we’re always on the look out for more superheroes to join our team and help us tour new plays the length and breadth of the UK, everywhere from the Old Vic to the Isle of Eigg.
As we’re sharing Edinburgh with half of the population of stage managers for the month of August, we thought we’d take the opportunity to meet some new people.
If you’re here at the Fringe and you share our passion for new plays and touring, we’d love to say hello and hopefully find a way of working with you in the future.
Whether you’re an ASM, CSM, DSM, TSM or all of the above, send your CV and a quick note to our Producer Sofia firstname.lastname@example.org with the subject line STAGE MANAGER CALL OUT, and we’ll try to find time for a cup of tea.
Growing up in the 90s, GG and her mates obsess over music, vaginas and witchcraft. But there’s a problem. Living feels too extreme. To be one of the good girls, GG learns to make herself numb. But at what cost? Bold and provocative, Good Girl tells a darkly comic coming of age tale about learning to live un-apologetically.
Naomi Sheldon’s award-winning debut storytelling show returns to Edinburgh. Chortle called it ‘an outstanding performance (of) the pressure young women are under to please other people and the vulnerabilities that exposes’.
‘This is for the people who burst at the seams.’
Good Girl is a winner of Funny Women’s Best Show and Voice’s Pick of the Fringe Award.
10 & 11 Aug @ 23.15 – NORTHERN SOULS by Toria Garbutt (presented by Not Too Tame)
Award Winning Not Too Tame, deliver a raucous and raw night of lyricism, laughs and live music in the world premiere of NORTHERN SOULS.
NTT’s first one woman show performed by Louise Haggerty takes the autobiographical work of performance poet, Toria Garbutt (currently touring with Dr John Cooper Clarke) and blends it with the comedy, pathos and electrifying style of an NTT production. Big tunes, big heart and the true story of a voice that rattles with excitement and demands to be heard; beautiful and bold! Ladies & gents, lads and lasses, NTT are back so charge your glasses!
Fancy getting dirty later? Three Welsh writers. Three Scottish writers. Six short plays. One dirty late night extravaganza.
Come join the Dirty Protest gang as we shake up the theatre world with six new short plays from six of Wales and Scotland’s most exciting writing talent. Grab your beer, sit back and let us entertain you.
Since 2007 Dirty Protest has been the company to follow to see the next big stars in writing and acting. Breaking down theatre barriers by performing in yurts, kebab shops, pubs and clubs they kickstarted a new writing theatre revolution in Wales.
Tickets on sale soon.
More shows to be announced soon. Watch this space.
Here at Paines Plough we’re passionate about bringing great theatre to everyone.
In 2015 we realised that there was a big gap in our programming for people who are D/deaf or hard of hearing. When we thought about programming captioned performances on tour we pictured transporting huge LED screens up and down the country. It felt like a daunting prospect.
So we did some research. We consulted with the teams over at StageText and Digital 4. The following year we fundraised to buy 15 portable individual captioning tablets. We went from 0 to 72 captioned performances in our first year captioning on tour, and have never looked back.
We wanted to make sure that others knew how achievable it all is so we’re running two Captioning on Tour Workshops in Roundabout @ Summerhall this Fringe.
As well as demonstrating everything that a portable closed captioning system has to offer, we will give you a chance to have a go at it yourself, followed by a Q&A looking at sourcing the equipment, integrating captioning into the creative process, communicating with tour venues, and finding the right captioning partner for you.
We’ll be running the workshop twice during the festival:
Please RSVP using this form but, in the meantime, please do let us know if you have any questions and feel free to pass this onto anyone else who you feel may benefit or who can share their captioning experience / knowledge.
We’re still learning and would welcome any thoughts on how we can improve this part of our work, we’d love to hear form you.
Throughout the festival Roundabout will host 66 captioned performances:
All 19 performances of Vinay Patel’s STICKS AND STONES will be captioned. Book here.
All 19 performances of Simon Longman’s ISLAND TOWN will be captioned. Book here.
All 8 performances of Georgia Christou’s HOW TO SPOT AN ALIEN will be captioned. Book here.
BLACKTHORN by Charley Miles will be captioned on 3, 8, 10, 15, 17, 22, 24 Aug. Book here.
TREMOR by Brad Birch will be captioned on 3, 10, 17, 24 Aug. Book here.
SUGAR BABY by Alan Harris will be captioned on 4, 11, 18 Aug. Book here.
DRIP by Tom Wells will be captioned on 22 & 26 Aug. Book here.
ONE LIFE STAND by Eve Nicols will be captioned on 8, 15, 22 Aug. Book here.
ALL WE EVER WANTED WAS EVERYTHING by Luke Barnes will be captioned on 22 Aug. Book here.
You can find a full list of captioned performances at EdFringe here.
For more information on Roundabout’s accessibility you can check out an interview we did with the brilliant team at Euan’s Guide last year.
We’re recruiting a Technical Stage Manager for ROUNDABOUT.
About Paines Plough
Paines Plough is the UK’s national theatre of new plays. We commission and produce the best playwrights and tour their plays far and wide. Whether you’re in Liverpool or Lyme Regis, Scarborough or Southampton, a Paines Plough show is coming to a theatre near you soon. Paines Plough was formed in 1974 over a pint of Paines bitter in the Plough pub. Since then we’ve produced more than 130 new productions by world renowned playwrights like Stephen Jeffreys, Abi Morgan, Sarah Kane, Mark Ravenhill, Dennis Kelly and Mike Bartlett. We’ve toured those plays to hundreds of places from Manchester to Moscow to Maidenhead.
Over the last two years we’ve produced 22 shows and performed them in 180 places across four continents. We tour to more than 30,000 people a year from Cornwall to the Orkney Islands; in village halls and Off-Broadway, at music festivals and student unions, online and on radio, and in our own pop-up theatre Roundabout.
Our current season consists of new work by Zia Ahmed (I WANNA BE YOURS), Anna Jordan (POP MUSIC) and Isley Lynn (ALBATROSS). As well as these, there will also be some reprised work from Brad Birch (BLACK MOUNTAIN), Elinor Cook (OUT OF LOVE), Sabrina Mahfouz (WITH A LITTLE BIT OF LUCK) and Sarah McDonald-Hughes (HOW TO BE A KID). The world premiere plays which will be performed in rep in Roundabout this year will be by Georgia Christou (HOW TO SPOT AN ALIEN), Simon Longman (ISLAND TOWN) and Vinay Patel (STICKS AND STONES).
About ROUNDABOUT: The world’s first pop-up, plug-and-play theatre.
We built Roundabout because we’re passionate about new plays and we want as many people as possible to be able to see them. Many places in the country don’t have theatres. Now we can take a theatre to them.
Since its launch in 2014, Roundabout has toured the length and breadth of the UK from Brighton Festival to Edinburgh Festival fringe, to London’s Southbank Centre to the hills of North Wales. In 2016 we received three-year funding from the Arts Council’s Strategic Touring Fund to partner with eight national organisations and present a mini festival every weekend between September-October in Margate, Salford, Stoke-on-Trent, Kendal, Poole, Luton, Darlington and Lincoln.
In it we present a rep of three brand new Paines Plough plays, one specifically for young people, performed by a company of three actors. And in partnership with our hosts we programme a wider festival of local theatre, music, comedy and a range of activities in the space.
The aim is to use the Roundabout space as a resource for local communities to engage with its possibilities, with the ultimate aim to increase footfall from a wider audience and encourage theatre going. Now in 2018, we’re preparing for another epic tour and we’d love you to join us.
Up your street? Excellent. We can’t wait to hear from you. Details below.
Guidance Notes for Applicants
Job Description and Person Specification The purpose and main duties and responsibilities of the post are set out in the job description and the knowledge, skills and experience we are looking for in the successful candidate are listed in the person specification.
To apply send us a CV and covering letter.
CV, Covering Letter & Equal Opportunities Form should be submitted by email only to email@example.com. The covering letter is your opportunity to tell us specifically why you wish to apply for the vacancy and what makes you a suitable applicant. It is important that you provide us with evidence to demonstrate that you possess the knowledge, skills and experience required as set out in the person specification for the role.
Deadline for applications: Wednesday 18 July 2018 at 12pm
Please address applications to Sofia Stephanou, Producer and clearly mark the email subject: ROUNDABOUT TSM APPLICATION.
If you are unable to submit your CV, Covering Letter & Equal Opportunities Form by email, please contact Charlotte Walton on 020 7240 4533.
Shortlisting and Interviews
Shortlisting will take place as soon as possible after the closing date. When shortlisting we are making an assessment of how closely your application meets the selection criteria set out in the person specification.
You will be notified of whether you have been shortlisted or not via email.
Interviews: Friday 20 July 2018
If you are shortlisted, we will contact you by phone to invite you to interview and follow up with an email.
All offers are made subject to receipt of satisfactory references, proof of identity, address and eligibility to work in the UK.
For any more information email firstname.lastname@example.org.
We hope you find the above helpful and good luck with your application.
JOB DESCRIPTION: TECHNICAL STAGE MANAGER
Responsible to: Producer
This is an exciting and varied role with strong prospects for skills development and career progression into the role of a Production Manager.
The Technical Stage Manager is a key member of the team, working closely with the Technical Director, Company Stage Manager and the Producer. The Technical Stage Manager will liaise with the Visiting Companies on tour and plays a crucial role in supporting on technical elements in absence of the Technical Director.
The Technical Stage Manager Duties include but are not limited to:
To write and manage the TSM rota on tour.
To manage tech schedule for Paines Plough and Visiting Companies.
To deliver the rota to the Producer.
To strictly monitor and adhere to the weekly schedules as provided by the Producer.
To send out and administrate technical questionnaires for all Visiting Companies in Roundabout and to report back to the Producer and Technical Director weekly.
To ensure that all known technical elements of Visiting Company shows on tour are signed off by the Producer and Technical director.
To be the first point of contact for all technical questions from Visiting Companies performing in Roundabout on tour.
Supporting Visiting Companies on tour.
HEALTH & SAFETY AND SECURITY
To be responsible for safe working methods within the Roundabout’s specific H&S procedures.
To ensure the safety of public in Roundabout at all times in line with Roundabout’s specific H&S procedures.
To ensure that Roundabout complies with regulation fire safety guidelines and is fire safe in line with Roundabout’s specific H&S procedures.
To report any issues which contravene Roundabout’s H&S procedures in a timely manner to the Technical Director and Producer.
In conjunction and liaison with the Technical team & Company Stage Manager, to ensure that all equipment, set, props, furniture and dressing is accounted for and kept securely at all times.
To adhere to the Health and Safety Policy of the company, undertaking such duties as are required, and ensuring that reasonable care is taken to ensure a healthy and safe working environment.
To take joint responsibility with the Company Stage Manager on all aspects of the Roundabout Auditorium whilst on the road, including sole responsibility of all technical elements of the Roundabout Auditorium.
To support the Technical Director with fit-up and strike of Roundabout including lifting and crew work.
To be jointly responsible with the Company Stage Manager for the daily power-up and power-down of the Roundabout.
In conjunction and liaison with the Company Stage Manager, to ensure that all working and public areas are kept tidy and clear of waste material and that equipment is maintained to a safe and proper standard.
To communicate with Front of House daily on any audience access requirements.
To ensure the venue is accessible by restoring wheelchair spaces in a timely manner and supporting Front of House staff in quick turnarounds between shows.
To assist in setting up ROUNDABOUT captioning units for any captioned performances
To be the first point of contact for all local technical departments whilst on tour.
Supervising local crew and local Technical Managers and train individuals in the use of Roundabout
To be the first point of contact for all local technical departments whilst on tour.
As directed by the Producer and in conjunction with the Company Stage Manager take responsibility for the Roundabout site whilst on the road including maintenance and site dressing.
Support the Company Stage Manager in the management of Venue Front of House as necessary
To complete day to day maintenance-work as required and report any maintenance issues to the Producer and Technical Director.
To ensure that tools and all fit-up equipment is kept in a tidy, complete, adequately stocked and secure state at all times and to replace any consumable items within budgets and parameters agreed with the Producer.
In conjunction and liaison with the Company Stage Manager, to complete any day to day maintenance that may be required of the set, props, furniture and dressing for the production according to the Director’s and Designer’s requirements and within budgets and parameters agreed with Producer.
In conjunction and liaison with the Company Stage Manager, to ensure that all work undertaken on the set, props and furniture etc. is completed to the high standards agreed with the Producer.
To manage a petty cash budget within the parameters set out by the Producer and Technical Director.
To send out a daily Roundabout Venue Report.
In the absence of the Company Stage Manager, cover the running and/or operating of all three Paines Plough productions within the Roundabout as per weekly touring schedule drawn up by the Production Manager & Producer and as mutually agreed.
To provide tours of Roundabout to industry and members of the public as requested by the Producer
To liaise and co-operate with all other departments and individuals within Paines Plough.
To attend production meetings
To act as a credible ambassador for the company at all times.
To undertake any other appropriate duties which may be allocated by the Producer.
Candidates need to possess the following attributes/skills to be considered for the position of Technical Stage Manager role:
Essential knowledge, skills and experience
Minimum of 4 years professional mid to large-scale touring experience, preferably with temporary, demountable structures.
Demonstrable ability to perform the duties listed above
Demonstrable experience of supervising crew during get ins and get outs.
Working knowledge of lighting control especially with regards to LED technology and pixel mapping
An organised yet flexible approach and calm under pressure
Dedicated and committed with excellent focus and organisational skills
Ability to be creative and resourceful in problem solving
Proven ability to work within allocated budgets
A working knowledge of the ITC/Equity Subsidised Repertory Agreements
Awareness and experience of health and safety legislation and practice.
Experience of and ability to operate QLab
Good team player
Bright, proactive and energetic, with an evident record in the delivery of productions at the highest technical level.
Good working knowledge of industry H&S regulations Experienced in monitoring and enforcing H&S regulations and ideally H&S trained (IOSH certified)
Able to demonstrate a recognisable level of credibility within the industry.
IT and AutoCAD literate.
Degree in technical theatre practice or equivalent qualification.
First Aid trained
Terms and Conditions
Salary: Buyout of £550 p/w plus subsidence of £297p/w on tour, in line with ITC minimum rates of pay.
Contract: Fixed Term.
Pension: 3% employer contribution and 2% employee contribution to the pension scheme that you are enrolled in.
Holiday: Holiday paid at ITC rate.
Paines Plough strives to be an equal opportunities employer.
We’re delighted to announce the cast and creative team working on Anna Jordan’s POP MUSIC alongside tour dates throughout autumn and winter.
POP MUSIC will have integrated British Sign Language (BSL) and captioning.
Anna Jordan talks about the origin of the show:
“Pop Music is a celebration of my love of – well – pop music! For years I felt the need to hide just how low brow some of my music choices were, covertly dancing in the kitchen to Kiss FM for hours on end and lingering longer in shops to scribble down lyrics of songs so I could find out what they were. But no more!
Pop has been a huge part of my life, and part of my work too. I’ve become fascinated by the role music plays throughout our lives and how that role changes as we get older, and I became particularly interested in exploring the statement “Pop music makes promises it can’t keep”.
I’m hugely excited that we get to tour Pop Music around the country and I’m thrilled to be working with Paines Plough and Birmingham Rep. I’m especially pleased that James is directing after admiring his work for many years.”
Our Joint Artistic Director James Grieve will direct:
“I’ve been a huge fan of Anna’s work for many years and I am thrilled to be taking her joyous, riotous pop party to audiences the length and breadth of the UK. I am excited to be working with the remarkable actor Ciaran Stewart Alexander to put BSL at the heart of the production, and with Backlight Productions on creative captioning. With a hilarious, heart-string tugging story and a soundtrack of cast iron pop classics, this is theatre you can dance in the aisles to.”
30 Oct Unity Theatre, Liverpool [On sale here] 31 Oct Key Theatre, Peterborough [On sale here] 01 Nov South Hill Park, Bracknell [On sale here] 02 Nov The Old Market, Brighton [On sale here] 03 Nov Trestle Arts Base, St Albans [On sale here] 06 Nov The Garage, Norwich [On sale here] 07 Nov CAST, Doncaster [On sale here] 08 Nov The Spring Arts & Heritage Centre, Havant [On sale here] 09 Nov The Edge Theatre & Arts Centre, Manchester [On sale here] 10 Nov Derby Theatre, Derby [On sale here] 13 Nov Selby Town Hall, Selby [On sale here] 14 Nov The Continental, Preston [On sale here] 15 Nov Arts Centre Washington, Washington [On sale here] 16 Nov Lincoln Performing Arts Centre in association with Home, Lincoln [On sale here] 17 Nov East Riding Theatre, Beverly [On sale here] 21 Nov Trinity Theatre, Tunbridge Wells [On sale here] 22 Nov Marlowe Theatre, Canterbury [On sale here] 23 Nov Marlowe Theatre, Canterbury [On sale here] 24 Nov Phoenix Theatre and Arts Centre, Bordon [On sale here] 27 Nov Marine Theatre, Lyme Regis [On sale here] 28 Nov Electric Theatre, Guildford [On sale soon] 29 Nov Square Chapel Arts Centre, Halifax [On sale here] 30 Nov Mill Arts Centre, Banbury [On sale here] 01 Dec Studio 3 Arts, Barking [On sale soon] 04 Dec Norden Farm, Maidenhead [On sale here] 05 Dec Artrix, Bromsgrove [On sale here] 06 Dec Middlesbrough Townhall, Middlesbrough [On sale here] 07 Dec The Maltings Theatre, Berwick Upon Tweed [On sale here] 08 Dec Rosehill Theatre, Whitehaven [On sale here]
Anna Jordan is a writer, director and acting coach.
As a writer her current projects include THE UNRETURNING (Frantic Assembly / Theatre Royal Plymouth) and a new adaptation of MOTHER COURAGE (Royal Exchange / Headlong). She is also under commission to the Royal Court Theatre. Anna won the Bruntwood Prize in 2013 for her play YEN, which has had productions at The Royal Exchange, Royal Court Theatre and MCC New York as well as several international productions. It was also shortlisted for the Susan Smith Blackburn Prize 2015-2016.
Other theatre includes WE ANCHOR IN HOPE (Royal Court – Beyond the Court), A SERIOUS CASE OF THE FUCKITS (Central School of Speech and Drama) CHICKEN SHOP (Park Theatre) and FREAK (Theatre503 / Assembly Studios). She was recently part of the writers room on HBO’s new series SUCCESSION, created by Jesse Armstrong, and has written episode 4. Film includes THE IVORY YEAR (LAMDA).
Anna has taught / directed at RADA, LAMDA, Arts Ed, Central and Italia Conti. She runs her own company, Without a Paddle Theatre and recently started a support network for recent drama school graduates called The Long Game. Anna co-founded Hackney Showroom Young Actors with Sam Curtis Lindsay, a free weekly acting training for young people based in Hackney. She is also the vocal coach for ALT Actor Training, a free training programme for actors in London led by Toby Clarke.
Rakesh is originally from Hull and trained at the Midlands Academy of Dance and Drama.
Previous experience includes: WE WILL ROCK YOU (Dominion Theatre); BEND IT LIKE BECKHAM (Phoenix Theatre); ROCK OF AGES (Original UK Tour); WIND IN THE WILLOWS (Original Cast); DJ LOVELY, BRITAINS GOT BHANGRA (Original UK Cast) and most recently THE ASSASSINATION OF KATIE HOPKINS (Theatr Clwyd).
Rakesh also runs one of the UKs most successful Surprise Entertainment Companies – Secret Singers (www.secretsingers.com) as well as managing and performing in two vocal group The Brit Tones (www.thebrittones.com) and MODI-5 (www.modi-5.com) who recently appeared on SKY1 Sing:Ultimate A Cappella.
Rakesh will be playing G.
Katherine trained at East 15 Acting School.
Theatre credits include HAPPY TO HELP (Park Theatre), directed by Roxy Cook, A PROGRESS(Beggars Belief/Yard Theatre), directed by Carl Heap, TWELFTH NIGHT(RBL Theatre Company), directed by Hal Chambers, VESTA (Figuetta), devised by the company, PLAYHOUSE CREATURES (Otherplace Productions) directed by Lauren Jones, CABARET BRECHT (Otherplace Productions), directed by Alex Brown.
Katherine will be playing Kayla.
CIARAN ALEXANDER STEWART
Theatre includes:TRIBES (Sheffield Theatres), JUNKYARD (Headlong/Bristol Old Vic/Theatr Clwyd/Rose Theatre), DR JOHNSON GOES TO SCOTLAND (Oran Mor/Traverse Theatre), DREAM ON! (BBC Arts), TALES FROM THE CROFT (Solar Bear).
Film includes: ARABESQUE, A LOVE DIVIDED, UN MALENTUNDUE, and STARGAZER.
Work whilst training includes:LAST WOMAN LEFT, AFTER PARTY, LOVE & INFORMATION, SCAVENGERS, PERFUME.
Ciaran will be playing Remix and integrating British Sign Language into the production.
JAMES GRIEVE (Director)
James is our Joint Artistic Director.
For PP he has directed OUT OF LOVE by Elinor Cook, BLACK MOUNTAIN by Brad Birch, HOW TO BE A KID by Sarah McDonald Hughes, BROKEN BISCUITS and JUMPERS FOR GOALPOSTS by Tom Wells, HAPPINESS by Nick Payne (BBC Radio 3), THE ANGRY BRIGADE by James Graham, AN INTERVENTION and LOVE, LOVE, LOVE by Mike Bartlett, HOPELESSLY DEVOTED and WASTED by Kate Tempest, THE SOUND OF HEAVY RAIN by Penelope Skinner, YOU CANNOT GO FORWARD FROM WHERE YOU ARE RIGHT NOW by David Watson, TINY VOLCANOES by Laurence Wilson and FLY ME TO THE MOON by Marie Jones.
His freelance work includes the new musical THE ASSASSINATION OF KATIE HOPKINS for Theatr Clywd, a new production of LES MISERABLES for Wermland Opera in Sweden and Brian Friel’s TRANSLATIONS which won Best Production at the UK Theatre Awards 2014. James was formerly founder and Joint Artistic Director of nabokov with George Perrin, and Associate Director at the Bush Theatre.
ELIN SCHOFIELD (Assistant Director)
Elin is a director, movement director and facilitator. She is also the director of northern company Footprint Theatre. Her work includes:
Director: SIGNALS by Footprint Theatre (New Diorama, HOME, Pleasance), LOSING IT by Sheffield Theatres’ Young Company (Sheffield Theatres), DANIEL by Footprint Theatre (New Diorama, Royal Exchange, Camden People’s Theatre, Theatre Delicatessen).
Assistant Director: A DREAM by Chris Bush (Sheffield Theatres).
Movement Director: THE CHANGING ROOM by Chris Bush (Sheffield Theatres), THE SNOW QUEEN by Paperfinch Theatre (Theatr Clwyd), THE NUTCRACKER by Paperfinch Theatre (Theatr Clwyd).
TANYA STEPHENSON (Lighting)
Tanya is a Theatre Maker, Designer, Art Director, Production Manager and Lighting Designer with an MA in Advanced Theatre Practice from RCSSD (2013) and a BA in Performance Design from the University of Leeds (2010).
She won the Francis Reid Lighting Design award in 2010 and has since worked on national and international tours with companies such as Fuel, Theatre Rites, Gecko, BBC, Punchdrunk, Little Bulb, Wardrobe Ensemble, The Invisible Dot, Spymonkey, Polka Theatre and Stomp.
Her solo work also extends outside of TV and theatre – from designing installations at the British Library and at festivals, to artistic workshops with ex-offenders and prisoners to working alongside fashion photographers and VM designers, such as Rhea Thierstein.
Dominic Kennedy is a Sound Designer and Music Producer for performance and live events, he has a keen interest in developing new work and implementing sound and music at an early stage in a creative process. Dominic is a graduate from Royal Central School of Speech and Drama where he developed specialist skills in collaborative and devised theatre making, music composition and installation practices. His work often fuses found sound, field recordings, music composition and synthesis.
Recent design credits include; RAMONA TELLS JIM (Bush Theatre), AND THE REST OF ME FLOATS (Outbox), I AM A TREE (Jamie Wood), BOX CLEVER (nabokov), SKATE HARD TURN LEFT (Battersea Arts Centre), ROUNDABOUT SEASON 2017 (Paines Plough), GAP IN THE LIGHT (Engineer), BROKEN BISCUITS (Paines Plough), ROUNDABOUT SEASON 2016 (Paines Plough), WITH A LITTLE BIT OF LUCK (Paines Plough), THE HUMAN EAR (Paines Plough), THE DEVIL SPEAKS TRUE (Goat and Monkey), RUN (Engineer), ONO (Jamie Wood).
Annie-Lunnette Deakin-Foster is a passionate contemporary dance theatre choreographer, maker and movement director and is a co-founding member of award winning company, C-12 Dance Theatre.
Recent Theatre Credits Include: These Bridges by Phoebe Éclair-Powell (WCYT as part of National Theatre Connections at The Bush) The Little Match Girl and Other Happier Tales by Joel Horwood and Emma Rice (Presented on tour 2017-2018 at Bristol Old Vic, Theatr Clwyd, Chichester Festival Theatre, Oxford Playhouse, Theatre Royal Plymouth, Buxton Opera House, Liverpool Everyman & Playhouse, Malvern Theatres and the Shakespeares Globe); The Dark Room by Angela Betzien (Theatre 503); Trumps Women by Lily Bevan (RADA); i know all the secrets of my world by Natalie Ibu (Latitude Festival, Watford Palace Theatre, The Porter Theatre, Pegasus Theatre Oxford, Salisbury Playhouse, Unity Theatre, Lincoln Drill Hall, Bristol Old Vic, The Lowry, The Drum, Nottingham Playhouse, Mercury Theatre, The Albany).
Recent Dance Credits Include: Force (Abbey Road Studios, Imagine Festival Watford, Greenwich & Docklands International Festival, Dalsfen, Zwolle & Oldenzaal Netherlands) Shhh! (Dance City, MAC Birmingham, New Wolsey Ipswich, Norwich Playhouse, The Woodville Gravesend, CircoMedia Bristol, Winchester Theatre Royal) The Van Man (Watch This Space at The National, St Albans Festival, Freedom Festival Hull, The Albany Outdoors)
Annie-Lunnette is currently working with Clean Break on Artichokes’ Processions 2018 project, as well as working on play The Court Must Have a Queen by Ade Solanke to be presented in The Great Hall at Hampton Court Palace throughout the summer season.
Ben recently finished training at the Royal Central School of Speech and Drama in Theatre Sound. Sound Design Work includes: WHY EVEN BOTHER (Edinburgh Fringe); HOW TO MAKE ME HAPPY (Old Vic Workrooms); TOMORROW I’LL BE TWENTY FOR COMPLICITE (West Yorkshire Tour, Pleasance Theatre); THE EMPRESS (CSSD); FROM MORNING TO MIDNIGHT (CSSD); RICHARD III (CSSD); INTO THE WOODS; SPRING AWAKENING (Jellicoe Theatre).
We’ve partnered with the National Trust to bring you A ROOM OF ONE’S OWN, a brand new audio experience in the Grade 1 listed gardens of Cliveden.
Meet Elizabeth Villiers, Princess Augusta, Harriet, Duchess of Sutherland and Nancy Astor, the first female MP. Four inspirational women who found a room of one’s own at Cliveden, a National Trust property with a rich and fascinating history.
A ROOM OF ONE’S OWN is an audio experience in the historic grounds of Cliveden. The stories of these misrepresented women are brought to life in four audio plays written by four of the UK’s finest playwrights – April De Angelis, Sabrina Mahfouz, Zodwa Nyoni and Alexandra Wood.
Follow a trail through the enchanting gardens listening to Nancy Carroll as Elizabeth Villiers, Vivienne Gibbs as Princess Augusta, Victoria Hamilton as Harriet, Duchess of Sutherland and Linda Broughton as Nancy Astor. Walk in their footsteps as they reclaim their reputations.
The audio experiencewill take the listener on a path through the impressive formal gardens soundtracked by the monologues. Visitors will start their audio journey by picking up a headset from the Information Centre at Cliveden, and following the guidance from there.
The installation is part of the National Trust’s 2018 Women and Power series and can be enjoyed from 13 June onwards.
For full details check the National Trust website here.
Read about the writers and actors involved below.
APRIL DE ANGELIS
April De Angelis is an acclaimed writer whose extensive theatre work includes MY BRILLIANT FRIEND, a two part dramatization of Elena Ferrantes’ epic family saga (Rose Theatre Kingston); AFTER ELECTRA (Theatre Royal Plymouth & Tricycle Theatre 2015); RUNE (New Vic Theatre Stoke 2015); GASTRONAUTS (Royal Court Upstairs, 2013); JUMPY (Royal Court 2011 & Duke of York’s Theatre 2012, Melbourne and Sydney 2015); an adaptation of WUTHERING HEIGHTS (Birmingham Rep, 2008); A LAUGHING MATTER (Out of Joint at National Theatre, 2001); A WARWICKSHIRE TESTIMONY (RSC, 1999); THE POSITIVE HOUR (Out of Joint at Hampstead Theatre, 1997); PLAYHOUSE CREATURES (Old Vic Theatre, 1993; revived at Chichester Festival Theatre in 2013); and THE LIFE AND TIMES OF FANNY HILL (The Old Fire Station Oxford, 1991; revived at the Bristol Old Vic, 2015). Her new adaptation of FRANKENSTEIN opened at the Royal Exchange, Manchester in Spring 2018. Current work includes commissions for the Royal & Derngate Northampton and BBC Radio 4.
Upcoming work includes THE VILLAGE at Theatre Royal Stratford East in September.
Sabrina has recently been called ‘[one of] our most interesting playwrights’ by Lyn Gardner in the Guardian and ‘theatrical dynamite’ by the Independent. Her theatre work includes CHEF, a play about an inmate of a woman’s prison who is also a haute cuisine chef, which won a Fringe First Award and was nominated for multiple international awards; DRY ICE, her first play based on her time working in stripclubs, directed by David Schwimmer and for which she was nominated as Best Solo Performer in The Stage Awards for Acting Excellence. CLEAN, a play about three women who work in the criminal underworld, which won a Herald Angel Award and transferred from Traverse Theatre in Edinburgh to Off-Broadway in 2015; WITH A LITTLE BIT OF LUCK, a gig theatre piece with a live UK Garage score about a young woman’s coming of age in 2001, which has been performed across the UK, including at the National Theatre and the Roundhouse and will be the first ever radio drama on BBC 1xtra.
Eight of her plays are published by Bloomsbury Methuen. Her poetry collection about sex work, How You Might Know Me (Out-Spoken Press), was a 2017 Guardian Best Summer Reads. She is currently writing her first feature film, about the legendary UK producer and rapper Wiley, for Pulse Films.
Sabrina is the editor of the critically acclaimed anthology The Things I Would Tell You: British Muslim Women Write (Saqi Books), a Guardian Book of the Year and is an essay contributor to the multi-award-winning The Good Immigrant (Unbound), exploring her mixed racial heritage through the lens of British fashion. She received a 2017 Society of Authors Award to complete her first novel and has won the 2018 King’s Arts & Culture Alumni Award for inspiring change in the creative industries.
Sabrina has been the Sky Arts Academy Scholar for Poetry; Creative in Residence at The Hospital Club; Poet in Residence at Cape Farewell; Leverhulme Playwright in Residence and Associate Artist at the Bush Theatre. She has facilitated writing workshops in prisons, schools and charities for the Royal Court, the National Theatre, The Poetry Society, the World Economic Forum, Clean Break and many others.
Zodwa is a playwright and poet based in Leeds. As winner of the Channel 4 Playwright’s Scheme she was Writer-in-Residence at the West Yorkshire Playhouse. She has previously been Apprentice Poet-in-Residence at Ilkely Literature Festival (2013), Leeds Kirkgate Market (2012) and Writer-in-Residence at I Love West Leeds Festival (2010).
She was part of the Manchester Royal Exchange’s New Stages writing initiative and participated in the 2015 iWriteRegional New Writing Initiative with Creative England. She is currently under commission at London’s Kiln Theatre.
Work includes: ODE TO LEEDS (West Yorkshire Playhouse); WEATHERED ESTATES (City of Culture 2017/Hull University); BORDERLINE (Young Vic ‘5 Plays’ season); SISTER (Ilkley & Beverley Literature Festivals); NINE LIVES (Leeds Studio – UK Tour, Oran Mor & West Yorkshire Playhouse); BOI BOI IS DEAD (a finalist for the 2015 Susan Smith Blackburn Prize, West Yorkshire Playhouse, Tiata Fahodzi & Watford Palace Theatre); A LETTER TO YOU (Manchester Royal Exchange); TANGLED ROOTS (Trinity Arts & DePaul University, Chicago); COME TO WHERE I’M FROM (Paines Plough, Drum Theatre, Plymouth and WYP); THE NIGHT SHIFT (Young Writers’ Scheme, WYP / BBC Writer’s Room) and THE POVO DIE TILL FREEDOM COMES (Square Chapel & The Bush Theatre).
Radio includes: Love Again – Sonnets in the City (read by Maxine Peake – BBC / BBC Philharmonic).
Alexandra is a London-based playwright. An extract from her new musical, MAMMOTH, written with composer Matthew Herbert, will be presented at BEAM2018 in March.
Her new English translation of Manfred Karge’s MAN TO MAN (Wales Millennium Centre and Edinburgh Fringe) toured the UK and ended in New York at the Brooklyn Academy of Music in November 2017.
Her plays include THE HUMAN EAR (Paines Plough); AGES (Old Vic New Voices); MERIT (Plymouth Drum); THE INITIATE (Paines Plough, winner of a Scotsman Fringe First); THE EMPTY QUARTER (Hampstead); an adaptation of Jung Chang’s WILD SWANS (Young Vic/ART); THE CENTRE (Islington Community Theatre); UNBROKEN (Gate); THE LION’S MOUTH (Rough Cuts/Royal Court); THE ELEVENTH CAPITAL (Royal Court) and the radio play TWELVE YEARS (BBC Radio 4).
Short plays include POPE’S GROTTO (Paines Plough/Come to Where I’m From), MY NAME IS TANIA HEAD (Decade/Headlong) and work for the Royal Court, Oxford School of Drama, Rose Bruford College, Dry Write, nabokov and curious directive.
Alexandra is a past winner of the George Devine Award and was the Big Room Playwright-in-Residence at Paines Plough in 2013.
LINDA BROUGHTON (Nancy Astor)
Linda voices Nancy Astor. The American heiress that becomes the first female MP to take her seat in 1919.
Theatre credits include:
The Abbess, THE COMEDY OF ERRORS (Shakespeare’s Globe); Kathleen, HOME (Arcola); Grace, PURPLE HEART (Gate Theatre); Mrs Bryant, ROOTS (Mercury Colchester); Marie in A DAY IN THE DEATH OF JOE EGG (Nottingham Playhouse); Marie in 2ND MAY 1997 (The Bush); Avdotya in IVANOV (Wyndham’s Theatre); Third Lady & Nurse in THE CHALK GARDEN (Donmar Warehouse); Clara in SNOWBOUND (Trafalgar Studios, London); Gertrude in HAMLET (The Factory); Jean in I LIKE MINE WITH A KISS (The Bush); Esther in THE SAFARI PARTY (New Vic Theatre, Stoke); Mrs Sarti in THE LIFE OF GALILEO, Ann Putnam and Sarah Good in THE CRUCIBLE, Heather in RACING DEMON, Gwenda in ABSENCE OF WAR AND MURMURING JUDGES (Birmingham Repertory Theatre); Sylvia in BALLROOM FOR DE LE WARR PAVILLION (Tour); Pam in HOXTON STORY (The Red Room); Miss Prism in THE IMPORTANCE OF BEING EARNEST (The Royal Theatre, Northampton); WHEN THE WIND BLOWS (Southwark Playhouse); NORTHANGER ABBEY; FORTY YEARS ON (The Northcott Theatre, Exeter); SUGAR DOLLIES (Gate Theatre); MY MOTHER SAID I NEVER SHOULD (The Royal Theatre, Northampton); ROOKERY NOOK for (Greenwich Theatre); SMALL POPPIES (Young Vic); MACBETH (Crucible Theatre, Sheffield); CAUCASIAN CHALK CIRCLE (Birmingham Repertory Theatre). Linda has also appeared in repertory seasons at The Octagon Theatre, Bolton; Citizens’ Theatre, Glasgow; Birmingham Repertory Theatre and The Crucible Theatre, Sheffield.
Television credits include: DOCTOR WHO; HOLBY CITY: DOCTORS; WAKING THE DEAD; CASUALTY; PAUL MERTON: DOES CHINA EXIST?; HETTY WAINTHROPP INVESTIGATES; FIST OF FUN; CHANDLER AND CO.; ROUGHNECKS; KNOWING ME KNOWING YOU AND A DARK ADAPTED EYE (BBC); CARRIE AND BARRY; MEN BEHAVING BADLY (Hartswood Films); WYCLIFFE (H.T.V.); EXPERT WITNESS (L.W.T.); THE BILL (Thames Television); FIRM FRIENDS (Zenith); HOW WE USED TO LIVE (Yorkshire Television).
Linda’s film credits include:
BABEL (GMH Films Ltd); BRIDGET JONES’S DIARY (Working Title); SLIDING DOORS (Sliding Doors Productions); WATCH THAT MAN (Luna Pictures).
NANCY CARROLL (Elizabeth Villiers)
Nancy voices Elizabeth Villiers. A key player in William and Mary’s court, childhood friend of the latter and lover of the former. Sent away in disgrace with her reputation in tatters, she is thrust into marriage with George Hamilton, Earl of Orkney and finds a happy equilibrium at Cliveden Estate.
Theatre credits include: YOUNG MARX (Bridge Theatre); WOYZECK (The Old Vic); MODERATE SOPRANO (The Hampstead Theatre); CLOSER; THE RECRUITING OFFICER (Donmar Warehouse); THE MAGISTRATE; AFTER THE DANCE; MAN OF MODE; THE ENCHANTMENT; THE FALSE SERVANT; THE TALKING CURE; THE VOYSEY INHERITANCE (National Theatre); HOUSE OF GAMES; KING LEAR; WASTE (Almeida); A MIDSUMMER NIGHT’S DREAMS (Sheffield Crucible); ARCADIA (Duke of York’s); AS YOU LIKE IT; HENRY IV PARTS I & II; THE LION, THE WITCH AND THE WARDROBE; THE WINTER’S TALE; TWELFTH NIGHT (RSC); COWARD, COCKTAILS AND CABARET; THE LADY’S NOT FOR BURNING (Chichester Festival Theatre); HAMLET (Bristol Old Vic); MAMMALS (Bush Theatre); SEE HOW THEY RUN (Duchess Theatre); STILL LIFE/ASTONISHED HEART (Liverpool Playhouse); YOU NEVER CAN TELL (Garrick Theatre)
Television credits include: FATHER BROWN SERIES 1, 2, 3, 4 & 6; CALL THE WIDWIFE; HOLBY CITY; SILENT WITNESS; DOCTORS; DALZIEL AND PASCOE; HOLBY; CAMBRIDGE SPIES (BBC 1); FATHER BROWN SERIES 5 (BBC Birmingham); PRIME SUSPECT 1973; WORDS OF THE TITANIC; LEWIS (ITV); WILL (TNT); THE SUSPICIONS OF MR WHICHER (Hat Trick Productions); MIDSOMER MURDERS SERIES VIII & XII (Bentley Productions); THE BILL (Thames)
Film credits include: THE GATHERING STORM (BBC Films); IRIS (Miramax); AN IDEAL HUSBAND (Ideal Film Co.)
VIVIENNE GIBBS (Princess Augusta)
Vivienne voices Princess Augusta. The wife of the heir to the throne, and adored by the public as their future queen. One half of a darling couple, beloved by their people.
Theatre: JUMPERS FOR GOALPOSTS (Paines Plough); TREASURE ISLAND (National Theatre Studio); SELLOTAPE SISTERS (CHAPTER 2); BLOOD CARMEN (Moving Theatre and Théâtre Ephémèride); THE LAST CURIOSITY (Young Vic); THE NATURE OF THINGS (Curved Space at The Place); LONG TOOTH (Gilded Balloon); SPLENDOUR (Cobden Club); THIS PROPERTY ID CONDEMNED; THE LADY OF LARKSPUR LOTION (Occam’s Razor); ELEPHANT MAN (Sincera, Brazil tour), UBU ROI (BAC); MUD; LA ENTREVISTA (Arcola Theatre); MARTINE MCCUTCHEON NEEDS ME (Soho Theatre). Vivienne is proud to be one of the many arts professionals who volunteer their time and talents to the renowned children’s mentoring theatre charity, Scene and Heard.
TV: MARCELLA (ITV, Netflix); COMEDY LAB (C4).
Film: 23 BELMONT PARK; ACT OF GOD; ATONEMENT; RABBIT FEVER.
VICTORIA HAMILTON (Harriet, Duchess of Sutherland)
Victoria voices Harriet, Duchess of Sutherland. The Mistress of the Robes to Queen Victoria and an ardent campaigner for the abolition of slavery and women’s rights.
Theatre includes: ALBION (Almeida); LOVE, LOVE, LOVE (Royal Court); TWELFTH NIGHT (Donmar Warehouse/Wyndham’s Theatre); ONCE IN A LIFETIME; SUMMERFOLK; MONEY (National Theatre); SUDDENLY LAST SUMMER (Donmar Warehouse/UK Tour); SWEET PANIC (West End); A DAY IN THE DEATH OF JOE EGG (Roundabout Theatre, New York/West End); HOME & BEAUTY (West End); THE COUNTRY WIFE; AS YOU LIKE IT (Crucible Theatre, Sheffield); KING LEAR; THE PROVOKED WIFE; THE SEAGULL (Old Vic); TROILUS AND CRESSIDA; AS YOU LIKE IT (RSC); THE MASTER BUILDER (West End); RETREAT; MEMORANDUM (Orange Tree Theatre).
Television includes: THE CROWN; DOCTOR WIFE; OUR EX-WIFE; THE CIRCUIT; CALL THE MIDWIFE CHRISTMAS SPECIAL; THE GAME; WHAT REMAINS; TOAST; LARKRISE TO CANDLEFORD; TIME OF YOUR LIFE; TRIAL & RETRIBUTION; WIDE SARGASSO SEA; THE SHELL SEEKERS; A VERY SOCIAL SECRETARY; JERICHO; SPINE CHILLERS; TO THE ENDS OF THE EARTH; THE BRONTES; GOODBYE MR CHIPS; BABY FATHER – I & II; VICTORIA & ALBERT; THE SAVAGES; KING LEAR; THE MERCHANT OF VENICE; PERSUASION; PRIDE AND PREJUDICE.
Film includes: FRENCH; SCOOP; BEFORE YOU GO; MANSFIELD PARK.